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15451_T | Affe mit Schädel | Focus on Affe mit Schädel and explore the abstract. | The Affe mit Schädel ("Ape with skull") is a famous work by the late-19th-century German sculptor Hugo Rheinhold. The statuette is otherwise known as the Affe, einen Schädel betrachtend ("Monkey viewing or contemplating a skull"). It was first exhibited in 1893 at the Große Berliner Kunstaustellung (Great Berlin Art Exhibition). | [
"statuette",
"Hugo Rheinhold"
] |
|
15451_NT | Affe mit Schädel | Focus on this artwork and explore the abstract. | The Affe mit Schädel ("Ape with skull") is a famous work by the late-19th-century German sculptor Hugo Rheinhold. The statuette is otherwise known as the Affe, einen Schädel betrachtend ("Monkey viewing or contemplating a skull"). It was first exhibited in 1893 at the Große Berliner Kunstaustellung (Great Berlin Art Exhibition). | [
"statuette",
"Hugo Rheinhold"
] |
|
15452_T | Affe mit Schädel | Focus on Affe mit Schädel and explain the Motivation. | What inspired Rheinhold in making his sculpture is unknown, although it has obvious parallels with Auguste Rodin’s The Thinker. It is perhaps surprising to discover that while Rodin had developed his statue as early as 1880, it was not cast into bronze and displayed until after the Affe mit Schädel had debuted. | [
"Auguste Rodin",
"The Thinker"
] |
|
15452_NT | Affe mit Schädel | Focus on this artwork and explain the Motivation. | What inspired Rheinhold in making his sculpture is unknown, although it has obvious parallels with Auguste Rodin’s The Thinker. It is perhaps surprising to discover that while Rodin had developed his statue as early as 1880, it was not cast into bronze and displayed until after the Affe mit Schädel had debuted. | [
"Auguste Rodin",
"The Thinker"
] |
|
15453_T | Affe mit Schädel | Explore the Interpretation of this artwork, Affe mit Schädel. | The excised Biblical quote possibly suggests good and evil cannot be known, or told apart. With the ape's study, the library of books and the caliper instruments, the suggestion is the statue is warning against the application of rationalism in the absence of morality. Furthermore, when a human is depicted holding a skull, it is usually a comment on mortality (see memento mori) and the inevitability of death; famously, Hamlet bereaves Yorick in one instance, but is soon repulsed by this macabre souvenir as it brings him face-to-face with all life's grim destiny. But, for Hugo Rheinhold's ape, it is something quite different. The ape is engaged in assessment and measurement (confirmed by the calipers). That we should even consider this level of intelligence in another species is a bold examination of ourselves through eyes that bear witness to the disproportionate leverage historically awarded humankind. Hugo Rheinhold's original inscription "eritis sicut deus" (sometimes wrongly "eritus …."), either suggests Darwinian understanding may lead to Frankenstinian abuse of life's essence, or a more inclusive innocence that recognises a place for other advanced life‑forms on our intellectual podium, if only we can just accommodate those guests. The page on which the Book of Genensis quote eritis sicut deus (“You will be like God”) is written is torn with the second part Scientes bonum et malum ("knowing good from evil") lost. Hugo was sympathetic to Darwinian ideas but familiar with Goethe's Faust, where the same quote appears with a warning on the misuse of man's power of reason, the calipers being symbolic of the scientific method. | [
"Hamlet",
"Darwin",
"Frankenstinian",
"Yorick",
"memento mori",
"Hugo Rheinhold"
] |
|
15453_NT | Affe mit Schädel | Explore the Interpretation of this artwork. | The excised Biblical quote possibly suggests good and evil cannot be known, or told apart. With the ape's study, the library of books and the caliper instruments, the suggestion is the statue is warning against the application of rationalism in the absence of morality. Furthermore, when a human is depicted holding a skull, it is usually a comment on mortality (see memento mori) and the inevitability of death; famously, Hamlet bereaves Yorick in one instance, but is soon repulsed by this macabre souvenir as it brings him face-to-face with all life's grim destiny. But, for Hugo Rheinhold's ape, it is something quite different. The ape is engaged in assessment and measurement (confirmed by the calipers). That we should even consider this level of intelligence in another species is a bold examination of ourselves through eyes that bear witness to the disproportionate leverage historically awarded humankind. Hugo Rheinhold's original inscription "eritis sicut deus" (sometimes wrongly "eritus …."), either suggests Darwinian understanding may lead to Frankenstinian abuse of life's essence, or a more inclusive innocence that recognises a place for other advanced life‑forms on our intellectual podium, if only we can just accommodate those guests. The page on which the Book of Genensis quote eritis sicut deus (“You will be like God”) is written is torn with the second part Scientes bonum et malum ("knowing good from evil") lost. Hugo was sympathetic to Darwinian ideas but familiar with Goethe's Faust, where the same quote appears with a warning on the misuse of man's power of reason, the calipers being symbolic of the scientific method. | [
"Hamlet",
"Darwin",
"Frankenstinian",
"Yorick",
"memento mori",
"Hugo Rheinhold"
] |
|
15454_T | Affe mit Schädel | Focus on Affe mit Schädel and discuss the Reproduction. | While debuting at the Große Berliner Kunstaustellung, the Affe mit Schädel became noticed by the Gladenbeck foundry (set up by Carl Gustav Hermann Gladenbeck in 1851). Purchasing the rights to the statue, the foundry featured it as a bronze in their catalogue, and it became popular through its quirky originality. The 30 cm full-size moulds disappeared with the closure of the Gladenbeck foundry, but Bildgießerei Seiler GmbH obtained the 13 cm Gladenbeck casting mould (Nr. 1194). | [
"Gladenbeck foundry"
] |
|
15454_NT | Affe mit Schädel | Focus on this artwork and discuss the Reproduction. | While debuting at the Große Berliner Kunstaustellung, the Affe mit Schädel became noticed by the Gladenbeck foundry (set up by Carl Gustav Hermann Gladenbeck in 1851). Purchasing the rights to the statue, the foundry featured it as a bronze in their catalogue, and it became popular through its quirky originality. The 30 cm full-size moulds disappeared with the closure of the Gladenbeck foundry, but Bildgießerei Seiler GmbH obtained the 13 cm Gladenbeck casting mould (Nr. 1194). | [
"Gladenbeck foundry"
] |
|
15455_T | Affe mit Schädel | How does Affe mit Schädel elucidate its Distribution? | Gladenbeck editions of the statue are displayed at the Institute of Evolutionary Biology, University of Edinburgh, Aberdeen’s Medico-Chirurgical Society, the Boston Medical Library and the Medical Library of Queen’s University in Kingston, Ontario, and also in Calgary, Cottbus, Gloucester, Kerikeri, Munnekeburen, Oakville, Osaka, Oxford, Salem am Bodensee, Stevens Point, Vienna, and famously on Lenin’s desk in the Kremlin. One was even salvaged from a World War II Junkers 88 at the bottom of Lake Attersee (Austria). | [
"Cottbus",
"University of Edinburgh",
"Lenin",
"Junkers 88",
"Stevens Point",
"Oxford",
"Lake Attersee",
"Kingston, Ontario",
"Kerikeri",
"Gloucester",
"Queen’s University",
"Calgary",
"Vienna",
"Boston Medical Library",
"Aberdeen",
"Osaka",
"Kremlin"
] |
|
15455_NT | Affe mit Schädel | How does this artwork elucidate its Distribution? | Gladenbeck editions of the statue are displayed at the Institute of Evolutionary Biology, University of Edinburgh, Aberdeen’s Medico-Chirurgical Society, the Boston Medical Library and the Medical Library of Queen’s University in Kingston, Ontario, and also in Calgary, Cottbus, Gloucester, Kerikeri, Munnekeburen, Oakville, Osaka, Oxford, Salem am Bodensee, Stevens Point, Vienna, and famously on Lenin’s desk in the Kremlin. One was even salvaged from a World War II Junkers 88 at the bottom of Lake Attersee (Austria). | [
"Cottbus",
"University of Edinburgh",
"Lenin",
"Junkers 88",
"Stevens Point",
"Oxford",
"Lake Attersee",
"Kingston, Ontario",
"Kerikeri",
"Gloucester",
"Queen’s University",
"Calgary",
"Vienna",
"Boston Medical Library",
"Aberdeen",
"Osaka",
"Kremlin"
] |
|
15456_T | Affe mit Schädel | Focus on Affe mit Schädel and analyze the Variations. | Two foundries (Seiler in Germany, Powderhall in Scotland) still produce faithfully accurate editions of the statue. These editions differ in size (13cm and 30cm, respectively) and patinas (a light traditional bronze, and a much darker penny bronze, respectively).
Other versions less faithful to the original mutate the chimp's pensive contemplation to head‑scratching bewilderment, or sacrifice metallic lustre by substitution of cheaper materials (e.g., clay), and often undermine the sculpture's poise with careless positioning of a plastic skull. Prices currently range from $10 to $4,500. When they do rarely surface in auction or through private sale, Gladenbeck pieces can fetch up to $6,000. | [
"patina"
] |
|
15456_NT | Affe mit Schädel | Focus on this artwork and analyze the Variations. | Two foundries (Seiler in Germany, Powderhall in Scotland) still produce faithfully accurate editions of the statue. These editions differ in size (13cm and 30cm, respectively) and patinas (a light traditional bronze, and a much darker penny bronze, respectively).
Other versions less faithful to the original mutate the chimp's pensive contemplation to head‑scratching bewilderment, or sacrifice metallic lustre by substitution of cheaper materials (e.g., clay), and often undermine the sculpture's poise with careless positioning of a plastic skull. Prices currently range from $10 to $4,500. When they do rarely surface in auction or through private sale, Gladenbeck pieces can fetch up to $6,000. | [
"patina"
] |
|
15457_T | A Young Woman Seated at the Virginals | Focus on A Young Woman Seated at the Virginals and explore the abstract. | A Young Woman Seated at the Virginals is a painting today attributed to Johannes Vermeer, though this was for a long time widely questioned. A series of technical examinations from 1993 onwards confirm the attribution. It is thought to date from c.1670 and is now in part of the Leiden Collection in New York. It should not be confused with Young Woman Seated at a Virginal in the National Gallery, London, also by Vermeer. | [
"Young Woman Seated at a Virginal",
"National Gallery, London",
"Johannes Vermeer",
"New York",
"Leiden Collection",
"National Gallery"
] |
|
15457_NT | A Young Woman Seated at the Virginals | Focus on this artwork and explore the abstract. | A Young Woman Seated at the Virginals is a painting today attributed to Johannes Vermeer, though this was for a long time widely questioned. A series of technical examinations from 1993 onwards confirm the attribution. It is thought to date from c.1670 and is now in part of the Leiden Collection in New York. It should not be confused with Young Woman Seated at a Virginal in the National Gallery, London, also by Vermeer. | [
"Young Woman Seated at a Virginal",
"National Gallery, London",
"Johannes Vermeer",
"New York",
"Leiden Collection",
"National Gallery"
] |
|
15458_T | A Young Woman Seated at the Virginals | Focus on A Young Woman Seated at the Virginals and explain the Provenance and attribution. | The painting's early provenance is unclear, though possibly it was owned in Vermeer's lifetime by Pieter van Ruijven and later inherited by Jacob Dissius. By 1904 it was one of two Vermeers owned by Alfred Beit, the other being Lady Writing a Letter with her Maid. It remained in the Beit family until sold to Baron Rolin in 1960. The painting was not widely known until described in the catalogue of the Beit collection published in 1904. In the first decades following 1904 it was widely accepted as a Vermeer. Then in the mid-twentieth century, as some "Vermeers" were discovered to be forgeries by Han van Meegeren and doubt was cast on others, it fell from favour.In 1993 Baron Rolin asked Sotheby's to conduct research into the painting. A series of technical examinations followed, which have convinced most experts that it is a Vermeer. Rolin's heirs sold the painting through Sotheby's in 2004 to Steve Wynn for $30 million. It was later purchased for the Leiden Collection owned by Thomas Kaplan. It has appeared in several Vermeer exhibitions in recent years, in the United States, Britain, Japan, Italy, France, and the Netherlands. | [
"Provenance",
"Han van Meegeren",
"Alfred Beit",
"provenance",
"Lady Writing a Letter with her Maid",
"Thomas Kaplan",
"Leiden Collection",
"Sotheby's",
"Jacob Dissius",
"Steve Wynn",
"Pieter van Ruijven"
] |
|
15458_NT | A Young Woman Seated at the Virginals | Focus on this artwork and explain the Provenance and attribution. | The painting's early provenance is unclear, though possibly it was owned in Vermeer's lifetime by Pieter van Ruijven and later inherited by Jacob Dissius. By 1904 it was one of two Vermeers owned by Alfred Beit, the other being Lady Writing a Letter with her Maid. It remained in the Beit family until sold to Baron Rolin in 1960. The painting was not widely known until described in the catalogue of the Beit collection published in 1904. In the first decades following 1904 it was widely accepted as a Vermeer. Then in the mid-twentieth century, as some "Vermeers" were discovered to be forgeries by Han van Meegeren and doubt was cast on others, it fell from favour.In 1993 Baron Rolin asked Sotheby's to conduct research into the painting. A series of technical examinations followed, which have convinced most experts that it is a Vermeer. Rolin's heirs sold the painting through Sotheby's in 2004 to Steve Wynn for $30 million. It was later purchased for the Leiden Collection owned by Thomas Kaplan. It has appeared in several Vermeer exhibitions in recent years, in the United States, Britain, Japan, Italy, France, and the Netherlands. | [
"Provenance",
"Han van Meegeren",
"Alfred Beit",
"provenance",
"Lady Writing a Letter with her Maid",
"Thomas Kaplan",
"Leiden Collection",
"Sotheby's",
"Jacob Dissius",
"Steve Wynn",
"Pieter van Ruijven"
] |
|
15459_T | A Young Woman Seated at the Virginals | Explore the Description and evidence for attribution of this artwork, A Young Woman Seated at the Virginals. | The painting originally had the same dimensions as Vermeer's Lacemaker. Tentative evidence that the canvas was cut from the same bolt as the Lacemaker, which was gathered in the 1990s, was strengthened by a later, more sophisticated study. The ground appears identical to that used for the two Vermeers owned by London's National Gallery. X-ray examination has revealed evidence of a pin-hole at the vanishing point, as habitually used by Vermeer in conjunction with a thread to achieve correct perspective in his paintings. Pigments are used in the painting in a way typical of Vermeer, most notably the expensive ultramarine as a component in the background wall. The use of green earth in shadows is also distinctive. The use of lead-tin-yellow suggests that the painting cannot be a nineteenth- or twentieth-century fake or imitation. Examination of the cloak, often cited as the crudest part of the painting, shows that it was painted over another garment after some time had elapsed. Technical research completed in advance of the Rijksmuseum's Vermeer exhibition of 2023, however, determines that the yellow shawl was indeed painted by Vermeer.The hairstyle can be dated to c.1670, and matches the hairstyle in the Lacemaker, which on other grounds is also often dated to the same period. It is not clear if the painting was completed before or after the similar but more ambitious Young Woman Seated at a Virginal in the National Gallery, London. The painting is unsigned. | [
"vanishing point",
"Young Woman Seated at a Virginal",
"National Gallery, London",
"Lacemaker",
"canvas",
"ultramarine",
"lead-tin-yellow",
"National Gallery"
] |
|
15459_NT | A Young Woman Seated at the Virginals | Explore the Description and evidence for attribution of this artwork. | The painting originally had the same dimensions as Vermeer's Lacemaker. Tentative evidence that the canvas was cut from the same bolt as the Lacemaker, which was gathered in the 1990s, was strengthened by a later, more sophisticated study. The ground appears identical to that used for the two Vermeers owned by London's National Gallery. X-ray examination has revealed evidence of a pin-hole at the vanishing point, as habitually used by Vermeer in conjunction with a thread to achieve correct perspective in his paintings. Pigments are used in the painting in a way typical of Vermeer, most notably the expensive ultramarine as a component in the background wall. The use of green earth in shadows is also distinctive. The use of lead-tin-yellow suggests that the painting cannot be a nineteenth- or twentieth-century fake or imitation. Examination of the cloak, often cited as the crudest part of the painting, shows that it was painted over another garment after some time had elapsed. Technical research completed in advance of the Rijksmuseum's Vermeer exhibition of 2023, however, determines that the yellow shawl was indeed painted by Vermeer.The hairstyle can be dated to c.1670, and matches the hairstyle in the Lacemaker, which on other grounds is also often dated to the same period. It is not clear if the painting was completed before or after the similar but more ambitious Young Woman Seated at a Virginal in the National Gallery, London. The painting is unsigned. | [
"vanishing point",
"Young Woman Seated at a Virginal",
"National Gallery, London",
"Lacemaker",
"canvas",
"ultramarine",
"lead-tin-yellow",
"National Gallery"
] |
|
15460_T | A Young Woman Seated at the Virginals | Focus on A Young Woman Seated at the Virginals and discuss the Criticism and interpretation. | Walter Liedtke has described the painting as a "minor late work" by Vermeer. The colour scheme is typical of Vermeer's mature work. The "luminosity and finely modelled passages" of the young woman's skirt recall the Lady Standing at a Virginal and are often cited as the painting's best feature, contrasting with the less skillfully painted cloak. The blurring of objects in the foreground, the quality of the light and the attention paid to the texture of the wall are typical of Vermeer, while the handling of the pearls in the woman's hair recalls the threads spilling from the cushion in the Lacemaker. | [
"Lacemaker",
"Lady Standing at a Virginal",
"Walter Liedtke"
] |
|
15460_NT | A Young Woman Seated at the Virginals | Focus on this artwork and discuss the Criticism and interpretation. | Walter Liedtke has described the painting as a "minor late work" by Vermeer. The colour scheme is typical of Vermeer's mature work. The "luminosity and finely modelled passages" of the young woman's skirt recall the Lady Standing at a Virginal and are often cited as the painting's best feature, contrasting with the less skillfully painted cloak. The blurring of objects in the foreground, the quality of the light and the attention paid to the texture of the wall are typical of Vermeer, while the handling of the pearls in the woman's hair recalls the threads spilling from the cushion in the Lacemaker. | [
"Lacemaker",
"Lady Standing at a Virginal",
"Walter Liedtke"
] |
|
15461_T | Cardinal and Theological Virtues (Raphael) | How does Cardinal and Theological Virtues (Raphael) elucidate its abstract? | The Cardinal and Theological Virtues is a lunette fresco by Raphael found on the south wall of the Stanza della Segnatura in the Apostolic Palace of the Vatican. Three of the cardinal virtues are personified as statuesque women seated in a bucolic landscape, and the theological virtues are depicted by putti.
The fresco was part of Raphael's commission to decorate the private apartments of Pope Julius II. These rooms are now known as the Stanze di Raffaello.
After completing his three monumental frescoes Disputation of the Holy Sacrament, The Parnassus, and The School of Athens in the Stanza della Segnatura, in 1511 Raphael painted the Cardinal and Theological Virtues. | [
"The School of Athens",
"Stanza della Segnatura",
"The Parnassus",
"Raphael",
"Apostolic Palace",
"putti",
"Pope Julius II",
"Stanze di Raffaello",
"cardinal virtues",
"Vatican",
"lunette",
"Disputation of the Holy Sacrament",
"fresco",
"theological virtues"
] |
|
15461_NT | Cardinal and Theological Virtues (Raphael) | How does this artwork elucidate its abstract? | The Cardinal and Theological Virtues is a lunette fresco by Raphael found on the south wall of the Stanza della Segnatura in the Apostolic Palace of the Vatican. Three of the cardinal virtues are personified as statuesque women seated in a bucolic landscape, and the theological virtues are depicted by putti.
The fresco was part of Raphael's commission to decorate the private apartments of Pope Julius II. These rooms are now known as the Stanze di Raffaello.
After completing his three monumental frescoes Disputation of the Holy Sacrament, The Parnassus, and The School of Athens in the Stanza della Segnatura, in 1511 Raphael painted the Cardinal and Theological Virtues. | [
"The School of Athens",
"Stanza della Segnatura",
"The Parnassus",
"Raphael",
"Apostolic Palace",
"putti",
"Pope Julius II",
"Stanze di Raffaello",
"cardinal virtues",
"Vatican",
"lunette",
"Disputation of the Holy Sacrament",
"fresco",
"theological virtues"
] |
|
15462_T | Cardinal and Theological Virtues (Raphael) | Focus on Cardinal and Theological Virtues (Raphael) and analyze the Description. | The walls containing frescoes in the Stanza della Segnatura depict four branches of human knowledge: Philosophy (School of Athens), Religion (Disputation), Poetry (Parnassus), and Law (Virtues). The fourth wall containing the Virtues addresses both the civil law of the secular state and the canon law of the Church. Accordingly, three classical cardinal virtues (Fortitude, Prudence and Temperance) are attended by five putti, three of whom depict the theological virtues of Charity, Hope, and Faith.On the left, Raphael painted Fortitude. Armor-clad, she caresses a lion with her left hand while grasping a sapling of black oak with her right. The oak tree symbolizes strength and alludes to the Della Rovere family to which Pope Julius II belonged. A putto representing Charity harvests acorns from the oak branch. Fortitude's seated posture and the folds of her clothing are copied directly from a modello Raphael had seen of Michelangelo's Moses.Prominently seated in the center is Prudence. On her breast is an effigy of a winged Gorgon to ward off deceit and fraud. Janus-like, her head has two faces shown in profile. Her youthful feminine face looks forward into a mirror. This is an allegory of wisdom and knowledge of the present. The backward-facing visage of the old man peers into a past for sound judgment predicated on experience. His view is enhanced by the flaming torch held by a putto depicting Hope.Temperance sits on the right. She holds the bridle of restraint and is accompanied by a putto portraying Faith who points upward to heaven with his right hand.The fourth cardinal virtue, Justice, isn't included in the scene. Instead, she is depicted holding scales and a sword in a tondo on the ceiling directly above the fresco. The more prominent position of Justice is explained by the emphasis Plato placed on this fourth virtue. He introduced it to ensure the other three cardinal virtues existed in harmony.The other two frescoes found lower on the wall also portray scenes concerning the law. To the left of the window is a fresco designed by Raphael but executed by his studio. It depicts the Emperor Justinian receiving the civil code known as the Pandects of the Corpus Juris Civilis from Tribonian. To the right of the window, Pope Gregory IX (in the likeness of Pope Julius II) receives the code of canon law known as the Decretals from Raymond of Penyafort. | [
"Prudence",
"Tribonian",
"Faith",
"Raymond of Penyafort",
"Stanza della Segnatura",
"Corpus Juris Civilis",
"Raphael",
"Michelangelo",
"Janus",
"putti",
"Gorgon",
"Della Rovere",
"Fortitude",
"tondo",
"Emperor Justinian",
"left",
"modello",
"Pope Julius II",
"Plato",
"cardinal virtues",
"Pope Gregory IX",
"Charity",
"Decretals",
"Hope",
"Pandects",
"Temperance",
"Justice",
"fresco",
"putto",
"theological virtues"
] |
|
15462_NT | Cardinal and Theological Virtues (Raphael) | Focus on this artwork and analyze the Description. | The walls containing frescoes in the Stanza della Segnatura depict four branches of human knowledge: Philosophy (School of Athens), Religion (Disputation), Poetry (Parnassus), and Law (Virtues). The fourth wall containing the Virtues addresses both the civil law of the secular state and the canon law of the Church. Accordingly, three classical cardinal virtues (Fortitude, Prudence and Temperance) are attended by five putti, three of whom depict the theological virtues of Charity, Hope, and Faith.On the left, Raphael painted Fortitude. Armor-clad, she caresses a lion with her left hand while grasping a sapling of black oak with her right. The oak tree symbolizes strength and alludes to the Della Rovere family to which Pope Julius II belonged. A putto representing Charity harvests acorns from the oak branch. Fortitude's seated posture and the folds of her clothing are copied directly from a modello Raphael had seen of Michelangelo's Moses.Prominently seated in the center is Prudence. On her breast is an effigy of a winged Gorgon to ward off deceit and fraud. Janus-like, her head has two faces shown in profile. Her youthful feminine face looks forward into a mirror. This is an allegory of wisdom and knowledge of the present. The backward-facing visage of the old man peers into a past for sound judgment predicated on experience. His view is enhanced by the flaming torch held by a putto depicting Hope.Temperance sits on the right. She holds the bridle of restraint and is accompanied by a putto portraying Faith who points upward to heaven with his right hand.The fourth cardinal virtue, Justice, isn't included in the scene. Instead, she is depicted holding scales and a sword in a tondo on the ceiling directly above the fresco. The more prominent position of Justice is explained by the emphasis Plato placed on this fourth virtue. He introduced it to ensure the other three cardinal virtues existed in harmony.The other two frescoes found lower on the wall also portray scenes concerning the law. To the left of the window is a fresco designed by Raphael but executed by his studio. It depicts the Emperor Justinian receiving the civil code known as the Pandects of the Corpus Juris Civilis from Tribonian. To the right of the window, Pope Gregory IX (in the likeness of Pope Julius II) receives the code of canon law known as the Decretals from Raymond of Penyafort. | [
"Prudence",
"Tribonian",
"Faith",
"Raymond of Penyafort",
"Stanza della Segnatura",
"Corpus Juris Civilis",
"Raphael",
"Michelangelo",
"Janus",
"putti",
"Gorgon",
"Della Rovere",
"Fortitude",
"tondo",
"Emperor Justinian",
"left",
"modello",
"Pope Julius II",
"Plato",
"cardinal virtues",
"Pope Gregory IX",
"Charity",
"Decretals",
"Hope",
"Pandects",
"Temperance",
"Justice",
"fresco",
"putto",
"theological virtues"
] |
|
15463_T | The Colossus of Rhodes (Dalí) | In the context of The Colossus of Rhodes (Dalí), explore the The Colossus of the Background. |
The Colossus of Rhodes was a monumental statue of the Greek sun god, Helios, that stood by the harbour of Rhodes for more than half a century in the third century BC. According to first-century BC historian Diodorus Siculus, it was constructed under the direction of Chares of Lindos to commemorate the city's victory over Demetrius Poliorcetes, who laid siege to Rhodes from 305 to 304 BC; Helios, patron saint of both the city and island of Rhodes, was chosen as the honoree. The statue stood until the 226 BC Rhodes earthquake, when, according to Pliny the Elder three centuries later in his Naturalis Historia, it buckled and fell. In his ninth-century AD Chronographia, Theophanes the Confessor wrote that its ruins remained until 652–53, when Muawiyah I conquered Rhodes and the Colossus was sold for scrap. Beginning with lists formed by Diodorus and other writers, the Colossus is recognized as one of the Seven Wonders of the Ancient World.There are no extant contemporary depictions of the Colossus; the only evidence is textual, much of it summary and postdating the statue by centuries. Imagination has frequently filled in for documentation. Scientific attempts to re-envision the Colossus have persisted since the eighteenth century. In a presentation delivered in 1953, Herbert Maryon suggested that the statue was hollow, and stood aside the harbour rather than astride it. Made of hammered bronze plates less than 1⁄16-inch (1.6 mm) thick, Maryon said, the Colossus would have been supported on its base by a third point of support in the form of hanging drapery. Although Maryon's theory was not published until 1956, two years after Dalí's painting, newspaper articles about Maryon's 1953 presentation proliferated quickly and internationally, and his theory influenced Dalí. | [
"Chares of Lindos",
"Demetrius Poliorcetes",
"laid siege to Rhodes",
"Muawiyah I",
"Helios",
"226 BC Rhodes earthquake",
"Diodorus Siculus",
"Herbert Maryon",
"Greek",
"Colossus of Rhodes",
"Rhodes",
"bronze",
"newspaper articles about Maryon's 1953 presentation",
"Seven Wonders of the Ancient World",
"Theophanes the Confessor",
"Pliny the Elder",
"Naturalis Historia"
] |
|
15463_NT | The Colossus of Rhodes (Dalí) | In the context of this artwork, explore the The Colossus of the Background. |
The Colossus of Rhodes was a monumental statue of the Greek sun god, Helios, that stood by the harbour of Rhodes for more than half a century in the third century BC. According to first-century BC historian Diodorus Siculus, it was constructed under the direction of Chares of Lindos to commemorate the city's victory over Demetrius Poliorcetes, who laid siege to Rhodes from 305 to 304 BC; Helios, patron saint of both the city and island of Rhodes, was chosen as the honoree. The statue stood until the 226 BC Rhodes earthquake, when, according to Pliny the Elder three centuries later in his Naturalis Historia, it buckled and fell. In his ninth-century AD Chronographia, Theophanes the Confessor wrote that its ruins remained until 652–53, when Muawiyah I conquered Rhodes and the Colossus was sold for scrap. Beginning with lists formed by Diodorus and other writers, the Colossus is recognized as one of the Seven Wonders of the Ancient World.There are no extant contemporary depictions of the Colossus; the only evidence is textual, much of it summary and postdating the statue by centuries. Imagination has frequently filled in for documentation. Scientific attempts to re-envision the Colossus have persisted since the eighteenth century. In a presentation delivered in 1953, Herbert Maryon suggested that the statue was hollow, and stood aside the harbour rather than astride it. Made of hammered bronze plates less than 1⁄16-inch (1.6 mm) thick, Maryon said, the Colossus would have been supported on its base by a third point of support in the form of hanging drapery. Although Maryon's theory was not published until 1956, two years after Dalí's painting, newspaper articles about Maryon's 1953 presentation proliferated quickly and internationally, and his theory influenced Dalí. | [
"Chares of Lindos",
"Demetrius Poliorcetes",
"laid siege to Rhodes",
"Muawiyah I",
"Helios",
"226 BC Rhodes earthquake",
"Diodorus Siculus",
"Herbert Maryon",
"Greek",
"Colossus of Rhodes",
"Rhodes",
"bronze",
"newspaper articles about Maryon's 1953 presentation",
"Seven Wonders of the Ancient World",
"Theophanes the Confessor",
"Pliny the Elder",
"Naturalis Historia"
] |
|
15464_T | The Colossus of Rhodes (Dalí) | In the context of The Colossus of Rhodes (Dalí), explain the Dalí and Hollywood of the Background. |
Dalí had a longstanding fascination with Hollywood films; he described the industry as a surrealist medium, and Walt Disney, Cecil B. DeMille and the Marx Brothers as "the three great American Surrealists". In his 1937 essay Surrealism in Hollywood, he wrote that "Nothing seems to me more suited to be devoured by the surrealist fire than those mysterious strips of 'hallucinatory celluloid' turned out so unconsciously in Hollywood, and in which we have already seen appear, stupefied, so many images of authentic delirium, chance and dream."Dalí was commissioned to create artwork for the Seven Wonders of the World, a 1956 travelogue exploring natural and man-made wonders. He completed several paintings in 1954: The Colossus of Rhodes, The Pyramids, The Statue of Olympian Zeus, The Temple of Diana at Ephesus, The Walls of Babylon, and two versions of the same wonder, The Lighthouse of Alexandria and Lighthouse of Alexandria. In 1955 he produced a further version of The Walls of Babylon, and painted the last wonder, The Mausoleum at Halicarnassus. The paintings were ultimately not used for the film. | [
"Walt Disney",
"surrealist",
"Colossus of Rhodes",
"Seven Wonders of the World",
"Rhodes",
"Hollywood",
"wonders",
"Marx Brothers",
"Cecil B. DeMille",
"Surrealism"
] |
|
15464_NT | The Colossus of Rhodes (Dalí) | In the context of this artwork, explain the Dalí and Hollywood of the Background. |
Dalí had a longstanding fascination with Hollywood films; he described the industry as a surrealist medium, and Walt Disney, Cecil B. DeMille and the Marx Brothers as "the three great American Surrealists". In his 1937 essay Surrealism in Hollywood, he wrote that "Nothing seems to me more suited to be devoured by the surrealist fire than those mysterious strips of 'hallucinatory celluloid' turned out so unconsciously in Hollywood, and in which we have already seen appear, stupefied, so many images of authentic delirium, chance and dream."Dalí was commissioned to create artwork for the Seven Wonders of the World, a 1956 travelogue exploring natural and man-made wonders. He completed several paintings in 1954: The Colossus of Rhodes, The Pyramids, The Statue of Olympian Zeus, The Temple of Diana at Ephesus, The Walls of Babylon, and two versions of the same wonder, The Lighthouse of Alexandria and Lighthouse of Alexandria. In 1955 he produced a further version of The Walls of Babylon, and painted the last wonder, The Mausoleum at Halicarnassus. The paintings were ultimately not used for the film. | [
"Walt Disney",
"surrealist",
"Colossus of Rhodes",
"Seven Wonders of the World",
"Rhodes",
"Hollywood",
"wonders",
"Marx Brothers",
"Cecil B. DeMille",
"Surrealism"
] |
|
15465_T | The Colossus of Rhodes (Dalí) | Explore the Description of this artwork, The Colossus of Rhodes (Dalí). | The painting shows the Colossus of Rhodes standing on a base of unworked ashlar. The perspective is from below the statue's base, suggesting that the viewer is on a boat approaching the city, and emphasising the statue's extreme height and size. A piece of drapery wraps around the waist of Helios and hangs from his left arm, falling down to touch the ground behind him. Helios raises his right hand to shield his eyes from the sun over which he reigns, giving what the art historian Eric Shanes terms "a vaguely Surrealist touch" to Dalí's work. In the lower right Dalí signed and dated the work "Salvador Dalí / 1954". | [
"ashlar",
"Helios",
"Colossus of Rhodes",
"Eric Shanes",
"Rhodes",
"Salvador Dalí"
] |
|
15465_NT | The Colossus of Rhodes (Dalí) | Explore the Description of this artwork. | The painting shows the Colossus of Rhodes standing on a base of unworked ashlar. The perspective is from below the statue's base, suggesting that the viewer is on a boat approaching the city, and emphasising the statue's extreme height and size. A piece of drapery wraps around the waist of Helios and hangs from his left arm, falling down to touch the ground behind him. Helios raises his right hand to shield his eyes from the sun over which he reigns, giving what the art historian Eric Shanes terms "a vaguely Surrealist touch" to Dalí's work. In the lower right Dalí signed and dated the work "Salvador Dalí / 1954". | [
"ashlar",
"Helios",
"Colossus of Rhodes",
"Eric Shanes",
"Rhodes",
"Salvador Dalí"
] |
|
15466_T | The Colossus of Rhodes (Dalí) | Focus on The Colossus of Rhodes (Dalí) and discuss the Themes. | Dalí's most recognised works date from before 1940, when he was preoccupied with the subconscious and the nature of perception. The Persistence of Memory, the work with which he is most identified, was painted in 1931, and represented a decade that saw Dalí firmly within the avant-garde. His move to the United States in 1940 caused financial pressures, but brought to the fore his flair for showmanship, helping to develop his relationship with Hollywood. As World War II ended, Dalí's work turned towards the historical and religious, fused with aspects from modern culture and commercial art.The Colossus of Rhodes exemplifies Dalí's preoccupations with cinema, history, and science, and his loosening grip on surrealism. It is only marginally surrealist—the god of the sun shields himself from his domain—and resembles a poster, befitting a work commissioned for a film. Dali's Colossus resembles comic-book superheroes and, particularly in the preparatory version, the Statue of Liberty. Compared with Maryon's paper, writes the scholar Godefroid de Callataÿ, the painting "does not look extremely original". Dalí copied the likeness of the Colossus put forth by Maryon, clearly depicting hammered plates of bronze, and showing the same tripod structure of a figure supported by a piece of drapery. | [
"Statue of Liberty",
"surrealism",
"avant-garde",
"comic-book superheroes",
"surrealist",
"modern culture",
"Colossus of Rhodes",
"Rhodes",
"bronze",
"commercial art",
"Hollywood",
"subconscious",
"The Persistence of Memory"
] |
|
15466_NT | The Colossus of Rhodes (Dalí) | Focus on this artwork and discuss the Themes. | Dalí's most recognised works date from before 1940, when he was preoccupied with the subconscious and the nature of perception. The Persistence of Memory, the work with which he is most identified, was painted in 1931, and represented a decade that saw Dalí firmly within the avant-garde. His move to the United States in 1940 caused financial pressures, but brought to the fore his flair for showmanship, helping to develop his relationship with Hollywood. As World War II ended, Dalí's work turned towards the historical and religious, fused with aspects from modern culture and commercial art.The Colossus of Rhodes exemplifies Dalí's preoccupations with cinema, history, and science, and his loosening grip on surrealism. It is only marginally surrealist—the god of the sun shields himself from his domain—and resembles a poster, befitting a work commissioned for a film. Dali's Colossus resembles comic-book superheroes and, particularly in the preparatory version, the Statue of Liberty. Compared with Maryon's paper, writes the scholar Godefroid de Callataÿ, the painting "does not look extremely original". Dalí copied the likeness of the Colossus put forth by Maryon, clearly depicting hammered plates of bronze, and showing the same tripod structure of a figure supported by a piece of drapery. | [
"Statue of Liberty",
"surrealism",
"avant-garde",
"comic-book superheroes",
"surrealist",
"modern culture",
"Colossus of Rhodes",
"Rhodes",
"bronze",
"commercial art",
"Hollywood",
"subconscious",
"The Persistence of Memory"
] |
|
15467_T | The Colossus of Rhodes (Dalí) | How does The Colossus of Rhodes (Dalí) elucidate its Provenance? | The painting is in the collection of the Kunstmuseum Bern, as part of the 1981 Georges F. Keller bequest. It was exhibited at the Museo de Arte Moderno in Madrid during 1983, at the Staatsgalerie Stuttgart in 1989, at the Louisiana Museum of Modern Art in Humlebæk from 1989 to 1990, and later in 1990 at the Musée des Beaux-Arts, Montreal.Several other paintings from Dali's Seven Wonders of the World series have come up for sale. The Statue of Olympian Zeus was sold by Sotheby's in 2009 for $482,500, and is now in the collection of the Morohashi Museum of Modern Art. In 2013 Sotheby's sold The Temple of Diana at Ephesus for $845,000; it is now in a private collection. The Walls of Babylon was offered by Sotheby's in 2014 with an estimate of £300,000–400,000, but did not sell. Dalí's thematically similar 1955 paintings have been auctioned. Christie's sold The Mausoleum at Halicarnassus for $1,325,000 in 2016, and Walls of Babylon in 2001 for £168,750. | [
"Musée des Beaux-Arts",
"Louisiana Museum of Modern Art",
"Christie's",
"Staatsgalerie Stuttgart",
"Museo de Arte Moderno",
"Seven Wonders of the World",
"Kunstmuseum Bern",
"Sotheby's",
"Morohashi Museum of Modern Art"
] |
|
15467_NT | The Colossus of Rhodes (Dalí) | How does this artwork elucidate its Provenance? | The painting is in the collection of the Kunstmuseum Bern, as part of the 1981 Georges F. Keller bequest. It was exhibited at the Museo de Arte Moderno in Madrid during 1983, at the Staatsgalerie Stuttgart in 1989, at the Louisiana Museum of Modern Art in Humlebæk from 1989 to 1990, and later in 1990 at the Musée des Beaux-Arts, Montreal.Several other paintings from Dali's Seven Wonders of the World series have come up for sale. The Statue of Olympian Zeus was sold by Sotheby's in 2009 for $482,500, and is now in the collection of the Morohashi Museum of Modern Art. In 2013 Sotheby's sold The Temple of Diana at Ephesus for $845,000; it is now in a private collection. The Walls of Babylon was offered by Sotheby's in 2014 with an estimate of £300,000–400,000, but did not sell. Dalí's thematically similar 1955 paintings have been auctioned. Christie's sold The Mausoleum at Halicarnassus for $1,325,000 in 2016, and Walls of Babylon in 2001 for £168,750. | [
"Musée des Beaux-Arts",
"Louisiana Museum of Modern Art",
"Christie's",
"Staatsgalerie Stuttgart",
"Museo de Arte Moderno",
"Seven Wonders of the World",
"Kunstmuseum Bern",
"Sotheby's",
"Morohashi Museum of Modern Art"
] |
|
15468_T | The Colossus of Rhodes (Dalí) | Focus on The Colossus of Rhodes (Dalí) and analyze the Versions. | Dalí created at least one preparatory study, First Version of The Colossus of Rhodes, a 1954 ink-on-cardboard work measuring 25 by 35.3 cm (9.8 by 13.9 in) that includes three sketches of the Colossus. It was displayed at the Time Warner Center in New York from 3 November 2010 to 30 April 2011 as part of the exhibition Dalí at Time Warner Center: The Vision of a Genius, where it was also for sale.Lithographs replicating the statue are frequently offered for sale. Owing to what Shanes calls Dalí's "exploitative and/or lackadaisical attitude", the trade in Dalí's lithographs is "in chaos". Dalí, eschewing the custom of limited printings with plates that were then destroyed, signed some 40,000 to 350,000 blank sheets of paper, which were then printed with his works. Coupled with rampant forgeries of an easily faked signature, this—termed by Shanes "one of the largest and most prolonged acts of financial fraud ever perpetrated in the history of art"—caused the lithographs to become virtually worthless. | [
"Colossus of Rhodes",
"Time Warner Center",
"Rhodes",
"study",
"Lithographs"
] |
|
15468_NT | The Colossus of Rhodes (Dalí) | Focus on this artwork and analyze the Versions. | Dalí created at least one preparatory study, First Version of The Colossus of Rhodes, a 1954 ink-on-cardboard work measuring 25 by 35.3 cm (9.8 by 13.9 in) that includes three sketches of the Colossus. It was displayed at the Time Warner Center in New York from 3 November 2010 to 30 April 2011 as part of the exhibition Dalí at Time Warner Center: The Vision of a Genius, where it was also for sale.Lithographs replicating the statue are frequently offered for sale. Owing to what Shanes calls Dalí's "exploitative and/or lackadaisical attitude", the trade in Dalí's lithographs is "in chaos". Dalí, eschewing the custom of limited printings with plates that were then destroyed, signed some 40,000 to 350,000 blank sheets of paper, which were then printed with his works. Coupled with rampant forgeries of an easily faked signature, this—termed by Shanes "one of the largest and most prolonged acts of financial fraud ever perpetrated in the history of art"—caused the lithographs to become virtually worthless. | [
"Colossus of Rhodes",
"Time Warner Center",
"Rhodes",
"study",
"Lithographs"
] |
|
15469_T | Three Figures near a Canal with Windmill | In Three Figures near a Canal with Windmill, how is the abstract discussed? | Three Figures near a Canal with Windmill is an oil painting created in 1883 by Vincent van Gogh. It was stolen and has not been recovered. | [
"Vincent van Gogh"
] |
|
15469_NT | Three Figures near a Canal with Windmill | In this artwork, how is the abstract discussed? | Three Figures near a Canal with Windmill is an oil painting created in 1883 by Vincent van Gogh. It was stolen and has not been recovered. | [
"Vincent van Gogh"
] |
|
15470_T | Statue of Soh Jaipil | Focus on Statue of Soh Jaipil and explore the abstract. | Philip Jaisohn is a bronze statue of Soh Jaipil, in Washington, D.C. Jaipil, also known as his anglicized name Philip Jaisohn, was a long-time leader and advocate for the fight for independence and modernization of Korea. The statue was dedicated in May 2008. It is located at the Korean Consulate, at 23rd Street and Massachusetts Avenue, Washington, D.C., near the Korean Embassy and in front of the Korean Consulate; 2320 Massachusetts Ave NW, Washington, DC 20008. | [
"Jaisohn",
"Washington, D.C.",
"Massachusetts Avenue",
"2320 Massachusetts Ave NW, Washington, DC 20008",
" Korean Embassy",
"Soh Jaipil",
"Philip Jaisohn"
] |
|
15470_NT | Statue of Soh Jaipil | Focus on this artwork and explore the abstract. | Philip Jaisohn is a bronze statue of Soh Jaipil, in Washington, D.C. Jaipil, also known as his anglicized name Philip Jaisohn, was a long-time leader and advocate for the fight for independence and modernization of Korea. The statue was dedicated in May 2008. It is located at the Korean Consulate, at 23rd Street and Massachusetts Avenue, Washington, D.C., near the Korean Embassy and in front of the Korean Consulate; 2320 Massachusetts Ave NW, Washington, DC 20008. | [
"Jaisohn",
"Washington, D.C.",
"Massachusetts Avenue",
"2320 Massachusetts Ave NW, Washington, DC 20008",
" Korean Embassy",
"Soh Jaipil",
"Philip Jaisohn"
] |
|
15471_T | Study of Red Pope 1962. 2nd version 1971 | Focus on Study of Red Pope 1962. 2nd version 1971 and explain the abstract. | Study of Red Pope 1962. 2nd version 1971 is a 1971 painting by the Irish-born English artist Francis Bacon. It failed to sell at auction in October 2017 with an estimate of £60-80 million. It had not been on public display for 45 years until viewings for its 2017 auction. It is a reinterpretation of his 1962 painting Study from Innocent X. Bacon's lover George Dyer is portrayed in the right side of the painting. The work was shown at the 1971 retrospective of Bacon's work at the Grand Palais.The juxtaposition of the two figures has been likened to a devotional diptych, Christie's described as "icons of the spirit and the flesh – the sacred and profane". | [
"Study from Innocent X",
"George Dyer",
"diptych",
"Christie's",
"Grand Palais",
"Francis Bacon"
] |
|
15471_NT | Study of Red Pope 1962. 2nd version 1971 | Focus on this artwork and explain the abstract. | Study of Red Pope 1962. 2nd version 1971 is a 1971 painting by the Irish-born English artist Francis Bacon. It failed to sell at auction in October 2017 with an estimate of £60-80 million. It had not been on public display for 45 years until viewings for its 2017 auction. It is a reinterpretation of his 1962 painting Study from Innocent X. Bacon's lover George Dyer is portrayed in the right side of the painting. The work was shown at the 1971 retrospective of Bacon's work at the Grand Palais.The juxtaposition of the two figures has been likened to a devotional diptych, Christie's described as "icons of the spirit and the flesh – the sacred and profane". | [
"Study from Innocent X",
"George Dyer",
"diptych",
"Christie's",
"Grand Palais",
"Francis Bacon"
] |
|
15472_T | The Child's Bath | Explore the abstract of this artwork, The Child's Bath. | The Child's Bath (or The Bath) is an 1893 oil painting by American artist Mary Cassatt. The painting continues her interest in depicting bathing and motherhood, but it is distinct in its angle of vision. Both the subject matter and the overhead perspective were inspired by Japanese Woodcut prints and Edgar Degas.It was bought by the Art Institute of Chicago in 1910, and has since become one of the most popular pieces in the museum. | [
"Art Institute of Chicago",
"Edgar Degas",
"Woodcut",
"Japan",
"Mary Cassatt",
"oil painting",
"Chicago",
"angle of vision"
] |
|
15472_NT | The Child's Bath | Explore the abstract of this artwork. | The Child's Bath (or The Bath) is an 1893 oil painting by American artist Mary Cassatt. The painting continues her interest in depicting bathing and motherhood, but it is distinct in its angle of vision. Both the subject matter and the overhead perspective were inspired by Japanese Woodcut prints and Edgar Degas.It was bought by the Art Institute of Chicago in 1910, and has since become one of the most popular pieces in the museum. | [
"Art Institute of Chicago",
"Edgar Degas",
"Woodcut",
"Japan",
"Mary Cassatt",
"oil painting",
"Chicago",
"angle of vision"
] |
|
15473_T | The Child's Bath | In The Child's Bath, how is the Bathing of the Subject matter elucidated? | In the mid-1880s, there were several cholera outbreaks in France, and public health campaigns called on people to bathe regularly. Bathing was coming to be understood as a medical prevention measure against diseases. At the same time, mothers were encouraged to take care of their own children, rather than utilizing caretakers, using modern hygiene methods employed at the time. | [
"cholera outbreaks in France"
] |
|
15473_NT | The Child's Bath | In this artwork, how is the Bathing of the Subject matter elucidated? | In the mid-1880s, there were several cholera outbreaks in France, and public health campaigns called on people to bathe regularly. Bathing was coming to be understood as a medical prevention measure against diseases. At the same time, mothers were encouraged to take care of their own children, rather than utilizing caretakers, using modern hygiene methods employed at the time. | [
"cholera outbreaks in France"
] |
|
15474_T | The Child's Bath | In the context of The Child's Bath, analyze the Mother-child relationship of the Subject matter. | Cassatt's interest in portraying the mother-child relationship first became clear when she started specializing in drypoints and pastels after 1887, and she intended to bring out the “psychological, sociological, and spiritual meaning” from everyday routines and subjects. Although Cassatt's reason for specializing in such a theme was never clearly explained by the artist herself, scholars have speculated that it was led by both “pragmatic and idealistic impulses”.
The mother-child relationship was a common theme among French artists in 1890 and popularized through several influential artists at the time. In addition, Cassatt's interest may be connected with the work of Correggio and other Italian and Spanish masters, especially their traditional portrayals of Madonna and Christ Child. As an Impressionist, she hoped to discover new techniques and approaches to the theme by bringing it into the contemporary context.Cassatt's depiction of mother and child relations in the 1890s revolutionized traditional religious subjects by casting them in a “secular and naturalistic” context. By doing so, she mediated the conflicts between tradition and novelty. Because her initial series of mothers and children resemble the clarity and simplicity of that in Renaissance art, she was called “la sainte famille modern” by her dealers such as Paul Durand-Ruel.In the depiction of mothers, Cassatt consciously avoided using the female nude, which she considered as an appeal to men's treatment of women as erotic objects. Rather, she wished to emphasize the “moral sensibility and totality” of women's lives and only to suggest their sexuality through maternal relationships. The act of touching between the mother and the child in her works serves to indicate emotional and physical gratification as well as a feeling of protection and intimacy. On the other hand, Cassatt limits herself to include the nude body of children, but such nudity carries no sexual implication; instead, it is “natural and sensual” and symbolizes “goodness, purity, and lack of artifice.” Combining the fully clothed mother with a partially dressed child, she rejected any sexual feelings; she moves the sensuality to a proper condition, the motherhood in which physical intimacy is allowed and appropriate. | [
"Madonna and Christ Child",
"drypoint",
"Paul Durand-Ruel",
"Impressionist",
"Correggio",
"pastel",
"Renaissance art",
"Durand-Ruel"
] |
|
15474_NT | The Child's Bath | In the context of this artwork, analyze the Mother-child relationship of the Subject matter. | Cassatt's interest in portraying the mother-child relationship first became clear when she started specializing in drypoints and pastels after 1887, and she intended to bring out the “psychological, sociological, and spiritual meaning” from everyday routines and subjects. Although Cassatt's reason for specializing in such a theme was never clearly explained by the artist herself, scholars have speculated that it was led by both “pragmatic and idealistic impulses”.
The mother-child relationship was a common theme among French artists in 1890 and popularized through several influential artists at the time. In addition, Cassatt's interest may be connected with the work of Correggio and other Italian and Spanish masters, especially their traditional portrayals of Madonna and Christ Child. As an Impressionist, she hoped to discover new techniques and approaches to the theme by bringing it into the contemporary context.Cassatt's depiction of mother and child relations in the 1890s revolutionized traditional religious subjects by casting them in a “secular and naturalistic” context. By doing so, she mediated the conflicts between tradition and novelty. Because her initial series of mothers and children resemble the clarity and simplicity of that in Renaissance art, she was called “la sainte famille modern” by her dealers such as Paul Durand-Ruel.In the depiction of mothers, Cassatt consciously avoided using the female nude, which she considered as an appeal to men's treatment of women as erotic objects. Rather, she wished to emphasize the “moral sensibility and totality” of women's lives and only to suggest their sexuality through maternal relationships. The act of touching between the mother and the child in her works serves to indicate emotional and physical gratification as well as a feeling of protection and intimacy. On the other hand, Cassatt limits herself to include the nude body of children, but such nudity carries no sexual implication; instead, it is “natural and sensual” and symbolizes “goodness, purity, and lack of artifice.” Combining the fully clothed mother with a partially dressed child, she rejected any sexual feelings; she moves the sensuality to a proper condition, the motherhood in which physical intimacy is allowed and appropriate. | [
"Madonna and Christ Child",
"drypoint",
"Paul Durand-Ruel",
"Impressionist",
"Correggio",
"pastel",
"Renaissance art",
"Durand-Ruel"
] |
|
15475_T | The Child's Bath | In The Child's Bath, how is the Description discussed? | The genre painting depicts a mother bathing a young child: an everyday scene that is "special by not being special". It is signed to the lower left "Mary Cassatt".
The woman is sitting on an oriental carpet, with the child on her knees. The child has a white cloth swathed around its abdomen, and the woman is wearing a dress with strong vertical stripes of green, pink and white. The woman holds the infant firmly and protectively around its waist with her left hand while the other hand carefully washes the child's bare limbs in a basin of water, resting on the floor beside a jug decorated with a floral pattern. The chubby left arm of the child braces against the mother's leg, while its other hand grips the child's own right thigh. The mother's right hand presses firmly but still gently on the child's right foot in the basin, mimicking the child's own pressure on her thigh. In the background are floral patterns of painted furniture and wallpaper.
To indicate depth, Cassatt painted the faces receding into space. The paint strokes are layered and rough, creating thick lines that outline the figures and make them stand out from the patterned background. The hand of the artist is evident through the roughness of the strokes. | [
"oriental carpet",
"genre painting",
"Mary Cassatt"
] |
|
15475_NT | The Child's Bath | In this artwork, how is the Description discussed? | The genre painting depicts a mother bathing a young child: an everyday scene that is "special by not being special". It is signed to the lower left "Mary Cassatt".
The woman is sitting on an oriental carpet, with the child on her knees. The child has a white cloth swathed around its abdomen, and the woman is wearing a dress with strong vertical stripes of green, pink and white. The woman holds the infant firmly and protectively around its waist with her left hand while the other hand carefully washes the child's bare limbs in a basin of water, resting on the floor beside a jug decorated with a floral pattern. The chubby left arm of the child braces against the mother's leg, while its other hand grips the child's own right thigh. The mother's right hand presses firmly but still gently on the child's right foot in the basin, mimicking the child's own pressure on her thigh. In the background are floral patterns of painted furniture and wallpaper.
To indicate depth, Cassatt painted the faces receding into space. The paint strokes are layered and rough, creating thick lines that outline the figures and make them stand out from the patterned background. The hand of the artist is evident through the roughness of the strokes. | [
"oriental carpet",
"genre painting",
"Mary Cassatt"
] |
|
15476_T | The Child's Bath | In the context of The Child's Bath, explain the Patterns and colors of the Stylistic analysis. | Many scholars have noted that The Child’s Bath recaptures the qualities present in her previous work by utilizing similar techniques. The composition is divided into two parts: the patterned area in the background and the pink and white area of the figure. Cassatt employed rich patterns, such as the floral wallpaper and the striped dress of the mother, to create a contrast with the plain torso of the child, making the child more prominent. | [] |
|
15476_NT | The Child's Bath | In the context of this artwork, explain the Patterns and colors of the Stylistic analysis. | Many scholars have noted that The Child’s Bath recaptures the qualities present in her previous work by utilizing similar techniques. The composition is divided into two parts: the patterned area in the background and the pink and white area of the figure. Cassatt employed rich patterns, such as the floral wallpaper and the striped dress of the mother, to create a contrast with the plain torso of the child, making the child more prominent. | [] |
|
15477_T | The Child's Bath | Explore the Angle of vision about the Stylistic analysis of this artwork, The Child's Bath. | The most distinctive feature of the painting is the angle of vision, which creates the sense of hovering above the scene. This perspective draws the viewer's attention to the two figures while giving a complete view of the surrounding space, but it serves more than a decorative purpose. Due to this tilted angle of vision, the obscured facial expressions of the mother and the child create a psychological distance, but their gazes at the reflections of the water guide the audience to concentrate on the activity of bathing. | [
"angle of vision"
] |
|
15477_NT | The Child's Bath | Explore the Angle of vision about the Stylistic analysis of this artwork. | The most distinctive feature of the painting is the angle of vision, which creates the sense of hovering above the scene. This perspective draws the viewer's attention to the two figures while giving a complete view of the surrounding space, but it serves more than a decorative purpose. Due to this tilted angle of vision, the obscured facial expressions of the mother and the child create a psychological distance, but their gazes at the reflections of the water guide the audience to concentrate on the activity of bathing. | [
"angle of vision"
] |
|
15478_T | The Child's Bath | In the context of The Child's Bath, discuss the Composition of the Stylistic analysis. | Cassatt also created a cohesive composition through the gestures of the figures and geometrical resonances. The stripes of the mother's dress echo her straight arms, coinciding with the child's linear limbs. The oval shapes of the figures’ heads resemble that of the basin below; the shapes are connected by the diagonals created by the figures. Interlocking gestures also unify the scene: the contacts of hands on the knee, and the touching of the feet in the basin tie the painting together while conveying the underlying themes of intimacy and tenderness.Overall, art historian Griselda Pollock suggests that unlike Cassatt's previous works, in which these formal devices were used to convey “unexpected symbolic meaning” within an ordinary action, The Child’s Bath underscores the actions of the mother and child rather than their relationship in particular. However, Nancy Mowll Mathews suggests that the two figures appear to be serious and solemn, rather than playful and fully relaxed; this formality of the scene makes the mother and her child seem to be “engaging in a sacred site” and resembles “Madonna washing the feet of the Christ Child”. | [
"Griselda Pollock",
"Nancy Mowll Mathews"
] |
|
15478_NT | The Child's Bath | In the context of this artwork, discuss the Composition of the Stylistic analysis. | Cassatt also created a cohesive composition through the gestures of the figures and geometrical resonances. The stripes of the mother's dress echo her straight arms, coinciding with the child's linear limbs. The oval shapes of the figures’ heads resemble that of the basin below; the shapes are connected by the diagonals created by the figures. Interlocking gestures also unify the scene: the contacts of hands on the knee, and the touching of the feet in the basin tie the painting together while conveying the underlying themes of intimacy and tenderness.Overall, art historian Griselda Pollock suggests that unlike Cassatt's previous works, in which these formal devices were used to convey “unexpected symbolic meaning” within an ordinary action, The Child’s Bath underscores the actions of the mother and child rather than their relationship in particular. However, Nancy Mowll Mathews suggests that the two figures appear to be serious and solemn, rather than playful and fully relaxed; this formality of the scene makes the mother and her child seem to be “engaging in a sacred site” and resembles “Madonna washing the feet of the Christ Child”. | [
"Griselda Pollock",
"Nancy Mowll Mathews"
] |
|
15479_T | The Child's Bath | How does The Child's Bath elucidate its Influences? | Both the subject matter and the unusual perspective of the painting, viewing the foreshortened subjects from above, were inspired by Japanese prints and Degas. "Japanese printmakers were more interested in decorative impact than precise perspective." | [
"Japan"
] |
|
15479_NT | The Child's Bath | How does this artwork elucidate its Influences? | Both the subject matter and the unusual perspective of the painting, viewing the foreshortened subjects from above, were inspired by Japanese prints and Degas. "Japanese printmakers were more interested in decorative impact than precise perspective." | [
"Japan"
] |
|
15480_T | The Child's Bath | In the context of The Child's Bath, analyze the Comparison with Edgar Degas of the Influences. | Cassatt was heavily influenced by some of her Impressionist peers, especially Edgar Degas. The first Impressionist painting to travel to the United States was a pastel by Degas in 1875 that she purchased. Cassatt began to exhibit with the Impressionists in 1877, where she met other fellow Impressionists such as Claude Monet and Berthe Morisot.
The devices Cassatt deployed in The Child’s Bath were influenced by Degas: particularly, the subject of bathing and the acute angle of vision. However, Cassatt's manipulation carries a different focus and evokes more heightened emotions. Both artists often depicted their bathers with "a lack of self-consciousness”, but Degas tended to isolate nude female figures in order to bring forth the intimacy through their movements. These figures’ ignorance of being observed in their private moments has been interpreted as demonstrating Degas’ voyeuristic perspective as a man gaining sexual pleasures from the act of peeking. In contrast, the nude children in Cassatt's works are accompanied by an adult caring for their children. Degas utilized the hovering angle of vision to suggest “the effect of peering,” while Cassatt's utilization of such technique with a contrast of the solidity of the figures draws the audience's attention mainly to the actions of the mother and child; by doing so, Cassatt was able to achieve emotional monumentality. | [
"Edgar Degas",
"Berthe Morisot",
"Impressionist",
"pastel",
"angle of vision",
"Claude Monet"
] |
|
15480_NT | The Child's Bath | In the context of this artwork, analyze the Comparison with Edgar Degas of the Influences. | Cassatt was heavily influenced by some of her Impressionist peers, especially Edgar Degas. The first Impressionist painting to travel to the United States was a pastel by Degas in 1875 that she purchased. Cassatt began to exhibit with the Impressionists in 1877, where she met other fellow Impressionists such as Claude Monet and Berthe Morisot.
The devices Cassatt deployed in The Child’s Bath were influenced by Degas: particularly, the subject of bathing and the acute angle of vision. However, Cassatt's manipulation carries a different focus and evokes more heightened emotions. Both artists often depicted their bathers with "a lack of self-consciousness”, but Degas tended to isolate nude female figures in order to bring forth the intimacy through their movements. These figures’ ignorance of being observed in their private moments has been interpreted as demonstrating Degas’ voyeuristic perspective as a man gaining sexual pleasures from the act of peeking. In contrast, the nude children in Cassatt's works are accompanied by an adult caring for their children. Degas utilized the hovering angle of vision to suggest “the effect of peering,” while Cassatt's utilization of such technique with a contrast of the solidity of the figures draws the audience's attention mainly to the actions of the mother and child; by doing so, Cassatt was able to achieve emotional monumentality. | [
"Edgar Degas",
"Berthe Morisot",
"Impressionist",
"pastel",
"angle of vision",
"Claude Monet"
] |
|
15481_T | The Child's Bath | Describe the characteristics of the Comparison with Japanese woodcuts in The Child's Bath's Influences. | Cassatt was struck by the Japanese ukiyo-e woodcut prints exhibited at the Beaux-Arts Academy in Paris in 1890, three years before painting The Child's Bath. Cassatt was drawn to the simplicity and clarity of the Japanese art, and the skillful use of blocks of color, such as the c.1801 print "Woman Washing a Baby in a Tub" or "Bathtime" (行水, Gyōzui) by Kitagawa Utamaro. Not only did Utamaro's techniques speak to Cassatt, his depiction of the mother and child relationship, conveying intimacy and sympathy, also inspired her. She worked on a series of prints inspired by the Japanese works in the next few years, with cropped subjects, a flattened perspective and decorative patterns. This 1893 painting can be viewed as a culmination of that work. Like her previous works, the composition of The Child’s Bath resembles the shape of Japanese prints by utilizing an “extended vertical format” along with the long straight limbs of the figures. Additionally, the seeing-from-above perspective which was used widely in Japanese art is also prominent in Cassatt's painting. | [
"Kitagawa Utamaro",
"Beaux-Arts Academy",
"ukiyo-e",
"Japan",
"woodcut",
"Japanese art",
"Utamaro"
] |
|
15481_NT | The Child's Bath | Describe the characteristics of the Comparison with Japanese woodcuts in this artwork's Influences. | Cassatt was struck by the Japanese ukiyo-e woodcut prints exhibited at the Beaux-Arts Academy in Paris in 1890, three years before painting The Child's Bath. Cassatt was drawn to the simplicity and clarity of the Japanese art, and the skillful use of blocks of color, such as the c.1801 print "Woman Washing a Baby in a Tub" or "Bathtime" (行水, Gyōzui) by Kitagawa Utamaro. Not only did Utamaro's techniques speak to Cassatt, his depiction of the mother and child relationship, conveying intimacy and sympathy, also inspired her. She worked on a series of prints inspired by the Japanese works in the next few years, with cropped subjects, a flattened perspective and decorative patterns. This 1893 painting can be viewed as a culmination of that work. Like her previous works, the composition of The Child’s Bath resembles the shape of Japanese prints by utilizing an “extended vertical format” along with the long straight limbs of the figures. Additionally, the seeing-from-above perspective which was used widely in Japanese art is also prominent in Cassatt's painting. | [
"Kitagawa Utamaro",
"Beaux-Arts Academy",
"ukiyo-e",
"Japan",
"woodcut",
"Japanese art",
"Utamaro"
] |
|
15482_T | The Child's Bath | Focus on The Child's Bath and explore the Provenance. | During the late 1880s to 1890s, France favored domestic artists, and this made Cassatt feel excluded, prompting her to turn her attention back to her native country, the United States. Even though she was initially met with ambivalence from critics, the assistance of Paul Durand-Ruel was able to assure her success and status as an American artist.The artist sold the painting to Durand-Ruel and it was exhibited at the Durand-Ruel gallery in Paris in late 1893 under the title La Toilette de l'Enfant. It was sold to Connecticut industrialist and art collector Harris Whittemore in 1894, but lent back to Durand-Ruel for an exhibition at their New York gallery in 1895 under the title La Toilette. In order to help Cassatt achieve her goals in the U.S., Durand-Ruel explored new ways to expand Cassatt's American audience: through museums and institution exhibitions. When the artist returned home in 1897, Durand-Ruel first submitted The Child’s Bath and Reverie (Also known as Woman with a Red Zinnia) to the annual exhibition at Pennsylvania Academy of the Fine Arts in early 1898. Afterward, Durand-Ruel helped to circulate Cassatt's The Child’s Bath along with her other works in multiple major cities in the U.S. from 1897 to the early 1900s, and this successfully established Cassatt as an American artist.The painting was sold to the Art Institute of Chicago in 1910. | [
"Harris Whittemore",
"Pennsylvania Academy of the Fine Arts",
"Art Institute of Chicago",
"Paul Durand-Ruel",
"Chicago",
"Durand-Ruel"
] |
|
15482_NT | The Child's Bath | Focus on this artwork and explore the Provenance. | During the late 1880s to 1890s, France favored domestic artists, and this made Cassatt feel excluded, prompting her to turn her attention back to her native country, the United States. Even though she was initially met with ambivalence from critics, the assistance of Paul Durand-Ruel was able to assure her success and status as an American artist.The artist sold the painting to Durand-Ruel and it was exhibited at the Durand-Ruel gallery in Paris in late 1893 under the title La Toilette de l'Enfant. It was sold to Connecticut industrialist and art collector Harris Whittemore in 1894, but lent back to Durand-Ruel for an exhibition at their New York gallery in 1895 under the title La Toilette. In order to help Cassatt achieve her goals in the U.S., Durand-Ruel explored new ways to expand Cassatt's American audience: through museums and institution exhibitions. When the artist returned home in 1897, Durand-Ruel first submitted The Child’s Bath and Reverie (Also known as Woman with a Red Zinnia) to the annual exhibition at Pennsylvania Academy of the Fine Arts in early 1898. Afterward, Durand-Ruel helped to circulate Cassatt's The Child’s Bath along with her other works in multiple major cities in the U.S. from 1897 to the early 1900s, and this successfully established Cassatt as an American artist.The painting was sold to the Art Institute of Chicago in 1910. | [
"Harris Whittemore",
"Pennsylvania Academy of the Fine Arts",
"Art Institute of Chicago",
"Paul Durand-Ruel",
"Chicago",
"Durand-Ruel"
] |
|
15483_T | The Story of Lucretia (Botticelli) | Focus on The Story of Lucretia (Botticelli) and explain the abstract. | The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime. | [
"Lucretia",
"tempera",
"Renaissance",
"Isabella Stewart Gardner Museum",
"Sandro Botticelli",
"cassone",
"Boston",
"Italian",
"Botticelli",
"Isabella Stewart Gardner"
] |
|
15483_NT | The Story of Lucretia (Botticelli) | Focus on this artwork and explain the abstract. | The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime. | [
"Lucretia",
"tempera",
"Renaissance",
"Isabella Stewart Gardner Museum",
"Sandro Botticelli",
"cassone",
"Boston",
"Italian",
"Botticelli",
"Isabella Stewart Gardner"
] |
|
15484_T | The Story of Lucretia (Botticelli) | Explore the The picture of Lucretia's tragedy of this artwork, The Story of Lucretia (Botticelli). | The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.
The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.
The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of Lars Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.
The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher. | [
"Sextus Tarquinius",
"Lucius Junius Brutus",
"Forum Romanum",
"Collatia",
"Filippino Lippi",
"Lucretia",
"Roman republic",
"Horatius Cocles",
"Isabella Stewart Gardner Museum",
"Tarquinii",
"Republic of Florence",
"David",
"Italian",
"left",
"Holofernes",
"Botticelli",
"Isabella Stewart Gardner",
"Judith",
"Lucius Tarquinius Superbus",
"Lars Porsenna",
"Goliath"
] |
|
15484_NT | The Story of Lucretia (Botticelli) | Explore the The picture of Lucretia's tragedy of this artwork. | The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.
The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.
The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of Lars Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.
The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher. | [
"Sextus Tarquinius",
"Lucius Junius Brutus",
"Forum Romanum",
"Collatia",
"Filippino Lippi",
"Lucretia",
"Roman republic",
"Horatius Cocles",
"Isabella Stewart Gardner Museum",
"Tarquinii",
"Republic of Florence",
"David",
"Italian",
"left",
"Holofernes",
"Botticelli",
"Isabella Stewart Gardner",
"Judith",
"Lucius Tarquinius Superbus",
"Lars Porsenna",
"Goliath"
] |
|
15485_T | The Surrender of Barcelona | Focus on The Surrender of Barcelona and discuss the abstract. | The Surrender of Barcelona, also known as The Siege of Barcelona, is a 1934–1937 painting by the English artist Wyndham Lewis. | [
"Barcelona",
"Wyndham Lewis"
] |
|
15485_NT | The Surrender of Barcelona | Focus on this artwork and discuss the abstract. | The Surrender of Barcelona, also known as The Siege of Barcelona, is a 1934–1937 painting by the English artist Wyndham Lewis. | [
"Barcelona",
"Wyndham Lewis"
] |
|
15486_T | The Surrender of Barcelona | How does The Surrender of Barcelona elucidate its Description and history? | The painting shows the fortified medieval city of Barcelona and can be divided into five planes. At the very top, the bright blue sea of the harbour can be seen. Below it are the walls and buildings of the city, stylised as orange-brown geometrical shapes. The next plane consists of three large towers: to the sides two rectangular towers and in the middle a circular one which has been captured by simplified, stick-figure like humans and draped in banners. In front of the towers, a bridge leads over a moat, a dead man hangs from a scaffold, and to the right are a horseman with a yellow standard and a group of followers, all armoured and carrying lances. At the very front are nine men in metal armour and helmets, larger and more detailed than other humans in the picture.The Surrender of Barcelona was made in 1934–1937 and is also known as The Siege of Barcelona. Wyndham Lewis wrote in 1950: "In the Surrender of Barcelona I set out to paint a Fourteenth Century scene as I should do it could I be transported there, without too great change in the time adjustment involved. So that is a little outside the natural-non-natural categories dominating controversy today." The painting was made around the outbreak of the Spanish Civil War. This conflict was the setting of Lewis' novel The Revenge for Love (1937), but Lewis denied any intended connection between the painting and novel. It is similar to The Armada, another painting Lewis made around the same period, which belongs to the Vancouver Art Gallery in Canada. Jeffrey Meyers calls The Surrender of Barcelona Lewis' masterpiece. He connects it to Barcelona's role as a Republican stronghold and eventual fall in the Spanish Civil War, and writes: "The theme of the picture is the fall of a peaceful open city, the submission to a brutal military occupation, and the effect of war, siege and surrender on a civilian metropolis". The painting was purchased by Tate in 1947. | [
"Fourteenth Century",
"Tate",
"Republican",
"Spanish Civil War",
"Barcelona",
"Wyndham Lewis",
"Jeffrey Meyers",
"Vancouver Art Gallery"
] |
|
15486_NT | The Surrender of Barcelona | How does this artwork elucidate its Description and history? | The painting shows the fortified medieval city of Barcelona and can be divided into five planes. At the very top, the bright blue sea of the harbour can be seen. Below it are the walls and buildings of the city, stylised as orange-brown geometrical shapes. The next plane consists of three large towers: to the sides two rectangular towers and in the middle a circular one which has been captured by simplified, stick-figure like humans and draped in banners. In front of the towers, a bridge leads over a moat, a dead man hangs from a scaffold, and to the right are a horseman with a yellow standard and a group of followers, all armoured and carrying lances. At the very front are nine men in metal armour and helmets, larger and more detailed than other humans in the picture.The Surrender of Barcelona was made in 1934–1937 and is also known as The Siege of Barcelona. Wyndham Lewis wrote in 1950: "In the Surrender of Barcelona I set out to paint a Fourteenth Century scene as I should do it could I be transported there, without too great change in the time adjustment involved. So that is a little outside the natural-non-natural categories dominating controversy today." The painting was made around the outbreak of the Spanish Civil War. This conflict was the setting of Lewis' novel The Revenge for Love (1937), but Lewis denied any intended connection between the painting and novel. It is similar to The Armada, another painting Lewis made around the same period, which belongs to the Vancouver Art Gallery in Canada. Jeffrey Meyers calls The Surrender of Barcelona Lewis' masterpiece. He connects it to Barcelona's role as a Republican stronghold and eventual fall in the Spanish Civil War, and writes: "The theme of the picture is the fall of a peaceful open city, the submission to a brutal military occupation, and the effect of war, siege and surrender on a civilian metropolis". The painting was purchased by Tate in 1947. | [
"Fourteenth Century",
"Tate",
"Republican",
"Spanish Civil War",
"Barcelona",
"Wyndham Lewis",
"Jeffrey Meyers",
"Vancouver Art Gallery"
] |
|
15487_T | River Landscape with a Boar Hunt | Focus on River Landscape with a Boar Hunt and analyze the abstract. | River Landscape with a Boar Hunt, or Dutch: Rivierlandschap met everzwijnjacht, is a c. 1600 painting by the Flemish artist Joos de Momper, now in the Rijksmuseum, in Amsterdam. The artist uses a high point of view, like in Altdorfer's The Battle of Alexander at Issus (1528-1529) and Brueghel's The Hunters in the Snow (1565). Later, de Momper mostly used a lower point of view, establishing what would become a typical feature of 17th century Dutch and Flemish landscapes, such as Windmill at Wijk bij Duurstede. | [
"Amsterdam",
"Rijksmuseum",
"Joos de Momper",
"The Battle of Alexander at Issus",
"The Hunters in the Snow",
"Windmill at Wijk bij Duurstede"
] |
|
15487_NT | River Landscape with a Boar Hunt | Focus on this artwork and analyze the abstract. | River Landscape with a Boar Hunt, or Dutch: Rivierlandschap met everzwijnjacht, is a c. 1600 painting by the Flemish artist Joos de Momper, now in the Rijksmuseum, in Amsterdam. The artist uses a high point of view, like in Altdorfer's The Battle of Alexander at Issus (1528-1529) and Brueghel's The Hunters in the Snow (1565). Later, de Momper mostly used a lower point of view, establishing what would become a typical feature of 17th century Dutch and Flemish landscapes, such as Windmill at Wijk bij Duurstede. | [
"Amsterdam",
"Rijksmuseum",
"Joos de Momper",
"The Battle of Alexander at Issus",
"The Hunters in the Snow",
"Windmill at Wijk bij Duurstede"
] |
|
15488_T | Marco da Fundação da Cidade do Salvador | In Marco da Fundação da Cidade do Salvador, how is the abstract discussed? | Marco da Fundação da Cidade do Salvador (English: City of Salvador Foundation Landmark) is a monument in Salvador, Bahia, Brazil. It is located at the north of the Porto da Barra Beach and directly below the São Diogo Fort. It commemorates the 400th century of the founding of Salvador, and was inaugurated on March 29, 1952. The monument consists of two parts: a limestone pillar, and a mural of azulejos.
The stone pillar is 6 metres (20 ft) and made from lioz limestone; it features structure with symbols of Portuguese Crown and the Cross of Christ at top. The panel of azulejos, or blue and white tiles, depicts the arrival of Tomé de Sousa (1503–1579), the first governor-general of Bahia. The stone pillar was carved by João Fragoso, a Portuguese artistan. It was installed on March 29, 1952. Eduardo Gomes, a Portuguese artist, designed the azulejos in 2003 using a scene by Joaquim Rebocho (1912-2003). The panel of azlujos is 4.2 metres (14 ft) long by 1.97 metres (6.5 ft). The monument is the property of the City of Salvador. It was restored in 2013 and 2017.Antônio Carlos Magalhães Neto, mayor of Salvador, designated the monument a landmark of the City of Salvador on January 27, 2019. Landmark status was requested by the Associação de Moradores e Amigos da Barra, a residents association, and the Academy of Letters of Bahia. | [
"governor-general",
"Bahia",
"Brazil",
"Eduardo Gomes",
"Salvador, Bahia",
"azulejo",
"São Diogo Fort",
"lioz",
"Salvador",
"Tomé de Sousa",
"limestone",
"Academy of Letters of Bahia",
"Joaquim Rebocho",
"Porto da Barra Beach",
"Antônio Carlos Magalhães Neto",
"João Fragoso"
] |
|
15488_NT | Marco da Fundação da Cidade do Salvador | In this artwork, how is the abstract discussed? | Marco da Fundação da Cidade do Salvador (English: City of Salvador Foundation Landmark) is a monument in Salvador, Bahia, Brazil. It is located at the north of the Porto da Barra Beach and directly below the São Diogo Fort. It commemorates the 400th century of the founding of Salvador, and was inaugurated on March 29, 1952. The monument consists of two parts: a limestone pillar, and a mural of azulejos.
The stone pillar is 6 metres (20 ft) and made from lioz limestone; it features structure with symbols of Portuguese Crown and the Cross of Christ at top. The panel of azulejos, or blue and white tiles, depicts the arrival of Tomé de Sousa (1503–1579), the first governor-general of Bahia. The stone pillar was carved by João Fragoso, a Portuguese artistan. It was installed on March 29, 1952. Eduardo Gomes, a Portuguese artist, designed the azulejos in 2003 using a scene by Joaquim Rebocho (1912-2003). The panel of azlujos is 4.2 metres (14 ft) long by 1.97 metres (6.5 ft). The monument is the property of the City of Salvador. It was restored in 2013 and 2017.Antônio Carlos Magalhães Neto, mayor of Salvador, designated the monument a landmark of the City of Salvador on January 27, 2019. Landmark status was requested by the Associação de Moradores e Amigos da Barra, a residents association, and the Academy of Letters of Bahia. | [
"governor-general",
"Bahia",
"Brazil",
"Eduardo Gomes",
"Salvador, Bahia",
"azulejo",
"São Diogo Fort",
"lioz",
"Salvador",
"Tomé de Sousa",
"limestone",
"Academy of Letters of Bahia",
"Joaquim Rebocho",
"Porto da Barra Beach",
"Antônio Carlos Magalhães Neto",
"João Fragoso"
] |
|
15489_T | Culmin's Ghost Appears to his Mother | Focus on Culmin's Ghost Appears to his Mother and explore the abstract. | Culmin's Ghost Appears to his Mother is an oil on canvas painting of 1794 by the Danish neoclassical artist Nicolai Abildgaard. It depicts a scene from the Ossian poetry cycle. | [
"oil on canvas",
"Ossian",
"Nicolai Abildgaard"
] |
|
15489_NT | Culmin's Ghost Appears to his Mother | Focus on this artwork and explore the abstract. | Culmin's Ghost Appears to his Mother is an oil on canvas painting of 1794 by the Danish neoclassical artist Nicolai Abildgaard. It depicts a scene from the Ossian poetry cycle. | [
"oil on canvas",
"Ossian",
"Nicolai Abildgaard"
] |
|
15490_T | Saint George and the Dragon (Uccello) | Focus on Saint George and the Dragon (Uccello) and explain the abstract. | Saint George and the Dragon is a painting by Paolo Uccello dating from around 1470. It is on display in the National Gallery, London, United Kingdom. It was formerly housed in the Palais Lanckoroński in Vienna, belonging to Count Karol Lanckoroński and sold by his son and heir Anton in 1959 through Mr. Farago. The first mention of it being there is 1898.
Gothicizing tendencies in Paolo Uccello's art are nowhere more apparent than in this painting. It shows a scene from the famous story of Saint George and the Dragon. On the right, George is spearing the beast, and on the left, the princess is using her belt as a leash to take the dragon up to the town.
The eye in the storm gathering on the right of Saint George is lined up with his spear showing there has been divine intervention.
The painting is commonly interpreted as an illustration of the legend of St. George as recounted in the Golden Legend. However, Stanford professor Emanuele Lugli has suggested an alternative reading: that the work functions as propaganda, encouraging Florentine elites to adopt agriculture. In medieval symbolism, the dragon was a symbol of pollution, and St. George's slaying of the creature can be seen as a metaphorical reclamation of the land, leading to a pure water source located in a cave.An earlier, less dramatic version of the same subject by the Italian artist is in the Musée Jacquemart-André, Paris.
The painting is used as the basis for the U. A. Fanthorpe poem, Not My Best Side, and may have served as inspiration for Sir John Tenniel's illustration of the Jabberwock in Through the Looking-Glass, and What Alice Found There. | [
"Paolo Uccello",
"John Tenniel",
"National Gallery, London",
"Through the Looking-Glass, and What Alice Found There",
"Palais Lanckoroński",
"Golden Legend",
"Musée Jacquemart-André",
"Through the Looking-Glass",
"Stanford",
"Karol Lanckoroński",
"U. A. Fanthorpe",
"National Gallery",
"Saint George and the Dragon",
"United Kingdom",
"Sir John Tenniel",
"London",
"Jabberwock"
] |
|
15490_NT | Saint George and the Dragon (Uccello) | Focus on this artwork and explain the abstract. | Saint George and the Dragon is a painting by Paolo Uccello dating from around 1470. It is on display in the National Gallery, London, United Kingdom. It was formerly housed in the Palais Lanckoroński in Vienna, belonging to Count Karol Lanckoroński and sold by his son and heir Anton in 1959 through Mr. Farago. The first mention of it being there is 1898.
Gothicizing tendencies in Paolo Uccello's art are nowhere more apparent than in this painting. It shows a scene from the famous story of Saint George and the Dragon. On the right, George is spearing the beast, and on the left, the princess is using her belt as a leash to take the dragon up to the town.
The eye in the storm gathering on the right of Saint George is lined up with his spear showing there has been divine intervention.
The painting is commonly interpreted as an illustration of the legend of St. George as recounted in the Golden Legend. However, Stanford professor Emanuele Lugli has suggested an alternative reading: that the work functions as propaganda, encouraging Florentine elites to adopt agriculture. In medieval symbolism, the dragon was a symbol of pollution, and St. George's slaying of the creature can be seen as a metaphorical reclamation of the land, leading to a pure water source located in a cave.An earlier, less dramatic version of the same subject by the Italian artist is in the Musée Jacquemart-André, Paris.
The painting is used as the basis for the U. A. Fanthorpe poem, Not My Best Side, and may have served as inspiration for Sir John Tenniel's illustration of the Jabberwock in Through the Looking-Glass, and What Alice Found There. | [
"Paolo Uccello",
"John Tenniel",
"National Gallery, London",
"Through the Looking-Glass, and What Alice Found There",
"Palais Lanckoroński",
"Golden Legend",
"Musée Jacquemart-André",
"Through the Looking-Glass",
"Stanford",
"Karol Lanckoroński",
"U. A. Fanthorpe",
"National Gallery",
"Saint George and the Dragon",
"United Kingdom",
"Sir John Tenniel",
"London",
"Jabberwock"
] |
|
15491_T | The Straw Hat (Lytras) | Explore the abstract of this artwork, The Straw Hat (Lytras). | The straw hat is an oil painting by Nikolaos Lytras created in 1925, and is considered one of the most daring and impressive works of early Greek Modernism. It is exhibited at the National Gallery of Greece. | [
"Modernism",
"National Gallery of Greece",
"Nikolaos Lytras"
] |
|
15491_NT | The Straw Hat (Lytras) | Explore the abstract of this artwork. | The straw hat is an oil painting by Nikolaos Lytras created in 1925, and is considered one of the most daring and impressive works of early Greek Modernism. It is exhibited at the National Gallery of Greece. | [
"Modernism",
"National Gallery of Greece",
"Nikolaos Lytras"
] |
|
15492_T | The Straw Hat (Lytras) | Focus on The Straw Hat (Lytras) and discuss the Theme. | The theme depicts a young girl with a straw hat in a whitened courtyard in an island landscape during a hot summer day. | [] |
|
15492_NT | The Straw Hat (Lytras) | Focus on this artwork and discuss the Theme. | The theme depicts a young girl with a straw hat in a whitened courtyard in an island landscape during a hot summer day. | [] |
|
15493_T | The Straw Hat (Lytras) | How does The Straw Hat (Lytras) elucidate its Analysis? | It is characteristic of the work of Lystras, who was one of the most notable figures of the Art Group founded in 1917 influenced by expressionism. The artist uses strong and vivid colors, cold and blue-gray cold on the bottom, orange-yellow warm colors at the top. This painting is dominated by shades of yellow with a complementary purple that paints the figure with wide free strokes of thick paint and gestural brushwork, emphasizing the material nature of the color. | [
"expressionism"
] |
|
15493_NT | The Straw Hat (Lytras) | How does this artwork elucidate its Analysis? | It is characteristic of the work of Lystras, who was one of the most notable figures of the Art Group founded in 1917 influenced by expressionism. The artist uses strong and vivid colors, cold and blue-gray cold on the bottom, orange-yellow warm colors at the top. This painting is dominated by shades of yellow with a complementary purple that paints the figure with wide free strokes of thick paint and gestural brushwork, emphasizing the material nature of the color. | [
"expressionism"
] |
|
15494_T | General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian | Focus on General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian and analyze the abstract. | General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian is a painting by the British-American artist Benjamin West, completed between 1764 and 1768. It depicts a scene during the French and Indian War, and was painted a few years after the event depicted in the painting, and is now in the collection of Derby Museum and Art Gallery. | [
"French",
"Indian",
"Derby Museum and Art Gallery",
"Benjamin West",
"French and Indian War",
"British",
"North America",
"Derby"
] |
|
15494_NT | General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian | Focus on this artwork and analyze the abstract. | General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian is a painting by the British-American artist Benjamin West, completed between 1764 and 1768. It depicts a scene during the French and Indian War, and was painted a few years after the event depicted in the painting, and is now in the collection of Derby Museum and Art Gallery. | [
"French",
"Indian",
"Derby Museum and Art Gallery",
"Benjamin West",
"French and Indian War",
"British",
"North America",
"Derby"
] |
|
15495_T | General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian | In General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian, how is the Description discussed? | The painting is important as it is a contemporary view showing all three major groups involved during the French and Indian War (which could be called more comprehensively "the British, French and Indian War"). It depicts Irish soldier Sir William Johnson preventing an indigenous auxiliary from taking the scalp of Baron Dieskau, a wounded and defeated French soldier lying on the ground.West was an early American painter. He claimed to have been first taught how to make paint by a Native American childhood friend who demonstrated how paint could be made by mixing clay with bear grease. The painting has fine detail on the indigenous figure, whose plucked scalp and tattoos are shown in more detail than the Europeans' uniforms. West is known to have had a collection of North American artefacts which he used in his paintings.Benjamin West probably began this painting soon after his arrival in London, in 1763, when West returned from Italy, where he spent three years. Following The Indian Family, a painting of about 1761, this one demonstrates the same willingness to show "the proper dress and accoutrement". Thus it provides us with one of two known contemporary pictures of the British Light Infantrymen for the French and Indian War period. Whereas in the Italian painting, accuracy and authenticity were intended to give a generic representation of the Indian life, the new one employed them to make a report of a recent historical event.Although the subject matter and some "physical and symbolic details" could be found more closely corresponding to the Battle of Fort Niagara (1759), the painting is usually related to an incident that occurred during the campaign of 1755 around Lake George, when the French commanded by Baron Dieskau, with their Indian allies, were opposed by a mixed troop of Mohawk and New England militia, led by Johnson. After having repulsed an attack against their camp, the British and their auxiliaries took over. Dieskau, wounded three times, had his life saved by Johnson, who protected him from the Mohawks wanting revenge for their killed kinsmen. He actually survived and was taken as a prisoner to New York, then to London, and then to Bath for treatment of a still unhealed wound. At the end of the Seven Years' War in 1763, he was repatriated to France, where he died in 1767.West returned to the American war in his The Death of General Wolfe, exhibited in 1771, a much larger work that made his reputation, though causing controversy through its use of contemporary costume. | [
"New England",
"The Death of General Wolfe",
"Baron Dieskau",
"French",
"Battle of Fort Niagara",
"militia",
"Light Infantrymen",
"Indian",
"Benjamin West",
"bear grease",
"Lake George",
"French and Indian War",
"New York",
"Italy",
"Seven Years' War",
"Europe",
"Mohawk",
"British",
"North America",
"Sir William Johnson",
"taking the scalp",
"Bath"
] |
|
15495_NT | General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian | In this artwork, how is the Description discussed? | The painting is important as it is a contemporary view showing all three major groups involved during the French and Indian War (which could be called more comprehensively "the British, French and Indian War"). It depicts Irish soldier Sir William Johnson preventing an indigenous auxiliary from taking the scalp of Baron Dieskau, a wounded and defeated French soldier lying on the ground.West was an early American painter. He claimed to have been first taught how to make paint by a Native American childhood friend who demonstrated how paint could be made by mixing clay with bear grease. The painting has fine detail on the indigenous figure, whose plucked scalp and tattoos are shown in more detail than the Europeans' uniforms. West is known to have had a collection of North American artefacts which he used in his paintings.Benjamin West probably began this painting soon after his arrival in London, in 1763, when West returned from Italy, where he spent three years. Following The Indian Family, a painting of about 1761, this one demonstrates the same willingness to show "the proper dress and accoutrement". Thus it provides us with one of two known contemporary pictures of the British Light Infantrymen for the French and Indian War period. Whereas in the Italian painting, accuracy and authenticity were intended to give a generic representation of the Indian life, the new one employed them to make a report of a recent historical event.Although the subject matter and some "physical and symbolic details" could be found more closely corresponding to the Battle of Fort Niagara (1759), the painting is usually related to an incident that occurred during the campaign of 1755 around Lake George, when the French commanded by Baron Dieskau, with their Indian allies, were opposed by a mixed troop of Mohawk and New England militia, led by Johnson. After having repulsed an attack against their camp, the British and their auxiliaries took over. Dieskau, wounded three times, had his life saved by Johnson, who protected him from the Mohawks wanting revenge for their killed kinsmen. He actually survived and was taken as a prisoner to New York, then to London, and then to Bath for treatment of a still unhealed wound. At the end of the Seven Years' War in 1763, he was repatriated to France, where he died in 1767.West returned to the American war in his The Death of General Wolfe, exhibited in 1771, a much larger work that made his reputation, though causing controversy through its use of contemporary costume. | [
"New England",
"The Death of General Wolfe",
"Baron Dieskau",
"French",
"Battle of Fort Niagara",
"militia",
"Light Infantrymen",
"Indian",
"Benjamin West",
"bear grease",
"Lake George",
"French and Indian War",
"New York",
"Italy",
"Seven Years' War",
"Europe",
"Mohawk",
"British",
"North America",
"Sir William Johnson",
"taking the scalp",
"Bath"
] |
|
15496_T | General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian | Focus on General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian and explore the Historical context. | By showing the European Johnson restraining the aggressive actions of an indigenous auxiliary, the painting has been identified by some art historians as promoting European standards of honor and laws of war, in contrast to the traditional "warlike" values of indigenous warriors such as scalping and killing prisoners of war. It has also been identified as referring to the concerns and debates that the employment of Indian allies aroused among Europeans, throughout the numerous conflicts in North America. Johnson's actions in the painting contrasts against Johnson's historical reputation which has included him being described as a "White Savage" for his positive outlook on indigenous traditions during times of conflict.At the beginning of the French and Indian War, a young George Washington is said to have allowed Indian chief Tanaghrisson seal their fresh alliance by smashing the skull of Joseph Coulon de Jumonville, a wounded French officer they just took as prisoner, then washing his hands in the man's brain. The Jumonville affair caused a scandal in Europe, where it accelerated the outbreak of the Seven Years' War.The same questions persisted during the American War of Independence. In 1777, both Houses of the British Parliament debated over the employment of Indian auxiliaries. The Earl of Chatham's speech in the House of Lords made November 20, which advocated against the employment of Indian allies against the American Patriots on the grounds that they would target non-combatant colonists and cannibalise them, was indicative of opposition to long-standing recruiting traditions in Europe. | [
"French",
"cannibalise",
"Indian",
"Jumonville affair",
"French and Indian War",
"American War of Independence",
"Seven Years' War",
"Europe",
"British",
"Earl of Chatham",
"George Washington",
"North America",
"Joseph Coulon de Jumonville",
"British Parliament",
"Tanaghrisson",
"House of Lords"
] |
|
15496_NT | General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian | Focus on this artwork and explore the Historical context. | By showing the European Johnson restraining the aggressive actions of an indigenous auxiliary, the painting has been identified by some art historians as promoting European standards of honor and laws of war, in contrast to the traditional "warlike" values of indigenous warriors such as scalping and killing prisoners of war. It has also been identified as referring to the concerns and debates that the employment of Indian allies aroused among Europeans, throughout the numerous conflicts in North America. Johnson's actions in the painting contrasts against Johnson's historical reputation which has included him being described as a "White Savage" for his positive outlook on indigenous traditions during times of conflict.At the beginning of the French and Indian War, a young George Washington is said to have allowed Indian chief Tanaghrisson seal their fresh alliance by smashing the skull of Joseph Coulon de Jumonville, a wounded French officer they just took as prisoner, then washing his hands in the man's brain. The Jumonville affair caused a scandal in Europe, where it accelerated the outbreak of the Seven Years' War.The same questions persisted during the American War of Independence. In 1777, both Houses of the British Parliament debated over the employment of Indian auxiliaries. The Earl of Chatham's speech in the House of Lords made November 20, which advocated against the employment of Indian allies against the American Patriots on the grounds that they would target non-combatant colonists and cannibalise them, was indicative of opposition to long-standing recruiting traditions in Europe. | [
"French",
"cannibalise",
"Indian",
"Jumonville affair",
"French and Indian War",
"American War of Independence",
"Seven Years' War",
"Europe",
"British",
"Earl of Chatham",
"George Washington",
"North America",
"Joseph Coulon de Jumonville",
"British Parliament",
"Tanaghrisson",
"House of Lords"
] |
|
15497_T | Salon Pedal | Focus on Salon Pedal and explain the abstract. | Salon Pedal is a color lithograph on paper designed in 1897 by the Catalan artist Alexandre de Riquer. The print's design evokes the decorative style seen in Modernisme art. The artwork is in the collection of Museu Nacional d'Art de Catalunya, in Barcelona. | [
"Alexandre de Riquer",
"Barcelona",
"lithograph",
"Modernism",
"Modernisme",
"Museu Nacional d'Art de Catalunya",
"Catalan"
] |
|
15497_NT | Salon Pedal | Focus on this artwork and explain the abstract. | Salon Pedal is a color lithograph on paper designed in 1897 by the Catalan artist Alexandre de Riquer. The print's design evokes the decorative style seen in Modernisme art. The artwork is in the collection of Museu Nacional d'Art de Catalunya, in Barcelona. | [
"Alexandre de Riquer",
"Barcelona",
"lithograph",
"Modernism",
"Modernisme",
"Museu Nacional d'Art de Catalunya",
"Catalan"
] |
|
15498_T | Salon Pedal | Explore the History of this artwork, Salon Pedal. | Els Quatre Gats is a famous cafe and considered as one of the main generators of the cultural movement known as Modernisme. It was the scene of lively conversations between Catalan artists Santiago Rusinol, Ramon Casas, Maurice Utrillo, Pablo Picasso and Isidre Nonell. Casas decorated the cafe with two large paintings: "one, entitled Ramon Casas and Pere Romeu on a Tandem, features the painter with Pere Romeu, the owner of the cafe, on a bicycle; the other depicts the car which Casas, one of the first car owners in Catalonia, drove himself. These works represent the beginning of Modernisme, and the movement's interest in "mechanical innovations and the fascination of the painters and sculptors of this century for everything that went on around them. This is how sporting events became subjects for their works." | [
"Maurice Utrillo",
"Catalonia",
"car",
"Isidre Nonell",
"Modernism",
"Els Quatre Gats",
"Santiago Rusinol",
"Ramon Casas",
"Modernisme",
"Catalan",
"Ramon Casas and Pere Romeu on a Tandem",
"Pablo Picasso"
] |
|
15498_NT | Salon Pedal | Explore the History of this artwork. | Els Quatre Gats is a famous cafe and considered as one of the main generators of the cultural movement known as Modernisme. It was the scene of lively conversations between Catalan artists Santiago Rusinol, Ramon Casas, Maurice Utrillo, Pablo Picasso and Isidre Nonell. Casas decorated the cafe with two large paintings: "one, entitled Ramon Casas and Pere Romeu on a Tandem, features the painter with Pere Romeu, the owner of the cafe, on a bicycle; the other depicts the car which Casas, one of the first car owners in Catalonia, drove himself. These works represent the beginning of Modernisme, and the movement's interest in "mechanical innovations and the fascination of the painters and sculptors of this century for everything that went on around them. This is how sporting events became subjects for their works." | [
"Maurice Utrillo",
"Catalonia",
"car",
"Isidre Nonell",
"Modernism",
"Els Quatre Gats",
"Santiago Rusinol",
"Ramon Casas",
"Modernisme",
"Catalan",
"Ramon Casas and Pere Romeu on a Tandem",
"Pablo Picasso"
] |
|
15499_T | Salon Pedal | Focus on Salon Pedal and discuss the Description. | Giving the poster its allure, a female cyclist dressed in a black and white dress with hints of red details on her sash and bow, is the main focus. Framing this central figure in the simplistic composition is a rich border of floral ornamentation. Taking inspiration from English graphic art, "Riquer incorporated elements from many diverse influences; this ability to assimilate a range of styles helped him produce highly creative works and put an end to the banal, literary quality that had dominated poster aesthetics until then. As an example and as others have already noted, Salon Pedal, evokes Japanese printmaking." Riquer combined the aesthetics of the Gothic and japonism, which results to an "expressive quality of line enclosing flat surfaces imbued with subtle harmonies of color that gives the composition an antirealist feel in line with idealized, symbolist subject matter." | [
"japonism",
"Gothic"
] |
|
15499_NT | Salon Pedal | Focus on this artwork and discuss the Description. | Giving the poster its allure, a female cyclist dressed in a black and white dress with hints of red details on her sash and bow, is the main focus. Framing this central figure in the simplistic composition is a rich border of floral ornamentation. Taking inspiration from English graphic art, "Riquer incorporated elements from many diverse influences; this ability to assimilate a range of styles helped him produce highly creative works and put an end to the banal, literary quality that had dominated poster aesthetics until then. As an example and as others have already noted, Salon Pedal, evokes Japanese printmaking." Riquer combined the aesthetics of the Gothic and japonism, which results to an "expressive quality of line enclosing flat surfaces imbued with subtle harmonies of color that gives the composition an antirealist feel in line with idealized, symbolist subject matter." | [
"japonism",
"Gothic"
] |
|
15500_T | Salon Pedal | How does Salon Pedal elucidate its Alexandre de Riquer? | Alexandre de Riquer i Ynglada, 7th Count of Casa Dávalos (born May 3, 1856 – November 13, 1920), was a versatile artistic intellectual and Catalan Spanish designer, illustrator, painter, engraver, writer, and poet. He was one of the leading figures of Modernism in Catalonia. Riquer studied at Béziers, located in France from 1869 to 1871. For his interest in drawing classes, he enrolled in the School of Fine Arts in Toulouse of Languedoc. In the year 1894, he was introduced to the movement of the pre-Raphaelites. Riquer distinguished himself as a graphic designer with great drawing skills. He created posters, etchings, illustrations, certificates, postcards, stamps, menus, sheet music, business cards, and bookplates (which Lluís de Yebra documented 142 articles between 1900 and 1924). | [
"Catalonia",
"Béziers",
"Alexandre de Riquer",
"car",
"Spanish",
"Alexandre de Riquer i Ynglada",
"Modernism",
"Toulouse of Languedoc",
"Toulouse",
"Catalan"
] |
|
15500_NT | Salon Pedal | How does this artwork elucidate its Alexandre de Riquer? | Alexandre de Riquer i Ynglada, 7th Count of Casa Dávalos (born May 3, 1856 – November 13, 1920), was a versatile artistic intellectual and Catalan Spanish designer, illustrator, painter, engraver, writer, and poet. He was one of the leading figures of Modernism in Catalonia. Riquer studied at Béziers, located in France from 1869 to 1871. For his interest in drawing classes, he enrolled in the School of Fine Arts in Toulouse of Languedoc. In the year 1894, he was introduced to the movement of the pre-Raphaelites. Riquer distinguished himself as a graphic designer with great drawing skills. He created posters, etchings, illustrations, certificates, postcards, stamps, menus, sheet music, business cards, and bookplates (which Lluís de Yebra documented 142 articles between 1900 and 1924). | [
"Catalonia",
"Béziers",
"Alexandre de Riquer",
"car",
"Spanish",
"Alexandre de Riquer i Ynglada",
"Modernism",
"Toulouse of Languedoc",
"Toulouse",
"Catalan"
] |
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