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15401_T | Wounded Amazon (Stuck) | Explore the abstract of this artwork, Wounded Amazon (Stuck). | Wounded Amazon (German: Verwundete Amazone) is an oil on canvas painting by the German artist Franz von Stuck, created in 1904. The painting was made from photographs of a model posing in Stuck's studio. The artist made three versions of the painting. One is housed at the Van Gogh Museum, in Amsterdam, and one at the Busch–Reisinger Museum in Cambridge, Massachusetts.It depicts a kneeling Amazon in a battle between Amazons and Centaurs, bleeding from a wound under her breast, while she held high her defence shield. Her looks expresses the pain that she is feeling, while she is completely naked, but still wears a helmet and lower leg metallic protection. A dead Amazon is seen lying in the ground, at the lower right, while at the background an Amazon and a Centaur are engaged in the fight.
The motif is not taken from any particular source material, it is a particular creation of the artist. | [
"Amsterdam",
"Amazons",
"Van Gogh Museum",
"Cambridge, Massachusetts",
"Amazon",
"Franz von Stuck",
"Busch–Reisinger Museum",
"Centaur"
] |
|
15401_NT | Wounded Amazon (Stuck) | Explore the abstract of this artwork. | Wounded Amazon (German: Verwundete Amazone) is an oil on canvas painting by the German artist Franz von Stuck, created in 1904. The painting was made from photographs of a model posing in Stuck's studio. The artist made three versions of the painting. One is housed at the Van Gogh Museum, in Amsterdam, and one at the Busch–Reisinger Museum in Cambridge, Massachusetts.It depicts a kneeling Amazon in a battle between Amazons and Centaurs, bleeding from a wound under her breast, while she held high her defence shield. Her looks expresses the pain that she is feeling, while she is completely naked, but still wears a helmet and lower leg metallic protection. A dead Amazon is seen lying in the ground, at the lower right, while at the background an Amazon and a Centaur are engaged in the fight.
The motif is not taken from any particular source material, it is a particular creation of the artist. | [
"Amsterdam",
"Amazons",
"Van Gogh Museum",
"Cambridge, Massachusetts",
"Amazon",
"Franz von Stuck",
"Busch–Reisinger Museum",
"Centaur"
] |
|
15402_T | T. A. Chapman Memorial | Focus on T. A. Chapman Memorial and discuss the abstract. | T.A. Chapman Memorial is a public artwork by American artist Daniel Chester French. It is located at 2405 W. Forest Home Ave., in the Forest Home Cemetery Section 33 in Milwaukee, Wisconsin, United States. The bronze sculpture was cast in 1896. Its dimensions are 62 x 41 x 23 in. The concrete base it stands on is 13 ½ x 21 7/8 x 14 3/8 in. | [
"bronze",
"Daniel Chester French",
"United States",
"Forest Home Cemetery",
"Wisconsin",
"Milwaukee"
] |
|
15402_NT | T. A. Chapman Memorial | Focus on this artwork and discuss the abstract. | T.A. Chapman Memorial is a public artwork by American artist Daniel Chester French. It is located at 2405 W. Forest Home Ave., in the Forest Home Cemetery Section 33 in Milwaukee, Wisconsin, United States. The bronze sculpture was cast in 1896. Its dimensions are 62 x 41 x 23 in. The concrete base it stands on is 13 ½ x 21 7/8 x 14 3/8 in. | [
"bronze",
"Daniel Chester French",
"United States",
"Forest Home Cemetery",
"Wisconsin",
"Milwaukee"
] |
|
15403_T | T. A. Chapman Memorial | How does T. A. Chapman Memorial elucidate its Description? | Daniel Chester French’s sculpture is a memorial cast in honor of Timothy Appleton Chapman. Chapman was a pioneer dry goods merchant. The bronze statue stands tall but the angel figure is close to human proportions. It is her base that makes her seem larger than life. The statue is quite weathered. The angel has a neutral face. The figure holds a dish to symbolize the pouring of the water of life into the ground. The front of the base simply says CHAPMAN. The back of the statue says that the New York–based company Henry Bonnard Bronze cast the sculpture in 1896. | [
"bronze",
"Daniel Chester French",
"Bronze"
] |
|
15403_NT | T. A. Chapman Memorial | How does this artwork elucidate its Description? | Daniel Chester French’s sculpture is a memorial cast in honor of Timothy Appleton Chapman. Chapman was a pioneer dry goods merchant. The bronze statue stands tall but the angel figure is close to human proportions. It is her base that makes her seem larger than life. The statue is quite weathered. The angel has a neutral face. The figure holds a dish to symbolize the pouring of the water of life into the ground. The front of the base simply says CHAPMAN. The back of the statue says that the New York–based company Henry Bonnard Bronze cast the sculpture in 1896. | [
"bronze",
"Daniel Chester French",
"Bronze"
] |
|
15404_T | T. A. Chapman Memorial | Focus on T. A. Chapman Memorial and analyze the Condition. | According to the Smithsonian Art Inventories database, the statue was last surveyed in May 1993, and it needed some treatment. | [] |
|
15404_NT | T. A. Chapman Memorial | Focus on this artwork and analyze the Condition. | According to the Smithsonian Art Inventories database, the statue was last surveyed in May 1993, and it needed some treatment. | [] |
|
15405_T | Morning (Hord) | In Morning (Hord), how is the abstract discussed? | Morning, also known as Morning Statue, is an outdoor sculpture by Donal Hord, installed at San Diego's Embarcadero Marina Park North, in the U.S. state of California. The 6-foot, 3-inch black granite statue depicts a muscular young man stretching. It was created between 1951 and 1956, and was kept at Hord's residence until being acquired by the Port of San Diego in 1983. | [
"San Diego",
"U.S. state",
"Embarcadero Marina Park North",
"Port of San Diego",
"Donal Hord"
] |
|
15405_NT | Morning (Hord) | In this artwork, how is the abstract discussed? | Morning, also known as Morning Statue, is an outdoor sculpture by Donal Hord, installed at San Diego's Embarcadero Marina Park North, in the U.S. state of California. The 6-foot, 3-inch black granite statue depicts a muscular young man stretching. It was created between 1951 and 1956, and was kept at Hord's residence until being acquired by the Port of San Diego in 1983. | [
"San Diego",
"U.S. state",
"Embarcadero Marina Park North",
"Port of San Diego",
"Donal Hord"
] |
|
15406_T | Villa La Pelucca frescoes | Focus on Villa La Pelucca frescoes and explore the abstract. | The Villa La Pelucca frescoes are a c. 1520–1523 cycle of frescos by Bernardino Luini, commissioned by the Milanese nobleman Gerolamo Rabia for his villa near Monza, known as 'La Pelucca'. Most of the surviving fragments are in the Pinacoteca di Brera in Milan, though others are in the Wallace Collection in London, the Louvre in Paris, the Musée Condé in Chantilly and other private collections. Stylistically they shown the influence of Bramantino - Women Bathing the figure's shoulders is a homage to the Trivulzio Tapestries, particularly February from that cycle. | [
"Pinacoteca di Brera",
"Wallace Collection",
"Bramantino",
"Bernardino Luini",
"Louvre",
"Monza",
"Musée Condé",
"fresco"
] |
|
15406_NT | Villa La Pelucca frescoes | Focus on this artwork and explore the abstract. | The Villa La Pelucca frescoes are a c. 1520–1523 cycle of frescos by Bernardino Luini, commissioned by the Milanese nobleman Gerolamo Rabia for his villa near Monza, known as 'La Pelucca'. Most of the surviving fragments are in the Pinacoteca di Brera in Milan, though others are in the Wallace Collection in London, the Louvre in Paris, the Musée Condé in Chantilly and other private collections. Stylistically they shown the influence of Bramantino - Women Bathing the figure's shoulders is a homage to the Trivulzio Tapestries, particularly February from that cycle. | [
"Pinacoteca di Brera",
"Wallace Collection",
"Bramantino",
"Bernardino Luini",
"Louvre",
"Monza",
"Musée Condé",
"fresco"
] |
|
15407_T | Villa La Pelucca frescoes | Focus on Villa La Pelucca frescoes and explain the History. | In the Napoleonic era the villa was used by viceroy Eugene de Beauharnais, before passing into the lands of the Kingdom of Lombardy–Venetia in 1816. Shortly after that it was sold to private owners. The frescoes were removed between 1821 and 1822 by Stefano Barezzi, who transferred them to canvas supports, leading to several cracks which are still visible. Vast pieces of the cycle are lost, particularly those relating to the framing architecture, irredeemably altering the legibility of the cycle. | [
"Eugene de Beauharnais",
"Kingdom of Lombardy–Venetia",
"Stefano Barezzi",
"fresco"
] |
|
15407_NT | Villa La Pelucca frescoes | Focus on this artwork and explain the History. | In the Napoleonic era the villa was used by viceroy Eugene de Beauharnais, before passing into the lands of the Kingdom of Lombardy–Venetia in 1816. Shortly after that it was sold to private owners. The frescoes were removed between 1821 and 1822 by Stefano Barezzi, who transferred them to canvas supports, leading to several cracks which are still visible. Vast pieces of the cycle are lost, particularly those relating to the framing architecture, irredeemably altering the legibility of the cycle. | [
"Eugene de Beauharnais",
"Kingdom of Lombardy–Venetia",
"Stefano Barezzi",
"fresco"
] |
|
15408_T | Villa La Pelucca frescoes | In the context of Villa La Pelucca frescoes, discuss the Pinacoteca di Brera of the Known scenes. | Knight, 165x133
Family of Satyrs Sacrificing to Pan, 176x147
Scene of Metamorphoses, 167x156
Celebration of Passover, 117x173
Death of the Firstborn, 211x169
Preparations for the Departure of the Jews, 275x170
The Egyptians' Gifts to the Jews, 149x120
The Jews' Song of Triumph, 243x143
Gathering the Manna, 200x145
Bust of a Girl, 47x37
Pair of Young Men, 53x61
The Game of the Golden Cushion, 140x100
Mythological Scene, with the Birth of Adonis in the Background, 208x193
Girls Bathing, 135x235
Three Harvesting Putti, 50x72, 60x65, 60x72
Angels Carrying the Body of St Catherine of Alexandria, 123x228
The Egyptian Army Drowned in the Red Sea, 179x168
The Egyptian Army Submerged in the Red Sea, 130x170
Vulcan's Forge, 240x163
Moses Striking the Rock, 122x173
Moses Praying, 68x50
God the Father Blessing
Adoring Angel | [
"Pinacoteca di Brera"
] |
|
15408_NT | Villa La Pelucca frescoes | In the context of this artwork, discuss the Pinacoteca di Brera of the Known scenes. | Knight, 165x133
Family of Satyrs Sacrificing to Pan, 176x147
Scene of Metamorphoses, 167x156
Celebration of Passover, 117x173
Death of the Firstborn, 211x169
Preparations for the Departure of the Jews, 275x170
The Egyptians' Gifts to the Jews, 149x120
The Jews' Song of Triumph, 243x143
Gathering the Manna, 200x145
Bust of a Girl, 47x37
Pair of Young Men, 53x61
The Game of the Golden Cushion, 140x100
Mythological Scene, with the Birth of Adonis in the Background, 208x193
Girls Bathing, 135x235
Three Harvesting Putti, 50x72, 60x65, 60x72
Angels Carrying the Body of St Catherine of Alexandria, 123x228
The Egyptian Army Drowned in the Red Sea, 179x168
The Egyptian Army Submerged in the Red Sea, 130x170
Vulcan's Forge, 240x163
Moses Striking the Rock, 122x173
Moses Praying, 68x50
God the Father Blessing
Adoring Angel | [
"Pinacoteca di Brera"
] |
|
15409_T | Villa La Pelucca frescoes | In Villa La Pelucca frescoes, how is the Wallace Collection of the Known scenes elucidated? | Harvesting Putto, lunette, 49,2x64
Head of a Woman, 48,4x35,6 | [
"Wallace Collection"
] |
|
15409_NT | Villa La Pelucca frescoes | In this artwork, how is the Wallace Collection of the Known scenes elucidated? | Harvesting Putto, lunette, 49,2x64
Head of a Woman, 48,4x35,6 | [
"Wallace Collection"
] |
|
15410_T | Villa La Pelucca frescoes | In the context of Villa La Pelucca frescoes, analyze the Musée Condé of the Known scenes. | Harvesting Putto, lunette fragment, 32x41
Bust of a Woman, 29x30 | [
"Musée Condé"
] |
|
15410_NT | Villa La Pelucca frescoes | In the context of this artwork, analyze the Musée Condé of the Known scenes. | Harvesting Putto, lunette fragment, 32x41
Bust of a Woman, 29x30 | [
"Musée Condé"
] |
|
15411_T | Pazzi Madonna | Focus on Pazzi Madonna and explore the abstract. | The Pazzi Madonna is a rectangular "stiacciato" marble relief sculpture by Donatello, since 1886 in the sculpture collections of the Bode-Museum in Berlin. Dating to around 1420 and 1425 at the beginning of Donatello's collaboration with Michelozzo, it was most likely produced for private devotion and possibly commissioned by the Pazzi family for their home in Florence. The composition was very popular and is known in several copies.
The half figure of Virgin Mary is shown in three-quarter-view, the faces of both mother and child are in profile, with her leaning towards the Christ Child and touching his forehead, her silhouette slightly obscuring his. She holds the baby with her left arm, the hand with braced fingers perspectivally foreshortened, the right hand softly pressing against its shoulder. Neither of them are shown with halos and the emphasis is instead on their tender and intense intimacy, developing themes from the Eleusa-type icon in Byzantine art. The smiling child reaches out his arm to his mother, but their expressions often are described as melancholy, with the suggestion that the Virgin is reflecting on her son's future Passion. | [
"Florence",
"Berlin",
"Bode-Museum",
"stiacciato",
"Eleusa-type icon",
"relief",
"Byzantine art",
"Donatello",
"Passion",
"home",
"Michelozzo"
] |
|
15411_NT | Pazzi Madonna | Focus on this artwork and explore the abstract. | The Pazzi Madonna is a rectangular "stiacciato" marble relief sculpture by Donatello, since 1886 in the sculpture collections of the Bode-Museum in Berlin. Dating to around 1420 and 1425 at the beginning of Donatello's collaboration with Michelozzo, it was most likely produced for private devotion and possibly commissioned by the Pazzi family for their home in Florence. The composition was very popular and is known in several copies.
The half figure of Virgin Mary is shown in three-quarter-view, the faces of both mother and child are in profile, with her leaning towards the Christ Child and touching his forehead, her silhouette slightly obscuring his. She holds the baby with her left arm, the hand with braced fingers perspectivally foreshortened, the right hand softly pressing against its shoulder. Neither of them are shown with halos and the emphasis is instead on their tender and intense intimacy, developing themes from the Eleusa-type icon in Byzantine art. The smiling child reaches out his arm to his mother, but their expressions often are described as melancholy, with the suggestion that the Virgin is reflecting on her son's future Passion. | [
"Florence",
"Berlin",
"Bode-Museum",
"stiacciato",
"Eleusa-type icon",
"relief",
"Byzantine art",
"Donatello",
"Passion",
"home",
"Michelozzo"
] |
|
15412_T | Pazzi Madonna | Focus on Pazzi Madonna and explain the Literature. | Coonin, A. Victor (2019). Donatello and the Dawn of Renaissance Art. London: Reaktion Books. ISBN 978-1-78914-130-6.
Francesco Caglioti with Laura Cavazzini, Aldo Galli and Neville Rowley (2022). Donatello. The Renaissance. Venice: Marsilio Arte. ISBN 979-12-5463-006-8.
Neville Rowley with Francesco Caglioti, Laura Cavazzini and Aldo Galli (2022). Donatello. Erfinder der Renaissance. Leipzig: E.A. Seemann. ISBN 978-3-86502-482-4. | [
"Donatello"
] |
|
15412_NT | Pazzi Madonna | Focus on this artwork and explain the Literature. | Coonin, A. Victor (2019). Donatello and the Dawn of Renaissance Art. London: Reaktion Books. ISBN 978-1-78914-130-6.
Francesco Caglioti with Laura Cavazzini, Aldo Galli and Neville Rowley (2022). Donatello. The Renaissance. Venice: Marsilio Arte. ISBN 979-12-5463-006-8.
Neville Rowley with Francesco Caglioti, Laura Cavazzini and Aldo Galli (2022). Donatello. Erfinder der Renaissance. Leipzig: E.A. Seemann. ISBN 978-3-86502-482-4. | [
"Donatello"
] |
|
15413_T | Gallery of Archduke Leopold Wilhelm in Brussels (Galdiano) | Explore the Paintings depicted of this artwork, Gallery of Archduke Leopold Wilhelm in Brussels (Galdiano). | Many of the recognizable paintings in the collection, not all of which were included in the Italian catalog prepared by Teniers, are still in the Viennese collection. This copy was probably produced as a gift in tandem with a similar version formerly in the Rothschild collection. | [
"Rothschild"
] |
|
15413_NT | Gallery of Archduke Leopold Wilhelm in Brussels (Galdiano) | Explore the Paintings depicted of this artwork. | Many of the recognizable paintings in the collection, not all of which were included in the Italian catalog prepared by Teniers, are still in the Viennese collection. This copy was probably produced as a gift in tandem with a similar version formerly in the Rothschild collection. | [
"Rothschild"
] |
|
15414_T | The Geologist | Focus on The Geologist and discuss the abstract. | The Geologist is an glue paint on paper on canvas painting by the German painter Carl Spitzweg executed c. 1860. It belongs to the collection of the Von der Heydt Museum in Wuppertal, to which it was bequeathed in 1913. Spitzweg's style of painting belongs to the late Romantic period. | [
"Carl Spitzweg",
"Wuppertal",
"Von der Heydt Museum"
] |
|
15414_NT | The Geologist | Focus on this artwork and discuss the abstract. | The Geologist is an glue paint on paper on canvas painting by the German painter Carl Spitzweg executed c. 1860. It belongs to the collection of the Von der Heydt Museum in Wuppertal, to which it was bequeathed in 1913. Spitzweg's style of painting belongs to the late Romantic period. | [
"Carl Spitzweg",
"Wuppertal",
"Von der Heydt Museum"
] |
|
15415_T | The Geologist | How does The Geologist elucidate its Origin? | According to Hans Dietrich Lang, a steep gorge with a tunnel mouth hole in the Peißenberg coal district, near Peißenberg, served as the set. Spitzweg often stayed in Peißenberg; it was during a spa stay in 1833, that he made the decision to become a painter. According to Erika Günter, this rock motif is the entrance to a shaft of the Hohe Peißenberg. | [
"Peißenberg"
] |
|
15415_NT | The Geologist | How does this artwork elucidate its Origin? | According to Hans Dietrich Lang, a steep gorge with a tunnel mouth hole in the Peißenberg coal district, near Peißenberg, served as the set. Spitzweg often stayed in Peißenberg; it was during a spa stay in 1833, that he made the decision to become a painter. According to Erika Günter, this rock motif is the entrance to a shaft of the Hohe Peißenberg. | [
"Peißenberg"
] |
|
15416_T | The Geologist | Focus on The Geologist and analyze the Description. | The painting shows a gentleman who, according to the title of the painting, is a geologist. He kneels in front of a rock wall and holds a stone in each of his hands, which are a little larger than them. The geologist takes a closer look at the stone in his left hand. Possibly he previously knocked the two stones against each other in order to cut off a fragment. To his left he has put down an 70 to 80 cm long hackle.
The geologist wears blue trousers and a reddish coat with a darker collar. He wears a thick, beige scarf around his neck with a small piece of his white shirt collar peeking at the top. He wears a brown hat and a green vasculum that he has strapped at his back.
In the painting, the red-brownish tones predominate, in addition to the mantle of the man, also through the rock walls on the left and the right. At the place where the geologist kneels, shades of yellow predominate, as if the place was lit by the sun. Green vegetation can sometimes be seen on the bottom and on the rock walls. Despite the geologist's scarf, it doesn't seem like Winter. The monogram of the artist is on the lower right. | [
"vasculum"
] |
|
15416_NT | The Geologist | Focus on this artwork and analyze the Description. | The painting shows a gentleman who, according to the title of the painting, is a geologist. He kneels in front of a rock wall and holds a stone in each of his hands, which are a little larger than them. The geologist takes a closer look at the stone in his left hand. Possibly he previously knocked the two stones against each other in order to cut off a fragment. To his left he has put down an 70 to 80 cm long hackle.
The geologist wears blue trousers and a reddish coat with a darker collar. He wears a thick, beige scarf around his neck with a small piece of his white shirt collar peeking at the top. He wears a brown hat and a green vasculum that he has strapped at his back.
In the painting, the red-brownish tones predominate, in addition to the mantle of the man, also through the rock walls on the left and the right. At the place where the geologist kneels, shades of yellow predominate, as if the place was lit by the sun. Green vegetation can sometimes be seen on the bottom and on the rock walls. Despite the geologist's scarf, it doesn't seem like Winter. The monogram of the artist is on the lower right. | [
"vasculum"
] |
|
15417_T | The Geologist | In The Geologist, how is the Provenance discussed? | The provenance of the painting is not fully documented. The painting was in the possession of W. Schauß in New York since 1863. Then it came to the possession of Fritz Reimann in Elberfeld through the Heinemann Gallery in Munich. With the death of Reimann in 1913, it came through his legacy to the collection of the Von der Heydt Museum. | [
"New York",
"Von der Heydt Museum",
"Munich",
"Elberfeld"
] |
|
15417_NT | The Geologist | In this artwork, how is the Provenance discussed? | The provenance of the painting is not fully documented. The painting was in the possession of W. Schauß in New York since 1863. Then it came to the possession of Fritz Reimann in Elberfeld through the Heinemann Gallery in Munich. With the death of Reimann in 1913, it came through his legacy to the collection of the Von der Heydt Museum. | [
"New York",
"Von der Heydt Museum",
"Munich",
"Elberfeld"
] |
|
15418_T | The Deliverance of Arsinoe | Focus on The Deliverance of Arsinoe and explore the abstract. | The Deliverance of Arsinoe is a 1555–56 painting by Tintoretto, now in the Gemäldegalerie Alte Meister in Dresden. It shows Arsinoe IV of Egypt fleeing from Alexandria after Julius Caesar arrived in the city in 48 BC and sided with Arsinoe's half-sister Cleopatra. | [
"Dresden",
"Tintoretto",
"Arsinoe IV",
"Alexandria",
"Julius Caesar",
"Gemäldegalerie Alte Meister",
"Cleopatra",
"Arsinoe IV of Egypt"
] |
|
15418_NT | The Deliverance of Arsinoe | Focus on this artwork and explore the abstract. | The Deliverance of Arsinoe is a 1555–56 painting by Tintoretto, now in the Gemäldegalerie Alte Meister in Dresden. It shows Arsinoe IV of Egypt fleeing from Alexandria after Julius Caesar arrived in the city in 48 BC and sided with Arsinoe's half-sister Cleopatra. | [
"Dresden",
"Tintoretto",
"Arsinoe IV",
"Alexandria",
"Julius Caesar",
"Gemäldegalerie Alte Meister",
"Cleopatra",
"Arsinoe IV of Egypt"
] |
|
15419_T | La Belle Strasbourgeoise | Focus on La Belle Strasbourgeoise and explain the abstract. | La Belle Strasbourgeoise (The Beautiful Strasbourg Woman) is a 1703 painting by the French painter Nicolas de Largillière. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 2146. | [
"French",
"France",
"Musée des Beaux-Arts",
"Strasbourg",
"painting",
"Nicolas de Largillière"
] |
|
15419_NT | La Belle Strasbourgeoise | Focus on this artwork and explain the abstract. | La Belle Strasbourgeoise (The Beautiful Strasbourg Woman) is a 1703 painting by the French painter Nicolas de Largillière. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 2146. | [
"French",
"France",
"Musée des Beaux-Arts",
"Strasbourg",
"painting",
"Nicolas de Largillière"
] |
|
15420_T | La Belle Strasbourgeoise | Explore the Description and history of this artwork, La Belle Strasbourgeoise. | La Belle Strasbourgeoise is the most famous of the circa 1,500 portrait paintings by Largillière, and arguably the most iconic work in the Strasbourg museum. The identity of the depicted woman is unknown: she may be someone from the Strasbourg bourgeoisie, or a young Parisian in disguise (Strasbourg had become part of France only 22 years prior, in 1681), or the painter's own sister, Marie Elisabeth de Largillière. The costume she is wearing was fashionable in the Strasbourg patriarchy between 1688 and 1730.The painting had always enjoyed the highest esteem. The list of its former owners is prestigious: it had belonged to Ange Laurent Lalive de Jully, then to César Gabriel de Choiseul, and later to François Coty; in the interval, it had also hung in the Château de Bussy-Rabutin. The Strasbourg museums tried to acquire it in 1936, but did not succeed; in 1963, a second effort, with the help of Cécile de Rothschild (1913–1995), and a public subscription, was successful.The painting was bought at Sotheby's in London on 3 July 1963 for the then very considerable sum of 145,000 British pounds (equivalent to £3,230,211 in 2021), or 1,999,000 French francs at the time. The museum finally paid 1,725,500 French francs, thanks to a deduction agreed by the owner, Violet Leah Fitzgerald, and Sotheby's. It was still the highest price paid by a French museum for the purchase of a work of art until that date. Not everybody in Strasbourg was enthusiastic – Robert Heitz, a local politician who was also a noted painter, called it "a fake masterpiece", "the too beautiful and too costly Strasbourg Woman", "a sugary painting with the elegance of a retouched photo, mostly suited for the taste of nouveaux riches", etc. In 1967, Heitz painted a bitter parody of the portrait, called La Vieille Strasbourgeoise (The Old Strasbourg Woman). | [
"patriarchy",
"Rothschild",
"nouveaux riches",
"retouched photo",
"French",
"France",
"bourgeoisie",
"only 22 years prior, in 1681",
"François Coty",
"César Gabriel de Choiseul",
"British pound",
"subscription",
"Ange Laurent Lalive de Jully",
"Robert Heitz",
"Château de Bussy-Rabutin",
"parody",
"Strasbourg",
"Sotheby's",
"French franc",
"painting",
"Paris"
] |
|
15420_NT | La Belle Strasbourgeoise | Explore the Description and history of this artwork. | La Belle Strasbourgeoise is the most famous of the circa 1,500 portrait paintings by Largillière, and arguably the most iconic work in the Strasbourg museum. The identity of the depicted woman is unknown: she may be someone from the Strasbourg bourgeoisie, or a young Parisian in disguise (Strasbourg had become part of France only 22 years prior, in 1681), or the painter's own sister, Marie Elisabeth de Largillière. The costume she is wearing was fashionable in the Strasbourg patriarchy between 1688 and 1730.The painting had always enjoyed the highest esteem. The list of its former owners is prestigious: it had belonged to Ange Laurent Lalive de Jully, then to César Gabriel de Choiseul, and later to François Coty; in the interval, it had also hung in the Château de Bussy-Rabutin. The Strasbourg museums tried to acquire it in 1936, but did not succeed; in 1963, a second effort, with the help of Cécile de Rothschild (1913–1995), and a public subscription, was successful.The painting was bought at Sotheby's in London on 3 July 1963 for the then very considerable sum of 145,000 British pounds (equivalent to £3,230,211 in 2021), or 1,999,000 French francs at the time. The museum finally paid 1,725,500 French francs, thanks to a deduction agreed by the owner, Violet Leah Fitzgerald, and Sotheby's. It was still the highest price paid by a French museum for the purchase of a work of art until that date. Not everybody in Strasbourg was enthusiastic – Robert Heitz, a local politician who was also a noted painter, called it "a fake masterpiece", "the too beautiful and too costly Strasbourg Woman", "a sugary painting with the elegance of a retouched photo, mostly suited for the taste of nouveaux riches", etc. In 1967, Heitz painted a bitter parody of the portrait, called La Vieille Strasbourgeoise (The Old Strasbourg Woman). | [
"patriarchy",
"Rothschild",
"nouveaux riches",
"retouched photo",
"French",
"France",
"bourgeoisie",
"only 22 years prior, in 1681",
"François Coty",
"César Gabriel de Choiseul",
"British pound",
"subscription",
"Ange Laurent Lalive de Jully",
"Robert Heitz",
"Château de Bussy-Rabutin",
"parody",
"Strasbourg",
"Sotheby's",
"French franc",
"painting",
"Paris"
] |
|
15421_T | La Belle Strasbourgeoise | Focus on La Belle Strasbourgeoise and discuss the Second version. | A second and almost identical version of the painting, probably painted at the same time, was sold on 15 September 2020 at Christie's in Paris for 1,570,000 Euro, well above the estimated price. The canvas had belonged to Paul-Louis Weiller, who had bought it in London in 1967. The new private owner is said to be "from Asia". | [
"Euro",
"canvas",
"Christie's",
"Asia",
"painting",
"Paris",
"Paul-Louis Weiller"
] |
|
15421_NT | La Belle Strasbourgeoise | Focus on this artwork and discuss the Second version. | A second and almost identical version of the painting, probably painted at the same time, was sold on 15 September 2020 at Christie's in Paris for 1,570,000 Euro, well above the estimated price. The canvas had belonged to Paul-Louis Weiller, who had bought it in London in 1967. The new private owner is said to be "from Asia". | [
"Euro",
"canvas",
"Christie's",
"Asia",
"painting",
"Paris",
"Paul-Louis Weiller"
] |
|
15422_T | Nile God Statue, Naples | How does Nile God Statue, Naples elucidate its abstract? | The Statue of the Nile God (Italian: Statua del dio Nilo) is an Ancient Roman, likely Hellenistic, marble statue dating from the 2nd to 3rd century AD.
It is located at Piazzetta Nilo, at the start of via Nilo, in the quarter of the same name, and it is this statue that gives all their name. The church of Santa Maria Assunta dei Pignatelli faces the statue, and the Palazzo Panormita is on the north flank. Two blocks east, along Via Benedetto Croce (part of the Decumano Inferiore commonly called Spaccanapoli) rises the church of San Domenico. | [
"San Domenico",
"Decumano",
"Hellenistic",
"Roman",
"Italian",
"Palazzo Panormita",
"Santa Maria Assunta dei Pignatelli"
] |
|
15422_NT | Nile God Statue, Naples | How does this artwork elucidate its abstract? | The Statue of the Nile God (Italian: Statua del dio Nilo) is an Ancient Roman, likely Hellenistic, marble statue dating from the 2nd to 3rd century AD.
It is located at Piazzetta Nilo, at the start of via Nilo, in the quarter of the same name, and it is this statue that gives all their name. The church of Santa Maria Assunta dei Pignatelli faces the statue, and the Palazzo Panormita is on the north flank. Two blocks east, along Via Benedetto Croce (part of the Decumano Inferiore commonly called Spaccanapoli) rises the church of San Domenico. | [
"San Domenico",
"Decumano",
"Hellenistic",
"Roman",
"Italian",
"Palazzo Panormita",
"Santa Maria Assunta dei Pignatelli"
] |
|
15423_T | Nile God Statue, Naples | Focus on Nile God Statue, Naples and analyze the History. | The statue represents the God of the Nile, recumbent with a cornucopia and lying on a sphinx. The statue was probably erected in the then Roman port city by Alexandrian merchants. It was recovered, headless, in 1476, and was nicknamed "Corpo di Napoli". It was placed upon a pedestal in 1657, and later that century a bearded head was sculpted. In recent decades, the statue was again decapitated by robbers, and later recovered.
A higher quality version of the same topic, also Ancient Roman, is found in the Vatican Museums. Both statues are copies of an original from Alexandria, Egypt. | [
"Vatican Museums",
"Alexandria, Egypt",
"Alexandria",
"cornucopia",
"Roman",
"God of the Nile",
"Alexandrian"
] |
|
15423_NT | Nile God Statue, Naples | Focus on this artwork and analyze the History. | The statue represents the God of the Nile, recumbent with a cornucopia and lying on a sphinx. The statue was probably erected in the then Roman port city by Alexandrian merchants. It was recovered, headless, in 1476, and was nicknamed "Corpo di Napoli". It was placed upon a pedestal in 1657, and later that century a bearded head was sculpted. In recent decades, the statue was again decapitated by robbers, and later recovered.
A higher quality version of the same topic, also Ancient Roman, is found in the Vatican Museums. Both statues are copies of an original from Alexandria, Egypt. | [
"Vatican Museums",
"Alexandria, Egypt",
"Alexandria",
"cornucopia",
"Roman",
"God of the Nile",
"Alexandrian"
] |
|
15424_T | The Shortening Winter's Day is near a Close | In The Shortening Winter's Day is near a Close, how is the abstract discussed? | The Shortening Winter's Day is Near a Close (1903) and its replicas -- The Shortening Winter's Day is Near a Close (circa 1903) and Beneath the Snow Encumbered Branches (name attached in 2008) -- are oil on canvas paintings by Scottish painter Joseph Farquharson. The iconic artworks depict a shepherd tending sheep with the evening sun shining through snowy trees.
The primary, and largest (117 x 171 cm), version of the composition The Shortening Winter's Day is Near a Close (Accession Number LL3152), is at the Lady Lever Art Gallery, in Port Sunlight, England.
The 82 x 120 cm version of The Shortening Winter's Day is Near a Close was last sold to a private collector in 2013.
The 51 x 76 cm version was last sold to a private collector in 2016 under the name Beneath the Snow Encumbered Branches.The image has become well known through the use of its likeness on popular Hallmark Christmas cards for over 30 years. | [
"Port Sunlight",
"Lady Lever Art Gallery",
"Joseph Farquharson",
"Hallmark"
] |
|
15424_NT | The Shortening Winter's Day is near a Close | In this artwork, how is the abstract discussed? | The Shortening Winter's Day is Near a Close (1903) and its replicas -- The Shortening Winter's Day is Near a Close (circa 1903) and Beneath the Snow Encumbered Branches (name attached in 2008) -- are oil on canvas paintings by Scottish painter Joseph Farquharson. The iconic artworks depict a shepherd tending sheep with the evening sun shining through snowy trees.
The primary, and largest (117 x 171 cm), version of the composition The Shortening Winter's Day is Near a Close (Accession Number LL3152), is at the Lady Lever Art Gallery, in Port Sunlight, England.
The 82 x 120 cm version of The Shortening Winter's Day is Near a Close was last sold to a private collector in 2013.
The 51 x 76 cm version was last sold to a private collector in 2016 under the name Beneath the Snow Encumbered Branches.The image has become well known through the use of its likeness on popular Hallmark Christmas cards for over 30 years. | [
"Port Sunlight",
"Lady Lever Art Gallery",
"Joseph Farquharson",
"Hallmark"
] |
|
15425_T | The Shortening Winter's Day is near a Close | Focus on The Shortening Winter's Day is near a Close and explore the Background. | Painter and Laird Farquharson owned a 20,000-acre (8,100 ha) estate at Finzean, Royal Deeside, Aberdeenshire, where he enjoyed painting wintery scenes, particularly of sheep. This in turn had led to his nickname of "Frozen Mutton Farquharson".Farquharson's considerable commercial success was based on the snow scenes he exhibited almost annually at the Royal Academy of Arts from 1894 until 1925, and celebrated printsellers Frost & Reed assured him a steady income by selling deluxe editions of his works. This subject is one of his most celebrated, and the primary version (now in the Lady Lever Art Gallery) was shown at the RA in 1903. Farquharson was known to create several versions of his best works, either to sell as replicas or to retain as aides memoires. Often artists painted replicas for engravers to work from when the original painting was not available and it is possible that one of these replicas served such a purpose; a highly popular print of The Shortening Winter's Day is near a Close sold in the many thousands by Farquharson's publisher Frost & Reed. | [
"Royal Academy of Arts",
"Laird",
"Finzean",
"Lady Lever Art Gallery",
"Aberdeenshire"
] |
|
15425_NT | The Shortening Winter's Day is near a Close | Focus on this artwork and explore the Background. | Painter and Laird Farquharson owned a 20,000-acre (8,100 ha) estate at Finzean, Royal Deeside, Aberdeenshire, where he enjoyed painting wintery scenes, particularly of sheep. This in turn had led to his nickname of "Frozen Mutton Farquharson".Farquharson's considerable commercial success was based on the snow scenes he exhibited almost annually at the Royal Academy of Arts from 1894 until 1925, and celebrated printsellers Frost & Reed assured him a steady income by selling deluxe editions of his works. This subject is one of his most celebrated, and the primary version (now in the Lady Lever Art Gallery) was shown at the RA in 1903. Farquharson was known to create several versions of his best works, either to sell as replicas or to retain as aides memoires. Often artists painted replicas for engravers to work from when the original painting was not available and it is possible that one of these replicas served such a purpose; a highly popular print of The Shortening Winter's Day is near a Close sold in the many thousands by Farquharson's publisher Frost & Reed. | [
"Royal Academy of Arts",
"Laird",
"Finzean",
"Lady Lever Art Gallery",
"Aberdeenshire"
] |
|
15426_T | The Shortening Winter's Day is near a Close | Focus on The Shortening Winter's Day is near a Close and explain the History. | The primary version of The Shortening Winter's Day is near a Close (Lady Lever Art Gallery) was exhibited at the Royal Academy in 1903.It is not known when the 82 x 120 cm replica was painted but it is probable that it was soon after the exhibition of 1903 and likely to have been painted to satisfy a patron that had been disappointed not to be able to purchase the exhibited painting that Lever had secured when it was on the walls of the Academy.The 82 x 120 cm version under the name The Shortening Winter's Day is near a Close was auctioned in 2008 by Sotheby's and again by Bonhams in 2013. In 2013 it fetched £157,250 (US$200,599)The 51 x 76 cm version was with the Richard Green Gallery in 1972 and reproduced in Country Life on 1 June that year. The Card company WN Sharpe purchased the rights to use the painting in greetings cards in the 1970s. The company later was acquired by the Hallmark Cards company, which continues to own these rights. In 2008, Hallmark's Jo Marchbank said, "This painting is one of our most popular Christmas cards. It is probably something to do with the unique atmosphere Farquharson creates, the dramatic yet subtle depiction of a winter landscape." Over the course of its use as a design on Christmas cards, it is thought to have been reproduced hundreds of thousands of times.The 51 x 76 cm version had been sold in the 1960s to a private Scottish collector for £1,450. When this version went to auction in 2008 it was listed with the title Beneath the Snow Encumbered Branches by Lyon & Turnbull auctioneers with the note "A painting of this title was exhibited at the Royal Academy in 1901". There was some public interest in the piece at this time with the "Christmas card painting" resurfacing. Sold at Lyon & Turnbull auctioneers in Edinburgh, it was estimated that it would sell for between £50,000 and £70,000, but sold for more than twice that estimate to another private collector in Scotland. The painting was auctioned again by Lyon & Turnbull on 9 June 2016 for £146,500 (US$186,800).In December 2009, Gyles Brandreth presented a piece on the history of the painting for BBC One's The One Show. | [
"The One Show",
"Hallmark Cards",
"Lyon & Turnbull",
"Gyles Brandreth",
"Lady Lever Art Gallery",
"WN Sharpe",
"Edinburgh",
"Sotheby's",
"Hallmark",
"Bonhams",
"BBC One"
] |
|
15426_NT | The Shortening Winter's Day is near a Close | Focus on this artwork and explain the History. | The primary version of The Shortening Winter's Day is near a Close (Lady Lever Art Gallery) was exhibited at the Royal Academy in 1903.It is not known when the 82 x 120 cm replica was painted but it is probable that it was soon after the exhibition of 1903 and likely to have been painted to satisfy a patron that had been disappointed not to be able to purchase the exhibited painting that Lever had secured when it was on the walls of the Academy.The 82 x 120 cm version under the name The Shortening Winter's Day is near a Close was auctioned in 2008 by Sotheby's and again by Bonhams in 2013. In 2013 it fetched £157,250 (US$200,599)The 51 x 76 cm version was with the Richard Green Gallery in 1972 and reproduced in Country Life on 1 June that year. The Card company WN Sharpe purchased the rights to use the painting in greetings cards in the 1970s. The company later was acquired by the Hallmark Cards company, which continues to own these rights. In 2008, Hallmark's Jo Marchbank said, "This painting is one of our most popular Christmas cards. It is probably something to do with the unique atmosphere Farquharson creates, the dramatic yet subtle depiction of a winter landscape." Over the course of its use as a design on Christmas cards, it is thought to have been reproduced hundreds of thousands of times.The 51 x 76 cm version had been sold in the 1960s to a private Scottish collector for £1,450. When this version went to auction in 2008 it was listed with the title Beneath the Snow Encumbered Branches by Lyon & Turnbull auctioneers with the note "A painting of this title was exhibited at the Royal Academy in 1901". There was some public interest in the piece at this time with the "Christmas card painting" resurfacing. Sold at Lyon & Turnbull auctioneers in Edinburgh, it was estimated that it would sell for between £50,000 and £70,000, but sold for more than twice that estimate to another private collector in Scotland. The painting was auctioned again by Lyon & Turnbull on 9 June 2016 for £146,500 (US$186,800).In December 2009, Gyles Brandreth presented a piece on the history of the painting for BBC One's The One Show. | [
"The One Show",
"Hallmark Cards",
"Lyon & Turnbull",
"Gyles Brandreth",
"Lady Lever Art Gallery",
"WN Sharpe",
"Edinburgh",
"Sotheby's",
"Hallmark",
"Bonhams",
"BBC One"
] |
|
15427_T | The Shortening Winter's Day is near a Close | Explore the Aesthetics of this artwork, The Shortening Winter's Day is near a Close. | The painting, like Farquharson's other landscapes, was painted on his estate at Finzean, Royal Deeside. One of his descendants, Sir Angus Farquharson of Finzean, later said that he thought he had found the exact spot at Finzean where the painting was created.The shepherd in the painting was actually an employee of Farquharson whom he had asked to pose for the image. Whilst he was painting he noticed that the model was beginning to turn blue and so offered the man the chance to come inside his painting hut to warm up; the man declined so that Farquharson could finish the painting more quickly. | [
"Finzean",
"Sir Angus Farquharson of Finzean"
] |
|
15427_NT | The Shortening Winter's Day is near a Close | Explore the Aesthetics of this artwork. | The painting, like Farquharson's other landscapes, was painted on his estate at Finzean, Royal Deeside. One of his descendants, Sir Angus Farquharson of Finzean, later said that he thought he had found the exact spot at Finzean where the painting was created.The shepherd in the painting was actually an employee of Farquharson whom he had asked to pose for the image. Whilst he was painting he noticed that the model was beginning to turn blue and so offered the man the chance to come inside his painting hut to warm up; the man declined so that Farquharson could finish the painting more quickly. | [
"Finzean",
"Sir Angus Farquharson of Finzean"
] |
|
15428_T | The Calling (McCann sculpture) | Focus on The Calling (McCann sculpture) and discuss the abstract. | The Calling is an outdoor sculpture by Paddy McCann located in Belfast, Northern Ireland. Located at the junction of Gordon Street and Dunbar Junction, it consists of a bright red stylised male human figure calling into the distance while standing on an ordinary chair atop an extended (and angled) piston-like arm. A similarly mounted blue female figure, opposite the first, calls back across the square. It was installed in 2003. | [
"Paddy McCann",
"outdoor sculpture",
"Belfast",
"Northern Ireland"
] |
|
15428_NT | The Calling (McCann sculpture) | Focus on this artwork and discuss the abstract. | The Calling is an outdoor sculpture by Paddy McCann located in Belfast, Northern Ireland. Located at the junction of Gordon Street and Dunbar Junction, it consists of a bright red stylised male human figure calling into the distance while standing on an ordinary chair atop an extended (and angled) piston-like arm. A similarly mounted blue female figure, opposite the first, calls back across the square. It was installed in 2003. | [
"Paddy McCann",
"outdoor sculpture",
"Belfast",
"Northern Ireland"
] |
|
15429_T | The Second of May 1808 | How does The Second of May 1808 elucidate its Historical Background? | The Second of May 1808 depicts the beginning of the uprising when the Mamelukes of the French Imperial Guard are ordered to charge and subdue the rioting citizens. The crowd sees the Mamelukes as Moors, provoking an angry response. Instead of dispersing, the crowd turned on the charging Mamelukes, resulting in a ferocious melee. Goya was probably not present during the actual Charge of the Mamelukes. His supposed presence was first suggested in a book published 40 years after his death, reporting on conversations the author claimed to have had with Goya's gardener. His paintings were commissioned in 1814, after the expulsion of Napoleon's army from Spain, by the council governing Spain until the return of Ferdinand VII. He chose to portray the citizens of Madrid as unknown heroes using the crudest of weapons, such as knives, to attack a professional, occupying army. That did not please the king when he returned, so the paintings were not hung publicly until many years (and governments) later.
Goya chose not to paint any single action or to have any single focal point in order to emphasize the chaos of the drama. | [
"Napoleon",
"Mamelukes of the French Imperial Guard",
"Moors",
"Spain",
"melee",
"Ferdinand VII",
"Madrid"
] |
|
15429_NT | The Second of May 1808 | How does this artwork elucidate its Historical Background? | The Second of May 1808 depicts the beginning of the uprising when the Mamelukes of the French Imperial Guard are ordered to charge and subdue the rioting citizens. The crowd sees the Mamelukes as Moors, provoking an angry response. Instead of dispersing, the crowd turned on the charging Mamelukes, resulting in a ferocious melee. Goya was probably not present during the actual Charge of the Mamelukes. His supposed presence was first suggested in a book published 40 years after his death, reporting on conversations the author claimed to have had with Goya's gardener. His paintings were commissioned in 1814, after the expulsion of Napoleon's army from Spain, by the council governing Spain until the return of Ferdinand VII. He chose to portray the citizens of Madrid as unknown heroes using the crudest of weapons, such as knives, to attack a professional, occupying army. That did not please the king when he returned, so the paintings were not hung publicly until many years (and governments) later.
Goya chose not to paint any single action or to have any single focal point in order to emphasize the chaos of the drama. | [
"Napoleon",
"Mamelukes of the French Imperial Guard",
"Moors",
"Spain",
"melee",
"Ferdinand VII",
"Madrid"
] |
|
15430_T | The Second of May 1808 | Focus on The Second of May 1808 and analyze the Influences. | There has been debate about the extent to which Goya was influenced by Rubens. Goya's Saturn Devouring His Son, c. 1819–1823 suggests a familiarity with Rubens' 1636 version in the Prado. Kenneth Clark considered The Second of May 1808 an "artistic failure ... perhaps he could not shake off the memory of similar compositions by Rubens". Whether or not he had seen copies of The Tiger Hunt and The Battle of the Amazons, at least one original, the painting Henry IV at the Battle of Ivry, was along Goya's Italian itinerary. | [
"Prado",
"Henry IV at the Battle of Ivry",
"The Tiger Hunt",
"Saturn Devouring His Son",
"The Battle of the Amazons"
] |
|
15430_NT | The Second of May 1808 | Focus on this artwork and analyze the Influences. | There has been debate about the extent to which Goya was influenced by Rubens. Goya's Saturn Devouring His Son, c. 1819–1823 suggests a familiarity with Rubens' 1636 version in the Prado. Kenneth Clark considered The Second of May 1808 an "artistic failure ... perhaps he could not shake off the memory of similar compositions by Rubens". Whether or not he had seen copies of The Tiger Hunt and The Battle of the Amazons, at least one original, the painting Henry IV at the Battle of Ivry, was along Goya's Italian itinerary. | [
"Prado",
"Henry IV at the Battle of Ivry",
"The Tiger Hunt",
"Saturn Devouring His Son",
"The Battle of the Amazons"
] |
|
15431_T | The Second of May 1808 | In The Second of May 1808, how is the Damage discussed? | In 1936, during the Spanish Civil War, when Madrid was bombed by Nationalist troops, the republican government decided to evacuate the paintings from the Prado. A truck carrying Goya's paintings had an accident, and The Second of May was badly damaged: there were tears and even pieces missing. A first restoration was carried out in 1941 when the paintings returned to Madrid. A further restoration was completed between 2007 and 2008. | [
"Prado",
"republican",
"Spanish Civil War",
"Madrid"
] |
|
15431_NT | The Second of May 1808 | In this artwork, how is the Damage discussed? | In 1936, during the Spanish Civil War, when Madrid was bombed by Nationalist troops, the republican government decided to evacuate the paintings from the Prado. A truck carrying Goya's paintings had an accident, and The Second of May was badly damaged: there were tears and even pieces missing. A first restoration was carried out in 1941 when the paintings returned to Madrid. A further restoration was completed between 2007 and 2008. | [
"Prado",
"republican",
"Spanish Civil War",
"Madrid"
] |
|
15432_T | Prince Baltasar Carlos in the Riding School | Focus on Prince Baltasar Carlos in the Riding School and explore the abstract. | Prince Baltasar Carlos in the Riding School, Spanish: La lección de equitación del príncipe Baltasar Carlos, is a painting by Diego Velázquez, painted at the Palacio del Buen Retiro outside Madrid, probably in 1636.: 272 There are two versions of the painting, one on loan to the National Gallery in London, the other in the Wallace Collection in the same city;: 20 the latter is sometimes attributed to the studio of Velázquez, sometimes to Velázquez himself.: 272 | [
"Wallace Collection",
"Baltasar Carlos",
"Diego Velázquez",
"National Gallery",
"Palacio del Buen Retiro",
"Madrid"
] |
|
15432_NT | Prince Baltasar Carlos in the Riding School | Focus on this artwork and explore the abstract. | Prince Baltasar Carlos in the Riding School, Spanish: La lección de equitación del príncipe Baltasar Carlos, is a painting by Diego Velázquez, painted at the Palacio del Buen Retiro outside Madrid, probably in 1636.: 272 There are two versions of the painting, one on loan to the National Gallery in London, the other in the Wallace Collection in the same city;: 20 the latter is sometimes attributed to the studio of Velázquez, sometimes to Velázquez himself.: 272 | [
"Wallace Collection",
"Baltasar Carlos",
"Diego Velázquez",
"National Gallery",
"Palacio del Buen Retiro",
"Madrid"
] |
|
15433_T | Prince Baltasar Carlos in the Riding School | Focus on Prince Baltasar Carlos in the Riding School and explain the History. | The original version of the work was loaned to the National Gallery in London in 2007–2008.: 20 The first documented mention of the later version is in a letter written in 1828 from Madrid by the Scottish artist David Wilkie, who described it as a "duplicate" of the painting in the possession of Robert Grosvenor, 2nd Earl Grosvenor.: 266 In 1856 it was bought by Richard Seymour-Conway, 4th Marquess of Hertford, at a sale of the effects of the poet Samuel Rogers, and so passed into the Wallace Collection. | [
"Wallace Collection",
"Samuel Rogers",
"Richard Seymour-Conway, 4th Marquess of Hertford",
"David Wilkie",
"National Gallery",
"Robert Grosvenor, 2nd Earl Grosvenor",
"Madrid"
] |
|
15433_NT | Prince Baltasar Carlos in the Riding School | Focus on this artwork and explain the History. | The original version of the work was loaned to the National Gallery in London in 2007–2008.: 20 The first documented mention of the later version is in a letter written in 1828 from Madrid by the Scottish artist David Wilkie, who described it as a "duplicate" of the painting in the possession of Robert Grosvenor, 2nd Earl Grosvenor.: 266 In 1856 it was bought by Richard Seymour-Conway, 4th Marquess of Hertford, at a sale of the effects of the poet Samuel Rogers, and so passed into the Wallace Collection. | [
"Wallace Collection",
"Samuel Rogers",
"Richard Seymour-Conway, 4th Marquess of Hertford",
"David Wilkie",
"National Gallery",
"Robert Grosvenor, 2nd Earl Grosvenor",
"Madrid"
] |
|
15434_T | Prince Baltasar Carlos in the Riding School | Explore the The paintings of this artwork, Prince Baltasar Carlos in the Riding School. | Both versions of the painting show the Infante Baltasar Carlos, at the age of about seven, on horseback in front of the Palacio del Buen Retiro outside Madrid; behind him is a dwarf. The horse is performing a levade, one of the "airs above the ground" of the haute école of classical dressage.: 5:37 In middle ground of the original version, Gaspar de Guzmán, Count-Duke of Olivares, first minister to the King and riding-master to the prince, receives a lance – which he will then hand to his charge – from Alonso Martínez de Espinar, identified from an engraving, by Juan de Noort, on the frontispiece of his treatise on archery;: 271 they are watched by Juan Mateos, identified from an engraving by Pedro Perete on the title page of his treatise on hunting.: 271 Behind them, on a balcony of the palace, stand King Philip IV and Queen Isabel.: 272 | [
"Alonso Martínez de Espinar",
"riding-master",
"Gaspar de Guzmán, Count-Duke of Olivares",
"Juan de Noort",
"title page",
"Pedro Perete",
"King Philip IV",
"airs above the ground",
"frontispiece",
"Infante",
"Queen Isabel",
"Juan Mateos",
"Baltasar Carlos",
"lance",
"dwarf",
"classical dressage",
"Palacio del Buen Retiro",
"levade",
"haute école",
"Madrid"
] |
|
15434_NT | Prince Baltasar Carlos in the Riding School | Explore the The paintings of this artwork. | Both versions of the painting show the Infante Baltasar Carlos, at the age of about seven, on horseback in front of the Palacio del Buen Retiro outside Madrid; behind him is a dwarf. The horse is performing a levade, one of the "airs above the ground" of the haute école of classical dressage.: 5:37 In middle ground of the original version, Gaspar de Guzmán, Count-Duke of Olivares, first minister to the King and riding-master to the prince, receives a lance – which he will then hand to his charge – from Alonso Martínez de Espinar, identified from an engraving, by Juan de Noort, on the frontispiece of his treatise on archery;: 271 they are watched by Juan Mateos, identified from an engraving by Pedro Perete on the title page of his treatise on hunting.: 271 Behind them, on a balcony of the palace, stand King Philip IV and Queen Isabel.: 272 | [
"Alonso Martínez de Espinar",
"riding-master",
"Gaspar de Guzmán, Count-Duke of Olivares",
"Juan de Noort",
"title page",
"Pedro Perete",
"King Philip IV",
"airs above the ground",
"frontispiece",
"Infante",
"Queen Isabel",
"Juan Mateos",
"Baltasar Carlos",
"lance",
"dwarf",
"classical dressage",
"Palacio del Buen Retiro",
"levade",
"haute école",
"Madrid"
] |
|
15435_T | Statue of Katherine Mansfield | Focus on Statue of Katherine Mansfield and discuss the abstract. | Woman of Words is a statue of Katherine Mansfield located in Midland Park on Lambton Quay, Wellington, New Zealand, and honours the life of New Zealand writer Katherine Mansfield.The statue project was a joint commission between the Wellington Sculpture Trust, the Katherine Mansfield Society and the Wellington City Council. Part of the funding was provided by the Nikau Foundation, on behalf of the Richard and Doreen Evans Charitable Trust; other funding was provided by Apex Properties, Todd Corporation, Wellington Community Trust, Mark McGuiness and Jon Craig. It was unveiled in May 2013 by Wellington's Mayor, Celia Wade-Brown.The statue is the work of New Zealand sculptor Virginia King. statue is made of stainless steel and embellished with words and from Mansfield's writing. At night the statue is lit up from inside. | [
"Katherine Mansfield",
"Wellington City Council",
"Wellington",
"Virginia King",
"New Zealand",
"Lambton Quay",
"Celia Wade-Brown",
"Wellington Sculpture Trust"
] |
|
15435_NT | Statue of Katherine Mansfield | Focus on this artwork and discuss the abstract. | Woman of Words is a statue of Katherine Mansfield located in Midland Park on Lambton Quay, Wellington, New Zealand, and honours the life of New Zealand writer Katherine Mansfield.The statue project was a joint commission between the Wellington Sculpture Trust, the Katherine Mansfield Society and the Wellington City Council. Part of the funding was provided by the Nikau Foundation, on behalf of the Richard and Doreen Evans Charitable Trust; other funding was provided by Apex Properties, Todd Corporation, Wellington Community Trust, Mark McGuiness and Jon Craig. It was unveiled in May 2013 by Wellington's Mayor, Celia Wade-Brown.The statue is the work of New Zealand sculptor Virginia King. statue is made of stainless steel and embellished with words and from Mansfield's writing. At night the statue is lit up from inside. | [
"Katherine Mansfield",
"Wellington City Council",
"Wellington",
"Virginia King",
"New Zealand",
"Lambton Quay",
"Celia Wade-Brown",
"Wellington Sculpture Trust"
] |
|
15436_T | Stellar Sonata | How does Stellar Sonata elucidate its abstract? | SONATA VI are two paintings, Stellar sonata. Allegro and Stellar sonata. Andante, of Mikalojus Konstantinas Čiurlionis from 1908. | [
"Mikalojus Konstantinas Čiurlionis",
"sonata"
] |
|
15436_NT | Stellar Sonata | How does this artwork elucidate its abstract? | SONATA VI are two paintings, Stellar sonata. Allegro and Stellar sonata. Andante, of Mikalojus Konstantinas Čiurlionis from 1908. | [
"Mikalojus Konstantinas Čiurlionis",
"sonata"
] |
|
15437_T | Stellar Sonata | Focus on Stellar Sonata and analyze the The artist. | Čiurlionis was a Lithuanian composer and painter. His most famous musical compositions are probably the symphonic poems. In the Forest (Miške) and The Sea (Jūra). They are both in a late romantic idiom. As a painter Čiurlionis was a symbolist rooted in Lithuanian mythology, and his paintings were built in part by musical form principles. | [
"musical composition",
"Lithuanian mythology"
] |
|
15437_NT | Stellar Sonata | Focus on this artwork and analyze the The artist. | Čiurlionis was a Lithuanian composer and painter. His most famous musical compositions are probably the symphonic poems. In the Forest (Miške) and The Sea (Jūra). They are both in a late romantic idiom. As a painter Čiurlionis was a symbolist rooted in Lithuanian mythology, and his paintings were built in part by musical form principles. | [
"musical composition",
"Lithuanian mythology"
] |
|
15438_T | Stellar Sonata | In Stellar Sonata, how is the "Musical" paintings discussed? | Čiurlionis painted seven pictorial sonatas. He originally numbered them (the titles were later adapted). His pictorial sonatas can be connected with synaesthesia, the fusion of music and art, and embody an original approach to synæstesis. The artist uses principles of musical composition in the paintings associated with the structure of musical forms such as sonatas, fugues or preludes. He united motifs from reality, spatial levels, dates and contrasting symbolic images into a single compositional system or cycle, based on the dynamics of rhythm. Stellar Sonata. Allegro is a vision of outer space with fantastic multi-layered images.
The compositional elements of the painting are arranged in a complex varying rhythm. To portray the third dimension he did not use perspective, but instead overlays of varying opacity. Čiurlionis imagines the universe as a grand polyphonic symphony, junctions of cosmic nebulae, stars and sunlight. The waves of this space ocean - the songs - mix together to form a rich, ornamented and beautiful network pierced by the path of the Milky Way. The movement in outer space is not chaotic, but rhythmic and harmonic. The symbol of order and harmony in the universe is an angel-like, a figure of light standing on a tapered tower of light. The second part of the sonata ( "Stellar sonata. Andante") is also solemn and monumental, but much more restrained: a few bands of cosmic fog blur one spherical planet, perhaps the Earth itself, and an angel goes slowly over the band of the Milky Way, and gives the impression of serene and magnificent music. This is one of the artist's most musical creations, full of the interplay of colors, rhythmic variations and a powerful imagination. | [
"fugue",
"Milky Way",
"harmony",
"Sonata",
"symphony",
"polyphonic",
"preludes",
"opacity",
"rhythm",
"angel",
"musical composition",
"the Milky Way",
"sonata",
"synaesthesia"
] |
|
15438_NT | Stellar Sonata | In this artwork, how is the "Musical" paintings discussed? | Čiurlionis painted seven pictorial sonatas. He originally numbered them (the titles were later adapted). His pictorial sonatas can be connected with synaesthesia, the fusion of music and art, and embody an original approach to synæstesis. The artist uses principles of musical composition in the paintings associated with the structure of musical forms such as sonatas, fugues or preludes. He united motifs from reality, spatial levels, dates and contrasting symbolic images into a single compositional system or cycle, based on the dynamics of rhythm. Stellar Sonata. Allegro is a vision of outer space with fantastic multi-layered images.
The compositional elements of the painting are arranged in a complex varying rhythm. To portray the third dimension he did not use perspective, but instead overlays of varying opacity. Čiurlionis imagines the universe as a grand polyphonic symphony, junctions of cosmic nebulae, stars and sunlight. The waves of this space ocean - the songs - mix together to form a rich, ornamented and beautiful network pierced by the path of the Milky Way. The movement in outer space is not chaotic, but rhythmic and harmonic. The symbol of order and harmony in the universe is an angel-like, a figure of light standing on a tapered tower of light. The second part of the sonata ( "Stellar sonata. Andante") is also solemn and monumental, but much more restrained: a few bands of cosmic fog blur one spherical planet, perhaps the Earth itself, and an angel goes slowly over the band of the Milky Way, and gives the impression of serene and magnificent music. This is one of the artist's most musical creations, full of the interplay of colors, rhythmic variations and a powerful imagination. | [
"fugue",
"Milky Way",
"harmony",
"Sonata",
"symphony",
"polyphonic",
"preludes",
"opacity",
"rhythm",
"angel",
"musical composition",
"the Milky Way",
"sonata",
"synaesthesia"
] |
|
15439_T | The Death of Germanicus | Focus on The Death of Germanicus and explore the abstract. | The Death of Germanicus is a painting made in 1627 by Nicolas Poussin for Francesco Barberini. It is kept at the Minneapolis Institute of Art. | [
"Nicolas Poussin",
"Germanicus",
"France",
"Minneapolis Institute of Art",
"Minneapolis",
"Francesco Barberini",
"1627"
] |
|
15439_NT | The Death of Germanicus | Focus on this artwork and explore the abstract. | The Death of Germanicus is a painting made in 1627 by Nicolas Poussin for Francesco Barberini. It is kept at the Minneapolis Institute of Art. | [
"Nicolas Poussin",
"Germanicus",
"France",
"Minneapolis Institute of Art",
"Minneapolis",
"Francesco Barberini",
"1627"
] |
|
15440_T | The Death of Germanicus | Focus on The Death of Germanicus and explain the History. | The painting was commissioned by Cardinal Francesco Barberini (1597–1679), nephew of Pope Urban VIII and legate in France. The order was probably placed in October 1626, returning from a diplomatic visit to Spain. He called on Nicolas Poussin, then a young painter who had recently settled in Rome since 1624, whom he may have known thanks to the poet Giambattista Marino, perhaps through the intermediary of the banker and patron Marcello Sacchetti. Barberini had already commissioned a Capture of Jerusalem (Israel Museum) from Poussin, painted around 1625-1626 and given as a gift to Cardinal Richelieu. The painting was delivered on January 21, 1628, and a receipt signed by the painter's hand indicates that he obtained the sum of 60 crowns for this work. The painting very quickly obtained a great echo because from the following February, Poussin was chosen to paint an altarpiece in Saint Peter's Basilica, The Martyrdom of Saint Erasmus.The painting is given by Francesco to his nephew Maffeo Barberini (1631–1685), prince of Palestrina. It then remained in the collections of the Barberini Family in Rome and Florence until 1958. That year, it was acquired by the Minneapolis Institute of Art with the support of the William Hood Dunwoody Fund. | [
"Nicolas Poussin",
"France",
"Giambattista Marino",
"Francesco Barberini (1597–1679)",
"Minneapolis Institute of Art",
"William Hood Dunwoody",
"Minneapolis",
"Saint Peter's Basilica",
"Rome",
"Francesco Barberini",
"Barberini Family",
"Cardinal Richelieu",
"Pope Urban VIII"
] |
|
15440_NT | The Death of Germanicus | Focus on this artwork and explain the History. | The painting was commissioned by Cardinal Francesco Barberini (1597–1679), nephew of Pope Urban VIII and legate in France. The order was probably placed in October 1626, returning from a diplomatic visit to Spain. He called on Nicolas Poussin, then a young painter who had recently settled in Rome since 1624, whom he may have known thanks to the poet Giambattista Marino, perhaps through the intermediary of the banker and patron Marcello Sacchetti. Barberini had already commissioned a Capture of Jerusalem (Israel Museum) from Poussin, painted around 1625-1626 and given as a gift to Cardinal Richelieu. The painting was delivered on January 21, 1628, and a receipt signed by the painter's hand indicates that he obtained the sum of 60 crowns for this work. The painting very quickly obtained a great echo because from the following February, Poussin was chosen to paint an altarpiece in Saint Peter's Basilica, The Martyrdom of Saint Erasmus.The painting is given by Francesco to his nephew Maffeo Barberini (1631–1685), prince of Palestrina. It then remained in the collections of the Barberini Family in Rome and Florence until 1958. That year, it was acquired by the Minneapolis Institute of Art with the support of the William Hood Dunwoody Fund. | [
"Nicolas Poussin",
"France",
"Giambattista Marino",
"Francesco Barberini (1597–1679)",
"Minneapolis Institute of Art",
"William Hood Dunwoody",
"Minneapolis",
"Saint Peter's Basilica",
"Rome",
"Francesco Barberini",
"Barberini Family",
"Cardinal Richelieu",
"Pope Urban VIII"
] |
|
15441_T | The Death of Germanicus | In the context of The Death of Germanicus, discuss the Subject of the Description. | Poussin is probably the first painter to examine this subject. This episode in the history of ancient Rome is taken from the Annals of Tacitus. It describes the military successes of the Roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname. He was sent to fight in Syria, but there was opposition from Governor Gnaeus Calpurnius Piso. He died suddenly on the spot, in Antioch, accusing Piso of having poisoned him on the orders of Tiberius. He made his wife Agrippina the Elder and the rest of his family swear to avenge his death, enjoying great popularity among the Roman people. Poussin undoubtedly learned of Tacitus' text through an Italian translation, which was numerous at the time in Rome. | [
"Antioch",
"Tacitus",
"Germanicus",
"Tiberius",
"Rome",
"Gnaeus Calpurnius Piso",
"Agrippina the Elder",
"Claudius",
"Syria",
"Roman general",
"Annals"
] |
|
15441_NT | The Death of Germanicus | In the context of this artwork, discuss the Subject of the Description. | Poussin is probably the first painter to examine this subject. This episode in the history of ancient Rome is taken from the Annals of Tacitus. It describes the military successes of the Roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname. He was sent to fight in Syria, but there was opposition from Governor Gnaeus Calpurnius Piso. He died suddenly on the spot, in Antioch, accusing Piso of having poisoned him on the orders of Tiberius. He made his wife Agrippina the Elder and the rest of his family swear to avenge his death, enjoying great popularity among the Roman people. Poussin undoubtedly learned of Tacitus' text through an Italian translation, which was numerous at the time in Rome. | [
"Antioch",
"Tacitus",
"Germanicus",
"Tiberius",
"Rome",
"Gnaeus Calpurnius Piso",
"Agrippina the Elder",
"Claudius",
"Syria",
"Roman general",
"Annals"
] |
|
15442_T | The Death of Germanicus | In The Death of Germanicus, how is the Sources of inspiration of the Description elucidated? | The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta)In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger (Musée du Louvre). Poussin's painting also seems to be inspired by The Death of Constantine, taken from a series of tapestries on the Life of Constantine from cartoons by Peter Paul Rubens, offered in 1625 by Louis XIII to Francesco Barberini. | [
"Musée du Louvre",
"Peter Paul Rubens",
"France",
"Rome",
"Frans Pourbus the Younger",
"Francesco Barberini",
"Louvre",
"Louis XIII"
] |
|
15442_NT | The Death of Germanicus | In this artwork, how is the Sources of inspiration of the Description elucidated? | The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta)In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger (Musée du Louvre). Poussin's painting also seems to be inspired by The Death of Constantine, taken from a series of tapestries on the Life of Constantine from cartoons by Peter Paul Rubens, offered in 1625 by Louis XIII to Francesco Barberini. | [
"Musée du Louvre",
"Peter Paul Rubens",
"France",
"Rome",
"Frans Pourbus the Younger",
"Francesco Barberini",
"Louvre",
"Louis XIII"
] |
|
15443_T | The Death of Germanicus | In the context of The Death of Germanicus, analyze the Preparatory drawings? of the Description. | Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of Tacitus. At the top left, two figures are shown climbing up a staircase, which are not included in the painting. The second drawing, kept at the Musée Condé in Chantilly, has many variations compared to the Minneapolis painting: the number of characters is different. According to the style of the drawing, Pierre Rosenberg and Louis Antoine Prat put forward the hypothesis that it is not a preparatory drawing but a later one, produced around 1630–1632 with a view to the development of a second painting on the same theme but probably never executed. | [
"Tacitus",
"Germanicus",
"Chantilly",
"Pierre Rosenberg",
"Minneapolis",
"center",
"British Museum",
"Musée Condé"
] |
|
15443_NT | The Death of Germanicus | In the context of this artwork, analyze the Preparatory drawings? of the Description. | Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of Tacitus. At the top left, two figures are shown climbing up a staircase, which are not included in the painting. The second drawing, kept at the Musée Condé in Chantilly, has many variations compared to the Minneapolis painting: the number of characters is different. According to the style of the drawing, Pierre Rosenberg and Louis Antoine Prat put forward the hypothesis that it is not a preparatory drawing but a later one, produced around 1630–1632 with a view to the development of a second painting on the same theme but probably never executed. | [
"Tacitus",
"Germanicus",
"Chantilly",
"Pierre Rosenberg",
"Minneapolis",
"center",
"British Museum",
"Musée Condé"
] |
|
15444_T | The Death of Germanicus | In The Death of Germanicus, how is the Posterity discussed? | From the time of Poussin, the painting became famous in artistic circles and the painting was copied and commented on many times. However, it was not until the middle of the 18th century that the theme of Germanicus' death was taken up in the painting, but each time inspired by Poussin. He is thus represented by Piat Sauvage in 1774 and by Heinrich Friedrich Füger in 1789. If the subject is not taken up much by the artists, many are those who insert in their works allusions to Poussin's painting from this period. This is the case of Jean-Baptiste Greuze in his Septimius Severus and Caracalla in 1769 or, in a more subtle way, of Jacques-Louis David's Oath of the Horatii in 1785 who declares about him: "If it is to Corneille that I owe my subject, it is to Poussin that I owe my painting ”. François Marius Granet in his Death of Poussin (Granet Museum), assimilates the painter to the Roman general. Finally, he still inspired Eugène Delacroix in The Last Words of the Emperor Marcus Aurelius in 1844 (Musée des beaux-arts de Lyon). | [
"Germanicus",
"Corneille",
"Heinrich Friedrich Füger",
"François Marius Granet",
"Piat Sauvage",
"Eugène Delacroix",
"Jean-Baptiste Greuze",
"Oath of the Horatii",
"Roman general",
"Jacques-Louis David",
"Musée des beaux-arts de Lyon"
] |
|
15444_NT | The Death of Germanicus | In this artwork, how is the Posterity discussed? | From the time of Poussin, the painting became famous in artistic circles and the painting was copied and commented on many times. However, it was not until the middle of the 18th century that the theme of Germanicus' death was taken up in the painting, but each time inspired by Poussin. He is thus represented by Piat Sauvage in 1774 and by Heinrich Friedrich Füger in 1789. If the subject is not taken up much by the artists, many are those who insert in their works allusions to Poussin's painting from this period. This is the case of Jean-Baptiste Greuze in his Septimius Severus and Caracalla in 1769 or, in a more subtle way, of Jacques-Louis David's Oath of the Horatii in 1785 who declares about him: "If it is to Corneille that I owe my subject, it is to Poussin that I owe my painting ”. François Marius Granet in his Death of Poussin (Granet Museum), assimilates the painter to the Roman general. Finally, he still inspired Eugène Delacroix in The Last Words of the Emperor Marcus Aurelius in 1844 (Musée des beaux-arts de Lyon). | [
"Germanicus",
"Corneille",
"Heinrich Friedrich Füger",
"François Marius Granet",
"Piat Sauvage",
"Eugène Delacroix",
"Jean-Baptiste Greuze",
"Oath of the Horatii",
"Roman general",
"Jacques-Louis David",
"Musée des beaux-arts de Lyon"
] |
|
15445_T | The Trout Pool (Worthington Whittredge) | Focus on The Trout Pool (Worthington Whittredge) and explore the abstract. | The Trout Pool is a mid 19th century painting by Worthington Whittredge. Done in oil on canvas, the painting depicts a fishing pond amid a dense forestscape. Whittredge's work is currently in the collection of the Metropolitan Museum of Art. | [
"Worthington Whittredge",
"Metropolitan Museum of Art"
] |
|
15445_NT | The Trout Pool (Worthington Whittredge) | Focus on this artwork and explore the abstract. | The Trout Pool is a mid 19th century painting by Worthington Whittredge. Done in oil on canvas, the painting depicts a fishing pond amid a dense forestscape. Whittredge's work is currently in the collection of the Metropolitan Museum of Art. | [
"Worthington Whittredge",
"Metropolitan Museum of Art"
] |
|
15446_T | Statue of José Guadalupe Zuno | Focus on Statue of José Guadalupe Zuno and explain the abstract. | A statue of José Guadalupe Zuno is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco. | [
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"José Guadalupe Zuno",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara"
] |
|
15446_NT | Statue of José Guadalupe Zuno | Focus on this artwork and explain the abstract. | A statue of José Guadalupe Zuno is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco. | [
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"José Guadalupe Zuno",
"Jalisco",
"Guadalajara",
"Centro, Guadalajara"
] |
|
15447_T | The Prodigal Son (sculpture) | Focus on The Prodigal Son (sculpture) and discuss the Versions. | Versions exist in several museums, including:Victoria and Albert Museum, London: c. 1885–1887, bronze
Musée Rodin, Paris: 1905, bronze
San Diego Museum of Art, Balboa Park, California: 1905, bronze
Los Angeles County Museum of Art California: 1967, bronze | [
"Musée Rodin",
"Los Angeles County Museum of Art",
"San Diego Museum of Art",
"Balboa Park",
"Victoria and Albert Museum"
] |
|
15447_NT | The Prodigal Son (sculpture) | Focus on this artwork and discuss the Versions. | Versions exist in several museums, including:Victoria and Albert Museum, London: c. 1885–1887, bronze
Musée Rodin, Paris: 1905, bronze
San Diego Museum of Art, Balboa Park, California: 1905, bronze
Los Angeles County Museum of Art California: 1967, bronze | [
"Musée Rodin",
"Los Angeles County Museum of Art",
"San Diego Museum of Art",
"Balboa Park",
"Victoria and Albert Museum"
] |
|
15448_T | Visitation (Raphael) | How does Visitation (Raphael) elucidate its abstract? | The Visitation is a c. 1517 painting of the Visitation of the Virgin Mary to Saint Elizabeth by Raphael, in the Prado Museum since 1837. Commissioned by the Apostolic Protonotary Giovanni Branconio at his father Marino's request for their family chapel in the church of San Silvestre in Aquila (Marino's wife was called Elisabeth), it was plundered by the occupation troops of Philip IV of Spain in 1655 and placed at El Escorial. | [
"Prado Museum",
"Raphael",
"El Escorial",
"Saint Elizabeth",
"Giovanni Branconio",
"Virgin Mary",
"Aquila",
"Philip IV of Spain",
"Visitation"
] |
|
15448_NT | Visitation (Raphael) | How does this artwork elucidate its abstract? | The Visitation is a c. 1517 painting of the Visitation of the Virgin Mary to Saint Elizabeth by Raphael, in the Prado Museum since 1837. Commissioned by the Apostolic Protonotary Giovanni Branconio at his father Marino's request for their family chapel in the church of San Silvestre in Aquila (Marino's wife was called Elisabeth), it was plundered by the occupation troops of Philip IV of Spain in 1655 and placed at El Escorial. | [
"Prado Museum",
"Raphael",
"El Escorial",
"Saint Elizabeth",
"Giovanni Branconio",
"Virgin Mary",
"Aquila",
"Philip IV of Spain",
"Visitation"
] |
|
15449_T | Babuino | Focus on Babuino and analyze the abstract. | Babuino (Romanesco: Il Babbuino; Italian: Il Babuino, The Baboon) is one of the talking statues of Rome, Italy. The fountain is situated in front of the Canova Tadolini Museum, in via del Babuino. | [
"Romanesco",
"Rome",
"Italy",
"via del Babuino",
"talking statues of Rome",
"talking statues",
"fountain"
] |
|
15449_NT | Babuino | Focus on this artwork and analyze the abstract. | Babuino (Romanesco: Il Babbuino; Italian: Il Babuino, The Baboon) is one of the talking statues of Rome, Italy. The fountain is situated in front of the Canova Tadolini Museum, in via del Babuino. | [
"Romanesco",
"Rome",
"Italy",
"via del Babuino",
"talking statues of Rome",
"talking statues",
"fountain"
] |
|
15450_T | Babuino | In Babuino, how is the Political comment and graffiti discussed? | Pasquinades – irreverent satirical inscriptions poking fun at public figures – were posted beside the "talking statues" of Rome in the 16th century. The pasquinades (or, in Italian, pasquinate) of Il Babuino are more properly called babuinate, but the principle of satirical criticism is the same.
The tradition of political comment continued as graffiti in modern times, to the extent that the fountain was considered an eyesore rather than an asset to this upmarket street. The wall behind the statue was covered in graffiti, although not on Babuino itself. Recently, the wall has been painted with an anti-vandal paint, to prevent the graffiti reappearing. | [
"Pasquinade",
"Rome",
"satirical inscriptions",
"talking statues",
"graffiti",
"fountain"
] |
|
15450_NT | Babuino | In this artwork, how is the Political comment and graffiti discussed? | Pasquinades – irreverent satirical inscriptions poking fun at public figures – were posted beside the "talking statues" of Rome in the 16th century. The pasquinades (or, in Italian, pasquinate) of Il Babuino are more properly called babuinate, but the principle of satirical criticism is the same.
The tradition of political comment continued as graffiti in modern times, to the extent that the fountain was considered an eyesore rather than an asset to this upmarket street. The wall behind the statue was covered in graffiti, although not on Babuino itself. Recently, the wall has been painted with an anti-vandal paint, to prevent the graffiti reappearing. | [
"Pasquinade",
"Rome",
"satirical inscriptions",
"talking statues",
"graffiti",
"fountain"
] |
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