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15551_T | Portrait of a Man in a Red Cap | Explore the abstract of this artwork, Portrait of a Man in a Red Cap. | Portrait of a Man in a Red Cap, also known as Man with a Red Cap, is an oil painting by the Venetian painter Titian, made in about 1516. It is part of the Frick Collection in New York City. | [
"New York City",
"Man in a Red Cap",
"Titian",
"Frick Collection"
] |
|
15551_NT | Portrait of a Man in a Red Cap | Explore the abstract of this artwork. | Portrait of a Man in a Red Cap, also known as Man with a Red Cap, is an oil painting by the Venetian painter Titian, made in about 1516. It is part of the Frick Collection in New York City. | [
"New York City",
"Man in a Red Cap",
"Titian",
"Frick Collection"
] |
|
15552_T | Portrait of a Man in a Red Cap | Focus on Portrait of a Man in a Red Cap and discuss the Date. | Two portraits of young men have been ascribed to the years immediately following Titian's stay at Padua (c. 1513–1515): namely the Man with a Red Cap and the Man with a Glove. The Frick Collection dates the former picture slightly later (c. 1516). | [
"Man with a Glove",
"Titian",
"Padua",
"Frick Collection"
] |
|
15552_NT | Portrait of a Man in a Red Cap | Focus on this artwork and discuss the Date. | Two portraits of young men have been ascribed to the years immediately following Titian's stay at Padua (c. 1513–1515): namely the Man with a Red Cap and the Man with a Glove. The Frick Collection dates the former picture slightly later (c. 1516). | [
"Man with a Glove",
"Titian",
"Padua",
"Frick Collection"
] |
|
15553_T | Portrait of a Man in a Red Cap | How does Portrait of a Man in a Red Cap elucidate its Provenance? | Although the sitter has not been identified, this portrait was apparently well known, at least in the seventeenth century, and Carlo Dolci painted a copy of the figure into the background of his Martyrdom of Saint Andrew (Palazzo Pitti, Florence).The painting passed through several private hands before being auctioned by Christie's in 1906 and purchased by Sir Hugh Lane, from whom it was eventually acquired by Henry Clay Frick in 1915. The art critic Charles Ricketts, writing in 1910, recalled the 1906 rediscovery of a portrait by Titian:It passed through Messrs. Christies' some time ago in a darkened and dirty condition. I then imagined this beautiful Giorgionesque work to be an early work of Francesco Vecellio, basing my impression on the colour and on the evidence of Francesco's knowledge of Titian's methods. The picture has since been cleaned. When I saw it again the scales fell from my eyes, to use a consecrated expression. How was it possible that I could have mistaken this masterpiece for the work of a second-rate man? How was it that the shape of the eyelids, the construction of the chin and the shape of the shadows had escaped me? The brown background had become a luminous warm grey, the glove and fur, which I had thought indifferent, revealed the tender pigment of the master; the painting of the linen in pâte sur pâte was a practice of Titian's. The work stood out, not as a mere interesting problem like the 'Head' at Frankfort, but a masterpiece superior in preservation to the Cobham 'Ariosto,' contemporary with, or slightly later than, the beautiful portrait at Temple Newsam. | [
"Francesco Vecellio",
"Cobham",
"Carlo Dolci",
"Temple Newsam",
"Hugh Lane",
"Sir Hugh Lane",
"Titian",
"Christie's",
"Henry Clay Frick",
"Ariosto",
"Giorgione",
"Charles Ricketts"
] |
|
15553_NT | Portrait of a Man in a Red Cap | How does this artwork elucidate its Provenance? | Although the sitter has not been identified, this portrait was apparently well known, at least in the seventeenth century, and Carlo Dolci painted a copy of the figure into the background of his Martyrdom of Saint Andrew (Palazzo Pitti, Florence).The painting passed through several private hands before being auctioned by Christie's in 1906 and purchased by Sir Hugh Lane, from whom it was eventually acquired by Henry Clay Frick in 1915. The art critic Charles Ricketts, writing in 1910, recalled the 1906 rediscovery of a portrait by Titian:It passed through Messrs. Christies' some time ago in a darkened and dirty condition. I then imagined this beautiful Giorgionesque work to be an early work of Francesco Vecellio, basing my impression on the colour and on the evidence of Francesco's knowledge of Titian's methods. The picture has since been cleaned. When I saw it again the scales fell from my eyes, to use a consecrated expression. How was it possible that I could have mistaken this masterpiece for the work of a second-rate man? How was it that the shape of the eyelids, the construction of the chin and the shape of the shadows had escaped me? The brown background had become a luminous warm grey, the glove and fur, which I had thought indifferent, revealed the tender pigment of the master; the painting of the linen in pâte sur pâte was a practice of Titian's. The work stood out, not as a mere interesting problem like the 'Head' at Frankfort, but a masterpiece superior in preservation to the Cobham 'Ariosto,' contemporary with, or slightly later than, the beautiful portrait at Temple Newsam. | [
"Francesco Vecellio",
"Cobham",
"Carlo Dolci",
"Temple Newsam",
"Hugh Lane",
"Sir Hugh Lane",
"Titian",
"Christie's",
"Henry Clay Frick",
"Ariosto",
"Giorgione",
"Charles Ricketts"
] |
|
15554_T | The Legend of the True Cross | Focus on The Legend of the True Cross and analyze the abstract. | The Legend of the True Cross or The History of the True Cross is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.
Its theme, derived from the popular 13th century book on the lives of saints by Jacobus de Voragine, the Golden Legend, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero's advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction. | [
"Garden of Eden",
"Jesus",
"early Renaissance",
"Jesus Christ",
"Jacobus de Voragine",
"crucified",
"The Legend of the True Cross",
"Piero della Francesca",
"Arezzo",
"saint",
"Basilica of San Francesco",
"Golden Legend",
"True Cross",
"fresco"
] |
|
15554_NT | The Legend of the True Cross | Focus on this artwork and analyze the abstract. | The Legend of the True Cross or The History of the True Cross is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.
Its theme, derived from the popular 13th century book on the lives of saints by Jacobus de Voragine, the Golden Legend, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero's advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction. | [
"Garden of Eden",
"Jesus",
"early Renaissance",
"Jesus Christ",
"Jacobus de Voragine",
"crucified",
"The Legend of the True Cross",
"Piero della Francesca",
"Arezzo",
"saint",
"Basilica of San Francesco",
"Golden Legend",
"True Cross",
"fresco"
] |
|
15555_T | The Legend of the True Cross | In The Legend of the True Cross, how is the Episodes discussed? | The main episodes depicted are: Death of Adam (390 x 747 cm). According to the legend, the tree from which the cross was made was planted, at the urging of angels, at the burial of Adam by his son, using a branch or a seed from the apple tree of the garden of Eden.
The Queen of Sheba in Adoration of the Wood and The Meeting of Solomon and the Queen of Sheba (336 x 747 cm). According to the legend, the Queen of Sheba worshiped the beams made from the tree, and informed Solomon that the Saviour would hang from that tree, and thus dismember the realm of the Jews. This caused Solomon to hew it down and bury it, until it was found by the Romans.
Exaltation of the Cross (390 x 747 cm).
Constantine's Dream (329 x 190 cm) Emperor Constantine the Great, before the battle of Milvian Bridge, is awakened by an angel who shows him the cross in heaven. With the cross on his shield, he slew the enemy, and later converted to Christianity.
Discovery and Proof of the True Cross (356 x 747 cm). Helena, Constantine's mother, finds the cross in Jerusalem. It was not easy to get information and "when the queen had called them and demanded them the place where our Lord Jesus Christ had been crucified, they would never tell... her. Then commanded she to burn them all" or cast them into a dry pit for seven days and there torment them with hunger. The Jew is shown in one fresco being pulled from the pit by a rope, whereupon he confessed that Jesus was his lord and where the cross was located. The proof of the cross was that it was used to resurrect a dead man.Battle between Heraclius and Khosrau (329 x 747 cm). The cross played a role in battles during the war between the Eastern Roman Empire and the Sassanid Empire (early 7th century).Piero diverged from his source material in a few important respects, including the story of King Solomon's meeting with the Queen of Sheba in a chronologically inaccurate place and giving greater emphasis to the two battles in which Christianity triumphs over paganism.
The cycle ends with a depiction of the Annunciation, not strictly part of the Legend of the True Cross but probably included by Piero for its universal meaning. | [
"Annunciation",
"Solomon",
"Jesus",
"Jesus Christ",
"crucified",
"battle of Milvian Bridge",
"Eastern Roman Empire",
"Adam",
"Christianity",
"Constantine the Great",
"Helena, Constantine's mother",
"King Solomon",
"Sassanid Empire",
"Heraclius",
"paganism",
"Queen of Sheba",
"Khosrau",
"True Cross",
"fresco"
] |
|
15555_NT | The Legend of the True Cross | In this artwork, how is the Episodes discussed? | The main episodes depicted are: Death of Adam (390 x 747 cm). According to the legend, the tree from which the cross was made was planted, at the urging of angels, at the burial of Adam by his son, using a branch or a seed from the apple tree of the garden of Eden.
The Queen of Sheba in Adoration of the Wood and The Meeting of Solomon and the Queen of Sheba (336 x 747 cm). According to the legend, the Queen of Sheba worshiped the beams made from the tree, and informed Solomon that the Saviour would hang from that tree, and thus dismember the realm of the Jews. This caused Solomon to hew it down and bury it, until it was found by the Romans.
Exaltation of the Cross (390 x 747 cm).
Constantine's Dream (329 x 190 cm) Emperor Constantine the Great, before the battle of Milvian Bridge, is awakened by an angel who shows him the cross in heaven. With the cross on his shield, he slew the enemy, and later converted to Christianity.
Discovery and Proof of the True Cross (356 x 747 cm). Helena, Constantine's mother, finds the cross in Jerusalem. It was not easy to get information and "when the queen had called them and demanded them the place where our Lord Jesus Christ had been crucified, they would never tell... her. Then commanded she to burn them all" or cast them into a dry pit for seven days and there torment them with hunger. The Jew is shown in one fresco being pulled from the pit by a rope, whereupon he confessed that Jesus was his lord and where the cross was located. The proof of the cross was that it was used to resurrect a dead man.Battle between Heraclius and Khosrau (329 x 747 cm). The cross played a role in battles during the war between the Eastern Roman Empire and the Sassanid Empire (early 7th century).Piero diverged from his source material in a few important respects, including the story of King Solomon's meeting with the Queen of Sheba in a chronologically inaccurate place and giving greater emphasis to the two battles in which Christianity triumphs over paganism.
The cycle ends with a depiction of the Annunciation, not strictly part of the Legend of the True Cross but probably included by Piero for its universal meaning. | [
"Annunciation",
"Solomon",
"Jesus",
"Jesus Christ",
"crucified",
"battle of Milvian Bridge",
"Eastern Roman Empire",
"Adam",
"Christianity",
"Constantine the Great",
"Helena, Constantine's mother",
"King Solomon",
"Sassanid Empire",
"Heraclius",
"paganism",
"Queen of Sheba",
"Khosrau",
"True Cross",
"fresco"
] |
|
15556_T | A River Glimpse | Focus on A River Glimpse and explore the abstract. | A River Glimpse is a mid 19th century painting by American artist Thomas Doughty. Done in oil on canvas, the painting depicts a "glimpse" of a river between trees; this is in keeping with Doughty's status as a connective artist between English pastoral painters and the American Hudson River School. The work is in the collection of the Metropolitan Museum of Art. | [
"Hudson River School",
"Metropolitan Museum of Art",
"Thomas Doughty"
] |
|
15556_NT | A River Glimpse | Focus on this artwork and explore the abstract. | A River Glimpse is a mid 19th century painting by American artist Thomas Doughty. Done in oil on canvas, the painting depicts a "glimpse" of a river between trees; this is in keeping with Doughty's status as a connective artist between English pastoral painters and the American Hudson River School. The work is in the collection of the Metropolitan Museum of Art. | [
"Hudson River School",
"Metropolitan Museum of Art",
"Thomas Doughty"
] |
|
15557_T | Rough Sea at a Jetty | Focus on Rough Sea at a Jetty and explain the abstract. | Rough Sea at a Jetty (c. 1650s) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael.
It is an example of Dutch Golden Age painting and is now in the collection of the Kimbell Art Museum.
This painting was documented by Hofstede de Groot in 1911, who wrote; "945. A ROUGH SEA, Sm. 2. A storm is coming on. In the
centre foreground the waves dash on two jetties. Near a beacon at the end of one jetty, two men with long poles wait to help a fishing-boat
which is running under full sail for the harbour. Two other boats ride at anchor near the jetty, to the right. Dark cloudy sky. A " magnificent
picture " (Sm.). Canvas, 37 inches by 51 inches.
Another example, equally genuine, was in the possession of the London dealers Agnew. Exhibited at the Royal Academy Winter Exhibition, London, 1884,
No. 191. Sales. Antony Sijdervelt, Amsterdam, April 23, 1766 (Terw. 519), No. 49 (250 florins, Loquet).
Gerard Braamcamp, Amsterdam, July 31, 1771, No. 198 (264 florins, P. Fouquet).
Paillet, Paris, July 19, 1802 (1460 francs). Bought privately by Sm. from the family of the Marquis Merialva, 1824
(for 9000 francs), and sold to the Earl of Liverpool (for £500). Sale. Earl of Liverpool, London, March 25, 1829 (£535 Lord Lansdowne).
In the collection of the Marquess of Lansdowne, Bowood."This scene is very similar to other paintings Ruisdael made in this period and these often served as inspiration for later painters of seascape. | [
"Sm. 2.",
"Hofstede de Groot",
"Jacob van Ruisdael",
"Dutch",
"Royal Academy",
"Earl of Liverpool",
"Gerard Braamcamp",
"Marquess of Lansdowne",
"oil",
"Dutch Golden Age painting",
"Bowood",
"Kimbell Art Museum"
] |
|
15557_NT | Rough Sea at a Jetty | Focus on this artwork and explain the abstract. | Rough Sea at a Jetty (c. 1650s) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael.
It is an example of Dutch Golden Age painting and is now in the collection of the Kimbell Art Museum.
This painting was documented by Hofstede de Groot in 1911, who wrote; "945. A ROUGH SEA, Sm. 2. A storm is coming on. In the
centre foreground the waves dash on two jetties. Near a beacon at the end of one jetty, two men with long poles wait to help a fishing-boat
which is running under full sail for the harbour. Two other boats ride at anchor near the jetty, to the right. Dark cloudy sky. A " magnificent
picture " (Sm.). Canvas, 37 inches by 51 inches.
Another example, equally genuine, was in the possession of the London dealers Agnew. Exhibited at the Royal Academy Winter Exhibition, London, 1884,
No. 191. Sales. Antony Sijdervelt, Amsterdam, April 23, 1766 (Terw. 519), No. 49 (250 florins, Loquet).
Gerard Braamcamp, Amsterdam, July 31, 1771, No. 198 (264 florins, P. Fouquet).
Paillet, Paris, July 19, 1802 (1460 francs). Bought privately by Sm. from the family of the Marquis Merialva, 1824
(for 9000 francs), and sold to the Earl of Liverpool (for £500). Sale. Earl of Liverpool, London, March 25, 1829 (£535 Lord Lansdowne).
In the collection of the Marquess of Lansdowne, Bowood."This scene is very similar to other paintings Ruisdael made in this period and these often served as inspiration for later painters of seascape. | [
"Sm. 2.",
"Hofstede de Groot",
"Jacob van Ruisdael",
"Dutch",
"Royal Academy",
"Earl of Liverpool",
"Gerard Braamcamp",
"Marquess of Lansdowne",
"oil",
"Dutch Golden Age painting",
"Bowood",
"Kimbell Art Museum"
] |
|
15558_T | Carter Memorial Fountain | Explore the abstract of this artwork, Carter Memorial Fountain. | Carter Memorial Fountain is a fountain in Ashland, Oregon, United States. It features Pioneer Mike (or "Iron Mike"), a statue by Allen George Newman. The fountain and statue are part of the Ashland Downtown Historic District, which is listed on the National Register of Historic Places. | [
"National Register of Historic Places",
"Ashland Downtown Historic District",
"Ashland, Oregon",
"Allen George Newman"
] |
|
15558_NT | Carter Memorial Fountain | Explore the abstract of this artwork. | Carter Memorial Fountain is a fountain in Ashland, Oregon, United States. It features Pioneer Mike (or "Iron Mike"), a statue by Allen George Newman. The fountain and statue are part of the Ashland Downtown Historic District, which is listed on the National Register of Historic Places. | [
"National Register of Historic Places",
"Ashland Downtown Historic District",
"Ashland, Oregon",
"Allen George Newman"
] |
|
15559_T | Day's End (David Hammons) | Focus on Day's End (David Hammons) and discuss the abstract. | Day's End is a 2021 permanent public art project designed by the American artist David Hammons. Originally commissioned by the Whitney Museum of American Art, the work consists of an architectural outline of a pier made of stainless steel tubes and precast concrete and installed on the Hudson River Park along the southern edge of Gansevoort Peninsula. | [
"commissioned",
"Whitney Museum",
"David Hammons",
"precast concrete",
"Whitney Museum of American Art",
"Hudson River Park",
"pier",
"public art",
"stainless steel"
] |
|
15559_NT | Day's End (David Hammons) | Focus on this artwork and discuss the abstract. | Day's End is a 2021 permanent public art project designed by the American artist David Hammons. Originally commissioned by the Whitney Museum of American Art, the work consists of an architectural outline of a pier made of stainless steel tubes and precast concrete and installed on the Hudson River Park along the southern edge of Gansevoort Peninsula. | [
"commissioned",
"Whitney Museum",
"David Hammons",
"precast concrete",
"Whitney Museum of American Art",
"Hudson River Park",
"pier",
"public art",
"stainless steel"
] |
|
15560_T | Day's End (David Hammons) | How does Day's End (David Hammons) elucidate its History? | The work was inspired by the 1975 intervention installation work titled Days End, Conical Intersect by the American 20th-century artist Gordon Matta-Clark. In the original installation, Matta-Clark created five large incisions into the Pier 52 shed, which had formerly occupied the site and measured 373 feet in length and 50 feet in height. The purpose of Matta-Clark's work was to "let in light that would change during days and seasons", which he saw as “a peaceful enclosure”. The artist also described it as a "renovation" of a "decaying sad reminder of a previous industrial era".The contemporary work by Hammons was announced by the Whitney Museum in 2017 and completed in 2021. It is made made of stainless steel tubes and precast concrete and consists of an open structure that adheres to the dimensions, proportions, and placement of the previous shed. The director of the Whitney Adam D. Weinberg called the installation a "hybrid" which incorporated "architecture, sculpture, drawing, site-specific project, land art, appropriated object, and none of the above". | [
"Gordon Matta-Clark",
"Whitney Museum",
"Adam D. Weinberg",
"precast concrete",
"stainless steel",
"Pier"
] |
|
15560_NT | Day's End (David Hammons) | How does this artwork elucidate its History? | The work was inspired by the 1975 intervention installation work titled Days End, Conical Intersect by the American 20th-century artist Gordon Matta-Clark. In the original installation, Matta-Clark created five large incisions into the Pier 52 shed, which had formerly occupied the site and measured 373 feet in length and 50 feet in height. The purpose of Matta-Clark's work was to "let in light that would change during days and seasons", which he saw as “a peaceful enclosure”. The artist also described it as a "renovation" of a "decaying sad reminder of a previous industrial era".The contemporary work by Hammons was announced by the Whitney Museum in 2017 and completed in 2021. It is made made of stainless steel tubes and precast concrete and consists of an open structure that adheres to the dimensions, proportions, and placement of the previous shed. The director of the Whitney Adam D. Weinberg called the installation a "hybrid" which incorporated "architecture, sculpture, drawing, site-specific project, land art, appropriated object, and none of the above". | [
"Gordon Matta-Clark",
"Whitney Museum",
"Adam D. Weinberg",
"precast concrete",
"stainless steel",
"Pier"
] |
|
15561_T | Day's End (David Hammons) | Focus on Day's End (David Hammons) and analyze the Reception. | Upon its unveiling in 2021, Critic Holland Cotter of The New York Times called the work "an immortalizing homage to Gordon Matta-Clark and art history" and suggested that it was "roomy enough to accommodate all the brilliant fragments of an incomparable career". At the same time, Kathleen Langjahr, writing for The Architect's Newspaper, said that Day's End failed to "live up to the impossible hopes of a previous generation". She also remained skeptical of the public character of the artwork saying that the installation, similarly to the neighboring Little Island at Pier 55, was "pitched as a 'gift' from the city’s wealthiest, for which we are expected to be grateful". In a review for Artforum, Peter L'Official recalled the rich queer history of Pier 52, once a prominent cruising site for gay men in the 1970s. He drew attention to the compelling connection between this storied location and Alvin Baltrop's evocative photographs, which capture the homosexual encounters of that era. | [
"Little Island at Pier 55",
"Artforum",
"gay men",
"The New York Times",
"Gordon Matta-Clark",
"Alvin Baltrop",
"Alvin Baltrop's",
"The Architect's Newspaper",
"cruising site",
"Pier",
"Holland Cotter",
"queer"
] |
|
15561_NT | Day's End (David Hammons) | Focus on this artwork and analyze the Reception. | Upon its unveiling in 2021, Critic Holland Cotter of The New York Times called the work "an immortalizing homage to Gordon Matta-Clark and art history" and suggested that it was "roomy enough to accommodate all the brilliant fragments of an incomparable career". At the same time, Kathleen Langjahr, writing for The Architect's Newspaper, said that Day's End failed to "live up to the impossible hopes of a previous generation". She also remained skeptical of the public character of the artwork saying that the installation, similarly to the neighboring Little Island at Pier 55, was "pitched as a 'gift' from the city’s wealthiest, for which we are expected to be grateful". In a review for Artforum, Peter L'Official recalled the rich queer history of Pier 52, once a prominent cruising site for gay men in the 1970s. He drew attention to the compelling connection between this storied location and Alvin Baltrop's evocative photographs, which capture the homosexual encounters of that era. | [
"Little Island at Pier 55",
"Artforum",
"gay men",
"The New York Times",
"Gordon Matta-Clark",
"Alvin Baltrop",
"Alvin Baltrop's",
"The Architect's Newspaper",
"cruising site",
"Pier",
"Holland Cotter",
"queer"
] |
|
15562_T | The Capture of the Hessians at Trenton, December 26, 1776 | In The Capture of the Hessians at Trenton, December 26, 1776, how is the abstract discussed? | The Capture of the Hessians at Trenton, December 26, 1776 is the title of an oil painting by the American artist John Trumbull depicting the capture of the Hessian soldiers at the Battle of Trenton on the morning of Thursday, December 26, 1776, during the American Revolutionary War. The focus is on General George Washington aiding the mortally wounded Hessian Colonel Johann Gottlieb Rall. Nearly 900 Hessians were captured at the battle. It is one of Trumbull's series of historical paintings on the war, which also includes the Declaration of Independence and The Death of General Mercer at the Battle of Princeton, January 3, 1777. The painting is on view at the Yale University Art Gallery in New Haven, Connecticut.
The artist intended to show the compassion of General George Washington in this painting, as he wrote in the catalogue for his exhibited works at Yale University in 1835:
The magnanimous kindness displayed by Washington, on this occasion, offers a sublime example of true heroism, and well deserves to be imitated by all military men. The artist chose this subject, and composed the picture, for the express purpose of giving a lesson to all living and future soldiers in the service of his country, to show mercy and kindness to a fallen enemy,–their enemy no longer when wounded and in their power. | [
"John Trumbull",
"Battle of Trenton",
"New Haven, Connecticut",
"Yale University",
"Hessian soldiers",
"Declaration of Independence",
"The Death of General Mercer at the Battle of Princeton, January 3, 1777",
"Yale University Art Gallery",
"historical painting",
"oil painting",
"Battle of Princeton",
"George Washington",
"Johann Gottlieb Rall",
"American Revolutionary War"
] |
|
15562_NT | The Capture of the Hessians at Trenton, December 26, 1776 | In this artwork, how is the abstract discussed? | The Capture of the Hessians at Trenton, December 26, 1776 is the title of an oil painting by the American artist John Trumbull depicting the capture of the Hessian soldiers at the Battle of Trenton on the morning of Thursday, December 26, 1776, during the American Revolutionary War. The focus is on General George Washington aiding the mortally wounded Hessian Colonel Johann Gottlieb Rall. Nearly 900 Hessians were captured at the battle. It is one of Trumbull's series of historical paintings on the war, which also includes the Declaration of Independence and The Death of General Mercer at the Battle of Princeton, January 3, 1777. The painting is on view at the Yale University Art Gallery in New Haven, Connecticut.
The artist intended to show the compassion of General George Washington in this painting, as he wrote in the catalogue for his exhibited works at Yale University in 1835:
The magnanimous kindness displayed by Washington, on this occasion, offers a sublime example of true heroism, and well deserves to be imitated by all military men. The artist chose this subject, and composed the picture, for the express purpose of giving a lesson to all living and future soldiers in the service of his country, to show mercy and kindness to a fallen enemy,–their enemy no longer when wounded and in their power. | [
"John Trumbull",
"Battle of Trenton",
"New Haven, Connecticut",
"Yale University",
"Hessian soldiers",
"Declaration of Independence",
"The Death of General Mercer at the Battle of Princeton, January 3, 1777",
"Yale University Art Gallery",
"historical painting",
"oil painting",
"Battle of Princeton",
"George Washington",
"Johann Gottlieb Rall",
"American Revolutionary War"
] |
|
15563_T | The Capture of the Hessians at Trenton, December 26, 1776 | Focus on The Capture of the Hessians at Trenton, December 26, 1776 and explore the History. | Starting in 1775, Trumbull himself served in the war, having been appointed second aide-de-camp to Washington. He later resigned from the army in 1777. The study for this painting was begun in London in November, 1786. In the study, Washington enters from the left to order that Rall, upheld by two officers, be cared for respectfully. Trumbull returned to New York on November 26, 1789, to continue work on the painting by making portraits of Washington. He continued making changes on the painting until its completion in 1828. | [
"aide-de-camp"
] |
|
15563_NT | The Capture of the Hessians at Trenton, December 26, 1776 | Focus on this artwork and explore the History. | Starting in 1775, Trumbull himself served in the war, having been appointed second aide-de-camp to Washington. He later resigned from the army in 1777. The study for this painting was begun in London in November, 1786. In the study, Washington enters from the left to order that Rall, upheld by two officers, be cared for respectfully. Trumbull returned to New York on November 26, 1789, to continue work on the painting by making portraits of Washington. He continued making changes on the painting until its completion in 1828. | [
"aide-de-camp"
] |
|
15564_T | The Capture of the Hessians at Trenton, December 26, 1776 | Focus on The Capture of the Hessians at Trenton, December 26, 1776 and explain the Description. | In the center of the painting, American General George Washington is focusing his attention on the needs of the mortally wounded Hessian Colonel Johann Gottlieb Rall. Rall is being helped by American Major William Stephens Smith, aide-de-camp to General John Sullivan. Washington orders Smith to "call our best surgeons to his assistance, and let us save his life if possible." During the battle, Rall had been shot twice and needed to be carried into his headquarters, where he died that night. Behind Washington, on horseback, are his aides, Colonel Robert Hanson Harrison and Captain Tench Tilghman.To the left and behind Rall, severely wounded American Lieutenant James Monroe is attended to by Dr. John Riker. He saved Monroe's life by quickly clamping the damaged artery to stop the heavy bleeding. On the far left, dressed in white, is American Colonel Josiah Parker. He had the honor to receive Rall's sword of surrender and he alone holds a sword in the painting. Next to him are Colonels Edward Wigglesworth and William Shepard.American Major General Nathanael Greene is shown on the right on a light-colored horse, facing Washington. Behind Greene are American Generals John Sullivan, Henry Knox, Philemon Dickinson, John Glover, and George Weedon. Standing to the right of Greene is Captain William Washington, who was wounded in his hand during the battle.In the foreground, a fallen Hessian flag is shown. Washington was later presented one as a war trophy. | [
"Robert Hanson Harrison",
"John Sullivan",
"Philemon Dickinson",
"John Glover",
"William Shepard",
"William Washington",
"James Monroe",
"aide-de-camp",
"Tench Tilghman",
"George Washington",
"Josiah Parker",
"William Stephens Smith",
"Johann Gottlieb Rall",
"Henry Knox",
"George Weedon",
"Nathanael Greene"
] |
|
15564_NT | The Capture of the Hessians at Trenton, December 26, 1776 | Focus on this artwork and explain the Description. | In the center of the painting, American General George Washington is focusing his attention on the needs of the mortally wounded Hessian Colonel Johann Gottlieb Rall. Rall is being helped by American Major William Stephens Smith, aide-de-camp to General John Sullivan. Washington orders Smith to "call our best surgeons to his assistance, and let us save his life if possible." During the battle, Rall had been shot twice and needed to be carried into his headquarters, where he died that night. Behind Washington, on horseback, are his aides, Colonel Robert Hanson Harrison and Captain Tench Tilghman.To the left and behind Rall, severely wounded American Lieutenant James Monroe is attended to by Dr. John Riker. He saved Monroe's life by quickly clamping the damaged artery to stop the heavy bleeding. On the far left, dressed in white, is American Colonel Josiah Parker. He had the honor to receive Rall's sword of surrender and he alone holds a sword in the painting. Next to him are Colonels Edward Wigglesworth and William Shepard.American Major General Nathanael Greene is shown on the right on a light-colored horse, facing Washington. Behind Greene are American Generals John Sullivan, Henry Knox, Philemon Dickinson, John Glover, and George Weedon. Standing to the right of Greene is Captain William Washington, who was wounded in his hand during the battle.In the foreground, a fallen Hessian flag is shown. Washington was later presented one as a war trophy. | [
"Robert Hanson Harrison",
"John Sullivan",
"Philemon Dickinson",
"John Glover",
"William Shepard",
"William Washington",
"James Monroe",
"aide-de-camp",
"Tench Tilghman",
"George Washington",
"Josiah Parker",
"William Stephens Smith",
"Johann Gottlieb Rall",
"Henry Knox",
"George Weedon",
"Nathanael Greene"
] |
|
15565_T | The Capture of the Hessians at Trenton, December 26, 1776 | Explore the Other versions of this artwork, The Capture of the Hessians at Trenton, December 26, 1776. | A large scale version (72+1⁄4 inches (184 cm) × 108 inches (270 cm)), finished in 1831, is owned by the Wadsworth Atheneum in Hartford, Connecticut. | [
"Wadsworth Atheneum",
"Hartford, Connecticut"
] |
|
15565_NT | The Capture of the Hessians at Trenton, December 26, 1776 | Explore the Other versions of this artwork. | A large scale version (72+1⁄4 inches (184 cm) × 108 inches (270 cm)), finished in 1831, is owned by the Wadsworth Atheneum in Hartford, Connecticut. | [
"Wadsworth Atheneum",
"Hartford, Connecticut"
] |
|
15566_T | The Capture of the Hessians at Trenton, December 26, 1776 | Focus on The Capture of the Hessians at Trenton, December 26, 1776 and discuss the Critical reception. | Trumbull did not use the prelude to the capture, namely the crossing of the Delaware River, as a subject. Artists did not paint that until 1819 by Thomas Sully and then notably by Emanuel Leutze. Trumbull's work drew criticism from historian and painter William Dunlap after he viewed it in the Trumbull Gallery at Yale in 1834: All that is good in this picture was painted in 1789 and shortly after. What is good is very good, but unfortunately the artist undertook, in after life, to finish it, and every touch is a blot. | [
"William Dunlap",
"Emanuel Leutze",
"crossing of the Delaware River",
"Thomas Sully"
] |
|
15566_NT | The Capture of the Hessians at Trenton, December 26, 1776 | Focus on this artwork and discuss the Critical reception. | Trumbull did not use the prelude to the capture, namely the crossing of the Delaware River, as a subject. Artists did not paint that until 1819 by Thomas Sully and then notably by Emanuel Leutze. Trumbull's work drew criticism from historian and painter William Dunlap after he viewed it in the Trumbull Gallery at Yale in 1834: All that is good in this picture was painted in 1789 and shortly after. What is good is very good, but unfortunately the artist undertook, in after life, to finish it, and every touch is a blot. | [
"William Dunlap",
"Emanuel Leutze",
"crossing of the Delaware River",
"Thomas Sully"
] |
|
15567_T | The Large Horse | How does The Large Horse elucidate its abstract? | The Large Horse (French: Le Grand cheval) is a 1914-31 bronze sculpture by French artist Raymond Duchamp-Villon, installed at the Museum of Fine Arts, Houston's (MFAH) Lillie and Hugh Roy Cullen Sculpture Garden in Houston, Texas, in the United States. | [
"Horse",
"bronze sculpture",
"Houston",
"Museum of Fine Arts, Houston",
"Raymond Duchamp-Villon",
"Lillie and Hugh Roy Cullen Sculpture Garden"
] |
|
15567_NT | The Large Horse | How does this artwork elucidate its abstract? | The Large Horse (French: Le Grand cheval) is a 1914-31 bronze sculpture by French artist Raymond Duchamp-Villon, installed at the Museum of Fine Arts, Houston's (MFAH) Lillie and Hugh Roy Cullen Sculpture Garden in Houston, Texas, in the United States. | [
"Horse",
"bronze sculpture",
"Houston",
"Museum of Fine Arts, Houston",
"Raymond Duchamp-Villon",
"Lillie and Hugh Roy Cullen Sculpture Garden"
] |
|
15568_T | The Large Horse | Focus on The Large Horse and analyze the Description. | Raymond Duchamp-Villon's Le cheval was designed in 1914. An enlargement from the original plaster made by Duchamp-Villon to 1 meter, was performed under the supervision of the artists brother Jacques Villon in 1930–1931.The Large Horse measures 59 x 60 1/4 x 37 3/4 inches. The sculpture was purchased by the museum with funds from its board of trustees. Houston Press called the work "semi-abstract with some cubistic elements but that, more important, roars with its own energy. It reeks of perfection, of a difficult artistic goal not only met but exceeded, and is fascinating and witty. It's clear that we are seeing the talent of genius." | [
"Jacques Villon",
"Horse",
"Houston",
"Houston Press",
"Raymond Duchamp-Villon"
] |
|
15568_NT | The Large Horse | Focus on this artwork and analyze the Description. | Raymond Duchamp-Villon's Le cheval was designed in 1914. An enlargement from the original plaster made by Duchamp-Villon to 1 meter, was performed under the supervision of the artists brother Jacques Villon in 1930–1931.The Large Horse measures 59 x 60 1/4 x 37 3/4 inches. The sculpture was purchased by the museum with funds from its board of trustees. Houston Press called the work "semi-abstract with some cubistic elements but that, more important, roars with its own energy. It reeks of perfection, of a difficult artistic goal not only met but exceeded, and is fascinating and witty. It's clear that we are seeing the talent of genius." | [
"Jacques Villon",
"Horse",
"Houston",
"Houston Press",
"Raymond Duchamp-Villon"
] |
|
15569_T | The Punishment of Tityus (Michelangelo) | In The Punishment of Tityus (Michelangelo), how is the abstract discussed? | The Punishment of Tityus is a drawing by the Italian Renaissance artist Michelangelo. | [
"Italian Renaissance",
"Michelangelo",
"Tityus",
"Pun"
] |
|
15569_NT | The Punishment of Tityus (Michelangelo) | In this artwork, how is the abstract discussed? | The Punishment of Tityus is a drawing by the Italian Renaissance artist Michelangelo. | [
"Italian Renaissance",
"Michelangelo",
"Tityus",
"Pun"
] |
|
15570_T | The Punishment of Tityus (Michelangelo) | Focus on The Punishment of Tityus (Michelangelo) and explore the Description. | The drawing shows the mythical figure Tityus tied down on a large rock; on the top of the rock seems to be some kind of plant or tree trunk with roots. The trunk appears to have a human face in profile its his mouth fully open as if in a scream. The rock is the only indication of a location as the foreground and background remain blank except for a horizon line. The body of Tityus is twisted with his head back while his right arm is tied above his head and his left arm is assumed to be tied by his hip because the actual hand is not visible; Tityus's right leg lies flat while his left leg is up in a right-degree angle. Above Tityus is a vulture that is the about the size of a human. The vulture leans over the twisted body of Tityus with its wing almost fully extended on both sides and its head inching closer to the midsection of Tityus. | [
"vulture",
"tree trunk",
"Tityus"
] |
|
15570_NT | The Punishment of Tityus (Michelangelo) | Focus on this artwork and explore the Description. | The drawing shows the mythical figure Tityus tied down on a large rock; on the top of the rock seems to be some kind of plant or tree trunk with roots. The trunk appears to have a human face in profile its his mouth fully open as if in a scream. The rock is the only indication of a location as the foreground and background remain blank except for a horizon line. The body of Tityus is twisted with his head back while his right arm is tied above his head and his left arm is assumed to be tied by his hip because the actual hand is not visible; Tityus's right leg lies flat while his left leg is up in a right-degree angle. Above Tityus is a vulture that is the about the size of a human. The vulture leans over the twisted body of Tityus with its wing almost fully extended on both sides and its head inching closer to the midsection of Tityus. | [
"vulture",
"tree trunk",
"Tityus"
] |
|
15571_T | The Punishment of Tityus (Michelangelo) | Focus on The Punishment of Tityus (Michelangelo) and explain the Tommaso dei Cavalieri. | The Tityus drawing is one of several presentation drawings that Michelangelo gave to Tommaso dei Cavalieri. Cavalieri was a young Roman noble who became a very close friend to Michelangelo from 1532 up until Michelangelo's death in 1564.The relationship between the two men has been scrutinized by scholars because of the large volume of correspondence between them. Michelangelo wrote many letters to Cavalieri along with poetry and the previously mentioned drawings. In the many sonnets he wrote to Cavalieri, Michelangelo referred to the "immeasurable love" that he carried for young nobleman; he even used Cavalieri's name in a pun to describe his affections stating, "I am held prisoner by an armed Cavalier". | [
"Michelangelo",
"sonnet",
"pun",
"Tityus",
"Tommaso dei Cavalieri"
] |
|
15571_NT | The Punishment of Tityus (Michelangelo) | Focus on this artwork and explain the Tommaso dei Cavalieri. | The Tityus drawing is one of several presentation drawings that Michelangelo gave to Tommaso dei Cavalieri. Cavalieri was a young Roman noble who became a very close friend to Michelangelo from 1532 up until Michelangelo's death in 1564.The relationship between the two men has been scrutinized by scholars because of the large volume of correspondence between them. Michelangelo wrote many letters to Cavalieri along with poetry and the previously mentioned drawings. In the many sonnets he wrote to Cavalieri, Michelangelo referred to the "immeasurable love" that he carried for young nobleman; he even used Cavalieri's name in a pun to describe his affections stating, "I am held prisoner by an armed Cavalier". | [
"Michelangelo",
"sonnet",
"pun",
"Tityus",
"Tommaso dei Cavalieri"
] |
|
15572_T | The Punishment of Tityus (Michelangelo) | Explore the Possible homoeroticism of this artwork, The Punishment of Tityus (Michelangelo). | The drawings Michelangelo created for Cavalieri were complete and finished works of art. Michelangelo gave him the first set of drawings in 1532. This grouping is made up of the drawings Tityus and Ganymede. Scholars have interpreted the two drawings in this grouping to have homoerotic undertones. For example, the character of Tityus from mythology tried to rape Leto, Apollo's mother. For his punishment, Tityus was chained to a rock in Hades so that two vultures could eternally peck out his liver. In this framework, the drawing could be interpreted as a representation of pining and a love that will never be realized. Since the liver is continuously pecked out only to grow back again for all of eternity and the liver is often referred to as the "seat of the passions", the scene could refer to Michelangelo's unrequited love for Cavalieri.A similar homoerotic interpretation could be made for the Ganymede drawing. In mythology, Ganymede was a cupbearer for Zeus. Zeus fell into such lust for the young cupbearer that he took on the form of an eagle to sweep Ganymede off to Mount Olympus to be with him. In this context, Ganymede could represent the young Cavalieri and the eagle could represent the mature and overpowering Michelangelo. The scene could be a visual representation of Michelangelo's physical desire for Cavalieri.It would make sense that Michelangelo would use such drawings, sonnets and letters to profess his affections because of the social stigma attached to homosexuality. Even though Florence did have a prevalent homosexual community, Michelangelo's faith would not allow him to be open about his feeling for the young nobleman. Also, Michelangelo had been accused numerous times of having affairs with other young men. The homoerotic drawings could have been a way for Michelangelo to express his feelings out of the public eye and away from gossip. | [
"homosexuality",
"vulture",
"Florence",
"Michelangelo",
"eagle",
"sonnet",
"gossip",
"eternity",
"cupbearer",
"pun",
"Leto",
"Hades",
"Mount Olympus",
"sexuality",
"liver",
"homoerotic",
"Tityus",
"mythology",
"Zeus",
"Apollo",
"Ganymede"
] |
|
15572_NT | The Punishment of Tityus (Michelangelo) | Explore the Possible homoeroticism of this artwork. | The drawings Michelangelo created for Cavalieri were complete and finished works of art. Michelangelo gave him the first set of drawings in 1532. This grouping is made up of the drawings Tityus and Ganymede. Scholars have interpreted the two drawings in this grouping to have homoerotic undertones. For example, the character of Tityus from mythology tried to rape Leto, Apollo's mother. For his punishment, Tityus was chained to a rock in Hades so that two vultures could eternally peck out his liver. In this framework, the drawing could be interpreted as a representation of pining and a love that will never be realized. Since the liver is continuously pecked out only to grow back again for all of eternity and the liver is often referred to as the "seat of the passions", the scene could refer to Michelangelo's unrequited love for Cavalieri.A similar homoerotic interpretation could be made for the Ganymede drawing. In mythology, Ganymede was a cupbearer for Zeus. Zeus fell into such lust for the young cupbearer that he took on the form of an eagle to sweep Ganymede off to Mount Olympus to be with him. In this context, Ganymede could represent the young Cavalieri and the eagle could represent the mature and overpowering Michelangelo. The scene could be a visual representation of Michelangelo's physical desire for Cavalieri.It would make sense that Michelangelo would use such drawings, sonnets and letters to profess his affections because of the social stigma attached to homosexuality. Even though Florence did have a prevalent homosexual community, Michelangelo's faith would not allow him to be open about his feeling for the young nobleman. Also, Michelangelo had been accused numerous times of having affairs with other young men. The homoerotic drawings could have been a way for Michelangelo to express his feelings out of the public eye and away from gossip. | [
"homosexuality",
"vulture",
"Florence",
"Michelangelo",
"eagle",
"sonnet",
"gossip",
"eternity",
"cupbearer",
"pun",
"Leto",
"Hades",
"Mount Olympus",
"sexuality",
"liver",
"homoerotic",
"Tityus",
"mythology",
"Zeus",
"Apollo",
"Ganymede"
] |
|
15573_T | The Punishment of Tityus (Michelangelo) | Focus on The Punishment of Tityus (Michelangelo) and discuss the Possible drawing aids. | Another interpretation of this group of drawings is that they were didactic and created for the purposes of teaching Cavalieri how to draw. This interpretation stems from a comment from Vasari that Cavalieri was given these works "because he was learning to draw". Also, on the back of the Tityus drawing, the figure of Tityus has been redrawn into a representation of the Risen Christ. It was originally thought that Michelangelo had done the tracing on the back but some scholars now think that the Risen Christ was completed by Cavalieri as a drawing exercise. Cavalieri's hand has been more readily identifiable due to the discovery of several drawing by him including a copy of the Fall of Phaeton, which was another presentation drawing given to him by Michelangelo.Another aspect of the drawings suggesting they were teaching tools is that all four of the presentation drawings given to Cavalieri (Tityus, Ganymede, The Fall of Phaeton, and The Dreamer) all have the main figure facing different directions. For example, Tityus has the figure with his head downward facing the left while the figure from The Dreamer has his head up and to the right. Also, the figure in Ganymede is ascending vertically while the figure from The Fall of Phaeton is falling upside down. These four drawings as a group show the body facing all four cardinal directions and could have served to show Cavalieri how to depict the nude male form in different basic positions. | [
"didactic",
"Michelangelo",
"Tityus",
"Risen Christ",
"Vasari",
"Ganymede"
] |
|
15573_NT | The Punishment of Tityus (Michelangelo) | Focus on this artwork and discuss the Possible drawing aids. | Another interpretation of this group of drawings is that they were didactic and created for the purposes of teaching Cavalieri how to draw. This interpretation stems from a comment from Vasari that Cavalieri was given these works "because he was learning to draw". Also, on the back of the Tityus drawing, the figure of Tityus has been redrawn into a representation of the Risen Christ. It was originally thought that Michelangelo had done the tracing on the back but some scholars now think that the Risen Christ was completed by Cavalieri as a drawing exercise. Cavalieri's hand has been more readily identifiable due to the discovery of several drawing by him including a copy of the Fall of Phaeton, which was another presentation drawing given to him by Michelangelo.Another aspect of the drawings suggesting they were teaching tools is that all four of the presentation drawings given to Cavalieri (Tityus, Ganymede, The Fall of Phaeton, and The Dreamer) all have the main figure facing different directions. For example, Tityus has the figure with his head downward facing the left while the figure from The Dreamer has his head up and to the right. Also, the figure in Ganymede is ascending vertically while the figure from The Fall of Phaeton is falling upside down. These four drawings as a group show the body facing all four cardinal directions and could have served to show Cavalieri how to depict the nude male form in different basic positions. | [
"didactic",
"Michelangelo",
"Tityus",
"Risen Christ",
"Vasari",
"Ganymede"
] |
|
15574_T | The Punishment of Tityus (Michelangelo) | How does The Punishment of Tityus (Michelangelo) elucidate its Conclusions? | Michelangelo's presentation drawings for Cavalieri have been a topic of interest among scholars because of their highly finished nature and because of the implications that they might have about Michelangelo's sexuality. The drawings have been argued to be expressions of homoeroticism and also teaching tools for the purpose of instructing Cavalieri on how to draw. Also, Tityus has become of special interest among this grouping because of the dpeiction of the Risen Christ on the back. The purpose of this figure on the back along with who drew it is still unknown by scholars and remains a mystery. | [
"Michelangelo",
"sexuality",
"homoerotic",
"Tityus",
"Risen Christ"
] |
|
15574_NT | The Punishment of Tityus (Michelangelo) | How does this artwork elucidate its Conclusions? | Michelangelo's presentation drawings for Cavalieri have been a topic of interest among scholars because of their highly finished nature and because of the implications that they might have about Michelangelo's sexuality. The drawings have been argued to be expressions of homoeroticism and also teaching tools for the purpose of instructing Cavalieri on how to draw. Also, Tityus has become of special interest among this grouping because of the dpeiction of the Risen Christ on the back. The purpose of this figure on the back along with who drew it is still unknown by scholars and remains a mystery. | [
"Michelangelo",
"sexuality",
"homoerotic",
"Tityus",
"Risen Christ"
] |
|
15575_T | Statue of Florence R. Sabin | Focus on Statue of Florence R. Sabin and analyze the abstract. | Florence R. Sabin is a bronze sculpture depicting the American medical scientist of the same name by Joy Buba, installed in the Hall of Columns, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Colorado in 1959. | [
"Florence R. Sabin",
"Hall of Columns",
"American medical scientist of the same name",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"U.S. state",
"Colorado",
"Joy Buba"
] |
|
15575_NT | Statue of Florence R. Sabin | Focus on this artwork and analyze the abstract. | Florence R. Sabin is a bronze sculpture depicting the American medical scientist of the same name by Joy Buba, installed in the Hall of Columns, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Colorado in 1959. | [
"Florence R. Sabin",
"Hall of Columns",
"American medical scientist of the same name",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"U.S. state",
"Colorado",
"Joy Buba"
] |
|
15576_T | Head of Camille Claudel | In Head of Camille Claudel, how is the abstract discussed? | Head of Camille Claudel is a polychrome glass paste sculpture by the French artist Auguste Rodin, conceived in 1884 and executed in 1911. It is now in the Museo Soumaya in Mexico City. It shows his then studio assistant Camille Claudel in a Phrygian cap. | [
"Camille Claudel",
"Museo Soumaya",
"glass paste",
"Phrygian cap",
"Mexico City",
"polychrome",
"Auguste Rodin"
] |
|
15576_NT | Head of Camille Claudel | In this artwork, how is the abstract discussed? | Head of Camille Claudel is a polychrome glass paste sculpture by the French artist Auguste Rodin, conceived in 1884 and executed in 1911. It is now in the Museo Soumaya in Mexico City. It shows his then studio assistant Camille Claudel in a Phrygian cap. | [
"Camille Claudel",
"Museo Soumaya",
"glass paste",
"Phrygian cap",
"Mexico City",
"polychrome",
"Auguste Rodin"
] |
|
15577_T | Head of Camille Claudel | Focus on Head of Camille Claudel and explore the Background. | Claudel, a now-renowned sculptor, studied under Rodin's friend Alfred Boucher and then with Rodin. Rodin took over Boucher's classes, took Claudel on as a studio assistant, and they soon became associates and lovers. He produced the head during the early stages of their collaboration. | [
"Alfred Boucher"
] |
|
15577_NT | Head of Camille Claudel | Focus on this artwork and explore the Background. | Claudel, a now-renowned sculptor, studied under Rodin's friend Alfred Boucher and then with Rodin. Rodin took over Boucher's classes, took Claudel on as a studio assistant, and they soon became associates and lovers. He produced the head during the early stages of their collaboration. | [
"Alfred Boucher"
] |
|
15578_T | The Chariot of Death | Focus on The Chariot of Death and explain the abstract. | The Chariot of Death is a large allegorical painting by Théophile Schuler. It was gifted to the Unterlinden Museum by the artist in 1862. Its inventory number is 88.RP.454. The painting is considered one of the most emblematic of the collection (which includes the world-famous Isenheim Altarpiece). A drawn copy of the painting is kept in the Cabinet des estampes et des dessins. | [
"Théophile Schuler",
"drawn",
"Death",
"Isenheim Altarpiece",
"Cabinet des estampes et des dessins",
"Unterlinden Museum",
"allegorical painting"
] |
|
15578_NT | The Chariot of Death | Focus on this artwork and explain the abstract. | The Chariot of Death is a large allegorical painting by Théophile Schuler. It was gifted to the Unterlinden Museum by the artist in 1862. Its inventory number is 88.RP.454. The painting is considered one of the most emblematic of the collection (which includes the world-famous Isenheim Altarpiece). A drawn copy of the painting is kept in the Cabinet des estampes et des dessins. | [
"Théophile Schuler",
"drawn",
"Death",
"Isenheim Altarpiece",
"Cabinet des estampes et des dessins",
"Unterlinden Museum",
"allegorical painting"
] |
|
15579_T | The Chariot of Death | Explore the Content of this artwork, The Chariot of Death. | The painting was begun by Schuler (then 27 years old) after his return to his hometown of Strasbourg, under the impression of the Revolutions of 1848, specifically the French Revolution of 1848, which he had witnessed in Paris. Schuler worked on its completion until 1851, during which time he became witness to the counter-revolutionary backlash, which confirmed the pessimism and the anguish of his vision of the 1848 upheavals and turmoil.The Chariot of Death is inspired by medieval and early Renaissance Dances of Death, especially Hans Holbein the Younger's. As with older depictions, Schuler's painting shows people from all ages and walks of life: a pope, a king, a young mother (modelled on the artist's sister), a fool, a poet, a sick man, a lawyer, a murderer, a Native American, an Arab, a young Napoleon... being taken away by death. A special emphasis is placed on artists (among them Dante and a self-portrait of Schuler), who are at the top of the pyramidal composition, and on French revolutionaries, with whom Schuler had empathized.Schuler depicts different personifications of Death: one is the angel of death in the centre of the painting, a young and beautiful but cold-faced woman with black hair and black wings, who drives the chariot while looking straight at the viewer; the other is a skeleton in a shroud, in the lower right corner of the painting, which is shown grabbing an executioner with its right hand, while dramatically driving the Wandering Jew (a common trope of anti-Judaism) away with its left hand. On the opposite side of the diagonal starting bottom right with the Wandering Jew is a wayside cross, which the chariot is only driving by. Schuler thus raises the question of the meaning of death and alludes to the inability of religion to provide an answer. | [
"Hans Holbein the Younger",
"Napoleon",
"Death",
"French Revolution of 1848",
"Dante",
"anti-Judaism",
"Wandering Jew",
"skeleton",
"wayside cross",
"Revolutions of 1848",
"Strasbourg",
"composition",
"angel",
"Dances of Death",
"executioner",
"counter-revolutionary",
"Paris",
"personifications of Death"
] |
|
15579_NT | The Chariot of Death | Explore the Content of this artwork. | The painting was begun by Schuler (then 27 years old) after his return to his hometown of Strasbourg, under the impression of the Revolutions of 1848, specifically the French Revolution of 1848, which he had witnessed in Paris. Schuler worked on its completion until 1851, during which time he became witness to the counter-revolutionary backlash, which confirmed the pessimism and the anguish of his vision of the 1848 upheavals and turmoil.The Chariot of Death is inspired by medieval and early Renaissance Dances of Death, especially Hans Holbein the Younger's. As with older depictions, Schuler's painting shows people from all ages and walks of life: a pope, a king, a young mother (modelled on the artist's sister), a fool, a poet, a sick man, a lawyer, a murderer, a Native American, an Arab, a young Napoleon... being taken away by death. A special emphasis is placed on artists (among them Dante and a self-portrait of Schuler), who are at the top of the pyramidal composition, and on French revolutionaries, with whom Schuler had empathized.Schuler depicts different personifications of Death: one is the angel of death in the centre of the painting, a young and beautiful but cold-faced woman with black hair and black wings, who drives the chariot while looking straight at the viewer; the other is a skeleton in a shroud, in the lower right corner of the painting, which is shown grabbing an executioner with its right hand, while dramatically driving the Wandering Jew (a common trope of anti-Judaism) away with its left hand. On the opposite side of the diagonal starting bottom right with the Wandering Jew is a wayside cross, which the chariot is only driving by. Schuler thus raises the question of the meaning of death and alludes to the inability of religion to provide an answer. | [
"Hans Holbein the Younger",
"Napoleon",
"Death",
"French Revolution of 1848",
"Dante",
"anti-Judaism",
"Wandering Jew",
"skeleton",
"wayside cross",
"Revolutions of 1848",
"Strasbourg",
"composition",
"angel",
"Dances of Death",
"executioner",
"counter-revolutionary",
"Paris",
"personifications of Death"
] |
|
15580_T | Arcos del Milenio | Focus on Arcos del Milenio and discuss the abstract. | The Arcos del Milenio (transl. Millennium Arches), officially the Arcos del Tercer Milenio (transl. Third Millennium Arches), is a sculpture by Sebastián, installed in Guadalajara, Jalisco, Mexico. It is located along Avenues Mariano Otero and Lázaro Cárdenas. It is 52 meters (171 ft) high, weights around 1,500 metric tons (1,500 long tons; 1,700 short tons) and it covers 1,700 square meters (18,000 sq ft).It was approved in 1999 by Francisco Javier Ramírez Acuña, the then-municipal president. The artwork is incomplete, as it only has placed four out of six arches. The first three arches were placed between 2000 and 2001, while the fourth one in 2005. Due to budget constraints and public opposition, the municipality will not continue paying for its conclusion. Sebastián has asked some private corporations to complete it. A miniature replica of the full planned monument was built at a park in the nearby town of Tapalpa.The arches are commonly graffitied. | [
"Tapalpa",
"Jalisco",
"Guadalajara",
"Francisco Javier Ramírez Acuña",
"Sebastián"
] |
|
15580_NT | Arcos del Milenio | Focus on this artwork and discuss the abstract. | The Arcos del Milenio (transl. Millennium Arches), officially the Arcos del Tercer Milenio (transl. Third Millennium Arches), is a sculpture by Sebastián, installed in Guadalajara, Jalisco, Mexico. It is located along Avenues Mariano Otero and Lázaro Cárdenas. It is 52 meters (171 ft) high, weights around 1,500 metric tons (1,500 long tons; 1,700 short tons) and it covers 1,700 square meters (18,000 sq ft).It was approved in 1999 by Francisco Javier Ramírez Acuña, the then-municipal president. The artwork is incomplete, as it only has placed four out of six arches. The first three arches were placed between 2000 and 2001, while the fourth one in 2005. Due to budget constraints and public opposition, the municipality will not continue paying for its conclusion. Sebastián has asked some private corporations to complete it. A miniature replica of the full planned monument was built at a park in the nearby town of Tapalpa.The arches are commonly graffitied. | [
"Tapalpa",
"Jalisco",
"Guadalajara",
"Francisco Javier Ramírez Acuña",
"Sebastián"
] |
|
15581_T | Apse of Santa Maria, Àneu | How does Apse of Santa Maria, Àneu elucidate its abstract? | The Apse of Santa María d'Àneu is a romanesque apse of the church of Santa Maria, Àneu, created in the late 11th century or early 12th century, the transferred frescos from which are now exhibited at Museu Nacional d'Art de Catalunya, in Barcelona.
The decoration of the apse of the church of Santa María d’Àneu combines themes and motifs from the Old and New Testaments. Originally painted at the Church of Santa María d’Àneu (La Guingueta d’Àneu, Lleida) | [
"apse",
"Apse",
"Barcelona",
"New Testament",
"Santa Maria, Àneu",
"Museu Nacional d'Art de Catalunya",
"Lleida",
"fresco"
] |
|
15581_NT | Apse of Santa Maria, Àneu | How does this artwork elucidate its abstract? | The Apse of Santa María d'Àneu is a romanesque apse of the church of Santa Maria, Àneu, created in the late 11th century or early 12th century, the transferred frescos from which are now exhibited at Museu Nacional d'Art de Catalunya, in Barcelona.
The decoration of the apse of the church of Santa María d’Àneu combines themes and motifs from the Old and New Testaments. Originally painted at the Church of Santa María d’Àneu (La Guingueta d’Àneu, Lleida) | [
"apse",
"Apse",
"Barcelona",
"New Testament",
"Santa Maria, Àneu",
"Museu Nacional d'Art de Catalunya",
"Lleida",
"fresco"
] |
|
15582_T | Apse of Santa Maria, Àneu | Focus on Apse of Santa Maria, Àneu and analyze the History. | The church of Santa María d'Àneu is located in the upper valley of the Noguera Pallaresa, Pyrenees mountain region. The building once belonged to a Benedictine Monastery, it is divided into a nave and aisles by six pairs of piers, taking the shape of a cross. The east end concludes in three semicircular apses, the central apse was decorated with frescoes.Santa Maria in Àneu was the most important church in the Àneu Valley and belonged to the cathedral chapter of Urgell. From the stylistic circle of Pedret, of Lombardic influence, the decoration of the apse reveals the existence of an elaborate iconographic and theological programme setting off the prophetic hopes of the Old Testament—that is, hope in the coming of a Messiah who was to redeem humanity—against fulfillment of the prophecies—that is, the coming of the Messiah announced by the prophets. Museu Nacional d'Art de Catalunya dates the original work at the end of 11th century – beginning of 12th century. However, there is speculation that the paintings were completed at the beginning of the 13th century at the time when Romanesque styles were breaking down and Gothic Art was coming of age. | [
"apse",
"Pyrenees",
"nave",
"Gothic",
"Museu Nacional d'Art de Catalunya",
"fresco"
] |
|
15582_NT | Apse of Santa Maria, Àneu | Focus on this artwork and analyze the History. | The church of Santa María d'Àneu is located in the upper valley of the Noguera Pallaresa, Pyrenees mountain region. The building once belonged to a Benedictine Monastery, it is divided into a nave and aisles by six pairs of piers, taking the shape of a cross. The east end concludes in three semicircular apses, the central apse was decorated with frescoes.Santa Maria in Àneu was the most important church in the Àneu Valley and belonged to the cathedral chapter of Urgell. From the stylistic circle of Pedret, of Lombardic influence, the decoration of the apse reveals the existence of an elaborate iconographic and theological programme setting off the prophetic hopes of the Old Testament—that is, hope in the coming of a Messiah who was to redeem humanity—against fulfillment of the prophecies—that is, the coming of the Messiah announced by the prophets. Museu Nacional d'Art de Catalunya dates the original work at the end of 11th century – beginning of 12th century. However, there is speculation that the paintings were completed at the beginning of the 13th century at the time when Romanesque styles were breaking down and Gothic Art was coming of age. | [
"apse",
"Pyrenees",
"nave",
"Gothic",
"Museu Nacional d'Art de Catalunya",
"fresco"
] |
|
15583_T | Apse of Santa Maria, Àneu | In Apse of Santa Maria, Àneu, how is the Description discussed? | The iconography of the painting is suggestive of the Old Testament through the presence of the prophets in reverential attitudes. In the vault portion of the apse, the Epiphany or Adoration of the Magi is represented, with Mary, Jesus, and the three eastern kings baring gifts. Wheels of fire from Jehovah’s chariot are depicted in the lower register, conforming to Ezekiel’s vision. To the right and left are the archangels Michael and Gabriel holding banners and scrolls with the inscription PETICIVS and POSTVLATIVS. Bordering the central window of the lower zones are two six-winged seraphim, in their hands they hold live coals with tongs which they place in the mouths of two crouching figures. In the left lower zone, there are two tonsured (meaning scalp has been shaved) figures who might be Saints Benedict and Bernard or one of them might be a portrait of a local deacon on account of the realism in the face of the figure. The theory that these figures are patrons of the church is strengthened by the discovery of similar figures in related frescoes at the monastery of Saint Peter of Berga. The third archangel, Raphael, does not appear with the others in the semidome but in the lower section.At the bottom is the announcement, the biblical prophecy, represented by means of combined images of the visions of Isaiah and Ezequiel. In keeping with the first, two magnificent seraphim with three pairs of wings each purify the mouth of the
prophets with glowing embers which they are holding with tongs. Next to them are the prophets, represented with their hands together in an attitude of reverence.
At the same time, the seraphim intone the Trisagion, or song of praise to the Lord, represented by the letters SCS, SCS, SCS, which mean ‘holy, holy, holy’. From this moment, the word of the prophets will be the word of God. Beneath the central
window are the wheels of fire of Yahweh’s chariot, described in Ezequiel’s vision, which symbolise the presence of the Lord. On the vault was the Virgin and Child, representing the accomplishment of the prophecies, in the scene from Epiphany,
with two archangels, Michael and Gabriel, patrons of sinners, in a representation very similar to that in the apse from Santa Maria in Cap d'Aran (The Cloisters, New York). A third archangel, Raphael, is represented on the right of the semicylinder,
perhaps as the introducer of the two donor clergymen who appear on the left of the apse. | [
"apse",
"Raphael",
"archangels",
"realism",
"Berga",
"Magi",
"seraphim",
"fresco"
] |
|
15583_NT | Apse of Santa Maria, Àneu | In this artwork, how is the Description discussed? | The iconography of the painting is suggestive of the Old Testament through the presence of the prophets in reverential attitudes. In the vault portion of the apse, the Epiphany or Adoration of the Magi is represented, with Mary, Jesus, and the three eastern kings baring gifts. Wheels of fire from Jehovah’s chariot are depicted in the lower register, conforming to Ezekiel’s vision. To the right and left are the archangels Michael and Gabriel holding banners and scrolls with the inscription PETICIVS and POSTVLATIVS. Bordering the central window of the lower zones are two six-winged seraphim, in their hands they hold live coals with tongs which they place in the mouths of two crouching figures. In the left lower zone, there are two tonsured (meaning scalp has been shaved) figures who might be Saints Benedict and Bernard or one of them might be a portrait of a local deacon on account of the realism in the face of the figure. The theory that these figures are patrons of the church is strengthened by the discovery of similar figures in related frescoes at the monastery of Saint Peter of Berga. The third archangel, Raphael, does not appear with the others in the semidome but in the lower section.At the bottom is the announcement, the biblical prophecy, represented by means of combined images of the visions of Isaiah and Ezequiel. In keeping with the first, two magnificent seraphim with three pairs of wings each purify the mouth of the
prophets with glowing embers which they are holding with tongs. Next to them are the prophets, represented with their hands together in an attitude of reverence.
At the same time, the seraphim intone the Trisagion, or song of praise to the Lord, represented by the letters SCS, SCS, SCS, which mean ‘holy, holy, holy’. From this moment, the word of the prophets will be the word of God. Beneath the central
window are the wheels of fire of Yahweh’s chariot, described in Ezequiel’s vision, which symbolise the presence of the Lord. On the vault was the Virgin and Child, representing the accomplishment of the prophecies, in the scene from Epiphany,
with two archangels, Michael and Gabriel, patrons of sinners, in a representation very similar to that in the apse from Santa Maria in Cap d'Aran (The Cloisters, New York). A third archangel, Raphael, is represented on the right of the semicylinder,
perhaps as the introducer of the two donor clergymen who appear on the left of the apse. | [
"apse",
"Raphael",
"archangels",
"realism",
"Berga",
"Magi",
"seraphim",
"fresco"
] |
|
15584_T | Apse of Santa Maria, Àneu | Focus on Apse of Santa Maria, Àneu and explore the Composition. | The frescoes are attributed to the Circle of the Master of Pedret. The Master of Pedret was the first significant painter of the Catalon Romanesque period and is named for the wall paintings at the church of San Quirze de Pedret in Berga. The Apse at Aneu represents the end of a tradition, during this time the painter might have felt himself at liberty to relax old rules and abandon strict division into zones, therefore filling the bottom section not with lines of Apostles, but with less rigid elements of the prophetic vision. | [
"Master of Pedret",
"Apse",
"San Quirze de Pedret",
"Circle of the Master of Pedret",
"Berga",
"fresco"
] |
|
15584_NT | Apse of Santa Maria, Àneu | Focus on this artwork and explore the Composition. | The frescoes are attributed to the Circle of the Master of Pedret. The Master of Pedret was the first significant painter of the Catalon Romanesque period and is named for the wall paintings at the church of San Quirze de Pedret in Berga. The Apse at Aneu represents the end of a tradition, during this time the painter might have felt himself at liberty to relax old rules and abandon strict division into zones, therefore filling the bottom section not with lines of Apostles, but with less rigid elements of the prophetic vision. | [
"Master of Pedret",
"Apse",
"San Quirze de Pedret",
"Circle of the Master of Pedret",
"Berga",
"fresco"
] |
|
15585_T | Apse of Santa Maria, Àneu | Focus on Apse of Santa Maria, Àneu and explain the Analysis. | The Àneu frescos make a complete break with the normal Catalan artistic scheme. The lower zone is unique and unrelated to the upper portion of the apse. The Byzantine influence appears to be strong in the style of the frescos, the seraphim have been noted to resemble those in the crypt at the cathedral of Anagni, near Rome. In addition there are touches of pure realism, this is seen in the details such as the unshaven face of the figure at the left of the lower register and the thin and deeply wrinkled face of Magus. The painting could represent direct borrowings from Byzantium or importations from Byzantine Art via Lombardy, Italy. This influence is shown in the costume of the Wise Men (or Maji) which is representative of the eastern court. Other features linking the artwork to Italy are the decorative border, simulated drapery (they have waves and circular medallions), and the geometrical border is similar to the one in the Roman church of San Carlo in Prugiasco (Switzerland). | [
"apse",
"Magus",
"Prugiasco",
"Anagni",
"realism",
"Lombardy",
"seraphim",
"fresco"
] |
|
15585_NT | Apse of Santa Maria, Àneu | Focus on this artwork and explain the Analysis. | The Àneu frescos make a complete break with the normal Catalan artistic scheme. The lower zone is unique and unrelated to the upper portion of the apse. The Byzantine influence appears to be strong in the style of the frescos, the seraphim have been noted to resemble those in the crypt at the cathedral of Anagni, near Rome. In addition there are touches of pure realism, this is seen in the details such as the unshaven face of the figure at the left of the lower register and the thin and deeply wrinkled face of Magus. The painting could represent direct borrowings from Byzantium or importations from Byzantine Art via Lombardy, Italy. This influence is shown in the costume of the Wise Men (or Maji) which is representative of the eastern court. Other features linking the artwork to Italy are the decorative border, simulated drapery (they have waves and circular medallions), and the geometrical border is similar to the one in the Roman church of San Carlo in Prugiasco (Switzerland). | [
"apse",
"Magus",
"Prugiasco",
"Anagni",
"realism",
"Lombardy",
"seraphim",
"fresco"
] |
|
15586_T | Aquarius (sculpture) | Focus on Aquarius (sculpture) and discuss the abstract. | Aquarius is a 1969–1970 sculpture by Jerome Kirk, installed in Los Angeles's Bunker Hill neighborhood, in the U.S. state of California. The abstract, kinetic, stainless steel artwork is installed outside Union Bank Plaza. The Los Angeles Conservancy has described the work as a "fin-like metal mobile sculpture". | [
"kinetic",
"abstract",
"Jerome Kirk",
"Union Bank Plaza",
"Los Angeles Conservancy",
"Bunker Hill",
"California",
"Los Angeles"
] |
|
15586_NT | Aquarius (sculpture) | Focus on this artwork and discuss the abstract. | Aquarius is a 1969–1970 sculpture by Jerome Kirk, installed in Los Angeles's Bunker Hill neighborhood, in the U.S. state of California. The abstract, kinetic, stainless steel artwork is installed outside Union Bank Plaza. The Los Angeles Conservancy has described the work as a "fin-like metal mobile sculpture". | [
"kinetic",
"abstract",
"Jerome Kirk",
"Union Bank Plaza",
"Los Angeles Conservancy",
"Bunker Hill",
"California",
"Los Angeles"
] |
|
15587_T | Little Sister Thuy | How does Little Sister Thuy elucidate its abstract? | Little Sister Thuy (Em Thúy), often referred as Little Thuy, is an oil painting created by painter Trần Văn Cẩn (Tran Van Can) in 1943. Depicting the artist's 8-year-old niece, the painting is considered one of Tran Van Can's finest works as well as one of the typical portraits of 20th-century Vietnam. The painting has been recognized as a 'National Treasure' by the Socialist Republic of Vietnam's Prime Minister Nguyễn Tấn Dũng in 2013. | [
"Nguyễn Tấn Dũng",
"Trần Văn Cẩn",
"oil painting",
"Vietnam",
"Socialist Republic of Vietnam"
] |
|
15587_NT | Little Sister Thuy | How does this artwork elucidate its abstract? | Little Sister Thuy (Em Thúy), often referred as Little Thuy, is an oil painting created by painter Trần Văn Cẩn (Tran Van Can) in 1943. Depicting the artist's 8-year-old niece, the painting is considered one of Tran Van Can's finest works as well as one of the typical portraits of 20th-century Vietnam. The painting has been recognized as a 'National Treasure' by the Socialist Republic of Vietnam's Prime Minister Nguyễn Tấn Dũng in 2013. | [
"Nguyễn Tấn Dũng",
"Trần Văn Cẩn",
"oil painting",
"Vietnam",
"Socialist Republic of Vietnam"
] |
|
15588_T | Little Sister Thuy | Focus on Little Sister Thuy and analyze the Description. | Little Sister Thuy is a frontal portrait of an 8-year-old girl in white clothes sitting on a rattan chair, slightly leaning, with her hands closed. Her position suggests that she is a little shy. She has short hair, bright eyes and an innocent face. The girl in the painting is Nguyen Minh Thuy, born in 1935, and she is Trần Văn Cẩn's niece. | [
"rattan",
"Trần Văn Cẩn"
] |
|
15588_NT | Little Sister Thuy | Focus on this artwork and analyze the Description. | Little Sister Thuy is a frontal portrait of an 8-year-old girl in white clothes sitting on a rattan chair, slightly leaning, with her hands closed. Her position suggests that she is a little shy. She has short hair, bright eyes and an innocent face. The girl in the painting is Nguyen Minh Thuy, born in 1935, and she is Trần Văn Cẩn's niece. | [
"rattan",
"Trần Văn Cẩn"
] |
|
15589_T | Little Sister Thuy | In Little Sister Thuy, how is the History discussed? | Tran Van Can is one of the leading representatives of Vietnamese painting in the early 20th century. He graduated as valedictorian from École des Beaux Arts de l’Indochine in 1937. In World War II, he often lived with a relative's family on Hang Cot street, Hanoi. Minh Thuy is his favorite niece in his family, so he painted his niece a portrait in 1943, with a simple title, Little Sister Thuy (Em Thúy), when Minh Thuy was 8 years old.When the French Army returned to occupy Hanoi during the First Indochina War, Thuy's family evacuated without taking the painting. By the time they returned, the painting had been stolen. The family then bought the painting from an art dealer who had found Little Sister Thuy in a barber's house. Finally, Little Sister Thuy was given by Tran Van Can to the Vietnam National Museum of Fine Arts. In addition to the portrait of the 8-year-old Minh Thuy, Tran Van Can also had another painting of Thuy when she was 24 years old.After more than 60 years, the painting began to fall into degradation. In 2003, Little Sister Thuy was proposed to be in restoration and preservation abroad; however, the Ministry of Culture, Sports and Tourism of Vietnam did not approve this proposition. A year later, the Australian painting conservator Caroline Fry took responsibility for the restoration of Little Sister Thuy at the Vietnam National Museum of Fine Arts. According to her assessment, after the restoration, the painting can maintain good condition for about 20 years. The painting was officially handed over to Vietnam National Museum of Fine Arts on 28 June 2004. | [
"École des Beaux Arts de l’Indochine",
"French Army",
"Vietnam National Museum of Fine Arts",
"Hanoi",
"Ministry of Culture, Sports and Tourism of Vietnam",
"First Indochina War",
"Vietnam",
"World War II",
"painting conservator"
] |
|
15589_NT | Little Sister Thuy | In this artwork, how is the History discussed? | Tran Van Can is one of the leading representatives of Vietnamese painting in the early 20th century. He graduated as valedictorian from École des Beaux Arts de l’Indochine in 1937. In World War II, he often lived with a relative's family on Hang Cot street, Hanoi. Minh Thuy is his favorite niece in his family, so he painted his niece a portrait in 1943, with a simple title, Little Sister Thuy (Em Thúy), when Minh Thuy was 8 years old.When the French Army returned to occupy Hanoi during the First Indochina War, Thuy's family evacuated without taking the painting. By the time they returned, the painting had been stolen. The family then bought the painting from an art dealer who had found Little Sister Thuy in a barber's house. Finally, Little Sister Thuy was given by Tran Van Can to the Vietnam National Museum of Fine Arts. In addition to the portrait of the 8-year-old Minh Thuy, Tran Van Can also had another painting of Thuy when she was 24 years old.After more than 60 years, the painting began to fall into degradation. In 2003, Little Sister Thuy was proposed to be in restoration and preservation abroad; however, the Ministry of Culture, Sports and Tourism of Vietnam did not approve this proposition. A year later, the Australian painting conservator Caroline Fry took responsibility for the restoration of Little Sister Thuy at the Vietnam National Museum of Fine Arts. According to her assessment, after the restoration, the painting can maintain good condition for about 20 years. The painting was officially handed over to Vietnam National Museum of Fine Arts on 28 June 2004. | [
"École des Beaux Arts de l’Indochine",
"French Army",
"Vietnam National Museum of Fine Arts",
"Hanoi",
"Ministry of Culture, Sports and Tourism of Vietnam",
"First Indochina War",
"Vietnam",
"World War II",
"painting conservator"
] |
|
15590_T | Little Sister Thuy | Focus on Little Sister Thuy and explore the Reviews. | Little Sister Thuy is considered one of the most successful portrait paintings of 20th century Vietnamese art. According to art critic Thái Bá Vân, Little Sister Thuy reflects the inner world of Tran Van Can in the 1940s when the artist witnessed the Westernization's process in Vietnam. The painting depicts the youthful girl's face.Inspired by Little Sister Thuy, a British man, Paul Zetter, composed the song Little Thuy's Minuet (Khúc minuet dành cho Em Thúy). | [
"Vietnamese art",
"art critic",
"Westernization",
"portrait painting",
"Vietnam",
"Thái Bá Vân"
] |
|
15590_NT | Little Sister Thuy | Focus on this artwork and explore the Reviews. | Little Sister Thuy is considered one of the most successful portrait paintings of 20th century Vietnamese art. According to art critic Thái Bá Vân, Little Sister Thuy reflects the inner world of Tran Van Can in the 1940s when the artist witnessed the Westernization's process in Vietnam. The painting depicts the youthful girl's face.Inspired by Little Sister Thuy, a British man, Paul Zetter, composed the song Little Thuy's Minuet (Khúc minuet dành cho Em Thúy). | [
"Vietnamese art",
"art critic",
"Westernization",
"portrait painting",
"Vietnam",
"Thái Bá Vân"
] |
|
15591_T | Portrait of George Dyer Talking | Focus on Portrait of George Dyer Talking and explain the Death of George Dyer. | George Dyer died by suicide on 24 October 1971, two days before the opening of Bacon's triumphant and career-making retrospective at the Grand Palais. Dyer, then 37, alcoholic, deeply insecure and suffering severe and long-term depression, took an overdose of drink and barbiturates in a room at the Paris hotel shared with Bacon during a brief period of reconciliation following years of bitter recrimination.Bacon, a near-alcoholic himself, felt an acute sense of mortality and awareness of the fragility of life after his lover's death. This awareness was heightened by the death of many other close friends during the following decade. The commemorative portraits of Dyer completed in the following years are considered amongst Bacon's strongest and most affecting. In most, especially in the triptychs, Dyer is followed by black horizontal fleshy winged creatures, raw and red/pink blobs of dying flesh, or painterly arrows. These devices act both as pointers to the depravity and tragedy of the scene and as manifestations of Bacon's guilt at the death of an emotionally dependent friend. | [
"long-term depression",
"Grand Palais",
"triptych"
] |
|
15591_NT | Portrait of George Dyer Talking | Focus on this artwork and explain the Death of George Dyer. | George Dyer died by suicide on 24 October 1971, two days before the opening of Bacon's triumphant and career-making retrospective at the Grand Palais. Dyer, then 37, alcoholic, deeply insecure and suffering severe and long-term depression, took an overdose of drink and barbiturates in a room at the Paris hotel shared with Bacon during a brief period of reconciliation following years of bitter recrimination.Bacon, a near-alcoholic himself, felt an acute sense of mortality and awareness of the fragility of life after his lover's death. This awareness was heightened by the death of many other close friends during the following decade. The commemorative portraits of Dyer completed in the following years are considered amongst Bacon's strongest and most affecting. In most, especially in the triptychs, Dyer is followed by black horizontal fleshy winged creatures, raw and red/pink blobs of dying flesh, or painterly arrows. These devices act both as pointers to the depravity and tragedy of the scene and as manifestations of Bacon's guilt at the death of an emotionally dependent friend. | [
"long-term depression",
"Grand Palais",
"triptych"
] |
|
15592_T | Portrait of George Dyer Talking | Explore the Provenance of this artwork, Portrait of George Dyer Talking. | Marlborough Fine Art Ltd., London.
Galerie Maeght, Paris.
Dr. Israel J. Rosefsky, Binghamton, New York.
Sale, Christie's, New York, 5 May 1987, lot 85.
Galerie Krugier & Cie, Geneva.
ROC Collection, Switzerland.
Private Collection, Paris.
Anon. sale, Christie's New York, 15 November 2000, lot 29.
Private Collection, Brazil.
Thomas Ammann Fine Art AG, Zurich.
Private Collection.
Sale, Christie's, London, 14 February 2014, lot 10. | [
"Christie's"
] |
|
15592_NT | Portrait of George Dyer Talking | Explore the Provenance of this artwork. | Marlborough Fine Art Ltd., London.
Galerie Maeght, Paris.
Dr. Israel J. Rosefsky, Binghamton, New York.
Sale, Christie's, New York, 5 May 1987, lot 85.
Galerie Krugier & Cie, Geneva.
ROC Collection, Switzerland.
Private Collection, Paris.
Anon. sale, Christie's New York, 15 November 2000, lot 29.
Private Collection, Brazil.
Thomas Ammann Fine Art AG, Zurich.
Private Collection.
Sale, Christie's, London, 14 February 2014, lot 10. | [
"Christie's"
] |
|
15593_T | Statue of Marriner S. Eccles | Focus on Statue of Marriner S. Eccles and discuss the abstract. | A 2008 bronze statue of Marriner Stoddard Eccles by James Mark DeGraffenried (born in November 1965) is installed outside the Utah State Capitol in Salt Lake City, Utah. | [
"Salt Lake City",
"Utah",
"Marriner Stoddard Eccles",
"Mark DeGraffenried",
"bronze",
"Utah State Capitol"
] |
|
15593_NT | Statue of Marriner S. Eccles | Focus on this artwork and discuss the abstract. | A 2008 bronze statue of Marriner Stoddard Eccles by James Mark DeGraffenried (born in November 1965) is installed outside the Utah State Capitol in Salt Lake City, Utah. | [
"Salt Lake City",
"Utah",
"Marriner Stoddard Eccles",
"Mark DeGraffenried",
"bronze",
"Utah State Capitol"
] |
|
15594_T | Statue of Charles de Gaulle, London | How does Statue of Charles de Gaulle, London elucidate its abstract? | A bronze statue of Charles de Gaulle stands in Carlton Gardens in the City of Westminster, London. Charles de Gaulle, the leader of Free France, set up his government in exile at No. 4 Carlton Gardens.The statue was campaigned for by Mary Soames, the daughter of De Gaulle's contemporary Winston Churchill. It was unveiled by Queen Elizabeth The Queen Mother on 23 June 1993 in the presence of Jacques Chirac, at that time Mayor of Paris, and the President of the National Assembly Philippe Séguin, as well as De Gaulle's chauffeur-translator Olivia Jordan. The architect was Bernard Wiehahn and the sculptor Angela Conner. De Gaulle is portrayed in the uniform of a brigadier-general. The statue is one of 39 in London maintained by English Heritage, the majority of which are in Westminster.The French Embassy commemorates De Gaulle at the statue annually. The President of France, Emmanuel Macron, laid a wreath on his visit to London on 18 June 2020, the 80th anniversary of De Gaulle's resistance speech.The enthusiastic fundraising for the statue by the British public led to calls for a statue of Churchill to be placed in the French capital, which was unveiled in 1998. | [
"President of France",
"brigadier-general",
"Olivia Jordan",
"Mary Soames",
"Angela Conner",
"Winston Churchill",
"Free France",
"statue of Churchill",
"government in exile",
"Jacques Chirac",
"Queen Elizabeth The Queen Mother",
"Philippe Séguin",
"De Gaulle's resistance speech",
"Emmanuel Macron",
"English Heritage",
"Carlton Gardens",
"Charles de Gaulle",
"London",
"City of Westminster",
"French Embassy"
] |
|
15594_NT | Statue of Charles de Gaulle, London | How does this artwork elucidate its abstract? | A bronze statue of Charles de Gaulle stands in Carlton Gardens in the City of Westminster, London. Charles de Gaulle, the leader of Free France, set up his government in exile at No. 4 Carlton Gardens.The statue was campaigned for by Mary Soames, the daughter of De Gaulle's contemporary Winston Churchill. It was unveiled by Queen Elizabeth The Queen Mother on 23 June 1993 in the presence of Jacques Chirac, at that time Mayor of Paris, and the President of the National Assembly Philippe Séguin, as well as De Gaulle's chauffeur-translator Olivia Jordan. The architect was Bernard Wiehahn and the sculptor Angela Conner. De Gaulle is portrayed in the uniform of a brigadier-general. The statue is one of 39 in London maintained by English Heritage, the majority of which are in Westminster.The French Embassy commemorates De Gaulle at the statue annually. The President of France, Emmanuel Macron, laid a wreath on his visit to London on 18 June 2020, the 80th anniversary of De Gaulle's resistance speech.The enthusiastic fundraising for the statue by the British public led to calls for a statue of Churchill to be placed in the French capital, which was unveiled in 1998. | [
"President of France",
"brigadier-general",
"Olivia Jordan",
"Mary Soames",
"Angela Conner",
"Winston Churchill",
"Free France",
"statue of Churchill",
"government in exile",
"Jacques Chirac",
"Queen Elizabeth The Queen Mother",
"Philippe Séguin",
"De Gaulle's resistance speech",
"Emmanuel Macron",
"English Heritage",
"Carlton Gardens",
"Charles de Gaulle",
"London",
"City of Westminster",
"French Embassy"
] |
|
15595_T | Ferrara Cathedral Organ Case | Focus on Ferrara Cathedral Organ Case and analyze the abstract. | The Ferrara Cathedral Organ Case was a set of 1469 tempera on canvas paintings by Cosme Tura, originally forming doors for the organ at Ferrara Cathedral but now in the cathedral museum. Originally double-sided, the front and back of each door have now been separated. As originally constructed, the doors showed an annunciation scene when open and Saint George and the Princess when closed.They are rare evidence of the artist's work after he was made court painter in 1456, both in terms of quality and as a fixed point in the chronology of the artist's oeuvre. He was paid for them on 2 June 1469, as shown by one of the few surviving documents relating to his artistic career. It shows influences from international Gothic (then prevalent at the court in Ferrara), Piero della Francesca, Mantegna and followers of Francesco Squarcione. | [
"Francesco Squarcione",
"Mantegna",
"Ferrara Cathedral",
"Piero della Francesca",
"annunciation",
"Saint George",
"Cosme Tura",
"international Gothic"
] |
|
15595_NT | Ferrara Cathedral Organ Case | Focus on this artwork and analyze the abstract. | The Ferrara Cathedral Organ Case was a set of 1469 tempera on canvas paintings by Cosme Tura, originally forming doors for the organ at Ferrara Cathedral but now in the cathedral museum. Originally double-sided, the front and back of each door have now been separated. As originally constructed, the doors showed an annunciation scene when open and Saint George and the Princess when closed.They are rare evidence of the artist's work after he was made court painter in 1456, both in terms of quality and as a fixed point in the chronology of the artist's oeuvre. He was paid for them on 2 June 1469, as shown by one of the few surviving documents relating to his artistic career. It shows influences from international Gothic (then prevalent at the court in Ferrara), Piero della Francesca, Mantegna and followers of Francesco Squarcione. | [
"Francesco Squarcione",
"Mantegna",
"Ferrara Cathedral",
"Piero della Francesca",
"annunciation",
"Saint George",
"Cosme Tura",
"international Gothic"
] |
|
15596_T | Lady and Her Cook | In Lady and Her Cook, how is the abstract discussed? | Lady and Her Cook is an oil-on-canvas painting by the Dutch painter Pieter de Hooch, created c. 1660. It is part of the collection of the Hermitage Museum, in St. Petersburg.This painting was documented by Hofstede de Groot in 1908, who wrote:41. LADY AND HER COOK. Sm. Suppl. 3.; de G. 75. In the middle of the little fore-court, paved with blue and white tiles, of a house on the right, sits an elderly lady, facing half-right. She wears a black jacket, a red skirt, and a white apron; she has .a green cushion on her lap and a letter in her hand, with a basket of needlework beside her.
A servant-girl, dressed in a white bodice and a violet skirt tucked up over a blue petticoat, has come out of the house-door on the right and shows her some fish in a brass pail. To the left, through the half-opened door of a trellis separating the court from the front garden, a brick path leads to a door in the wall opening on a canal. On the opposite side of it is the entrance to a house, before which a young couple are walking. Farther to the right by the canal is a gabled house, which is visible between a tree on the canal bank and a bush in the garden, and overtops the garden-wall. The picture dates from 1658-60. It is a superb work, very warm in tone; it stands about midway between the Rothschild picture (295) and that belonging to Lady Wantage (297); it reminds one also of Lord Strafford's picture (299), and of the picture in the National Gallery, London (291).
Canvas, 21 inches by 16 1/2 inches. Mentioned by Waagen, p. 190.
Sale. Mont de Piété, at Paris, 1808 (about 1100 francs, La Fontaine).
Sold soon after to the Tsar Alexander I., for the Hermitage, where it was hung in 1810. It is now located in the Hermitage at St. Petersburg, No. 860 in the 1901 catalogue. | [
"picture in the National Gallery, London (291)",
"Sm.",
"Hofstede de Groot",
"Lord Strafford's picture (299)",
"Tsar Alexander I",
"Pieter de Hooch",
"Mont de Piété",
"Hermitage Museum",
"Dutch",
"Lady Wantage (297)",
"oil",
"Waagen",
"Rothschild picture (295)",
"St. Petersburg"
] |
|
15596_NT | Lady and Her Cook | In this artwork, how is the abstract discussed? | Lady and Her Cook is an oil-on-canvas painting by the Dutch painter Pieter de Hooch, created c. 1660. It is part of the collection of the Hermitage Museum, in St. Petersburg.This painting was documented by Hofstede de Groot in 1908, who wrote:41. LADY AND HER COOK. Sm. Suppl. 3.; de G. 75. In the middle of the little fore-court, paved with blue and white tiles, of a house on the right, sits an elderly lady, facing half-right. She wears a black jacket, a red skirt, and a white apron; she has .a green cushion on her lap and a letter in her hand, with a basket of needlework beside her.
A servant-girl, dressed in a white bodice and a violet skirt tucked up over a blue petticoat, has come out of the house-door on the right and shows her some fish in a brass pail. To the left, through the half-opened door of a trellis separating the court from the front garden, a brick path leads to a door in the wall opening on a canal. On the opposite side of it is the entrance to a house, before which a young couple are walking. Farther to the right by the canal is a gabled house, which is visible between a tree on the canal bank and a bush in the garden, and overtops the garden-wall. The picture dates from 1658-60. It is a superb work, very warm in tone; it stands about midway between the Rothschild picture (295) and that belonging to Lady Wantage (297); it reminds one also of Lord Strafford's picture (299), and of the picture in the National Gallery, London (291).
Canvas, 21 inches by 16 1/2 inches. Mentioned by Waagen, p. 190.
Sale. Mont de Piété, at Paris, 1808 (about 1100 francs, La Fontaine).
Sold soon after to the Tsar Alexander I., for the Hermitage, where it was hung in 1810. It is now located in the Hermitage at St. Petersburg, No. 860 in the 1901 catalogue. | [
"picture in the National Gallery, London (291)",
"Sm.",
"Hofstede de Groot",
"Lord Strafford's picture (299)",
"Tsar Alexander I",
"Pieter de Hooch",
"Mont de Piété",
"Hermitage Museum",
"Dutch",
"Lady Wantage (297)",
"oil",
"Waagen",
"Rothschild picture (295)",
"St. Petersburg"
] |
|
15597_T | Marsh with Water Lilies | Focus on Marsh with Water Lilies and explore the abstract. | Marsh with Water Lilies is a drawing by Vincent van Gogh. It was executed at Etten (now Etten-Leur) in June 1881.
Vincent's father Theodorus van Gogh, a pastor, was called to Etten in 1875. Vincent spent periods of time there, notably from Easter to Christmas 1881 when he returned to join his brother Theo, an art dealer, determined to become an artist. This period at Etten represents the beginning proper of Vincent's ten-year career as an artist. He had drawn since boyhood, and the previous year had enrolled in a beginners' class in Brussels where he met the painter Anthon van Rappard, but he now began to draw in earnest. He rapidly developed an accomplished technique in landscape drawing but remained rather more uncertain in his figure drawing, which he practiced assiduously with the aid of Charles Bargue's drawing course. Rappard made a twelve-day visit during this time, and they sketched together in the marshes and heaths round Etten. Vincent also visited his cousin-in-law Anton Mauve in The Hague, a celebrated artist of the time, who had expressed an interest in his drawings and who encouraged him further. At this time Vincent had not progressed as far as painting, though he did wash some of his drawings with watercolor. At the end of the year he made an extended visit to Mauve, who introduced him to painting. He returned to Etten with the intention of setting up a studio there. However he quarreled with his father on Christmas Day and left the family home to set up his studio in The Hague instead. | [
"Charles Bargue",
"Anthon van Rappard",
"Etten-Leur",
"Theo",
"Vincent van Gogh",
"The Hague",
"Anton Mauve"
] |
|
15597_NT | Marsh with Water Lilies | Focus on this artwork and explore the abstract. | Marsh with Water Lilies is a drawing by Vincent van Gogh. It was executed at Etten (now Etten-Leur) in June 1881.
Vincent's father Theodorus van Gogh, a pastor, was called to Etten in 1875. Vincent spent periods of time there, notably from Easter to Christmas 1881 when he returned to join his brother Theo, an art dealer, determined to become an artist. This period at Etten represents the beginning proper of Vincent's ten-year career as an artist. He had drawn since boyhood, and the previous year had enrolled in a beginners' class in Brussels where he met the painter Anthon van Rappard, but he now began to draw in earnest. He rapidly developed an accomplished technique in landscape drawing but remained rather more uncertain in his figure drawing, which he practiced assiduously with the aid of Charles Bargue's drawing course. Rappard made a twelve-day visit during this time, and they sketched together in the marshes and heaths round Etten. Vincent also visited his cousin-in-law Anton Mauve in The Hague, a celebrated artist of the time, who had expressed an interest in his drawings and who encouraged him further. At this time Vincent had not progressed as far as painting, though he did wash some of his drawings with watercolor. At the end of the year he made an extended visit to Mauve, who introduced him to painting. He returned to Etten with the intention of setting up a studio there. However he quarreled with his father on Christmas Day and left the family home to set up his studio in The Hague instead. | [
"Charles Bargue",
"Anthon van Rappard",
"Etten-Leur",
"Theo",
"Vincent van Gogh",
"The Hague",
"Anton Mauve"
] |
|
15598_T | Marsh with Water Lilies | Focus on Marsh with Water Lilies and explain the History. | The drawing was in the holdings of Vincent's sister Wil who left Etten in June 1881 to take up a position as a governess in Amsterdam. At the same time there is a mention in a letter to Theo of Vincent making a pen drawing in the Passievaart marshes of lilies during an excursion with Anthon van Rappard, who was visiting. It is reasonable to suppose he gave this drawing as a leaving gift to Wil, thus dating the drawing as around 13 June 1881 from van Rappard's own date for his Passievaart drawing. | [
"Wil",
"Anthon van Rappard",
"Theo"
] |
|
15598_NT | Marsh with Water Lilies | Focus on this artwork and explain the History. | The drawing was in the holdings of Vincent's sister Wil who left Etten in June 1881 to take up a position as a governess in Amsterdam. At the same time there is a mention in a letter to Theo of Vincent making a pen drawing in the Passievaart marshes of lilies during an excursion with Anthon van Rappard, who was visiting. It is reasonable to suppose he gave this drawing as a leaving gift to Wil, thus dating the drawing as around 13 June 1881 from van Rappard's own date for his Passievaart drawing. | [
"Wil",
"Anthon van Rappard",
"Theo"
] |
|
15599_T | Marsh with Water Lilies | Explore the Provenance of this artwork, Marsh with Water Lilies. | Miss W. van Gogh, Dieren, Netherlands
J.P, Scholte, Barchem, Netherlands
Lochem, Netherlands, Mrs. A.T. Scholte-van Houten
Scholte-van Houten collection [R 1970] | [] |
|
15599_NT | Marsh with Water Lilies | Explore the Provenance of this artwork. | Miss W. van Gogh, Dieren, Netherlands
J.P, Scholte, Barchem, Netherlands
Lochem, Netherlands, Mrs. A.T. Scholte-van Houten
Scholte-van Houten collection [R 1970] | [] |
|
15600_T | Marsh with Water Lilies | Focus on Marsh with Water Lilies and discuss the Exhibition History. | 1947, Basle, 112
1956, Munich, 6
1957, Essen, 128
1960, Paris, 73
1962, Warsaw, 89
1963, Tel Aviv, Haifa, 7 | [] |
|
15600_NT | Marsh with Water Lilies | Focus on this artwork and discuss the Exhibition History. | 1947, Basle, 112
1956, Munich, 6
1957, Essen, 128
1960, Paris, 73
1962, Warsaw, 89
1963, Tel Aviv, Haifa, 7 | [] |
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