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15601_T | Ambrosius Volmar Keller (Baldung) | How does Ambrosius Volmar Keller (Baldung) elucidate its abstract? | Ambrosius Volmar Keller is a 1538 portrait painting by the German Renaissance artist Hans Baldung. The painting was offered to the city of Strasbourg by German Emperor Wilhelm II, from his private collection, in 1890. It is on display in the Musée de l'Œuvre Notre-Dame. Its inventory number is MBA 191 ("MBA" stands for Musée des Beaux-Arts).Ambrosius Volmar Keller was the nephew of the prior of Saint-Pierre-le-Jeune Church, at a time when that church still entirely belonged to the Catholic Church, and had just been made canon; he would himself become prior of Saint-Pierre-le-Jeune in 1558. The solemn portrait celebrates the young Keller's gravitas and new social status.Ambrosius Volmar Keller is Baldung's largest and last portrait painting, and the only one in which he used a landscape as a background. The symbolism of the conspicuous grapevine growing behind Keller's back has not been entirely explained, it could be related to Christianity or to Northern European Renaissance humanism. The fact that Keller is sitting on the left and looking to the right suggests that the portrait may have had a lost pendant, maybe a portrait of the elder Keller. The donation of the painting to the Strasbourg museum by Emperor Wilhelm II constituted an important gesture in the early stages of the reconstruction of the municipal collections, which had been totally destroyed in 1870, during the Siege of Strasbourg. | [
"pendant",
"Hans Baldung",
"grapevine",
"Musée de l'Œuvre Notre-Dame",
"Siege of Strasbourg",
"Saint-Pierre-le-Jeune Church",
"Musée des Beaux-Arts",
"German Emperor Wilhelm II",
"Catholic Church",
"Strasbourg",
"portrait painting",
"prior",
"German",
"Northern European Renaissance humanism",
"Renaissance art",
"canon",
"gravitas"
]
|
|
15601_NT | Ambrosius Volmar Keller (Baldung) | How does this artwork elucidate its abstract? | Ambrosius Volmar Keller is a 1538 portrait painting by the German Renaissance artist Hans Baldung. The painting was offered to the city of Strasbourg by German Emperor Wilhelm II, from his private collection, in 1890. It is on display in the Musée de l'Œuvre Notre-Dame. Its inventory number is MBA 191 ("MBA" stands for Musée des Beaux-Arts).Ambrosius Volmar Keller was the nephew of the prior of Saint-Pierre-le-Jeune Church, at a time when that church still entirely belonged to the Catholic Church, and had just been made canon; he would himself become prior of Saint-Pierre-le-Jeune in 1558. The solemn portrait celebrates the young Keller's gravitas and new social status.Ambrosius Volmar Keller is Baldung's largest and last portrait painting, and the only one in which he used a landscape as a background. The symbolism of the conspicuous grapevine growing behind Keller's back has not been entirely explained, it could be related to Christianity or to Northern European Renaissance humanism. The fact that Keller is sitting on the left and looking to the right suggests that the portrait may have had a lost pendant, maybe a portrait of the elder Keller. The donation of the painting to the Strasbourg museum by Emperor Wilhelm II constituted an important gesture in the early stages of the reconstruction of the municipal collections, which had been totally destroyed in 1870, during the Siege of Strasbourg. | [
"pendant",
"Hans Baldung",
"grapevine",
"Musée de l'Œuvre Notre-Dame",
"Siege of Strasbourg",
"Saint-Pierre-le-Jeune Church",
"Musée des Beaux-Arts",
"German Emperor Wilhelm II",
"Catholic Church",
"Strasbourg",
"portrait painting",
"prior",
"German",
"Northern European Renaissance humanism",
"Renaissance art",
"canon",
"gravitas"
]
|
|
15602_T | The Prodigal Son (Barnard) | Focus on The Prodigal Son (Barnard) and analyze the History. | Barnard was awarded the most important commission of his career in 1902, the sculpture groups for the Pennsylvania State Capitol. He left his teaching position at the Art Students League of New York in spring 1903, and moved to Paris. Barnard and his assistants toiled for nearly eight years on the twenty-seven figures in the sculpture groups. One of the first sculptures completed was The Prodigal Son—in 1904, while his assistants were modeling the twice-life-size version of it in clay, Barnard was pointing and carving the reduced-size version in marble.The completed groups in plaster were shipped to New York City in 1909, to be carved in marble by Furio Piccirilli. The marble groups were completed in early 1910, and shipped back to France to make their debut at the Salon des Artistes Francais, at the end of April. Gustav Stickley's magazine The Craftsman printed nearly two pages of rave reviews, translated from French, that Barnard received for the Pennsylvania State Capitol sculpture groups. | [
"pointing",
"Prodigal Son",
"Pennsylvania State Capitol sculpture groups",
"Gustav Stickley",
"left",
"Art Students League of New York",
"Furio Piccirilli",
"Salon des Artistes Francais",
"Pennsylvania State Capitol"
]
|
|
15602_NT | The Prodigal Son (Barnard) | Focus on this artwork and analyze the History. | Barnard was awarded the most important commission of his career in 1902, the sculpture groups for the Pennsylvania State Capitol. He left his teaching position at the Art Students League of New York in spring 1903, and moved to Paris. Barnard and his assistants toiled for nearly eight years on the twenty-seven figures in the sculpture groups. One of the first sculptures completed was The Prodigal Son—in 1904, while his assistants were modeling the twice-life-size version of it in clay, Barnard was pointing and carving the reduced-size version in marble.The completed groups in plaster were shipped to New York City in 1909, to be carved in marble by Furio Piccirilli. The marble groups were completed in early 1910, and shipped back to France to make their debut at the Salon des Artistes Francais, at the end of April. Gustav Stickley's magazine The Craftsman printed nearly two pages of rave reviews, translated from French, that Barnard received for the Pennsylvania State Capitol sculpture groups. | [
"pointing",
"Prodigal Son",
"Pennsylvania State Capitol sculpture groups",
"Gustav Stickley",
"left",
"Art Students League of New York",
"Furio Piccirilli",
"Salon des Artistes Francais",
"Pennsylvania State Capitol"
]
|
|
15603_T | The Prodigal Son (Barnard) | Describe the characteristics of the Pennsylvania State Capitol in The Prodigal Son (Barnard)'s History. | The Prodigal Son and the other fifteen marble sculpture groups were shipped back to the United States, and installed by the Piccirilli Brothers on either side of the main entrance to the Pennsylvania State Capitol, April–May 1911. Some Pennsylvania legislators and local religious leaders objected to the nudity of Barnard's sculptures. He responded:There has been some criticism, because these 30 figures I have executed are nude. Only in the nude could I have given adequate expression to these figures. Drapery would have spoiled the effect. Only through delineation of the nude human form can great emotions be shown. You cannot drape a symbolic figure in an overcoat and expect it to be anything but a marble dummy.
It is curious that this criticism should come from men, while women approve of the work as is. Women have better artistic sense than men. They are inspired by the human form, but men are not similarly inspired. They think the nude suggestive. I understand that the Pennsylvania state authorities are going to drape them. I shall make no protest, but I am sorry.
Initially, plaster of Paris short trousers were applied to the male figures, but the results proved unsatisfactory. Two tents were erected on Friday, May 12, one around each sculpture group, to mask that day's removal of the plaster trousers. On Sunday, the canvas walls of the tents were cut down by art-lovers who wished to view the sculptures before plaster loincloths were applied on Monday—"the great majority of the crowd being women," according to The Chicago Tribune. Instead of short trousers or loincloths, the Piccirilli Brothers carved marble sheaths to cover the genitals of the male figures, for which they charged $118.50. | [
"Prodigal Son",
"Piccirilli Brothers",
"Pennsylvania State Capitol"
]
|
|
15603_NT | The Prodigal Son (Barnard) | Describe the characteristics of the Pennsylvania State Capitol in this artwork's History. | The Prodigal Son and the other fifteen marble sculpture groups were shipped back to the United States, and installed by the Piccirilli Brothers on either side of the main entrance to the Pennsylvania State Capitol, April–May 1911. Some Pennsylvania legislators and local religious leaders objected to the nudity of Barnard's sculptures. He responded:There has been some criticism, because these 30 figures I have executed are nude. Only in the nude could I have given adequate expression to these figures. Drapery would have spoiled the effect. Only through delineation of the nude human form can great emotions be shown. You cannot drape a symbolic figure in an overcoat and expect it to be anything but a marble dummy.
It is curious that this criticism should come from men, while women approve of the work as is. Women have better artistic sense than men. They are inspired by the human form, but men are not similarly inspired. They think the nude suggestive. I understand that the Pennsylvania state authorities are going to drape them. I shall make no protest, but I am sorry.
Initially, plaster of Paris short trousers were applied to the male figures, but the results proved unsatisfactory. Two tents were erected on Friday, May 12, one around each sculpture group, to mask that day's removal of the plaster trousers. On Sunday, the canvas walls of the tents were cut down by art-lovers who wished to view the sculptures before plaster loincloths were applied on Monday—"the great majority of the crowd being women," according to The Chicago Tribune. Instead of short trousers or loincloths, the Piccirilli Brothers carved marble sheaths to cover the genitals of the male figures, for which they charged $118.50. | [
"Prodigal Son",
"Piccirilli Brothers",
"Pennsylvania State Capitol"
]
|
|
15604_T | The Prodigal Son (Barnard) | In the context of The Prodigal Son (Barnard), explore the Speed Art Museum of the History. | The other twice-life-size Prodigal Son was also carved in marble by Florio Piccirilli, and is dated 1909. This remained in Barnard's possession for a decade, until he sold it in 1919. It was donated to the J. B. Speed Art Museum in 1939. | [
"Prodigal Son",
"Speed Art Museum"
]
|
|
15604_NT | The Prodigal Son (Barnard) | In the context of this artwork, explore the Speed Art Museum of the History. | The other twice-life-size Prodigal Son was also carved in marble by Florio Piccirilli, and is dated 1909. This remained in Barnard's possession for a decade, until he sold it in 1919. It was donated to the J. B. Speed Art Museum in 1939. | [
"Prodigal Son",
"Speed Art Museum"
]
|
|
15605_T | The Prodigal Son (Barnard) | In the context of The Prodigal Son (Barnard), explain the Carnegie Museum of Art of the History. | The Carnegie Museum of Art's Prodigal Son was carved in France by Barnard, and is marked "Moret-sur-Loing / 1906." He later wrote that it was "one of my most carefully finished marbles," and that "the delicate surfaces proper to a small figure … are not necessary to the larger works."Diana Strazdes, primary author of the museum's 1992 catalogue of paintings and sculpture, contrasted Auguste Rodin's Prodigal Son with Barnard's:While Rodin chose to show the son alone, overcome with despair and yearning for forgiveness, Barnard selected the moment of reconciliation from the biblical story and replaced Rodin's darker, more psychologically complex tone with a mood of hope and promise. Here, the father bends protectively over the son. The embrace of their arms makes a complete circle; the two bodies intertwine as one, successfully symbolizing the idea of forgiveness and humility in the face of love. | [
"Prodigal Son",
"Auguste Rodin",
"Carnegie Museum of Art"
]
|
|
15605_NT | The Prodigal Son (Barnard) | In the context of this artwork, explain the Carnegie Museum of Art of the History. | The Carnegie Museum of Art's Prodigal Son was carved in France by Barnard, and is marked "Moret-sur-Loing / 1906." He later wrote that it was "one of my most carefully finished marbles," and that "the delicate surfaces proper to a small figure … are not necessary to the larger works."Diana Strazdes, primary author of the museum's 1992 catalogue of paintings and sculpture, contrasted Auguste Rodin's Prodigal Son with Barnard's:While Rodin chose to show the son alone, overcome with despair and yearning for forgiveness, Barnard selected the moment of reconciliation from the biblical story and replaced Rodin's darker, more psychologically complex tone with a mood of hope and promise. Here, the father bends protectively over the son. The embrace of their arms makes a complete circle; the two bodies intertwine as one, successfully symbolizing the idea of forgiveness and humility in the face of love. | [
"Prodigal Son",
"Auguste Rodin",
"Carnegie Museum of Art"
]
|
|
15606_T | The Prodigal Son (Barnard) | Explore the Exhibition history of this artwork, The Prodigal Son (Barnard). | A plaster of The Prodigal Son was shown in Barnard's one-man exhibition at the Museum of Fine Arts, Boston, November–December 1908.The twice-life-size marble (for the Pennsylvania State Capitol) was exhibited at the Salon des Artistes Francais, Paris, April–May 1910.Barnard exhibited his twice-life-size marble (now at the Speed Art Museum) at the 1913 Armory Show in New York City, along with four sculpture groups from his Urn of Life.A marble of The Prodigal Son was installed in the garden of the Hispanic Society of America, June–August 1923, as part of an outdoor exhibition organized by the National Sculpture Society.The Carnegie Museum of Art's marble was loaned to a 1963 traveling exhibition: Fiftieth Anniversary Exhibition of the Armory Show of 1913, organized by the Munson-Williams-Proctor Arts Institute.A plaster of The Prodigal Son was included in the 1963 centenary exhibition of Barnard's work at Pennsylvania State University. It is currently unlocated. | [
"Pennsylvania State University",
"Prodigal Son",
"Speed Art Museum",
"Munson-Williams-Proctor Arts Institute",
"National Sculpture Society",
"Hispanic Society of America",
"Armory Show",
"Salon des Artistes Francais",
"Pennsylvania State Capitol",
"Carnegie Museum of Art",
"Museum of Fine Arts, Boston",
"Urn of Life"
]
|
|
15606_NT | The Prodigal Son (Barnard) | Explore the Exhibition history of this artwork. | A plaster of The Prodigal Son was shown in Barnard's one-man exhibition at the Museum of Fine Arts, Boston, November–December 1908.The twice-life-size marble (for the Pennsylvania State Capitol) was exhibited at the Salon des Artistes Francais, Paris, April–May 1910.Barnard exhibited his twice-life-size marble (now at the Speed Art Museum) at the 1913 Armory Show in New York City, along with four sculpture groups from his Urn of Life.A marble of The Prodigal Son was installed in the garden of the Hispanic Society of America, June–August 1923, as part of an outdoor exhibition organized by the National Sculpture Society.The Carnegie Museum of Art's marble was loaned to a 1963 traveling exhibition: Fiftieth Anniversary Exhibition of the Armory Show of 1913, organized by the Munson-Williams-Proctor Arts Institute.A plaster of The Prodigal Son was included in the 1963 centenary exhibition of Barnard's work at Pennsylvania State University. It is currently unlocated. | [
"Pennsylvania State University",
"Prodigal Son",
"Speed Art Museum",
"Munson-Williams-Proctor Arts Institute",
"National Sculpture Society",
"Hispanic Society of America",
"Armory Show",
"Salon des Artistes Francais",
"Pennsylvania State Capitol",
"Carnegie Museum of Art",
"Museum of Fine Arts, Boston",
"Urn of Life"
]
|
|
15607_T | Lord Ribblesdale (Sargent) | Focus on Lord Ribblesdale (Sargent) and discuss the abstract. | Lord Ribblesdale, sometimes known as The Ancestor, is a portrait in oils on canvas by John Singer Sargent of Thomas Lister, 4th Baron Ribblesdale, completed in 1902. The full-length portrait depicts Lord Ribblesdale in his hunting clothes. It measures 258.4 cm × 143.5 cm (101.7 in × 56.5 in) and has been held by the National Gallery in London since 1916. | [
"Baron Ribblesdale",
"Thomas Lister, 4th Baron Ribblesdale",
"John Singer Sargent",
"National Gallery",
"London"
]
|
|
15607_NT | Lord Ribblesdale (Sargent) | Focus on this artwork and discuss the abstract. | Lord Ribblesdale, sometimes known as The Ancestor, is a portrait in oils on canvas by John Singer Sargent of Thomas Lister, 4th Baron Ribblesdale, completed in 1902. The full-length portrait depicts Lord Ribblesdale in his hunting clothes. It measures 258.4 cm × 143.5 cm (101.7 in × 56.5 in) and has been held by the National Gallery in London since 1916. | [
"Baron Ribblesdale",
"Thomas Lister, 4th Baron Ribblesdale",
"John Singer Sargent",
"National Gallery",
"London"
]
|
|
15608_T | Lord Ribblesdale (Sargent) | How does Lord Ribblesdale (Sargent) elucidate its Background? | Thomas Lister became the fourth (and last) Baron Ribblesdale on the death of his father in 1876 when he was aged 22. He supported the Liberal Party in the House of Lords, served as a lord-in-waiting at the Royal court, and was a trustee of the National Portrait Gallery and the National Gallery. He was Master of the Queen's Buckhounds from 1892 to 1895.Although Sargent was already a popular society portraitist, the painting was not commissioned by the sitter. Rather, Sargent saw Ribblesdale speaking in public in 1894, and the artist approached Ribblesdale to propose painting his portrait. However, Sargent did not start the proposed portrait until 1899; he completed it in 1902. | [
"Baron Ribblesdale",
"Master of the Queen's Buckhounds",
"National Portrait Gallery",
"Royal court",
"Liberal Party",
"lord-in-waiting",
"National Gallery"
]
|
|
15608_NT | Lord Ribblesdale (Sargent) | How does this artwork elucidate its Background? | Thomas Lister became the fourth (and last) Baron Ribblesdale on the death of his father in 1876 when he was aged 22. He supported the Liberal Party in the House of Lords, served as a lord-in-waiting at the Royal court, and was a trustee of the National Portrait Gallery and the National Gallery. He was Master of the Queen's Buckhounds from 1892 to 1895.Although Sargent was already a popular society portraitist, the painting was not commissioned by the sitter. Rather, Sargent saw Ribblesdale speaking in public in 1894, and the artist approached Ribblesdale to propose painting his portrait. However, Sargent did not start the proposed portrait until 1899; he completed it in 1902. | [
"Baron Ribblesdale",
"Master of the Queen's Buckhounds",
"National Portrait Gallery",
"Royal court",
"Liberal Party",
"lord-in-waiting",
"National Gallery"
]
|
|
15609_T | Lord Ribblesdale (Sargent) | Focus on Lord Ribblesdale (Sargent) and analyze the Description. | Sargent's original intention was to paint Ribblesdale in formal court livery as Master of the Buckhounds, but the completed painting shows him more informally, in his more practical "ratcatcher" clothes. He stands on a plain parquet floor against a white painted wall, holding a hunting whip in his grey-gloved left hand, with the other hand on his right hip. He is wearing a black top hat, with a black silk muffler knotted to his right side of his neck, and polished black boots. Over his yellow waistcoat, dark brown jacket and buff breeches, Ribblesdale is shrouded by a voluminous black Chesterfield overcoat. The tall hat and the fluted pilaster of the wall behind Ribblesdale, the clear silhouette of his long coat, and subtle changes that Sargent makes to the sitter's physiognomy – such as an elongated nose, and the head disproportionately small in comparison to the body – all emphasise Ribblesdale's thinness and height.A preliminary oil sketch depicts Ribblesdale standing on steps, before a column, but the final painting has him standing casually before the white panelling of Sargent's studio in Tite Street, Chelsea, London. The composition – a full-length portrait of a man standing in a long Chesterfield coat with hand on hip against a vertically delineated background – echoes Sargent's 1894 painting of W. Graham Robertson, shown with a walking cane against a dark doorway.The painting was selected by the historian David Starkey as "my favourite painting" in an article published in Country Life in 2015, in which he praises its "angular, elongated format and black-and-white palette, like a super-size Japanese print" as "Capturing the quintessence of understated aristocratic style … the portrait of an age as well as the man." | [
"whip",
"Tite Street",
"parquet",
"top hat",
"ratcatcher",
"Master of the Buckhounds",
"Chesterfield coat",
"Chelsea, London",
"W. Graham Robertson",
"Country Life",
"London",
"David Starkey",
"court livery",
"Chesterfield overcoat"
]
|
|
15609_NT | Lord Ribblesdale (Sargent) | Focus on this artwork and analyze the Description. | Sargent's original intention was to paint Ribblesdale in formal court livery as Master of the Buckhounds, but the completed painting shows him more informally, in his more practical "ratcatcher" clothes. He stands on a plain parquet floor against a white painted wall, holding a hunting whip in his grey-gloved left hand, with the other hand on his right hip. He is wearing a black top hat, with a black silk muffler knotted to his right side of his neck, and polished black boots. Over his yellow waistcoat, dark brown jacket and buff breeches, Ribblesdale is shrouded by a voluminous black Chesterfield overcoat. The tall hat and the fluted pilaster of the wall behind Ribblesdale, the clear silhouette of his long coat, and subtle changes that Sargent makes to the sitter's physiognomy – such as an elongated nose, and the head disproportionately small in comparison to the body – all emphasise Ribblesdale's thinness and height.A preliminary oil sketch depicts Ribblesdale standing on steps, before a column, but the final painting has him standing casually before the white panelling of Sargent's studio in Tite Street, Chelsea, London. The composition – a full-length portrait of a man standing in a long Chesterfield coat with hand on hip against a vertically delineated background – echoes Sargent's 1894 painting of W. Graham Robertson, shown with a walking cane against a dark doorway.The painting was selected by the historian David Starkey as "my favourite painting" in an article published in Country Life in 2015, in which he praises its "angular, elongated format and black-and-white palette, like a super-size Japanese print" as "Capturing the quintessence of understated aristocratic style … the portrait of an age as well as the man." | [
"whip",
"Tite Street",
"parquet",
"top hat",
"ratcatcher",
"Master of the Buckhounds",
"Chesterfield coat",
"Chelsea, London",
"W. Graham Robertson",
"Country Life",
"London",
"David Starkey",
"court livery",
"Chesterfield overcoat"
]
|
|
15610_T | The Courtyard of a House in Delft | In The Courtyard of a House in Delft, how is the abstract discussed? | The Courtyard of a House in Delft is a 1658 painting in the National Gallery, London made in the Dutch Golden Age by Pieter de Hooch. The painting portrays domestic architecture typical of de Hooch's middle period; the details and textures of the building and courtyard are given as much or more of the artist's attention as the people. It is signed and dated to the left on the archway "P.D.H. / A 1658".The scene is divided into two pieces. To the left, an archway of brick and stone leads from a paved courtyard a passageway though a house, where a woman dressed in black and red stands looking away to the street beyond. A stone tablet above the doorway was originally over the entrance of the Hieronymusdale Cloister in Delft. It reads, in Dutch: "Dit is in sint hieronimus daelle / wildt v tot pacientie en lydtsaemheijt begeeven / vvand wij muetten eerst daellen / willen wy worden verheeven 1614" (in English: "This is in Saint Jerome's dale / please be patient and meek / for we must first descend / if we wish to be raised."). When the cloister was suppressed this tablet was removed but can still be seen set into the wall of a garden behind the canal.To the right, a vine is growing over a wooden structure, with an open door through the brick wall to the far right, and a woman dressed in white and blue leading a child down steps to the courtyard. The woman is carrying a dish in her other hand, and a bucket and a broom have been left in the courtyard.
Similar figures can also be seen in contemporaneous works including A Woman Drinking with Two Men (1658), and the woman in black and red can be seen in A Boy Bringing Bread (1663). A similar composition with the same doorway can be seen in the Courtyard with an Arbour, also dated 1658, which sold at Christie's in London in December 1992 for £4.4 million.The painting was documented by Hofstede de Groot in 1908, and catalogued by John Smith (Sm. Suppl. 50) and de Groot (de G. 38).It remained in the Netherlands until 1825, when it was bought by Sir Robert Peel. It was engraved by Paul Adolphe Rajon. It was sold in 1871 by Peel's son Sir Robert Peel, 3rd Baronet, along with the rest of his father's art collection, to the National Gallery, London, where it was No. 835 in the 1906 catalogue.The work was the subject of a poem by Derek Mahon. | [
"Hofstede de Groot",
"Delft",
"A Woman Drinking with Two Men",
"Pieter de Hooch",
"Paul Adolphe Rajon",
"Christie's",
"A Boy Bringing Bread",
"Dutch Golden Age",
"Hieronymusdale Cloister",
"Jerome",
"Sir Robert Peel, 3rd Baronet",
"Saint Jerome",
"National Gallery",
"Robert Peel",
"London",
"John Smith",
"Courtyard with an Arbour",
"Derek Mahon"
]
|
|
15610_NT | The Courtyard of a House in Delft | In this artwork, how is the abstract discussed? | The Courtyard of a House in Delft is a 1658 painting in the National Gallery, London made in the Dutch Golden Age by Pieter de Hooch. The painting portrays domestic architecture typical of de Hooch's middle period; the details and textures of the building and courtyard are given as much or more of the artist's attention as the people. It is signed and dated to the left on the archway "P.D.H. / A 1658".The scene is divided into two pieces. To the left, an archway of brick and stone leads from a paved courtyard a passageway though a house, where a woman dressed in black and red stands looking away to the street beyond. A stone tablet above the doorway was originally over the entrance of the Hieronymusdale Cloister in Delft. It reads, in Dutch: "Dit is in sint hieronimus daelle / wildt v tot pacientie en lydtsaemheijt begeeven / vvand wij muetten eerst daellen / willen wy worden verheeven 1614" (in English: "This is in Saint Jerome's dale / please be patient and meek / for we must first descend / if we wish to be raised."). When the cloister was suppressed this tablet was removed but can still be seen set into the wall of a garden behind the canal.To the right, a vine is growing over a wooden structure, with an open door through the brick wall to the far right, and a woman dressed in white and blue leading a child down steps to the courtyard. The woman is carrying a dish in her other hand, and a bucket and a broom have been left in the courtyard.
Similar figures can also be seen in contemporaneous works including A Woman Drinking with Two Men (1658), and the woman in black and red can be seen in A Boy Bringing Bread (1663). A similar composition with the same doorway can be seen in the Courtyard with an Arbour, also dated 1658, which sold at Christie's in London in December 1992 for £4.4 million.The painting was documented by Hofstede de Groot in 1908, and catalogued by John Smith (Sm. Suppl. 50) and de Groot (de G. 38).It remained in the Netherlands until 1825, when it was bought by Sir Robert Peel. It was engraved by Paul Adolphe Rajon. It was sold in 1871 by Peel's son Sir Robert Peel, 3rd Baronet, along with the rest of his father's art collection, to the National Gallery, London, where it was No. 835 in the 1906 catalogue.The work was the subject of a poem by Derek Mahon. | [
"Hofstede de Groot",
"Delft",
"A Woman Drinking with Two Men",
"Pieter de Hooch",
"Paul Adolphe Rajon",
"Christie's",
"A Boy Bringing Bread",
"Dutch Golden Age",
"Hieronymusdale Cloister",
"Jerome",
"Sir Robert Peel, 3rd Baronet",
"Saint Jerome",
"National Gallery",
"Robert Peel",
"London",
"John Smith",
"Courtyard with an Arbour",
"Derek Mahon"
]
|
|
15611_T | Statue of Hannibal Hamlin | Focus on Statue of Hannibal Hamlin and explore the abstract. | Hannibal Hamlin is a bronze sculpture depicting the American attorney and politician of the same name by Charles Tefft, installed at the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Maine in 1935. | [
"Maine",
"Hannibal Hamlin",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"U.S. state",
"American attorney and politician of the same name",
"United States Capitol",
"Charles Tefft"
]
|
|
15611_NT | Statue of Hannibal Hamlin | Focus on this artwork and explore the abstract. | Hannibal Hamlin is a bronze sculpture depicting the American attorney and politician of the same name by Charles Tefft, installed at the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Maine in 1935. | [
"Maine",
"Hannibal Hamlin",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"U.S. state",
"American attorney and politician of the same name",
"United States Capitol",
"Charles Tefft"
]
|
|
15612_T | Eclipse of the Sun (Grosz) | Focus on Eclipse of the Sun (Grosz) and explain the abstract. | Eclipse of the Sun is an oil-on-canvas painting by German artist George Grosz, painted in 1926. It is held at the Heckscher Museum of Art, in Huntington, New York, where it is the most famous painting. | [
"George Grosz",
"Huntington, New York",
"Heckscher Museum of Art",
"Huntington",
"New York"
]
|
|
15612_NT | Eclipse of the Sun (Grosz) | Focus on this artwork and explain the abstract. | Eclipse of the Sun is an oil-on-canvas painting by German artist George Grosz, painted in 1926. It is held at the Heckscher Museum of Art, in Huntington, New York, where it is the most famous painting. | [
"George Grosz",
"Huntington, New York",
"Heckscher Museum of Art",
"Huntington",
"New York"
]
|
|
15613_T | Eclipse of the Sun (Grosz) | Explore the Description of this artwork, Eclipse of the Sun (Grosz). | The painting represents Grosz's harsh indictment of the political and economical realities of Germany during the Weimar Republic, specially the economic interests who dominated the new regimen. It depicts several characters around a table before the backdrop of a burning city. The central figure is the President, Paul von Hindenburg, recognizable by his long moustache and his military uniform with medals. He sits with bared teeth, wearing an ironic crown of laurel at his head. A bloodied sword and a funerary cross on the table in front of Hindenburg are a reminder of his role in World War I, and the lives lost. Four headless financiers are also at the table, in formal attire. A corpulent industrialist, with a top hat, and with small weaponry and a miniature train under his arm, whispers discreetly at the President's ear. The implication is that the headless government ministers cannot think for themselves, and simply obey the commands of the capitalists and the military.A donkey, wearing blinders decorated with the German eagle, stands facing a feeding trough full of papers while balancing on a board tied to a skeleton. The donkey is interpreted by art historian Ivo Kranzfelder as a symbol of the German people, represented as accepting whatever is put in front of them. At the right, one of the headless men rests his foot on the prison bars below him, through which a prisoner's face is seen. At the top left is a darkened sun illuminated by the American dollar sign. This is a reference to the investment of American finance in the German economy after World War I. | [
"World War I",
"Weimar Republic",
"German eagle",
"Germany",
"Paul von Hindenburg"
]
|
|
15613_NT | Eclipse of the Sun (Grosz) | Explore the Description of this artwork. | The painting represents Grosz's harsh indictment of the political and economical realities of Germany during the Weimar Republic, specially the economic interests who dominated the new regimen. It depicts several characters around a table before the backdrop of a burning city. The central figure is the President, Paul von Hindenburg, recognizable by his long moustache and his military uniform with medals. He sits with bared teeth, wearing an ironic crown of laurel at his head. A bloodied sword and a funerary cross on the table in front of Hindenburg are a reminder of his role in World War I, and the lives lost. Four headless financiers are also at the table, in formal attire. A corpulent industrialist, with a top hat, and with small weaponry and a miniature train under his arm, whispers discreetly at the President's ear. The implication is that the headless government ministers cannot think for themselves, and simply obey the commands of the capitalists and the military.A donkey, wearing blinders decorated with the German eagle, stands facing a feeding trough full of papers while balancing on a board tied to a skeleton. The donkey is interpreted by art historian Ivo Kranzfelder as a symbol of the German people, represented as accepting whatever is put in front of them. At the right, one of the headless men rests his foot on the prison bars below him, through which a prisoner's face is seen. At the top left is a darkened sun illuminated by the American dollar sign. This is a reference to the investment of American finance in the German economy after World War I. | [
"World War I",
"Weimar Republic",
"German eagle",
"Germany",
"Paul von Hindenburg"
]
|
|
15614_T | Eclipse of the Sun (Grosz) | Focus on Eclipse of the Sun (Grosz) and discuss the History. | The painting was brought by Grosz to the United States when he moved there in 1933. It was thought lost but was found at the home of a house painter, Thomas Constantine, who had kept it rolled up in his garage for several years. When it was found, it was exhibited at the Harbor Gallery in Cold Spring Harbor. A fund-raising effort by the Heckscher Museum of Art's first professional director led to the museum's acquisition of the painting for $15,000 in 1968. The museum planned to sell the painting in 2009, but the public outcry led them to give up the idea. | [
"Heckscher Museum of Art"
]
|
|
15614_NT | Eclipse of the Sun (Grosz) | Focus on this artwork and discuss the History. | The painting was brought by Grosz to the United States when he moved there in 1933. It was thought lost but was found at the home of a house painter, Thomas Constantine, who had kept it rolled up in his garage for several years. When it was found, it was exhibited at the Harbor Gallery in Cold Spring Harbor. A fund-raising effort by the Heckscher Museum of Art's first professional director led to the museum's acquisition of the painting for $15,000 in 1968. The museum planned to sell the painting in 2009, but the public outcry led them to give up the idea. | [
"Heckscher Museum of Art"
]
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15615_T | Murphy Memorial Drinking Fountain | How does Murphy Memorial Drinking Fountain elucidate its abstract? | The Murphy Memorial Drinking Fountain is located in Delphi, Indiana on the southwest corner of the Carroll County Courthouse at Main and Market Streets and owned by the City of Delphi. The fountain was created in 1918 by Indianapolis-based Blakley Granite, Marble and Tile Company in collaboration with the artist Myra Reynolds Richards. Blakley created the architectural elements and Richards created the figural sculpture of the young girl located in the center. Originally there were two drinking fountains contained within the granite chalices on either side while the sculpture had a minor feature that may have bubbled water out of the chalice that the child holds with her right hand. | [
"Carroll County Courthouse",
"Myra Reynolds Richards",
"chalice",
"Delphi, Indiana",
"girl"
]
|
|
15615_NT | Murphy Memorial Drinking Fountain | How does this artwork elucidate its abstract? | The Murphy Memorial Drinking Fountain is located in Delphi, Indiana on the southwest corner of the Carroll County Courthouse at Main and Market Streets and owned by the City of Delphi. The fountain was created in 1918 by Indianapolis-based Blakley Granite, Marble and Tile Company in collaboration with the artist Myra Reynolds Richards. Blakley created the architectural elements and Richards created the figural sculpture of the young girl located in the center. Originally there were two drinking fountains contained within the granite chalices on either side while the sculpture had a minor feature that may have bubbled water out of the chalice that the child holds with her right hand. | [
"Carroll County Courthouse",
"Myra Reynolds Richards",
"chalice",
"Delphi, Indiana",
"girl"
]
|
|
15616_T | Murphy Memorial Drinking Fountain | Focus on Murphy Memorial Drinking Fountain and analyze the Description. | The Murphy Memorial Drinking Fountain is a structure made of Barre Granite, the same stone utilized in the Sailors and Soldiers Monument, which was created in 1888 and stands on the southeast corner of the courthouse square in Delphi, Indiana. The precise date that the fountain was finished is not known, but it appears installed and operational in a photo taken by Andrew W. Wolever on Labor Day in 1919.The sculpture by Reynolds depicts a young girl wearing a short one piece dress. She holds her left hand out before her with a chalice, which currently contains a drinking fountain. Her right hand is stretched behind her.
A bronze tablet is mounted above the sculpture that reads "The Mr. and Mrs. M. M. Murphy Drinking Fountain". The sculpture was donated by Clara G. Murphy, on behalf of her deceased husband, and herself. The couple owned Murphy's Drugstore from 1875 to 1910, which was located across the street from the fountain at 112 West Main Street. | [
"Sailors and Soldiers Monument",
"chalice",
"Delphi, Indiana",
"left",
"girl",
"Barre Granite"
]
|
|
15616_NT | Murphy Memorial Drinking Fountain | Focus on this artwork and analyze the Description. | The Murphy Memorial Drinking Fountain is a structure made of Barre Granite, the same stone utilized in the Sailors and Soldiers Monument, which was created in 1888 and stands on the southeast corner of the courthouse square in Delphi, Indiana. The precise date that the fountain was finished is not known, but it appears installed and operational in a photo taken by Andrew W. Wolever on Labor Day in 1919.The sculpture by Reynolds depicts a young girl wearing a short one piece dress. She holds her left hand out before her with a chalice, which currently contains a drinking fountain. Her right hand is stretched behind her.
A bronze tablet is mounted above the sculpture that reads "The Mr. and Mrs. M. M. Murphy Drinking Fountain". The sculpture was donated by Clara G. Murphy, on behalf of her deceased husband, and herself. The couple owned Murphy's Drugstore from 1875 to 1910, which was located across the street from the fountain at 112 West Main Street. | [
"Sailors and Soldiers Monument",
"chalice",
"Delphi, Indiana",
"left",
"girl",
"Barre Granite"
]
|
|
15617_T | Murphy Memorial Drinking Fountain | Describe the characteristics of the Model for sculpture in Murphy Memorial Drinking Fountain's Description. | Lewis Shaffer McGiffin stated in 1963 that she was the model that the sculptor used to create the little girl. Instead of posing for the sculptor in person, a photograph of McGriffin was used. Because the girl is shoeless, wears a short dress, with unadorned hair, McGriffin stated that she was "terribly afraid my schoolmates may discover my identity and wonder why I was in the town square" dressed in such a way. She only admitted later in life to having been the model. | [
"girl"
]
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|
15617_NT | Murphy Memorial Drinking Fountain | Describe the characteristics of the Model for sculpture in this artwork's Description. | Lewis Shaffer McGiffin stated in 1963 that she was the model that the sculptor used to create the little girl. Instead of posing for the sculptor in person, a photograph of McGriffin was used. Because the girl is shoeless, wears a short dress, with unadorned hair, McGriffin stated that she was "terribly afraid my schoolmates may discover my identity and wonder why I was in the town square" dressed in such a way. She only admitted later in life to having been the model. | [
"girl"
]
|
|
15618_T | Murphy Memorial Drinking Fountain | Focus on Murphy Memorial Drinking Fountain and explore the Historical information. | The location for the fountain is based on a long-standing community water source on the southwest corner of the courthouse square. | []
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15618_NT | Murphy Memorial Drinking Fountain | Focus on this artwork and explore the Historical information. | The location for the fountain is based on a long-standing community water source on the southwest corner of the courthouse square. | []
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15619_T | Murphy Memorial Drinking Fountain | In the context of Murphy Memorial Drinking Fountain, explain the 1960s restoration of the Historical information. | In 1963 the sculpture suffered damage and was no longer dispensing water. The left arm of the sculpture was damaged when the plumbing became clogged, however it was not the clog that broke the arm. Repairmen accidentally broke the arm while investigating the leak. With support from the city council and a community fundraising effort, the fountain was repaired. | [
"left"
]
|
|
15619_NT | Murphy Memorial Drinking Fountain | In the context of this artwork, explain the 1960s restoration of the Historical information. | In 1963 the sculpture suffered damage and was no longer dispensing water. The left arm of the sculpture was damaged when the plumbing became clogged, however it was not the clog that broke the arm. Repairmen accidentally broke the arm while investigating the leak. With support from the city council and a community fundraising effort, the fountain was repaired. | [
"left"
]
|
|
15620_T | Murphy Memorial Drinking Fountain | Explore the 1990s restoration about the Historical information of this artwork, Murphy Memorial Drinking Fountain. | By the 1990s the fountain and the sculpture had been altered. A set of concrete steps were added at the front and an oversized bubbler was added on top of the chalice that the child holds. While this bubbler returned the drinking function to the fountain, it significantly altered the appearance. | [
"chalice"
]
|
|
15620_NT | Murphy Memorial Drinking Fountain | Explore the 1990s restoration about the Historical information of this artwork. | By the 1990s the fountain and the sculpture had been altered. A set of concrete steps were added at the front and an oversized bubbler was added on top of the chalice that the child holds. While this bubbler returned the drinking function to the fountain, it significantly altered the appearance. | [
"chalice"
]
|
|
15621_T | Murphy Memorial Drinking Fountain | In the context of Murphy Memorial Drinking Fountain, discuss the 2010s restoration of the Historical information. | In 2012 the City of Delphi was named one of Indiana's Stellar Communities, which comes with a grants that allow for rehabilitation of certain parts of the community. Plans are underway to restore the fountain to its original appearance. | []
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15621_NT | Murphy Memorial Drinking Fountain | In the context of this artwork, discuss the 2010s restoration of the Historical information. | In 2012 the City of Delphi was named one of Indiana's Stellar Communities, which comes with a grants that allow for rehabilitation of certain parts of the community. Plans are underway to restore the fountain to its original appearance. | []
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15622_T | The Holy Family with Saint Joachim and Saint Anne Before the Eternal Glory | How does The Holy Family with Saint Joachim and Saint Anne Before the Eternal Glory elucidate its abstract? | The Holy Family with Saint Joachim and Saint Anne Before the Eternal Glory or The Three Generations is an oil painting on canvas executed in 1769 by the Spanish artist Francisco Goya. It is an early work by the artist, depicting the Holy Family, with the Virgin Mary's parents saint Anne and saint Joachim and God the Father and the Holy Spirit. The painting is now in the Marquis de las Palmas collection in Jerez de la Frontera. | [
"Goya",
"Joachim",
"saint Joachim",
"Francisco Goya",
"Saint Anne",
"saint Anne",
"Jerez de la Frontera",
"Spanish",
"Holy Spirit",
"God the Father",
"Holy Family"
]
|
|
15622_NT | The Holy Family with Saint Joachim and Saint Anne Before the Eternal Glory | How does this artwork elucidate its abstract? | The Holy Family with Saint Joachim and Saint Anne Before the Eternal Glory or The Three Generations is an oil painting on canvas executed in 1769 by the Spanish artist Francisco Goya. It is an early work by the artist, depicting the Holy Family, with the Virgin Mary's parents saint Anne and saint Joachim and God the Father and the Holy Spirit. The painting is now in the Marquis de las Palmas collection in Jerez de la Frontera. | [
"Goya",
"Joachim",
"saint Joachim",
"Francisco Goya",
"Saint Anne",
"saint Anne",
"Jerez de la Frontera",
"Spanish",
"Holy Spirit",
"God the Father",
"Holy Family"
]
|
|
15623_T | Allegory of the Vanities of the World | Focus on Allegory of the Vanities of the World and analyze the abstract. | Allegory of the Vanities of the World is a 1663 painting by the Flemish painter Pieter Boel, now in the Palais des Beaux-Arts de Lille. It is unusually large for a vanitas painting.
It shows symbols of art (music, sculpture and painting), glory (armour, sabre, bow and arrows), temporal power (Christian or Muslim crowns), spiritual power (tiara and cross), wealth (copper, silver, gold, furs and precious textiles), knowledge (globe and books), all heaped as a pyramid in a ruined palace or church. Atop the pile stands a crane crowned with laurels. To the right a circlet of iron, without beginning or rend, symbolises eternity. In the background a sarcophagus is inscribed "Vanitati S" (sacrifice of Vanity). | [
"Lille",
"Pieter Boel",
"Palais des Beaux-Arts de Lille",
"vanitas"
]
|
|
15623_NT | Allegory of the Vanities of the World | Focus on this artwork and analyze the abstract. | Allegory of the Vanities of the World is a 1663 painting by the Flemish painter Pieter Boel, now in the Palais des Beaux-Arts de Lille. It is unusually large for a vanitas painting.
It shows symbols of art (music, sculpture and painting), glory (armour, sabre, bow and arrows), temporal power (Christian or Muslim crowns), spiritual power (tiara and cross), wealth (copper, silver, gold, furs and precious textiles), knowledge (globe and books), all heaped as a pyramid in a ruined palace or church. Atop the pile stands a crane crowned with laurels. To the right a circlet of iron, without beginning or rend, symbolises eternity. In the background a sarcophagus is inscribed "Vanitati S" (sacrifice of Vanity). | [
"Lille",
"Pieter Boel",
"Palais des Beaux-Arts de Lille",
"vanitas"
]
|
|
15624_T | Corpus (Bernini) | In Corpus (Bernini), how is the abstract discussed? | Corpus (The Body) is a life-size bronze sculpture of the crucified Jesus by Gian Lorenzo Bernini. Cast in 1650, Bernini held onto it in his private collection for 25 years. | [
"Gian Lorenzo Bernini",
"Jesus"
]
|
|
15624_NT | Corpus (Bernini) | In this artwork, how is the abstract discussed? | Corpus (The Body) is a life-size bronze sculpture of the crucified Jesus by Gian Lorenzo Bernini. Cast in 1650, Bernini held onto it in his private collection for 25 years. | [
"Gian Lorenzo Bernini",
"Jesus"
]
|
|
15625_T | Corpus (Bernini) | Focus on Corpus (Bernini) and explore the History. | Corpus is considered one of the artist's "long-lost masterpieces". It is believed that Bernini cast three versions of Corpus. One version was destroyed during the French Revolution, one belonged to the official collection of the royal family of Spain, and one that was recorded in the Perugia region of Italy in 1790 before going missing. The Corpus donated to the Art Gallery of Ontario in Toronto was long believed to have been cast by an unknown French artist. In 2004, following new scholarly studies of the work, Corpus was attributed to Bernini, who cast the sculpture for his personal collection.After being "lost" for over one hundred years, Corpus surfaced in Venice in 1908. Later it fell into private hands in the United States, but by that time it was misidentified as a work from the school of Giambologna. At an auction in 1975, it failed to sell for the very low price of $200. It was not until 2002 that it was recognized as a Bernini. And it took until 2005 for the provenance to be definitely and directly linked to Bernini.In January 2007, Toronto real estate developer Murray Frum negotiated to buy the sculpture from an art dealer in the United States, and then donated the sculpture to the Art Gallery of Ontario. Corpus is said to be worth $50 million in the current art market. | [
"Murray Frum",
"Art Gallery of Ontario",
"Toronto"
]
|
|
15625_NT | Corpus (Bernini) | Focus on this artwork and explore the History. | Corpus is considered one of the artist's "long-lost masterpieces". It is believed that Bernini cast three versions of Corpus. One version was destroyed during the French Revolution, one belonged to the official collection of the royal family of Spain, and one that was recorded in the Perugia region of Italy in 1790 before going missing. The Corpus donated to the Art Gallery of Ontario in Toronto was long believed to have been cast by an unknown French artist. In 2004, following new scholarly studies of the work, Corpus was attributed to Bernini, who cast the sculpture for his personal collection.After being "lost" for over one hundred years, Corpus surfaced in Venice in 1908. Later it fell into private hands in the United States, but by that time it was misidentified as a work from the school of Giambologna. At an auction in 1975, it failed to sell for the very low price of $200. It was not until 2002 that it was recognized as a Bernini. And it took until 2005 for the provenance to be definitely and directly linked to Bernini.In January 2007, Toronto real estate developer Murray Frum negotiated to buy the sculpture from an art dealer in the United States, and then donated the sculpture to the Art Gallery of Ontario. Corpus is said to be worth $50 million in the current art market. | [
"Murray Frum",
"Art Gallery of Ontario",
"Toronto"
]
|
|
15626_T | Madonna of the Rose (Raphael) | Focus on Madonna of the Rose (Raphael) and explain the abstract. | The Madonna of the Rose (Madonna della rosa) is a 1518-1520 painting, now in the Museo del Prado in Madrid. Its attribution as by Raphael is uncertain, and the involvement of Giulio Romano cannot be excluded. The rose and the lower portion were added at a later date by an unknown artist. A second autograph version of this painting, without the added rose and lower strip, painted on wood panel, is owned by real estate magnate Luke Brugnara. In 2022, the painting was included in an exhibition held by the National Gallery.
The controversy was further fueled by a paper which claimed to have used Artificial intelligence to analyze the attribution, and which concluded that the painting was done by Raphael, but that St. Joseph was a later addition added by someone else. | [
"Raphael",
"Luke Brugnara",
"Artificial intelligence",
"Museo del Prado",
"National Gallery",
"Giulio Romano",
"Madrid"
]
|
|
15626_NT | Madonna of the Rose (Raphael) | Focus on this artwork and explain the abstract. | The Madonna of the Rose (Madonna della rosa) is a 1518-1520 painting, now in the Museo del Prado in Madrid. Its attribution as by Raphael is uncertain, and the involvement of Giulio Romano cannot be excluded. The rose and the lower portion were added at a later date by an unknown artist. A second autograph version of this painting, without the added rose and lower strip, painted on wood panel, is owned by real estate magnate Luke Brugnara. In 2022, the painting was included in an exhibition held by the National Gallery.
The controversy was further fueled by a paper which claimed to have used Artificial intelligence to analyze the attribution, and which concluded that the painting was done by Raphael, but that St. Joseph was a later addition added by someone else. | [
"Raphael",
"Luke Brugnara",
"Artificial intelligence",
"Museo del Prado",
"National Gallery",
"Giulio Romano",
"Madrid"
]
|
|
15627_T | Equestrian statue of José de San Martín (Central Park) | Explore the abstract of this artwork, Equestrian statue of José de San Martín (Central Park). | An equestrian statue of José de San Martín by Louis-Joseph Daumas is installed in Manhattan's Central Park, in the U.S. state of New York. The sculpture was cast c. 1950 and dedicated on May 25, 1951. | [
"U.S. state",
"Louis-Joseph Daumas",
"Manhattan",
"equestrian statue",
"Central Park",
"José de San Martín",
"New York"
]
|
|
15627_NT | Equestrian statue of José de San Martín (Central Park) | Explore the abstract of this artwork. | An equestrian statue of José de San Martín by Louis-Joseph Daumas is installed in Manhattan's Central Park, in the U.S. state of New York. The sculpture was cast c. 1950 and dedicated on May 25, 1951. | [
"U.S. state",
"Louis-Joseph Daumas",
"Manhattan",
"equestrian statue",
"Central Park",
"José de San Martín",
"New York"
]
|
|
15628_T | Woman with a Hat | Focus on Woman with a Hat and discuss the abstract. | Woman with a Hat (French: La femme au chapeau) is a painting by Henri Matisse. An oil on canvas, it depicts Matisse's wife, Amelie. It was painted in 1905 and exhibited at the Salon d'Automne during the autumn of the same year, along with works by André Derain, Maurice de Vlaminck and several other artists known as "Fauves".Critic Louis Vauxcelles, in comparing the paintings of Matisse and his associates with a Renaissance-type sculpture that shared the room with them, used the phrase "Donatello chez les fauves..." (Donatello among the wild beasts). His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Woman with a Hat was at the center of the controversy that led to the term Fauvism. It was also a painting that marked a stylistic shift in the work of Matisse from the Divisionist brushstrokes of his earlier work to a more expressive style. Its loose brushwork and "unfinished" quality shocked viewers as much as its vivid, non-naturalistic colors.Although the Fauve works on display were condemned by many—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair—they also gained some favorable attention. The painting that was singled out for attacks was Matisse's Woman with a Hat, which was bought by Gertrude and Leo Stein for 500 francs: this had a very positive effect on Matisse's morale, which had suffered with the bad reception of his work.Sarah Stein, the wife of Gertrude and Leo's elder brother Michael, claimed to have been the original purchaser of this painting, not Gertrude (Leo did not like the painting at first). One can see it in photographs of Sarah and Michael's home on Rue Madame. It was a centerpiece in Sarah's home in Palo Alto, California for many years. During the 1950s, in San Francisco, it was bought by the Haas family. In 1990 Elise S. Haas bequeathed thirty-seven paintings, sculptures and works on paper to the San Francisco Museum of Modern Art, among them Femme au chapeau. | [
"Fauvism",
"Camille Mauclair",
"Palo Alto, California",
"Divisionist",
"Louis Vauxcelles",
"San Francisco Museum of Modern Art",
"Maurice de Vlaminck",
"Renaissance",
"San Francisco",
"francs",
"Salon d'Automne",
"Gil Blas",
"Palo Alto",
"André Derain",
"Museum of Modern Art",
"Donatello",
"Henri Matisse",
"Haas family",
"Gertrude",
"Fauves",
"Leo Stein"
]
|
|
15628_NT | Woman with a Hat | Focus on this artwork and discuss the abstract. | Woman with a Hat (French: La femme au chapeau) is a painting by Henri Matisse. An oil on canvas, it depicts Matisse's wife, Amelie. It was painted in 1905 and exhibited at the Salon d'Automne during the autumn of the same year, along with works by André Derain, Maurice de Vlaminck and several other artists known as "Fauves".Critic Louis Vauxcelles, in comparing the paintings of Matisse and his associates with a Renaissance-type sculpture that shared the room with them, used the phrase "Donatello chez les fauves..." (Donatello among the wild beasts). His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Woman with a Hat was at the center of the controversy that led to the term Fauvism. It was also a painting that marked a stylistic shift in the work of Matisse from the Divisionist brushstrokes of his earlier work to a more expressive style. Its loose brushwork and "unfinished" quality shocked viewers as much as its vivid, non-naturalistic colors.Although the Fauve works on display were condemned by many—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair—they also gained some favorable attention. The painting that was singled out for attacks was Matisse's Woman with a Hat, which was bought by Gertrude and Leo Stein for 500 francs: this had a very positive effect on Matisse's morale, which had suffered with the bad reception of his work.Sarah Stein, the wife of Gertrude and Leo's elder brother Michael, claimed to have been the original purchaser of this painting, not Gertrude (Leo did not like the painting at first). One can see it in photographs of Sarah and Michael's home on Rue Madame. It was a centerpiece in Sarah's home in Palo Alto, California for many years. During the 1950s, in San Francisco, it was bought by the Haas family. In 1990 Elise S. Haas bequeathed thirty-seven paintings, sculptures and works on paper to the San Francisco Museum of Modern Art, among them Femme au chapeau. | [
"Fauvism",
"Camille Mauclair",
"Palo Alto, California",
"Divisionist",
"Louis Vauxcelles",
"San Francisco Museum of Modern Art",
"Maurice de Vlaminck",
"Renaissance",
"San Francisco",
"francs",
"Salon d'Automne",
"Gil Blas",
"Palo Alto",
"André Derain",
"Museum of Modern Art",
"Donatello",
"Henri Matisse",
"Haas family",
"Gertrude",
"Fauves",
"Leo Stein"
]
|
|
15629_T | Singing Sky | Focus on Singing Sky and analyze the abstract. | Singing Sky is an outdoor 2010 sculpture by Wisconsin artist Richard Taylor, installed at Beaverton City Park in Beaverton, Oregon, United States. It is part of the collection of the Beaverton Arts Commission. | [
"Beaverton City Park",
"Richard Taylor",
"Beaverton, Oregon",
"Beaverton Arts Commission"
]
|
|
15629_NT | Singing Sky | Focus on this artwork and analyze the abstract. | Singing Sky is an outdoor 2010 sculpture by Wisconsin artist Richard Taylor, installed at Beaverton City Park in Beaverton, Oregon, United States. It is part of the collection of the Beaverton Arts Commission. | [
"Beaverton City Park",
"Richard Taylor",
"Beaverton, Oregon",
"Beaverton Arts Commission"
]
|
|
15630_T | Singing Sky | In Singing Sky, how is the Description and history discussed? | Richard Taylor's Singing Sky is an outdoor aluminum and Imron sculpture installed at Beaverton's City Fountain Park. Taylor's design was selected from more than 200 proposals by the Beaverton Art Commission, whose goal was to "[incorporate] significant and accessible works of art that embrace Beaverton's diverse traditions and history". The 15-foot (4.6 m), burnt orange painted piece was installed on July 13, 2010 and a dedication ceremony was held the following day.
Taylor has said of public art in general and his sculpture specifically: One of my favorite aspects of a public piece is that it sometimes sparks observations between strangers who wouldn't have conversed otherwise. Singing Sky, was created with the theme of diversity as its central message. I like to use abstract shapes as a language to help convey the meaning in my work. This opens a broad number of interpretations to be found by those who look for the message. Visually, I hope that it brings a sense of wonder and whimsy to those driving or walking by the park, and that the spirit of the sculpture creates a sense of being uplifted. | [
"City Fountain Park",
"Beaverton Art Commission",
"Richard Taylor"
]
|
|
15630_NT | Singing Sky | In this artwork, how is the Description and history discussed? | Richard Taylor's Singing Sky is an outdoor aluminum and Imron sculpture installed at Beaverton's City Fountain Park. Taylor's design was selected from more than 200 proposals by the Beaverton Art Commission, whose goal was to "[incorporate] significant and accessible works of art that embrace Beaverton's diverse traditions and history". The 15-foot (4.6 m), burnt orange painted piece was installed on July 13, 2010 and a dedication ceremony was held the following day.
Taylor has said of public art in general and his sculpture specifically: One of my favorite aspects of a public piece is that it sometimes sparks observations between strangers who wouldn't have conversed otherwise. Singing Sky, was created with the theme of diversity as its central message. I like to use abstract shapes as a language to help convey the meaning in my work. This opens a broad number of interpretations to be found by those who look for the message. Visually, I hope that it brings a sense of wonder and whimsy to those driving or walking by the park, and that the spirit of the sculpture creates a sense of being uplifted. | [
"City Fountain Park",
"Beaverton Art Commission",
"Richard Taylor"
]
|
|
15631_T | Maria Skłodowska-Curie Medallion | Focus on Maria Skłodowska-Curie Medallion and explore the History. | On August 3, 1955, the University at Buffalo created the Polish Room. Polish-American artist Jozef C. Mazur was hired to plan and decorate the room. Items included a set of four stained-glass medallions depicting famous Poles.
At some point between the founding and when the Polish Room was moved in 1978, the medallions went missing. In 2007 the Marie Skłodowska-Curie Medallion was found for sale on eBay by University at Buffalo alumnus Gregory Witul. Witul was able to coordinate the return of the medallion to the University. A formal re-dedication was held on November 4, 2007.
On April 6, 2008 Witul received the Am-Pol Eagle Citizen of the Year Award for Heritage for finding and coordinating the return of the medallion and Peter Miecyjak received the Am-Pol Eagle Citizen of the Year Award for Youth in part for organizing the re-dedication. | [
"eBay",
"Medal",
"medallion",
"stained-glass",
"Jozef C. Mazur",
"University at Buffalo",
"Am-Pol Eagle Citizen of the Year Award"
]
|
|
15631_NT | Maria Skłodowska-Curie Medallion | Focus on this artwork and explore the History. | On August 3, 1955, the University at Buffalo created the Polish Room. Polish-American artist Jozef C. Mazur was hired to plan and decorate the room. Items included a set of four stained-glass medallions depicting famous Poles.
At some point between the founding and when the Polish Room was moved in 1978, the medallions went missing. In 2007 the Marie Skłodowska-Curie Medallion was found for sale on eBay by University at Buffalo alumnus Gregory Witul. Witul was able to coordinate the return of the medallion to the University. A formal re-dedication was held on November 4, 2007.
On April 6, 2008 Witul received the Am-Pol Eagle Citizen of the Year Award for Heritage for finding and coordinating the return of the medallion and Peter Miecyjak received the Am-Pol Eagle Citizen of the Year Award for Youth in part for organizing the re-dedication. | [
"eBay",
"Medal",
"medallion",
"stained-glass",
"Jozef C. Mazur",
"University at Buffalo",
"Am-Pol Eagle Citizen of the Year Award"
]
|
|
15632_T | Crucifixion of Saint Andrew (Damaskinos) | Focus on Crucifixion of Saint Andrew (Damaskinos) and explain the abstract. | Crucifixion of Saint Andrew is a tempera painting by Greek painter Michael Damaskinos. Damaskinos painted in Heraklion, Venice, Sicily, and other parts of Italy. He was associated with the Greek church San Giorgio dei Greci in Venice. His painting of the Crucifixion of Saint Andrew follows the traditional Greek mannerisms prevalent at the time. It is a rare painting of Andrew the Apostle crucified in the same style as his brother Saint Peter. Saint Peter refused to be crucified the same way as Jesus. He was crucified upside down. Saint Andrew is typically crucified in the form of an X rather than the cross. He was crucified in Patras where his remains can be found today at the Cathedral of Saint Andrew, Patras. The Damaskinos painting of the Crucifixion of Saint Andrew can be found at the Byzantine and Christian Museum in Athens, Greece. | [
"Sicily",
"Patras",
"Byzantine and Christian Museum",
"tempera",
"Saint Andrew",
"Heraklion",
"Andrew the Apostle",
"Italy",
"San Giorgio dei Greci",
"Venice",
"Saint Peter",
"Athens",
"Cathedral of Saint Andrew, Patras",
"Michael Damaskinos"
]
|
|
15632_NT | Crucifixion of Saint Andrew (Damaskinos) | Focus on this artwork and explain the abstract. | Crucifixion of Saint Andrew is a tempera painting by Greek painter Michael Damaskinos. Damaskinos painted in Heraklion, Venice, Sicily, and other parts of Italy. He was associated with the Greek church San Giorgio dei Greci in Venice. His painting of the Crucifixion of Saint Andrew follows the traditional Greek mannerisms prevalent at the time. It is a rare painting of Andrew the Apostle crucified in the same style as his brother Saint Peter. Saint Peter refused to be crucified the same way as Jesus. He was crucified upside down. Saint Andrew is typically crucified in the form of an X rather than the cross. He was crucified in Patras where his remains can be found today at the Cathedral of Saint Andrew, Patras. The Damaskinos painting of the Crucifixion of Saint Andrew can be found at the Byzantine and Christian Museum in Athens, Greece. | [
"Sicily",
"Patras",
"Byzantine and Christian Museum",
"tempera",
"Saint Andrew",
"Heraklion",
"Andrew the Apostle",
"Italy",
"San Giorgio dei Greci",
"Venice",
"Saint Peter",
"Athens",
"Cathedral of Saint Andrew, Patras",
"Michael Damaskinos"
]
|
|
15633_T | Crucifixion of Saint Andrew (Damaskinos) | Explore the Description of this artwork, Crucifixion of Saint Andrew (Damaskinos). | The work is egg tempera and gold leaf on wood with dimensions of 49 cm x 40 cm (19.3 in x 15.7 in). It was created in the middle part of the 16th century. The painting depicts Saint Andrew on an upside-down cross between two trees along the axis of the image sunk into the ground. Andrew is tied with ropes around his arms and legs. Three of the subjects tie ropes and fasten the cross to the trees. The subject on the left with the help of a soldier with a helmet ties the cross. Another figure with long leggings and a hat is perched on a branch high in the tree tying the top of the cross. He is instructed by a high-ranking soldier dressed in military attire. Two of the soldiers have spheres reminiscent of the Roman weapons used at the historic event in Patras. The person to our right is another soldier with a short tunic and a sword hung from his waist. Around the trees, there are small ornamental plants in the ground. The tree on our left bears the painter's signature. | [
"Patras",
"tempera",
"Saint Andrew"
]
|
|
15633_NT | Crucifixion of Saint Andrew (Damaskinos) | Explore the Description of this artwork. | The work is egg tempera and gold leaf on wood with dimensions of 49 cm x 40 cm (19.3 in x 15.7 in). It was created in the middle part of the 16th century. The painting depicts Saint Andrew on an upside-down cross between two trees along the axis of the image sunk into the ground. Andrew is tied with ropes around his arms and legs. Three of the subjects tie ropes and fasten the cross to the trees. The subject on the left with the help of a soldier with a helmet ties the cross. Another figure with long leggings and a hat is perched on a branch high in the tree tying the top of the cross. He is instructed by a high-ranking soldier dressed in military attire. Two of the soldiers have spheres reminiscent of the Roman weapons used at the historic event in Patras. The person to our right is another soldier with a short tunic and a sword hung from his waist. Around the trees, there are small ornamental plants in the ground. The tree on our left bears the painter's signature. | [
"Patras",
"tempera",
"Saint Andrew"
]
|
|
15634_T | The Musicians (Caravaggio) | Focus on The Musicians (Caravaggio) and discuss the abstract. | The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio more complex paintings, with four figures that were likely painted from life. | [
"Francesco Maria del Monte",
"Cardinal Francesco Maria del Monte",
"Baroque",
"Caravaggio",
"Michelangelo Merisi da Caravaggio"
]
|
|
15634_NT | The Musicians (Caravaggio) | Focus on this artwork and discuss the abstract. | The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio more complex paintings, with four figures that were likely painted from life. | [
"Francesco Maria del Monte",
"Cardinal Francesco Maria del Monte",
"Baroque",
"Caravaggio",
"Michelangelo Merisi da Caravaggio"
]
|
|
15635_T | The Musicians (Caravaggio) | How does The Musicians (Caravaggio) elucidate its Patron? | Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various musical instruments, from which Caravaggio could use as models within his works for the wealthy patron. During this time, musical instruments were often associated with wealthy ownership and status due to instruments being expensive and highly sought after for use or and collection."Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music. | [
"lute",
"Renaissance",
"Cardinal Del Monte",
"Accademia di San Luca",
"Andrea Sacchi",
"Cardinal del Monte's",
"aristocracy",
"Baroque",
"Caravaggio",
"The Lute Player",
"Baglione",
"Lute",
"Francesco Maria Del Monte"
]
|
|
15635_NT | The Musicians (Caravaggio) | How does this artwork elucidate its Patron? | Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various musical instruments, from which Caravaggio could use as models within his works for the wealthy patron. During this time, musical instruments were often associated with wealthy ownership and status due to instruments being expensive and highly sought after for use or and collection."Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music. | [
"lute",
"Renaissance",
"Cardinal Del Monte",
"Accademia di San Luca",
"Andrea Sacchi",
"Cardinal del Monte's",
"aristocracy",
"Baroque",
"Caravaggio",
"The Lute Player",
"Baglione",
"Lute",
"Francesco Maria Del Monte"
]
|
|
15636_T | The Musicians (Caravaggio) | In the context of The Musicians (Caravaggio), analyze the Provenance of the Patron. | After Cardinal Del Monte's death, this painting was sold on May 8th 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983. | [
"New York",
"Duchesse d'Aiguillon",
"Cardinal Del Monte",
"Cardinal Richelieu",
"Met",
"Metropolitan Museum of Art, New York",
"Jacob S. Rogers",
"Metropolitan Museum of Art"
]
|
|
15636_NT | The Musicians (Caravaggio) | In the context of this artwork, analyze the Provenance of the Patron. | After Cardinal Del Monte's death, this painting was sold on May 8th 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983. | [
"New York",
"Duchesse d'Aiguillon",
"Cardinal Del Monte",
"Cardinal Richelieu",
"Met",
"Metropolitan Museum of Art, New York",
"Jacob S. Rogers",
"Metropolitan Museum of Art"
]
|
|
15637_T | The Musicians (Caravaggio) | In The Musicians (Caravaggio), how is the Description & Interpretations discussed? | The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed. | [
"Cupid",
"Andrew Graham-Dixon",
"Roman",
"allegory",
"Greek",
"Caravaggio"
]
|
|
15637_NT | The Musicians (Caravaggio) | In this artwork, how is the Description & Interpretations discussed? | The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed. | [
"Cupid",
"Andrew Graham-Dixon",
"Roman",
"allegory",
"Greek",
"Caravaggio"
]
|
|
15638_T | The Musicians (Caravaggio) | In the context of The Musicians (Caravaggio), explore the Iconography and Symbolism of the Description & Interpretations. | Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau. | [
"lute",
"Cupid",
"allegory",
"madrigal"
]
|
|
15638_NT | The Musicians (Caravaggio) | In the context of this artwork, explore the Iconography and Symbolism of the Description & Interpretations. | Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau. | [
"lute",
"Cupid",
"allegory",
"madrigal"
]
|
|
15639_T | The Musicians (Caravaggio) | In the context of The Musicians (Caravaggio), explain the Identity of the Figures of the Description & Interpretations. | Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy. | [
"lute",
"Renaissance",
"Cupid",
"Saint Francis of Assisi in Ecstasy",
"Boy Peeling Fruit",
"Mario Minniti",
"elites",
"Caravaggio",
"physiognomy"
]
|
|
15639_NT | The Musicians (Caravaggio) | In the context of this artwork, explain the Identity of the Figures of the Description & Interpretations. | Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy. | [
"lute",
"Renaissance",
"Cupid",
"Saint Francis of Assisi in Ecstasy",
"Boy Peeling Fruit",
"Mario Minniti",
"elites",
"Caravaggio",
"physiognomy"
]
|
|
15640_T | The Musicians (Caravaggio) | Explore the Historical Context of this artwork, The Musicians (Caravaggio). | Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.
The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career. | [
"Titian",
"Venice",
"Cardinal del Monte's",
"aristocracy",
"Baroque",
"Baroque Period",
"Caravaggio",
"Le concert champêtre",
"The Lute Player",
"opera",
"Baroque music",
"Lute",
"Titian's",
"Baroque art"
]
|
|
15640_NT | The Musicians (Caravaggio) | Explore the Historical Context of this artwork. | Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.
The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career. | [
"Titian",
"Venice",
"Cardinal del Monte's",
"aristocracy",
"Baroque",
"Baroque Period",
"Caravaggio",
"Le concert champêtre",
"The Lute Player",
"opera",
"Baroque music",
"Lute",
"Titian's",
"Baroque art"
]
|
|
15641_T | The Musicians (Caravaggio) | Focus on The Musicians (Caravaggio) and discuss the Recovering Lost Fictions. | A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9th to December 28th of 1997.
This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely. | [
"List Visual Arts Center",
"MIT List Visual Arts Center",
"Caravaggio",
"Joseph Grigely",
"Kathleen Gilje"
]
|
|
15641_NT | The Musicians (Caravaggio) | Focus on this artwork and discuss the Recovering Lost Fictions. | A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9th to December 28th of 1997.
This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely. | [
"List Visual Arts Center",
"MIT List Visual Arts Center",
"Caravaggio",
"Joseph Grigely",
"Kathleen Gilje"
]
|
|
15642_T | The Musicians (Caravaggio) | How does The Musicians (Caravaggio) elucidate its Loan to Australia? | During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'. | [
"COVID-19 pandemic",
"Qagoma",
"Met"
]
|
|
15642_NT | The Musicians (Caravaggio) | How does this artwork elucidate its Loan to Australia? | During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'. | [
"COVID-19 pandemic",
"Qagoma",
"Met"
]
|
|
15643_T | Sacred Heart of Jesus (Batoni) | Focus on Sacred Heart of Jesus (Batoni) and analyze the abstract. | The Sacred Heart of Jesus is an oil painting by the Italian artist Pompeo Batoni, painted in 1767. | [
"Pompeo Batoni",
"Sacred Heart of Jesus",
"Italian",
"oil painting",
"Sacred Heart"
]
|
|
15643_NT | Sacred Heart of Jesus (Batoni) | Focus on this artwork and analyze the abstract. | The Sacred Heart of Jesus is an oil painting by the Italian artist Pompeo Batoni, painted in 1767. | [
"Pompeo Batoni",
"Sacred Heart of Jesus",
"Italian",
"oil painting",
"Sacred Heart"
]
|
|
15644_T | Sacred Heart of Jesus (Batoni) | In Sacred Heart of Jesus (Batoni), how is the Description discussed? | The work depicts Christ wearing a red tunic, which symbolises the colour of blood, martyrdom and humanity; and a blue mantle which symbolise the colour of heaven and Christ's divinity. Batoni represented Jesus with long hair and a short beard, holding in his left hand an inflamed heart with a crowned thorns and with a cross at the top. Batoni's artwork became popular for the official image for the devotion to the Sacred Heart of Jesus.The portrait is the most notable painting of the Sacred Heart of Jesus. Batoni was born 18 years after St. Margaret Mary Alacoque died, the saint who inspires all Sacred Heart of Jesus portraits.Batoni was motivated in painting the Sacred Heart of Jesus by the supposed apparition of Jesus to St Margaret Mary Alacoque under the title of the Sacred Heart. The apparition was said to have occurred when St Margaret prayed to Jesus before the Blessed Sacrament during the feast of St. John the Evangelist in 1673. His Sacred Heart was depicted by the saint with these following words: "The Divine Heart was presented to me in a throne of flames, more resplendent than a sun, transparent as crystal, with this adorable wound. And it was surrounded with a crown of thorns, signifying the punctures made in it by our sins, and a cross above signifying that from the first instant of His Incarnation, [...] the cross was implanted into it [...]."The portrait is an altarpiece placed above the altar in the northern side chapel of the Church of the Gesù in Rome.Another series of large paintings of the Sacred Heart of Jesus by Batoni was commissioned for the Basilica of the Sacred Heart of Jesus in Lisbon by the Portuguese queen in the 1780s. | [
"Sacred Heart of Jesus",
"Basilica of the Sacred Heart of Jesus",
"Rome",
"Margaret Mary Alacoque",
"Church of the Gesù",
"Lisbon",
"Sacred Heart",
"Portuguese queen",
"altarpiece",
"John the Evangelist"
]
|
|
15644_NT | Sacred Heart of Jesus (Batoni) | In this artwork, how is the Description discussed? | The work depicts Christ wearing a red tunic, which symbolises the colour of blood, martyrdom and humanity; and a blue mantle which symbolise the colour of heaven and Christ's divinity. Batoni represented Jesus with long hair and a short beard, holding in his left hand an inflamed heart with a crowned thorns and with a cross at the top. Batoni's artwork became popular for the official image for the devotion to the Sacred Heart of Jesus.The portrait is the most notable painting of the Sacred Heart of Jesus. Batoni was born 18 years after St. Margaret Mary Alacoque died, the saint who inspires all Sacred Heart of Jesus portraits.Batoni was motivated in painting the Sacred Heart of Jesus by the supposed apparition of Jesus to St Margaret Mary Alacoque under the title of the Sacred Heart. The apparition was said to have occurred when St Margaret prayed to Jesus before the Blessed Sacrament during the feast of St. John the Evangelist in 1673. His Sacred Heart was depicted by the saint with these following words: "The Divine Heart was presented to me in a throne of flames, more resplendent than a sun, transparent as crystal, with this adorable wound. And it was surrounded with a crown of thorns, signifying the punctures made in it by our sins, and a cross above signifying that from the first instant of His Incarnation, [...] the cross was implanted into it [...]."The portrait is an altarpiece placed above the altar in the northern side chapel of the Church of the Gesù in Rome.Another series of large paintings of the Sacred Heart of Jesus by Batoni was commissioned for the Basilica of the Sacred Heart of Jesus in Lisbon by the Portuguese queen in the 1780s. | [
"Sacred Heart of Jesus",
"Basilica of the Sacred Heart of Jesus",
"Rome",
"Margaret Mary Alacoque",
"Church of the Gesù",
"Lisbon",
"Sacred Heart",
"Portuguese queen",
"altarpiece",
"John the Evangelist"
]
|
|
15645_T | Lady with an Ermine | Focus on Lady with an Ermine and explore the abstract. | The Lady with an Ermine is a portrait painting widely attributed to the Italian Renaissance artist Leonardo da Vinci. Dated to c. 1489–1491, the work is painted in oils on a panel of walnut wood. Its subject is Cecilia Gallerani, a mistress of Ludovico Sforza ("Il Moro"), Duke of Milan; Leonardo was painter to the Sforza court in Milan at the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci, La Belle Ferronnière and the Mona Lisa.Lady with an Ermine is now housed at the Czartoryski Museum in Kraków, and is one of Poland's national treasures. It is part of the Princes Czartoryski Collection, which was sold for €100 million (5% of the estimated market value of the entire collection) on 29 December 2016 to the Polish government by Princes Czartoryski Foundation, represented by Adam Karol Czartoryski, the last direct descendant of Izabela Czartoryska Flemming and Adam George Czartoryski, who brought the painting to Poland from Italy in 1798. | [
"oils",
"Duke of Milan",
"Milan",
"Czartoryski Museum",
"Adam Karol Czartoryski",
"Ludovico Sforza",
"portrait painting",
"La Belle Ferronnière",
"Leonardo da Vinci",
"walnut wood",
"Kraków",
"Poland",
"Izabela Czartoryska Flemming",
"Cecilia Gallerani",
"Italian",
"Polish",
"Adam George Czartoryski",
"Ginevra de' Benci",
"Italian Renaissance",
"Princes Czartoryski Foundation",
"Poland's",
"Izabela Czartoryska",
"Princes Czartoryski Collection",
"panel",
"Mona Lisa",
"€",
"walnut"
]
|
|
15645_NT | Lady with an Ermine | Focus on this artwork and explore the abstract. | The Lady with an Ermine is a portrait painting widely attributed to the Italian Renaissance artist Leonardo da Vinci. Dated to c. 1489–1491, the work is painted in oils on a panel of walnut wood. Its subject is Cecilia Gallerani, a mistress of Ludovico Sforza ("Il Moro"), Duke of Milan; Leonardo was painter to the Sforza court in Milan at the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci, La Belle Ferronnière and the Mona Lisa.Lady with an Ermine is now housed at the Czartoryski Museum in Kraków, and is one of Poland's national treasures. It is part of the Princes Czartoryski Collection, which was sold for €100 million (5% of the estimated market value of the entire collection) on 29 December 2016 to the Polish government by Princes Czartoryski Foundation, represented by Adam Karol Czartoryski, the last direct descendant of Izabela Czartoryska Flemming and Adam George Czartoryski, who brought the painting to Poland from Italy in 1798. | [
"oils",
"Duke of Milan",
"Milan",
"Czartoryski Museum",
"Adam Karol Czartoryski",
"Ludovico Sforza",
"portrait painting",
"La Belle Ferronnière",
"Leonardo da Vinci",
"walnut wood",
"Kraków",
"Poland",
"Izabela Czartoryska Flemming",
"Cecilia Gallerani",
"Italian",
"Polish",
"Adam George Czartoryski",
"Ginevra de' Benci",
"Italian Renaissance",
"Princes Czartoryski Foundation",
"Poland's",
"Izabela Czartoryska",
"Princes Czartoryski Collection",
"panel",
"Mona Lisa",
"€",
"walnut"
]
|
|
15646_T | Lady with an Ermine | Explore the Composition about the Description of this artwork, Lady with an Ermine. | The painting was executed in oils on a somewhat small, 54 × 39 cm (21 × 15 in) walnut wood panel. It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. The animal in her arms twists in a similar manner, resulting in considerable contrapposto with the lady, a technique Leonardo explored earlier with the angel in the Virgin of the Rocks. The work is prepared with a layer of white gesso and a layer of brownish underpaint. In general, the paint is evenly applied akin to the Mona Lisa, though certain areas of the lady's skin are more layered. Also present are the subtle remains of spolvero (in the outline of the face and head), underdrawing (in the right arm, right hand, left hand, top of nose and edge of the hair), and fingerprints (the face and animal's head), the latter of which are particularly common in Leonardo's paintings. It is made from a single piece of walnut wood; Leonardo recommended, and favored walnut wood, though it was not commonly used by other artists in Lombardy. The wood is thin (about 4–5 millimetres (0.16–0.20 in)) and is most likely from the same tree as the wood for his later portrait, La Belle Ferronnière. The Lady with an Ermine is also connected to La Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three paintings including black backgrounds.Though there are a few areas of minor damage, art historian Frank Zöllner insists the work is in "very good condition... similar to the equally well preserved Mona Lisa". Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted. Promotion of such an analysis largely began with the art historian Kenneth Clark, who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted. Scholars such as Adolfo Venturi, Angela Ottino della Chiesa and Jack Wasserman advanced the idea; however, a 1992 technical analysis at the National Gallery of Art led by David Bull has confirmed that the damage was limited to the background. Specifically, the background was likely originally a bluish-grey, overpainted with black during the mid-18th century. The signature LEONARD D'AWINCI in the top left corner was probably also added at this time. There is also slight overpainting in the mouth and nose; some art historians suggest Eugène Delacroix was responsible for the overpaint in the background and elsewhere. The background was also subject to the misconception that it originally included a window. It was proposed by Kazimierz Kwiatkowski, who led 1955 X-ray testing at Warsaw Laboratories, and explained certain spots in the right background as being remnants of a window. Such a conclusion has been disproven by Bull, Pietro C. Marani and others. In light of this revision—with the primary damage being overpaint in the background—the art historian Martin Kemp noted that "the picture is in much better condition than the standard accounts suggest, and gives the clearest indication of the freshly brilliant quality of Leonardo's painting during his period at the Sforza court in Milan". | [
"underpaint",
"oils",
"Milan",
"National Gallery of Art",
"Lombardy",
"spolvero",
"La Belle Ferronnière",
"National Gallery",
"walnut wood",
"right",
"contrapposto",
"Martin Kemp",
"gesso",
"overpaint",
"X-ray testing",
"executed in oils",
"Portrait of a Musician",
"Pietro C. Marani",
"Virgin of the Rocks",
"panel",
"Frank Zöllner",
"left",
"Eugène Delacroix",
"Mona Lisa",
"Kenneth Clark",
"walnut",
"Adolfo Venturi"
]
|
|
15646_NT | Lady with an Ermine | Explore the Composition about the Description of this artwork. | The painting was executed in oils on a somewhat small, 54 × 39 cm (21 × 15 in) walnut wood panel. It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. The animal in her arms twists in a similar manner, resulting in considerable contrapposto with the lady, a technique Leonardo explored earlier with the angel in the Virgin of the Rocks. The work is prepared with a layer of white gesso and a layer of brownish underpaint. In general, the paint is evenly applied akin to the Mona Lisa, though certain areas of the lady's skin are more layered. Also present are the subtle remains of spolvero (in the outline of the face and head), underdrawing (in the right arm, right hand, left hand, top of nose and edge of the hair), and fingerprints (the face and animal's head), the latter of which are particularly common in Leonardo's paintings. It is made from a single piece of walnut wood; Leonardo recommended, and favored walnut wood, though it was not commonly used by other artists in Lombardy. The wood is thin (about 4–5 millimetres (0.16–0.20 in)) and is most likely from the same tree as the wood for his later portrait, La Belle Ferronnière. The Lady with an Ermine is also connected to La Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three paintings including black backgrounds.Though there are a few areas of minor damage, art historian Frank Zöllner insists the work is in "very good condition... similar to the equally well preserved Mona Lisa". Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted. Promotion of such an analysis largely began with the art historian Kenneth Clark, who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted. Scholars such as Adolfo Venturi, Angela Ottino della Chiesa and Jack Wasserman advanced the idea; however, a 1992 technical analysis at the National Gallery of Art led by David Bull has confirmed that the damage was limited to the background. Specifically, the background was likely originally a bluish-grey, overpainted with black during the mid-18th century. The signature LEONARD D'AWINCI in the top left corner was probably also added at this time. There is also slight overpainting in the mouth and nose; some art historians suggest Eugène Delacroix was responsible for the overpaint in the background and elsewhere. The background was also subject to the misconception that it originally included a window. It was proposed by Kazimierz Kwiatkowski, who led 1955 X-ray testing at Warsaw Laboratories, and explained certain spots in the right background as being remnants of a window. Such a conclusion has been disproven by Bull, Pietro C. Marani and others. In light of this revision—with the primary damage being overpaint in the background—the art historian Martin Kemp noted that "the picture is in much better condition than the standard accounts suggest, and gives the clearest indication of the freshly brilliant quality of Leonardo's painting during his period at the Sforza court in Milan". | [
"underpaint",
"oils",
"Milan",
"National Gallery of Art",
"Lombardy",
"spolvero",
"La Belle Ferronnière",
"National Gallery",
"walnut wood",
"right",
"contrapposto",
"Martin Kemp",
"gesso",
"overpaint",
"X-ray testing",
"executed in oils",
"Portrait of a Musician",
"Pietro C. Marani",
"Virgin of the Rocks",
"panel",
"Frank Zöllner",
"left",
"Eugène Delacroix",
"Mona Lisa",
"Kenneth Clark",
"walnut",
"Adolfo Venturi"
]
|
|
15647_T | Lady with an Ermine | In the context of Lady with an Ermine, discuss the The Lady of the Description. | The subject has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's Milanese employer, Ludovico Sforza. She looks to her left at something out of frame, toward the light, where the biographer Walter Isaacson suggests Ludovico is. Following the marriage of Isabella of Aragon, Duchess of Milan and Gian Galeazzo Sforza, her 'Spanish style' dress would have been particularly fashionable. She has a silk sbernia on over her left shoulder, though Leonardo has simplified the traditional manner of wearing—where it would be draped over both shoulders—potentially to avoid too much complication in the various elements of the painting. Her right shoulder shows an ornately embroidered gold band over a velvet dress. Again, Leonardo has simplified the design, by having the left shoulder band covered by the sbernia, so as to not take away from the animal's detailed head. Her coiffure, known as a coazzone, confines her hair smoothly to her head with two bands of it bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro's court poet, Bernardo Bellincioni, was the first to propose that Cecilia was poised as if listening to an unseen speaker. This work in particular shows Leonardo's expertise in painting the human form. The artist painted Cecilia's outstretched hand with a lot of detail, including the shape of each fingernail, the lines around her knuckles, and even the way the tendon in her bent finger moved as it bentA recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character of Caterina Sforza, the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed to Amazons in mythology. | [
"Milan",
"Ludovico Sforza",
"velvet",
"right",
"Cecilia Gallerani",
"Caterina Sforza",
"Walter Isaacson",
"Bernardo Bellincioni",
"Isabella of Aragon, Duchess of Milan",
"Amazons",
"left",
"Gian Galeazzo Sforza"
]
|
|
15647_NT | Lady with an Ermine | In the context of this artwork, discuss the The Lady of the Description. | The subject has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's Milanese employer, Ludovico Sforza. She looks to her left at something out of frame, toward the light, where the biographer Walter Isaacson suggests Ludovico is. Following the marriage of Isabella of Aragon, Duchess of Milan and Gian Galeazzo Sforza, her 'Spanish style' dress would have been particularly fashionable. She has a silk sbernia on over her left shoulder, though Leonardo has simplified the traditional manner of wearing—where it would be draped over both shoulders—potentially to avoid too much complication in the various elements of the painting. Her right shoulder shows an ornately embroidered gold band over a velvet dress. Again, Leonardo has simplified the design, by having the left shoulder band covered by the sbernia, so as to not take away from the animal's detailed head. Her coiffure, known as a coazzone, confines her hair smoothly to her head with two bands of it bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro's court poet, Bernardo Bellincioni, was the first to propose that Cecilia was poised as if listening to an unseen speaker. This work in particular shows Leonardo's expertise in painting the human form. The artist painted Cecilia's outstretched hand with a lot of detail, including the shape of each fingernail, the lines around her knuckles, and even the way the tendon in her bent finger moved as it bentA recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character of Caterina Sforza, the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed to Amazons in mythology. | [
"Milan",
"Ludovico Sforza",
"velvet",
"right",
"Cecilia Gallerani",
"Caterina Sforza",
"Walter Isaacson",
"Bernardo Bellincioni",
"Isabella of Aragon, Duchess of Milan",
"Amazons",
"left",
"Gian Galeazzo Sforza"
]
|
|
15648_T | Lady with an Ermine | In Lady with an Ermine, how is the The ermine of the Description elucidated? | The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê (γαλῆ) or galéē (γαλέη). Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son. | [
"symbol",
"Ludovico Sforza",
"juniper",
"juniper tree",
"Ferdinand I",
"bestiary",
"Italian",
"ermine",
"Ginevra de' Benci",
"Fitzwilliam Museum",
"Luke Syson",
"Order of the Ermine"
]
|
|
15648_NT | Lady with an Ermine | In this artwork, how is the The ermine of the Description elucidated? | The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê (γαλῆ) or galéē (γαλέη). Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son. | [
"symbol",
"Ludovico Sforza",
"juniper",
"juniper tree",
"Ferdinand I",
"bestiary",
"Italian",
"ermine",
"Ginevra de' Benci",
"Fitzwilliam Museum",
"Luke Syson",
"Order of the Ermine"
]
|
|
15649_T | Lady with an Ermine | Focus on Lady with an Ermine and analyze the Attribution. | It was not until the 20th century that the Lady with an Ermine was widely accepted by scholars to be a work of Leonardo. The attribution is due to the style of chiaroscuro, intricate detail and "contemplative tone" typical of Leonardo. | [
"chiaroscuro"
]
|
|
15649_NT | Lady with an Ermine | Focus on this artwork and analyze the Attribution. | It was not until the 20th century that the Lady with an Ermine was widely accepted by scholars to be a work of Leonardo. The attribution is due to the style of chiaroscuro, intricate detail and "contemplative tone" typical of Leonardo. | [
"chiaroscuro"
]
|
|
15650_T | Lady with an Ermine | In Lady with an Ermine, how is the Dating discussed? | The Lady with an Ermine can securely be dated to Leonardo's first Milanese period (c. 1482–1499). Specifically, scholars date the painting to 1489–1491. | [
"Milan",
"first Milanese period"
]
|
|
15650_NT | Lady with an Ermine | In this artwork, how is the Dating discussed? | The Lady with an Ermine can securely be dated to Leonardo's first Milanese period (c. 1482–1499). Specifically, scholars date the painting to 1489–1491. | [
"Milan",
"first Milanese period"
]
|
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