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15651_T | Dendera light | Focus on Dendera light and explore the abstract. | The Dendera light is a motif in the Hathor temple at Dendera in Egypt. It depicts the Egyptian creation myth, and the text surrounding the pieces confirm this.
The temple contains several reliefs depicting Harsomtus, in the form of a snake, emerging from a lotus flower which is usually attached to the bow of a barge. The so-called dendera light is a variation of this motif, showing Harsomtus in an oval container called hn, which might represent the womb of Nut.Sometimes a djed pillar supports the snake or the container. A closely related motif is "god resting on the lotus flower". | [
"Hathor temple",
"Nut",
"Dendera",
"djed",
"lotus flower",
"Harsomtus",
"motif"
] |
|
15651_NT | Dendera light | Focus on this artwork and explore the abstract. | The Dendera light is a motif in the Hathor temple at Dendera in Egypt. It depicts the Egyptian creation myth, and the text surrounding the pieces confirm this.
The temple contains several reliefs depicting Harsomtus, in the form of a snake, emerging from a lotus flower which is usually attached to the bow of a barge. The so-called dendera light is a variation of this motif, showing Harsomtus in an oval container called hn, which might represent the womb of Nut.Sometimes a djed pillar supports the snake or the container. A closely related motif is "god resting on the lotus flower". | [
"Hathor temple",
"Nut",
"Dendera",
"djed",
"lotus flower",
"Harsomtus",
"motif"
] |
|
15652_T | Dendera light | Focus on Dendera light and explain the Depictions and text. | Each of the three objects consists of two reliefs. One half (a) of each pair is in south crypt 1-C (crypte 4), the other half (b) in room G (chambre V) of the temple. | [] |
|
15652_NT | Dendera light | Focus on this artwork and explain the Depictions and text. | Each of the three objects consists of two reliefs. One half (a) of each pair is in south crypt 1-C (crypte 4), the other half (b) in room G (chambre V) of the temple. | [] |
|
15653_T | Dendera light | Focus on Dendera light and discuss the Fringe interpretation. | In contrast to the mainstream interpretation, a fringe theory proposes that the reliefs depict Ancient Egyptian technology, based on comparison to similar modern devices (such as a Cathode-ray tube, Geissler tubes, Crookes tubes, and arc lamps). Norman Lockyer's passing reference to a colleague's humorous suggestion that electric lamps would explain the absence of lampblack deposits in the tombs has sometimes been forwarded as an argument supporting this particular interpretation (another argument being made is the use of a system of reflective mirrors).Proponents of this interpretation have also used a text stating that "high poles covered with copper plates were erected to break the storms coming from on high" to argue this, but Bolko Stern has written in detail explaining why the copper-covered tops of poles (which were lower than the associated pylons) do not relate to electricity or lightning, pointing out that no evidence of anything used to manipulate electricity had been found in Egypt and that this was a magical and not a technical installation.Archaeologist and debunker Kenneth Feder argued that if ancient Egyptians really had such advanced technology, some light bulb remains (glass shards, metal sockets, filaments...) should have been discovered during archaeological excavations. By applying Occam's razor, he instead highlighted the feasibility of the aforementioned reflective mirrors system, and also that the notion of adding salt to torches to minimize lampblack was well known by ancient Egyptians. | [
"fringe theory",
"Occam's razor",
"lampblack",
"Kenneth Feder",
"debunker",
"arc lamp",
"Crookes tube",
"Geissler tube",
"Norman Lockyer",
"Ancient Egyptian technology",
"Cathode-ray tube"
] |
|
15653_NT | Dendera light | Focus on this artwork and discuss the Fringe interpretation. | In contrast to the mainstream interpretation, a fringe theory proposes that the reliefs depict Ancient Egyptian technology, based on comparison to similar modern devices (such as a Cathode-ray tube, Geissler tubes, Crookes tubes, and arc lamps). Norman Lockyer's passing reference to a colleague's humorous suggestion that electric lamps would explain the absence of lampblack deposits in the tombs has sometimes been forwarded as an argument supporting this particular interpretation (another argument being made is the use of a system of reflective mirrors).Proponents of this interpretation have also used a text stating that "high poles covered with copper plates were erected to break the storms coming from on high" to argue this, but Bolko Stern has written in detail explaining why the copper-covered tops of poles (which were lower than the associated pylons) do not relate to electricity or lightning, pointing out that no evidence of anything used to manipulate electricity had been found in Egypt and that this was a magical and not a technical installation.Archaeologist and debunker Kenneth Feder argued that if ancient Egyptians really had such advanced technology, some light bulb remains (glass shards, metal sockets, filaments...) should have been discovered during archaeological excavations. By applying Occam's razor, he instead highlighted the feasibility of the aforementioned reflective mirrors system, and also that the notion of adding salt to torches to minimize lampblack was well known by ancient Egyptians. | [
"fringe theory",
"Occam's razor",
"lampblack",
"Kenneth Feder",
"debunker",
"arc lamp",
"Crookes tube",
"Geissler tube",
"Norman Lockyer",
"Ancient Egyptian technology",
"Cathode-ray tube"
] |
|
15654_T | Dendera light | How does Dendera light elucidate its Sources cited? | Dümichen, Johannes (1877). Baugeschichte des Denderatempels und Beschreibung der einzelnen Theile des Bauwerkes nach den an seinen Mauern befindlichen Inschriften [Construction history of the Dendera temple and description of the individual sections of the structure according to the inscriptions on its walls] (in German).
Feder, Kenneth H. (2014). Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology. New York: McGraw-Hill. ISBN 978-0-07-803507-4.
Kolbe, Bruno (1908). An Introduction to Electricity. Kegan Paul, Trench , Trübner.
Lockyer, Norman (1894). The Dawn of Astronomy. ISBN 9780262120142. Retrieved 2020-10-06.
Mariette, Auguste (1870). Dendérah: description générale du grand temple de cette ville [Dendera: general description of the great temple of this city] (in French).
Stern, Bolko (1896). Ägyptische Kulturgeschichte [Egyptian cultural history] (in German). Reprint-Verlag-Leipzig. ISBN 978-3826219085.
Waitkus, Wolfgang (1997). Die Texte in den unteren Krypten des Hathortempels von Dendera: ihre Aussagen zur Funktion und Bedeutung dieser Räume [The texts in the lower crypts of the Hathor temples of Dendera: their statements regarding the function and meaning of these rooms] (in German). ISBN 3-8053-2322-0.
Waitkus, Wolfgang (2002). "Die Geburt des Harsomtus aus der Blüte — Zur Bedeutung und Funktion einiger Kultgegenstände des Tempels von Dendera" [The birth of Harsomtus from the flower — The meaning and function of some of the cultural objects of the temple of Dendera]. Studien zur Altägyptischen Kultur (in German). 30: 373–394. JSTOR 25152877. | [
"Hathor temple",
"Frauds, Myths, and Mysteries",
"Dendera",
"Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology",
"Harsomtus"
] |
|
15654_NT | Dendera light | How does this artwork elucidate its Sources cited? | Dümichen, Johannes (1877). Baugeschichte des Denderatempels und Beschreibung der einzelnen Theile des Bauwerkes nach den an seinen Mauern befindlichen Inschriften [Construction history of the Dendera temple and description of the individual sections of the structure according to the inscriptions on its walls] (in German).
Feder, Kenneth H. (2014). Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology. New York: McGraw-Hill. ISBN 978-0-07-803507-4.
Kolbe, Bruno (1908). An Introduction to Electricity. Kegan Paul, Trench , Trübner.
Lockyer, Norman (1894). The Dawn of Astronomy. ISBN 9780262120142. Retrieved 2020-10-06.
Mariette, Auguste (1870). Dendérah: description générale du grand temple de cette ville [Dendera: general description of the great temple of this city] (in French).
Stern, Bolko (1896). Ägyptische Kulturgeschichte [Egyptian cultural history] (in German). Reprint-Verlag-Leipzig. ISBN 978-3826219085.
Waitkus, Wolfgang (1997). Die Texte in den unteren Krypten des Hathortempels von Dendera: ihre Aussagen zur Funktion und Bedeutung dieser Räume [The texts in the lower crypts of the Hathor temples of Dendera: their statements regarding the function and meaning of these rooms] (in German). ISBN 3-8053-2322-0.
Waitkus, Wolfgang (2002). "Die Geburt des Harsomtus aus der Blüte — Zur Bedeutung und Funktion einiger Kultgegenstände des Tempels von Dendera" [The birth of Harsomtus from the flower — The meaning and function of some of the cultural objects of the temple of Dendera]. Studien zur Altägyptischen Kultur (in German). 30: 373–394. JSTOR 25152877. | [
"Hathor temple",
"Frauds, Myths, and Mysteries",
"Dendera",
"Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology",
"Harsomtus"
] |
|
15655_T | The Open Window (Bonnard) | Focus on The Open Window (Bonnard) and analyze the abstract. | The Open Window is an oil-on-canvas painting by the French artist Pierre Bonnard, painted in 1921. Depicting a scene in a room, the painting draws the viewer's focus to the natural landscape outside of the window, away from the figures in the bottom right. The work is housed in The Phillips Collection in Washington, D.C.. | [
"Washington, D.C.",
"Pierre Bonnard",
"The Phillips Collection"
] |
|
15655_NT | The Open Window (Bonnard) | Focus on this artwork and analyze the abstract. | The Open Window is an oil-on-canvas painting by the French artist Pierre Bonnard, painted in 1921. Depicting a scene in a room, the painting draws the viewer's focus to the natural landscape outside of the window, away from the figures in the bottom right. The work is housed in The Phillips Collection in Washington, D.C.. | [
"Washington, D.C.",
"Pierre Bonnard",
"The Phillips Collection"
] |
|
15656_T | The Open Window (Bonnard) | In The Open Window (Bonnard), how is the Subject and composition discussed? | The contrast between the exterior blues and greens and the interior red oranges keeps the viewer's focus away from the black cat and woman at the lower right corner of the canvas. Dogs and cats are a signature that are found in many of his works. It takes a while for the viewer to find the woman's head in chair. Her hair is palish blue like the canvas of the chair and her face the same red as the wall behind. This suggested human presence, like some figure in a dream, became a feature of these inside-outside views that Bonnard painted in the 1930s. The human figure is believed to be Bonnard's wife Marthe de Meligny but may also be Renee Monchaty, with whom he fell in love around 1917 and who killed herself in 1923. Many accounts describe Monchaty as being Bonnard's ideal statuesque model for his paintings.Bonnard's work was painted from memory rather than from life, which accounts for the semi-realistic view of his paintings. Bonnard's studies of the domestic interior and its psychological charge, a reflection upon his private life, is evident in his work. In his interiors, a sense of longing is concentrated in open windows to the outside world. In The Open Window, color and light transfigure a room in the artist’s house in Normandy. The focal point of the painting is the void in the middle, the sky, the foliage, and the outside shadow enclosed by the window despite the painting giving more space to the walls. | [
"Normandy"
] |
|
15656_NT | The Open Window (Bonnard) | In this artwork, how is the Subject and composition discussed? | The contrast between the exterior blues and greens and the interior red oranges keeps the viewer's focus away from the black cat and woman at the lower right corner of the canvas. Dogs and cats are a signature that are found in many of his works. It takes a while for the viewer to find the woman's head in chair. Her hair is palish blue like the canvas of the chair and her face the same red as the wall behind. This suggested human presence, like some figure in a dream, became a feature of these inside-outside views that Bonnard painted in the 1930s. The human figure is believed to be Bonnard's wife Marthe de Meligny but may also be Renee Monchaty, with whom he fell in love around 1917 and who killed herself in 1923. Many accounts describe Monchaty as being Bonnard's ideal statuesque model for his paintings.Bonnard's work was painted from memory rather than from life, which accounts for the semi-realistic view of his paintings. Bonnard's studies of the domestic interior and its psychological charge, a reflection upon his private life, is evident in his work. In his interiors, a sense of longing is concentrated in open windows to the outside world. In The Open Window, color and light transfigure a room in the artist’s house in Normandy. The focal point of the painting is the void in the middle, the sky, the foliage, and the outside shadow enclosed by the window despite the painting giving more space to the walls. | [
"Normandy"
] |
|
15657_T | Coronation of the Virgin (Filippo Lippi) | Focus on Coronation of the Virgin (Filippo Lippi) and explore the abstract. | The Coronation of the Virgin (in Italian Incoronazione Maringhi) is a painting of the Coronation of the Virgin by the Italian Renaissance master Filippo Lippi, in the Uffizi, Florence. | [
"Florence",
"Uffizi",
"Lippi",
"Coronation of the Virgin",
"Filippo Lippi"
] |
|
15657_NT | Coronation of the Virgin (Filippo Lippi) | Focus on this artwork and explore the abstract. | The Coronation of the Virgin (in Italian Incoronazione Maringhi) is a painting of the Coronation of the Virgin by the Italian Renaissance master Filippo Lippi, in the Uffizi, Florence. | [
"Florence",
"Uffizi",
"Lippi",
"Coronation of the Virgin",
"Filippo Lippi"
] |
|
15658_T | Coronation of the Virgin (Filippo Lippi) | Focus on Coronation of the Virgin (Filippo Lippi) and explain the History. | Francesco Maringhi, procuratore of the church of Sant'Ambrogio, left money after his death in 1441 for a new painting at the high altar of the church. Bills of the payments for the work until 1447 have been preserved.
In the late 1430s, brother Filippo Lippi had left the convent of the Carmine convent to open an artist workshop of his own; however, having no money enough to pay assistants and apprentices, he worked alone with two usual collaborators, Fra Carnevale and Fra Diamante, along with an unknown "Piero di Lorenzo dipintore". For the Coronation of the Virgin, however, Lippi had to call in a total of six external painters, who were responsible also for the gilded frame, now lost. Originally the work had a predella, also lost, with the exception of a small panel with a Miracle of St Ambrose, now in the Berlin State Museums.
The work was immediately admired and was copied by numerous painters. It remained in Sant'Ambrogio until 1810, when it was stolen. Later it was sold to the Galleria dell'Accademia, from which it was transferred to the Galleria degli Uffizi in Florence. | [
"Florence",
"Uffizi",
"Fra Carnevale",
"Galleria dell'Accademia",
"Berlin State Museums",
"Carmine convent",
"Lippi",
"Coronation of the Virgin",
"predella",
"Sant'Ambrogio",
"Filippo Lippi",
"Galleria degli Uffizi"
] |
|
15658_NT | Coronation of the Virgin (Filippo Lippi) | Focus on this artwork and explain the History. | Francesco Maringhi, procuratore of the church of Sant'Ambrogio, left money after his death in 1441 for a new painting at the high altar of the church. Bills of the payments for the work until 1447 have been preserved.
In the late 1430s, brother Filippo Lippi had left the convent of the Carmine convent to open an artist workshop of his own; however, having no money enough to pay assistants and apprentices, he worked alone with two usual collaborators, Fra Carnevale and Fra Diamante, along with an unknown "Piero di Lorenzo dipintore". For the Coronation of the Virgin, however, Lippi had to call in a total of six external painters, who were responsible also for the gilded frame, now lost. Originally the work had a predella, also lost, with the exception of a small panel with a Miracle of St Ambrose, now in the Berlin State Museums.
The work was immediately admired and was copied by numerous painters. It remained in Sant'Ambrogio until 1810, when it was stolen. Later it was sold to the Galleria dell'Accademia, from which it was transferred to the Galleria degli Uffizi in Florence. | [
"Florence",
"Uffizi",
"Fra Carnevale",
"Galleria dell'Accademia",
"Berlin State Museums",
"Carmine convent",
"Lippi",
"Coronation of the Virgin",
"predella",
"Sant'Ambrogio",
"Filippo Lippi",
"Galleria degli Uffizi"
] |
|
15659_T | Flight into Egypt (Titian) | Explore the abstract of this artwork, Flight into Egypt (Titian). | The Flight into Egypt is an oil painting usually attributed to the Venetian Renaissance master Titian. This very early work by Titian was made in about 1508 or 1509. The painting is in the collection of the Hermitage Museum in Saint Petersburg, Russia. A religious landscape painting, its "bold brushwork and exhilarating use of color" have led to it being described as one of Titian's masterpieces, as well as one of his earliest. Though some scholars dispute the attribution of the painting to Titian, it is usually accepted as one of his works from the beginning of his career. | [
"Hermitage Museum",
"Titian",
"Flight into Egypt"
] |
|
15659_NT | Flight into Egypt (Titian) | Explore the abstract of this artwork. | The Flight into Egypt is an oil painting usually attributed to the Venetian Renaissance master Titian. This very early work by Titian was made in about 1508 or 1509. The painting is in the collection of the Hermitage Museum in Saint Petersburg, Russia. A religious landscape painting, its "bold brushwork and exhilarating use of color" have led to it being described as one of Titian's masterpieces, as well as one of his earliest. Though some scholars dispute the attribution of the painting to Titian, it is usually accepted as one of his works from the beginning of his career. | [
"Hermitage Museum",
"Titian",
"Flight into Egypt"
] |
|
15660_T | Flight into Egypt (Titian) | Focus on Flight into Egypt (Titian) and discuss the The Painting. | Flight into Egypt is painted on a relatively large canvas, measured at around 11 feet by 7.5 feet. The painting itself is defined by its diverse use of color, albeit muted tones. Green in particular dominates the canvas, helping to set the stage for the painting's classification as a pastoral landscape. Although landscapes were not particularly popular subjects for artists during the Renaissance, especially in Italian painting, Titian uses the setting of the Holy Family's flight to illustrate an idealized landscape. In addition to the depiction of the donkey being ridden by Mary and the baby Jesus, other animals are depicted in the landscape, including deer and an ox. Also in the background is the depiction of a shepherd tending to his flock, serving to solidify Flight into Egypt partially as a pastoral painting, while also possibly functioning symbolically as a reference to the traditional view of Jesus in Christianity as the "good shepherd".Generally speaking, however, Flight into Egypt is primarily a religious history painting, depicting one of the earliest events in the life of Jesus described in the Gospels. Continuing during the time of the Renaissance, religious paintings depicting Christian imagery and biblical events remained the most prestigious genre of painting in Europe, contributing to the process of active faith among members of the Catholic Church. Flight into Egypt embraces the religious painting genre by utilizing the thematic trope of the Madonna and Christ Child, one of the most popular subjects of the genre, especially during the Renaissance. Although the members of Holy Family, the main subjects of the painting, are not directly centered in the canvas, their representation is framed around this central image of Mary and Jesus, with Mary, regarded as the greatest saint within Catholicism, caring for the infant Jesus on the family's journey to safety in Egypt. | [
"Jesus",
"Mary",
"Titian",
"Flight into Egypt",
"Holy Family"
] |
|
15660_NT | Flight into Egypt (Titian) | Focus on this artwork and discuss the The Painting. | Flight into Egypt is painted on a relatively large canvas, measured at around 11 feet by 7.5 feet. The painting itself is defined by its diverse use of color, albeit muted tones. Green in particular dominates the canvas, helping to set the stage for the painting's classification as a pastoral landscape. Although landscapes were not particularly popular subjects for artists during the Renaissance, especially in Italian painting, Titian uses the setting of the Holy Family's flight to illustrate an idealized landscape. In addition to the depiction of the donkey being ridden by Mary and the baby Jesus, other animals are depicted in the landscape, including deer and an ox. Also in the background is the depiction of a shepherd tending to his flock, serving to solidify Flight into Egypt partially as a pastoral painting, while also possibly functioning symbolically as a reference to the traditional view of Jesus in Christianity as the "good shepherd".Generally speaking, however, Flight into Egypt is primarily a religious history painting, depicting one of the earliest events in the life of Jesus described in the Gospels. Continuing during the time of the Renaissance, religious paintings depicting Christian imagery and biblical events remained the most prestigious genre of painting in Europe, contributing to the process of active faith among members of the Catholic Church. Flight into Egypt embraces the religious painting genre by utilizing the thematic trope of the Madonna and Christ Child, one of the most popular subjects of the genre, especially during the Renaissance. Although the members of Holy Family, the main subjects of the painting, are not directly centered in the canvas, their representation is framed around this central image of Mary and Jesus, with Mary, regarded as the greatest saint within Catholicism, caring for the infant Jesus on the family's journey to safety in Egypt. | [
"Jesus",
"Mary",
"Titian",
"Flight into Egypt",
"Holy Family"
] |
|
15661_T | Statue of Charles James Fox | How does Statue of Charles James Fox elucidate its abstract? | The statue of Charles James Fox stands at the north end of Bloomsbury Square in the London borough of Camden. Erected in 1816, the sculptor was Richard Westmacott. It commemorates the Whig politician who died in 1806. Fox is shown in the garb of a Roman senator. The statue is a Grade II* listed structure. | [
"Bloomsbury Square",
"Grade II* listed structure",
"Charles James Fox",
"Camden",
"Roman",
"Bloomsbury",
"Richard Westmacott",
"Whig",
"Fox"
] |
|
15661_NT | Statue of Charles James Fox | How does this artwork elucidate its abstract? | The statue of Charles James Fox stands at the north end of Bloomsbury Square in the London borough of Camden. Erected in 1816, the sculptor was Richard Westmacott. It commemorates the Whig politician who died in 1806. Fox is shown in the garb of a Roman senator. The statue is a Grade II* listed structure. | [
"Bloomsbury Square",
"Grade II* listed structure",
"Charles James Fox",
"Camden",
"Roman",
"Bloomsbury",
"Richard Westmacott",
"Whig",
"Fox"
] |
|
15662_T | Statue of Charles James Fox | Focus on Statue of Charles James Fox and analyze the History. | Charles James Fox (24 January 1749 – 13 September 1806), enjoyed a political career of nearly forty years. Rarely holding office, he championed a range of liberal causes, including American independence, the French Revolution, Catholic Emancipation and the abolition of slavery. Personally dissolute, with weaknesses for women, gambling and alcohol, he died, heavily in debt, at the age of 57. His career has been described as of "almost unrelieved failure" but his generosity of mind, his famed charm and his "genius for friendship" left his many friends and admirers desolate at his death. As well as paying for his funeral, clearing his debts, and funding a pension for his widow, they raised the considerable sum of £12,450 for a memorial. The sum was sufficient to allow for two, a statue in Westminster Abbey, and that located in Bloomsbury Square. The site was given by John Russell, 6th Duke of Bedford, son of Fox's great friend, the 5th Duke. The sculptor was Richard Westmacott and the statue was completed in 1814 and raised in 1816. | [
"Bloomsbury Square",
"Charles James Fox",
"Catholic Emancipation",
"Westminster Abbey",
"5th Duke",
"John Russell, 6th Duke of Bedford",
"Bloomsbury",
"Richard Westmacott",
"American independence",
"French Revolution",
"abolition of slavery",
"Fox"
] |
|
15662_NT | Statue of Charles James Fox | Focus on this artwork and analyze the History. | Charles James Fox (24 January 1749 – 13 September 1806), enjoyed a political career of nearly forty years. Rarely holding office, he championed a range of liberal causes, including American independence, the French Revolution, Catholic Emancipation and the abolition of slavery. Personally dissolute, with weaknesses for women, gambling and alcohol, he died, heavily in debt, at the age of 57. His career has been described as of "almost unrelieved failure" but his generosity of mind, his famed charm and his "genius for friendship" left his many friends and admirers desolate at his death. As well as paying for his funeral, clearing his debts, and funding a pension for his widow, they raised the considerable sum of £12,450 for a memorial. The sum was sufficient to allow for two, a statue in Westminster Abbey, and that located in Bloomsbury Square. The site was given by John Russell, 6th Duke of Bedford, son of Fox's great friend, the 5th Duke. The sculptor was Richard Westmacott and the statue was completed in 1814 and raised in 1816. | [
"Bloomsbury Square",
"Charles James Fox",
"Catholic Emancipation",
"Westminster Abbey",
"5th Duke",
"John Russell, 6th Duke of Bedford",
"Bloomsbury",
"Richard Westmacott",
"American independence",
"French Revolution",
"abolition of slavery",
"Fox"
] |
|
15663_T | Statue of Charles James Fox | In Statue of Charles James Fox, how is the Description discussed? | The statue is of bronze and shows Fox in the robes of a Roman senator. He is seated, reputedly as his friends considered that a realistic portrayal of a standing Fox would have appeared undignified, due to his corpulence. Fox holds a copy of Magna Carta, symbolising his commitment to liberty. The statue stands on a granite plinth which is carved with Fox's full name and the date of the statue's erection. The plinth itself is raised on a four-staged pedestal base. The statue is 2.74 metres (9.0 ft) high and the plinth it stands on is 2.43 metres (8.0 ft).The statue was designated a Grade II listed structure in 1951. It was promoted to a Grade II* listing on 23 August 2008, UNESCO's International Day for the Remembrance of the Slave Trade and its Abolition, though the statue does not explicitly reference Fox's championing of the abolitionist cause. | [
"International Day for the Remembrance of the Slave Trade and its Abolition",
"Grade II listed structure",
"bronze",
"UNESCO",
"Magna Carta",
"Roman",
"Fox"
] |
|
15663_NT | Statue of Charles James Fox | In this artwork, how is the Description discussed? | The statue is of bronze and shows Fox in the robes of a Roman senator. He is seated, reputedly as his friends considered that a realistic portrayal of a standing Fox would have appeared undignified, due to his corpulence. Fox holds a copy of Magna Carta, symbolising his commitment to liberty. The statue stands on a granite plinth which is carved with Fox's full name and the date of the statue's erection. The plinth itself is raised on a four-staged pedestal base. The statue is 2.74 metres (9.0 ft) high and the plinth it stands on is 2.43 metres (8.0 ft).The statue was designated a Grade II listed structure in 1951. It was promoted to a Grade II* listing on 23 August 2008, UNESCO's International Day for the Remembrance of the Slave Trade and its Abolition, though the statue does not explicitly reference Fox's championing of the abolitionist cause. | [
"International Day for the Remembrance of the Slave Trade and its Abolition",
"Grade II listed structure",
"bronze",
"UNESCO",
"Magna Carta",
"Roman",
"Fox"
] |
|
15664_T | John J. Pershing General of the Armies | Focus on John J. Pershing General of the Armies and explore the abstract. | John J. Pershing General of the Armies, is a public artwork by American artist Robert White, located at Pershing Park in Washington, D.C., United States. John J. Pershing General of the Armies was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1994. The monument is a tribute to United States Army general John J. Pershing. | [
"Washington, D.C.",
"John J. Pershing",
"Smithsonian's",
"Pershing Park",
"Save Outdoor Sculpture!",
"Robert White"
] |
|
15664_NT | John J. Pershing General of the Armies | Focus on this artwork and explore the abstract. | John J. Pershing General of the Armies, is a public artwork by American artist Robert White, located at Pershing Park in Washington, D.C., United States. John J. Pershing General of the Armies was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1994. The monument is a tribute to United States Army general John J. Pershing. | [
"Washington, D.C.",
"John J. Pershing",
"Smithsonian's",
"Pershing Park",
"Save Outdoor Sculpture!",
"Robert White"
] |
|
15665_T | John J. Pershing General of the Armies | Focus on John J. Pershing General of the Armies and explain the Description. | The sculpture shows General Pershing standing with his head slightly turned, as if overseeing a battlefield in front of him. His proper right hand raises binoculars to his eyes and his proper left hand holds his hat at his side. Wearing a World War I uniform with knickerbockers, tall boots and a long belted jacket, he steps forward with his proper left foot.
Resting on a square of red granite (51 × 53 × 53 in.) in a small plaza, the sculpture is flanked by two tall granite walls.
The front of the rear wall is inscribed (rear wall: H. 10 ft. W. 3 ft. L. 311⁄2 ft.):JOHN J. PERSHING
GENERAL OF THE ARMIES.The back of the rear wall is inscribed:IN THEIR DEVOTION, THEIR VALOR, AND IN THE LOYAL FULFILLMENT OF THEIR
OBLIGATIONS, THE OFFICERS AND MEN OF THE AMERICAN EXPEDITIONARY FORCES
HAVE LEFT A HERITAGE OF WHICH THOSE WHO FOLLOW MAY EVER BE PROUD
JOHN J. PERSHING
(Pershing's signature)The front left wall, which is divided into four sections features an extensive text regarding Pershing's involvement in the Western Front, his leadership in First United States Army, the signing of the Armistice with Germany, the Meuse-Argonne Offensive, and an inscription reading (H. 10 ft. W. 3 ft. L. 49 ft.):ERECTED BY:
AMERICAN BATTLE MONUMENTS COMMISSION
WALLACE K. HARRISON ARCHITECT
FREDERICK (...transcription illegible)
ENGINEER
ROBERT WHITE SCULPTOR
1983 | [
"Meuse-Argonne Offensive",
"granite",
"binoculars",
"Western Front",
"knickerbockers",
"First United States Army",
"Armistice with Germany"
] |
|
15665_NT | John J. Pershing General of the Armies | Focus on this artwork and explain the Description. | The sculpture shows General Pershing standing with his head slightly turned, as if overseeing a battlefield in front of him. His proper right hand raises binoculars to his eyes and his proper left hand holds his hat at his side. Wearing a World War I uniform with knickerbockers, tall boots and a long belted jacket, he steps forward with his proper left foot.
Resting on a square of red granite (51 × 53 × 53 in.) in a small plaza, the sculpture is flanked by two tall granite walls.
The front of the rear wall is inscribed (rear wall: H. 10 ft. W. 3 ft. L. 311⁄2 ft.):JOHN J. PERSHING
GENERAL OF THE ARMIES.The back of the rear wall is inscribed:IN THEIR DEVOTION, THEIR VALOR, AND IN THE LOYAL FULFILLMENT OF THEIR
OBLIGATIONS, THE OFFICERS AND MEN OF THE AMERICAN EXPEDITIONARY FORCES
HAVE LEFT A HERITAGE OF WHICH THOSE WHO FOLLOW MAY EVER BE PROUD
JOHN J. PERSHING
(Pershing's signature)The front left wall, which is divided into four sections features an extensive text regarding Pershing's involvement in the Western Front, his leadership in First United States Army, the signing of the Armistice with Germany, the Meuse-Argonne Offensive, and an inscription reading (H. 10 ft. W. 3 ft. L. 49 ft.):ERECTED BY:
AMERICAN BATTLE MONUMENTS COMMISSION
WALLACE K. HARRISON ARCHITECT
FREDERICK (...transcription illegible)
ENGINEER
ROBERT WHITE SCULPTOR
1983 | [
"Meuse-Argonne Offensive",
"granite",
"binoculars",
"Western Front",
"knickerbockers",
"First United States Army",
"Armistice with Germany"
] |
|
15666_T | John J. Pershing General of the Armies | Explore the Information of this artwork, John J. Pershing General of the Armies. | Authorized by Congress on April 2, 1956, the American Battle Monuments Commission paid the $400,000 for the park. The sculpture was dedicated in October 1983. | [
"Congress",
"American Battle Monuments Commission"
] |
|
15666_NT | John J. Pershing General of the Armies | Explore the Information of this artwork. | Authorized by Congress on April 2, 1956, the American Battle Monuments Commission paid the $400,000 for the park. The sculpture was dedicated in October 1983. | [
"Congress",
"American Battle Monuments Commission"
] |
|
15667_T | John J. Pershing General of the Armies | Focus on John J. Pershing General of the Armies and discuss the Condition. | This sculpture was surveyed in 1994 for its condition and was described as "well maintained." | [] |
|
15667_NT | John J. Pershing General of the Armies | Focus on this artwork and discuss the Condition. | This sculpture was surveyed in 1994 for its condition and was described as "well maintained." | [] |
|
15668_T | The Blessed Damozel | How does The Blessed Damozel elucidate its abstract? | "The Blessed Damozel" is perhaps the best known poem by Dante Gabriel Rossetti, as well as the title of his painting (and its replica) illustrating the subject. The poem was first published in 1850 in the Pre-Raphaelite journal The Germ. Rossetti subsequently revised the poem twice and republished it in 1856, 1870 and 1873. | [
"Dante Gabriel Rossetti",
"The Blessed Damozel",
"The Germ",
"Pre-Raphaelite"
] |
|
15668_NT | The Blessed Damozel | How does this artwork elucidate its abstract? | "The Blessed Damozel" is perhaps the best known poem by Dante Gabriel Rossetti, as well as the title of his painting (and its replica) illustrating the subject. The poem was first published in 1850 in the Pre-Raphaelite journal The Germ. Rossetti subsequently revised the poem twice and republished it in 1856, 1870 and 1873. | [
"Dante Gabriel Rossetti",
"The Blessed Damozel",
"The Germ",
"Pre-Raphaelite"
] |
|
15669_T | The Blessed Damozel | Focus on The Blessed Damozel and analyze the Paintings. | The Blessed Damozel is the only one of Rossetti's paired pictures and poems in which the poem was completed first. Friends and patrons repeatedly urged Rossetti to illustrate his most famous poem, and he finally accepted a commission from William Graham in February 1871. After the work was completed Graham requested a predella, the lower part of the painting, on December 31, 1877. His total cost was £1157. Alexa Wilding modelled the damozel in Paradise, Wilfred John Hawtrey modelled the child–angel, and the probable model for the left–hand angel was May Morris.Another, later version is in the Lady Lever Art Gallery. Frederick Richards Leyland commissioned eighteen paintings from Rossetti, not counting unfulfilled commissions. Soon after Leyland acquired his first Rossetti painting, he and Rossetti explored the idea of a Rossetti triptych, which was eventually formed with Mnemosyne, an 1879 replica of The Blessed Damozel painted by Rossetti himself, and Proserpine. Three additional Rossetti paintings were then hung in Leyland's drawing room, all of which Leyland called "stunners." | [
"May Morris",
"The Blessed Damozel",
"Frederick Richards Leyland",
"damozel",
"Alexa Wilding",
"Lady Lever Art Gallery",
"left",
"Mnemosyne",
"predella",
"triptych"
] |
|
15669_NT | The Blessed Damozel | Focus on this artwork and analyze the Paintings. | The Blessed Damozel is the only one of Rossetti's paired pictures and poems in which the poem was completed first. Friends and patrons repeatedly urged Rossetti to illustrate his most famous poem, and he finally accepted a commission from William Graham in February 1871. After the work was completed Graham requested a predella, the lower part of the painting, on December 31, 1877. His total cost was £1157. Alexa Wilding modelled the damozel in Paradise, Wilfred John Hawtrey modelled the child–angel, and the probable model for the left–hand angel was May Morris.Another, later version is in the Lady Lever Art Gallery. Frederick Richards Leyland commissioned eighteen paintings from Rossetti, not counting unfulfilled commissions. Soon after Leyland acquired his first Rossetti painting, he and Rossetti explored the idea of a Rossetti triptych, which was eventually formed with Mnemosyne, an 1879 replica of The Blessed Damozel painted by Rossetti himself, and Proserpine. Three additional Rossetti paintings were then hung in Leyland's drawing room, all of which Leyland called "stunners." | [
"May Morris",
"The Blessed Damozel",
"Frederick Richards Leyland",
"damozel",
"Alexa Wilding",
"Lady Lever Art Gallery",
"left",
"Mnemosyne",
"predella",
"triptych"
] |
|
15670_T | The Blessed Damozel | In The Blessed Damozel, how is the Music discussed? | Several pieces of music were based on the poem, including those for orchestra by Debussy, Granville Bantock (1891), Edgar Bainton (1907), Ernest Farrar (1907); for piano by Arnold Bax (1906); for string quartet by Benjamin Burrows (1927); and a 1928 choral by Julius Harrison.
The poem was the inspiration for Claude Debussy's La Damoiselle élue (1888), a cantata for two soloists, female choir, and orchestra.
A 2007 popular song of the same name by Tangerine Dream appears on their album Madcap's Flaming Duty. | [
"Ernest Farrar",
"Granville Bantock",
"Claude Debussy",
"Edgar Bainton",
"Julius Harrison",
"La Damoiselle élue",
"Madcap's Flaming Duty",
"Arnold Bax",
"Debussy",
"Tangerine Dream",
"Benjamin Burrows"
] |
|
15670_NT | The Blessed Damozel | In this artwork, how is the Music discussed? | Several pieces of music were based on the poem, including those for orchestra by Debussy, Granville Bantock (1891), Edgar Bainton (1907), Ernest Farrar (1907); for piano by Arnold Bax (1906); for string quartet by Benjamin Burrows (1927); and a 1928 choral by Julius Harrison.
The poem was the inspiration for Claude Debussy's La Damoiselle élue (1888), a cantata for two soloists, female choir, and orchestra.
A 2007 popular song of the same name by Tangerine Dream appears on their album Madcap's Flaming Duty. | [
"Ernest Farrar",
"Granville Bantock",
"Claude Debussy",
"Edgar Bainton",
"Julius Harrison",
"La Damoiselle élue",
"Madcap's Flaming Duty",
"Arnold Bax",
"Debussy",
"Tangerine Dream",
"Benjamin Burrows"
] |
|
15671_T | Reding Fountain | Focus on Reding Fountain and explore the abstract. | The Reding Fountain is a historic 17th-century fountain located in the Andalusian city of Málaga, Spain.
It has been reproduced countless times by local painters. It is located at one end of the Príes Avenue and pipes spring water from the Mount Gibralfaro. | [
"Gibralfaro",
"Reding",
"Andalusia",
"Málaga"
] |
|
15671_NT | Reding Fountain | Focus on this artwork and explore the abstract. | The Reding Fountain is a historic 17th-century fountain located in the Andalusian city of Málaga, Spain.
It has been reproduced countless times by local painters. It is located at one end of the Príes Avenue and pipes spring water from the Mount Gibralfaro. | [
"Gibralfaro",
"Reding",
"Andalusia",
"Málaga"
] |
|
15672_T | Reding Fountain | Focus on Reding Fountain and explain the Description. | This is a watering hole fountain built in marble and attached to a gable between pilasters that give it a monumental appearance.
In the lower part, above the basin, it has an imaginary fish-shaped figurehead surrounded by edges and borders, from the mouth of which the only spout of the fountain pours. Above this figurehead there is a marble plaque with an inscription relating to the reform of paths that gave rise to the current Paseo de Reding, as well as the date of completion of the work. Between the basin and the figurehead there is an inscription relating to the construction of the Paseo de Reding itself and the restoration of the fountain in times of Theodor von Reding.
At the top, on the marble plaque, there are two alabaster coats of arms with the city's and Marquis of Villafiel's coats of arms, Fernando Carrillo and Manuel. The set is completed with a moulded basin whose centre is decorated with a hanging festoon. | [
"Marquis",
"Theodor von Reding",
"alabaster",
"Reding",
"coats of arms"
] |
|
15672_NT | Reding Fountain | Focus on this artwork and explain the Description. | This is a watering hole fountain built in marble and attached to a gable between pilasters that give it a monumental appearance.
In the lower part, above the basin, it has an imaginary fish-shaped figurehead surrounded by edges and borders, from the mouth of which the only spout of the fountain pours. Above this figurehead there is a marble plaque with an inscription relating to the reform of paths that gave rise to the current Paseo de Reding, as well as the date of completion of the work. Between the basin and the figurehead there is an inscription relating to the construction of the Paseo de Reding itself and the restoration of the fountain in times of Theodor von Reding.
At the top, on the marble plaque, there are two alabaster coats of arms with the city's and Marquis of Villafiel's coats of arms, Fernando Carrillo and Manuel. The set is completed with a moulded basin whose centre is decorated with a hanging festoon. | [
"Marquis",
"Theodor von Reding",
"alabaster",
"Reding",
"coats of arms"
] |
|
15673_T | Reding Fountain | Explore the History of this artwork, Reding Fountain. | It was ordered to be built by the mayor of the city, Fernando Carrillo y Manuel, Marquis of Villafiel. The fountain was part of the set of works to improve the road from Vélez-Málaga, which were completed on 8 February 1675.In 1806, with Theodor von Reding as mayor of Malaga, it was restored to its current appearance and its current name, in honour of the mayor. From this restoration came the basin and the fish figurehead that the fountain has today. In 1841, the Muriel Estate, whose land surrounded the Reding Fountain, was acquired by the industrialist Juan Giró to build his residence, the Giró Estate, of which only the retaining wall next to the Reding Fountain remains.It was restored again in 2017 to resolve a series of damages to its architecture, recovering its original structure. | [
"Marquis",
"Vélez-Málaga",
"Theodor von Reding",
"Reding",
"Málaga"
] |
|
15673_NT | Reding Fountain | Explore the History of this artwork. | It was ordered to be built by the mayor of the city, Fernando Carrillo y Manuel, Marquis of Villafiel. The fountain was part of the set of works to improve the road from Vélez-Málaga, which were completed on 8 February 1675.In 1806, with Theodor von Reding as mayor of Malaga, it was restored to its current appearance and its current name, in honour of the mayor. From this restoration came the basin and the fish figurehead that the fountain has today. In 1841, the Muriel Estate, whose land surrounded the Reding Fountain, was acquired by the industrialist Juan Giró to build his residence, the Giró Estate, of which only the retaining wall next to the Reding Fountain remains.It was restored again in 2017 to resolve a series of damages to its architecture, recovering its original structure. | [
"Marquis",
"Vélez-Málaga",
"Theodor von Reding",
"Reding",
"Málaga"
] |
|
15674_T | Bust of Abraham Lincoln (Borglum) | Focus on Bust of Abraham Lincoln (Borglum) and discuss the Marble original sculpture. | Borglum made the original bust directly from Alabama marble without a prior plaster model, based on photographs and an 1860 life mask of Lincoln's face made by Leonard Volk. The likeness was praised by Lincoln's son Robert Todd Lincoln in 1908: "I think it is the most extraordinarily good portrait of my father I have ever seen."It stands about 40 in (100 cm) high, weighs about 375 lb (170 kg), and is signed and dated "Gutzon Borglum/1908". The distinctive face of Lincoln, without a beard, emerges from the rough rock, similar in style to sculptures by Michelangelo and Auguste Rodin, and also similar to Borglum's sculptures at Mount Rushmore, which includes a bearded Lincoln. Borglum also made a statue of Seated Lincoln, installed in Newark, New Jersey in 1911.
The sculpture was donated to Congress by the New York financier Eugene Meyer Jr., as recorded on the marble pedestal also designed by Borglum on which the bust was installed in 1911. For many decades it was displayed in United States Capitol rotunda, which still has a standing statue of Lincoln made by Vinnie Ream in 1871. The bust was moved to the crypt below in 1979.The bust is part of the United States Capitol art collection, but it is not one of the sculptures of the National Statuary Hall Collection. Two other sculptures by Borglum are in the National Statuary Hall Collection: a statue of Alexander Hamilton Stephens and a statue of Zebulon Baird Vance. | [
"Robert Todd Lincoln",
"United States Capitol rotunda",
"United States Capitol art collection",
"statue of Alexander Hamilton Stephens",
"United States Capitol art",
"standing statue of Lincoln",
"Leonard Volk",
"Vinnie Ream",
"Seated Lincoln",
"Alabama marble",
"sculptures of the National Statuary Hall Collection",
"Gutzon Borglum",
"National Statuary Hall Collection",
"Auguste Rodin",
"Mount Rushmore",
"Newark, New Jersey",
"Eugene Meyer Jr.",
"statue of Zebulon Baird Vance",
"Michelangelo",
"bust",
"life mask"
] |
|
15674_NT | Bust of Abraham Lincoln (Borglum) | Focus on this artwork and discuss the Marble original sculpture. | Borglum made the original bust directly from Alabama marble without a prior plaster model, based on photographs and an 1860 life mask of Lincoln's face made by Leonard Volk. The likeness was praised by Lincoln's son Robert Todd Lincoln in 1908: "I think it is the most extraordinarily good portrait of my father I have ever seen."It stands about 40 in (100 cm) high, weighs about 375 lb (170 kg), and is signed and dated "Gutzon Borglum/1908". The distinctive face of Lincoln, without a beard, emerges from the rough rock, similar in style to sculptures by Michelangelo and Auguste Rodin, and also similar to Borglum's sculptures at Mount Rushmore, which includes a bearded Lincoln. Borglum also made a statue of Seated Lincoln, installed in Newark, New Jersey in 1911.
The sculpture was donated to Congress by the New York financier Eugene Meyer Jr., as recorded on the marble pedestal also designed by Borglum on which the bust was installed in 1911. For many decades it was displayed in United States Capitol rotunda, which still has a standing statue of Lincoln made by Vinnie Ream in 1871. The bust was moved to the crypt below in 1979.The bust is part of the United States Capitol art collection, but it is not one of the sculptures of the National Statuary Hall Collection. Two other sculptures by Borglum are in the National Statuary Hall Collection: a statue of Alexander Hamilton Stephens and a statue of Zebulon Baird Vance. | [
"Robert Todd Lincoln",
"United States Capitol rotunda",
"United States Capitol art collection",
"statue of Alexander Hamilton Stephens",
"United States Capitol art",
"standing statue of Lincoln",
"Leonard Volk",
"Vinnie Ream",
"Seated Lincoln",
"Alabama marble",
"sculptures of the National Statuary Hall Collection",
"Gutzon Borglum",
"National Statuary Hall Collection",
"Auguste Rodin",
"Mount Rushmore",
"Newark, New Jersey",
"Eugene Meyer Jr.",
"statue of Zebulon Baird Vance",
"Michelangelo",
"bust",
"life mask"
] |
|
15675_T | Bust of Abraham Lincoln (Borglum) | How does Bust of Abraham Lincoln (Borglum) elucidate its Bronze casts? | Borglum had intended the marble bust to remain a unique work of art, but a mold was later made which was used to cast several copies in bronze. One cast stands in front of the Lincoln Tomb in Springfield, Illinois. Others are in the collections of the Chicago Historical Society, the College of the City of New York, the University of California, Berkeley, and the White House. The bust in the White House was donated by Eugene Meyer in 1954, and is usually displayed on a stone pillar in the East Garden Room, which links the East Wing to the Executive Residence. The patina has been rubbed off the noses of the busts at the Lincoln Tomb and at Shepherd Hall, CUNY, where they are often touched for good luck. An example of a 38 in (97 cm) bronze cast of Borglum's bust was sold in 2015 for $30,000. | [
"East Wing",
"University of California, Berkeley",
"Chicago Historical Society",
"East Garden Room",
"White House",
"Springfield, Illinois",
"bronze",
"Executive Residence",
"Lincoln Tomb",
"CUNY",
"College of the City of New York",
"bust",
"Shepherd Hall"
] |
|
15675_NT | Bust of Abraham Lincoln (Borglum) | How does this artwork elucidate its Bronze casts? | Borglum had intended the marble bust to remain a unique work of art, but a mold was later made which was used to cast several copies in bronze. One cast stands in front of the Lincoln Tomb in Springfield, Illinois. Others are in the collections of the Chicago Historical Society, the College of the City of New York, the University of California, Berkeley, and the White House. The bust in the White House was donated by Eugene Meyer in 1954, and is usually displayed on a stone pillar in the East Garden Room, which links the East Wing to the Executive Residence. The patina has been rubbed off the noses of the busts at the Lincoln Tomb and at Shepherd Hall, CUNY, where they are often touched for good luck. An example of a 38 in (97 cm) bronze cast of Borglum's bust was sold in 2015 for $30,000. | [
"East Wing",
"University of California, Berkeley",
"Chicago Historical Society",
"East Garden Room",
"White House",
"Springfield, Illinois",
"bronze",
"Executive Residence",
"Lincoln Tomb",
"CUNY",
"College of the City of New York",
"bust",
"Shepherd Hall"
] |
|
15676_T | Medici Madonna (van der Weyden) | Focus on Medici Madonna (van der Weyden) and analyze the abstract. | The Medici Madonna is an oil-on-panel painting by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1464 and housed in the Städel, Frankfurt, Germany.
The work is known to have been commissioned by the Medici family in Florence, as testified by the Florentine coat of arms with a red lily at the center of the lower step. The work has been variously dated from 1450–1451, when the artist travelled to Rome visiting several Italian courts, or from 1460–1464, the same years of the Lamentation of Christ, inspired by Beato Angelico and now at the Uffizi. | [
"Florence",
"Uffizi",
"oil-on-panel",
"Medici Madonna",
"panel painting",
"Städel",
"Medici",
"Rogier van der Weyden",
"Beato Angelico",
"Netherlandish",
"Lamentation of Christ"
] |
|
15676_NT | Medici Madonna (van der Weyden) | Focus on this artwork and analyze the abstract. | The Medici Madonna is an oil-on-panel painting by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1464 and housed in the Städel, Frankfurt, Germany.
The work is known to have been commissioned by the Medici family in Florence, as testified by the Florentine coat of arms with a red lily at the center of the lower step. The work has been variously dated from 1450–1451, when the artist travelled to Rome visiting several Italian courts, or from 1460–1464, the same years of the Lamentation of Christ, inspired by Beato Angelico and now at the Uffizi. | [
"Florence",
"Uffizi",
"oil-on-panel",
"Medici Madonna",
"panel painting",
"Städel",
"Medici",
"Rogier van der Weyden",
"Beato Angelico",
"Netherlandish",
"Lamentation of Christ"
] |
|
15677_T | Medici Madonna (van der Weyden) | In Medici Madonna (van der Weyden), how is the Description discussed? | Within a gold ground for the sky, van der Weyden painted a baldachin lined with precious damask cloth, under which are the Virgin with Child, St. Peter, St. John the Baptist (patron saint of Florence), St. Cosmas (a protector of the House of Medici), and St. Damian. Cosmas is portrayed while putting a coin in a handbag hanging from his belt, a reference of his legend, according to which he had accepted a small sum for a medical performance, causing rage in his brother Damian.
In the foreground is a still life with the artist's typical attention to natural details. In the centre is a gilt metallic amphora, in which are several lilies: the white ones symbolize the Virgin's purity, while the red ones are another reference to Florence. | [
"Florence",
"Cosmas",
"House of Medici",
"Medici",
"damask",
"amphora",
"gold ground",
"Virgin with Child"
] |
|
15677_NT | Medici Madonna (van der Weyden) | In this artwork, how is the Description discussed? | Within a gold ground for the sky, van der Weyden painted a baldachin lined with precious damask cloth, under which are the Virgin with Child, St. Peter, St. John the Baptist (patron saint of Florence), St. Cosmas (a protector of the House of Medici), and St. Damian. Cosmas is portrayed while putting a coin in a handbag hanging from his belt, a reference of his legend, according to which he had accepted a small sum for a medical performance, causing rage in his brother Damian.
In the foreground is a still life with the artist's typical attention to natural details. In the centre is a gilt metallic amphora, in which are several lilies: the white ones symbolize the Virgin's purity, while the red ones are another reference to Florence. | [
"Florence",
"Cosmas",
"House of Medici",
"Medici",
"damask",
"amphora",
"gold ground",
"Virgin with Child"
] |
|
15678_T | Domino Players | Focus on Domino Players and explore the abstract. | Domino Players is a 1943 painting by American painter Horace Pippin. The painting depicts a domestic scene, in which three individuals are playing dominoes while another looks on. The piece is held by The Phillips Collection. The New York Times praised the piece for "[bringing] a seldom-recorded existence vividly to life." | [
"Horace Pippin",
"The Phillips Collection"
] |
|
15678_NT | Domino Players | Focus on this artwork and explore the abstract. | Domino Players is a 1943 painting by American painter Horace Pippin. The painting depicts a domestic scene, in which three individuals are playing dominoes while another looks on. The piece is held by The Phillips Collection. The New York Times praised the piece for "[bringing] a seldom-recorded existence vividly to life." | [
"Horace Pippin",
"The Phillips Collection"
] |
|
15679_T | La Viga's walk | Focus on La Viga's walk and explain the abstract. | La Viga's walk (Paseo de la Viga in Spanish) is an oil painting. It was made by Pedro Villegas in 1706 and it is the oldest representation of "La Viga", a Mexico City roadway. | [
"Pedro Villegas",
"Mexico City"
] |
|
15679_NT | La Viga's walk | Focus on this artwork and explain the abstract. | La Viga's walk (Paseo de la Viga in Spanish) is an oil painting. It was made by Pedro Villegas in 1706 and it is the oldest representation of "La Viga", a Mexico City roadway. | [
"Pedro Villegas",
"Mexico City"
] |
|
15680_T | La Viga's walk | Explore the Description of this artwork, La Viga's walk. | The roadway "La Viga" was the walk used by the merchants who walked from Chalco and Xochimilco, to then sell their products in the city. The painting shows the arrival of New Spain's viceroy, Francisco Fernández de la Cueva and his wife Juana de la Cerda. They are represented in a boat and they come along with two women. Their social position is emphasized by a cloth structure that covers the couple.
The picture also represents the everyday life of the place: the merchants, the trajineras (Mexican boat), chinampas, guardians, the church, people walking around the place and the volcanos Popocatepetl e Iztaccihuatl. | [
"Popocatepetl",
"New Spain",
"Xochimilco",
"New Spain's",
"Iztaccihuatl"
] |
|
15680_NT | La Viga's walk | Explore the Description of this artwork. | The roadway "La Viga" was the walk used by the merchants who walked from Chalco and Xochimilco, to then sell their products in the city. The painting shows the arrival of New Spain's viceroy, Francisco Fernández de la Cueva and his wife Juana de la Cerda. They are represented in a boat and they come along with two women. Their social position is emphasized by a cloth structure that covers the couple.
The picture also represents the everyday life of the place: the merchants, the trajineras (Mexican boat), chinampas, guardians, the church, people walking around the place and the volcanos Popocatepetl e Iztaccihuatl. | [
"Popocatepetl",
"New Spain",
"Xochimilco",
"New Spain's",
"Iztaccihuatl"
] |
|
15681_T | Statue of Queen Victoria, Weymouth | Focus on Statue of Queen Victoria, Weymouth and discuss the abstract. | Queen Victoria Statue is a statue of Queen Victoria, located at Weymouth, Dorset in England. Designed by George Blackall Simonds, the statue was erected to commemorate the Queen's reign. It features a life-size bronze figure of the Queen on a podium made from Portland stone by Messrs. Singer, of Frome. The mayor of Weymouth, John Bagg, organised the collection of funds for the statue, which was unveiled by Princess Henry of Battenberg on 20 October 1902.The statue has been a Grade II listed monument since 1997. Historic England recorded that the statue was in a "good position at the north entry to the town, but is less favourably placed than the corresponding King's Statue at the south end of the Esplanade". Plans for the statue's restoration were announced in 2007 and carried out in 2009 by Osirion Building Conservation. | [
"King's Statue",
"Portland stone",
"Frome",
"Weymouth",
"Weymouth, Dorset",
"Princess Henry of Battenberg",
"Queen Victoria",
"England",
"George Blackall Simonds",
"Historic England"
] |
|
15681_NT | Statue of Queen Victoria, Weymouth | Focus on this artwork and discuss the abstract. | Queen Victoria Statue is a statue of Queen Victoria, located at Weymouth, Dorset in England. Designed by George Blackall Simonds, the statue was erected to commemorate the Queen's reign. It features a life-size bronze figure of the Queen on a podium made from Portland stone by Messrs. Singer, of Frome. The mayor of Weymouth, John Bagg, organised the collection of funds for the statue, which was unveiled by Princess Henry of Battenberg on 20 October 1902.The statue has been a Grade II listed monument since 1997. Historic England recorded that the statue was in a "good position at the north entry to the town, but is less favourably placed than the corresponding King's Statue at the south end of the Esplanade". Plans for the statue's restoration were announced in 2007 and carried out in 2009 by Osirion Building Conservation. | [
"King's Statue",
"Portland stone",
"Frome",
"Weymouth",
"Weymouth, Dorset",
"Princess Henry of Battenberg",
"Queen Victoria",
"England",
"George Blackall Simonds",
"Historic England"
] |
|
15682_T | Welcome to Lagos | How does Welcome to Lagos elucidate its abstract? | Welcome to Lagos (Yoruba: Agba Meta or Aro Meta) is an Art Deco statue of three Lagos white-cap chiefs located in Lagos, Nigeria. Designed by Bodun Shodeinde in 1991 and standing over 12 ft high, the three sculpted chiefs were built to welcome people coming into Lagos State. | [
"Bodun Shodeinde",
"statue",
"Lagos",
"Lagos State",
"Art Deco",
"Yoruba"
] |
|
15682_NT | Welcome to Lagos | How does this artwork elucidate its abstract? | Welcome to Lagos (Yoruba: Agba Meta or Aro Meta) is an Art Deco statue of three Lagos white-cap chiefs located in Lagos, Nigeria. Designed by Bodun Shodeinde in 1991 and standing over 12 ft high, the three sculpted chiefs were built to welcome people coming into Lagos State. | [
"Bodun Shodeinde",
"statue",
"Lagos",
"Lagos State",
"Art Deco",
"Yoruba"
] |
|
15683_T | Welcome to Lagos | Focus on Welcome to Lagos and analyze the Structural and cultural background. | Erected and placed upon a high pedestal to welcome people into the city of Lagos, Welcome to Lagos portrays the image of three white cap chiefs (Yoruba: Idejo) in slightly different positions, wearing white wrappers tied across their shoulders with their right fists clenched, thus symbolizing the strong belief of the supremacy of the right hand over the left.The figure on the right-hand side stretches his fist forward to the air; with an inclined fist a bit down, the figure in the middle holds his right fist forward while the figure on the left brings his two fists together, slightly touching each other in the air.Bodun Shodeinde, through this sculpture, depicted the highest honour that can be afforded to anyone in the Eko greeting tradition. | [
"Bodun Shodeinde",
"Lagos",
"Yoruba"
] |
|
15683_NT | Welcome to Lagos | Focus on this artwork and analyze the Structural and cultural background. | Erected and placed upon a high pedestal to welcome people into the city of Lagos, Welcome to Lagos portrays the image of three white cap chiefs (Yoruba: Idejo) in slightly different positions, wearing white wrappers tied across their shoulders with their right fists clenched, thus symbolizing the strong belief of the supremacy of the right hand over the left.The figure on the right-hand side stretches his fist forward to the air; with an inclined fist a bit down, the figure in the middle holds his right fist forward while the figure on the left brings his two fists together, slightly touching each other in the air.Bodun Shodeinde, through this sculpture, depicted the highest honour that can be afforded to anyone in the Eko greeting tradition. | [
"Bodun Shodeinde",
"Lagos",
"Yoruba"
] |
|
15684_T | Angel (Michelangelo) | In Angel (Michelangelo), how is the abstract discussed? | The statue of an Angel (1494–1495) was created by Michelangelo out of marble. Its height is 51.5 cm. It is situated in the Basilica of San Domenico, Bologna. | [
"Michelangelo",
"Basilica of San Domenico",
"marble",
"Bologna",
"San Domenico, Bologna"
] |
|
15684_NT | Angel (Michelangelo) | In this artwork, how is the abstract discussed? | The statue of an Angel (1494–1495) was created by Michelangelo out of marble. Its height is 51.5 cm. It is situated in the Basilica of San Domenico, Bologna. | [
"Michelangelo",
"Basilica of San Domenico",
"marble",
"Bologna",
"San Domenico, Bologna"
] |
|
15685_T | The Flagellation of Christ (Caravaggio) | Focus on The Flagellation of Christ (Caravaggio) and explore the Description. | According to art biographer Gian Pietro Bellori (1672), this work was commissioned by the di Franco (or de Franchis) family for a chapel in the church of San Domenico Maggiore in Naples. The family were connected with the Confraternity of the Pio Monte della Misericordia, for whose church Caravaggio had already painted The Seven Works of Mercy. It was moved to the museum at Capodimonte in 1972.
The Flagellation of Christ had long been a popular subject in religious art—and in contemporary religious practice, where the church encouraged self-flagellation as a means by which the faithful might enter into the suffering of Christ. Caravaggio would have had in mind the famous fresco by Sebastiano del Piombo in the church of San Pietro in Montorio in Rome. Caravaggio has reworked Piombo's composition by drastically reducing the picture space so that the sculptural figures seem presented on a shallow stage. He has, however, retained Piombo's sense of the flagellation as a kind of sadistic ballet, with the figures arranged rhythmically across the canvas. Caravaggio's painting introduces an acutely observed reality into the scene: Christ is in this drooping pose, not because it might seem graceful, but because the torturer on the right is kicking the back of his knee while the figure on the left holds his hair tightly in his fist.
This series of highly dramatic and innovative Neapolitan altarpieces — the Seven Works of Mercy, this Flagellation, and a close companion piece, Christ at the Column, all done within a few months of his arrival in the city — instantly made Caravaggio the most talked-about artist in Naples, and the church of Sant'Anna dei Lombardi (Saint Anna of the Lombards — Caravaggio was originally from Lombardy) became a centre of the Caravaggisti, artists painting in the style of Caravaggio. These were not only native Neapolitans like Carlo Sellitto and Battistello Caracciolo, but included Flemish artists like Louis Finson, Abraham Vinck and Hendrick de Somer who would later help spread Caravaggism to northern Europe. | [
"The Seven Works of Mercy",
"Flagellation of Christ",
"Battistello Caracciolo",
"Naples",
"Caravaggisti",
"Caravaggio",
"Hendrick de Somer",
"Carlo Sellitto",
"San Domenico Maggiore",
"Christ at the Column",
"Louis Finson",
"Sant'Anna dei Lombardi",
"Abraham Vinck",
"Sebastiano del Piombo",
"Pio Monte della Misericordia",
"Gian Pietro Bellori"
] |
|
15685_NT | The Flagellation of Christ (Caravaggio) | Focus on this artwork and explore the Description. | According to art biographer Gian Pietro Bellori (1672), this work was commissioned by the di Franco (or de Franchis) family for a chapel in the church of San Domenico Maggiore in Naples. The family were connected with the Confraternity of the Pio Monte della Misericordia, for whose church Caravaggio had already painted The Seven Works of Mercy. It was moved to the museum at Capodimonte in 1972.
The Flagellation of Christ had long been a popular subject in religious art—and in contemporary religious practice, where the church encouraged self-flagellation as a means by which the faithful might enter into the suffering of Christ. Caravaggio would have had in mind the famous fresco by Sebastiano del Piombo in the church of San Pietro in Montorio in Rome. Caravaggio has reworked Piombo's composition by drastically reducing the picture space so that the sculptural figures seem presented on a shallow stage. He has, however, retained Piombo's sense of the flagellation as a kind of sadistic ballet, with the figures arranged rhythmically across the canvas. Caravaggio's painting introduces an acutely observed reality into the scene: Christ is in this drooping pose, not because it might seem graceful, but because the torturer on the right is kicking the back of his knee while the figure on the left holds his hair tightly in his fist.
This series of highly dramatic and innovative Neapolitan altarpieces — the Seven Works of Mercy, this Flagellation, and a close companion piece, Christ at the Column, all done within a few months of his arrival in the city — instantly made Caravaggio the most talked-about artist in Naples, and the church of Sant'Anna dei Lombardi (Saint Anna of the Lombards — Caravaggio was originally from Lombardy) became a centre of the Caravaggisti, artists painting in the style of Caravaggio. These were not only native Neapolitans like Carlo Sellitto and Battistello Caracciolo, but included Flemish artists like Louis Finson, Abraham Vinck and Hendrick de Somer who would later help spread Caravaggism to northern Europe. | [
"The Seven Works of Mercy",
"Flagellation of Christ",
"Battistello Caracciolo",
"Naples",
"Caravaggisti",
"Caravaggio",
"Hendrick de Somer",
"Carlo Sellitto",
"San Domenico Maggiore",
"Christ at the Column",
"Louis Finson",
"Sant'Anna dei Lombardi",
"Abraham Vinck",
"Sebastiano del Piombo",
"Pio Monte della Misericordia",
"Gian Pietro Bellori"
] |
|
15686_T | Diana Bathing with her Nymphs with Actaeon and Callisto | Focus on Diana Bathing with her Nymphs with Actaeon and Callisto and explain the abstract. | Diana Bathing with her Nymphs with Actaeon and Callisto is a 1634 painting by the Dutch painter Rembrandt van Rijn. It is now in the Salm-Salm princely collection in the Wasserburg Anholt in Anholt, Germany.
It shows two episodes from Ovid's Metamorphoses, in both of which someone is punished by the goddess Diana for a sexual offence. On the left, Actaeon is punished for seeing the goddess naked by being turned into a stag and killed by his own hounds. On the right, Diana's other nymphs are tearing off Callisto's clothing to reveal how she has broken her vow of chastity and is now carrying Jupiter's child. For this, Diana expels her from her court and she later gives birth to Arcas before being turned into a bear by Juno, whom Arcas almost kills whilst hunting.
Unusually, the painting also includes an image of an elderly couple unrelated to either of the two stories (background) and a middle-aged nymph (in the foreground). | [
"Salm-Salm",
"Callisto",
"Jupiter",
"Ovid",
"Rembrandt van Rijn",
"Germany",
"Juno",
"Diana",
"Actaeon",
"Rembrandt",
"Anholt",
"Arcas",
"Metamorphoses",
"Anholt, Germany"
] |
|
15686_NT | Diana Bathing with her Nymphs with Actaeon and Callisto | Focus on this artwork and explain the abstract. | Diana Bathing with her Nymphs with Actaeon and Callisto is a 1634 painting by the Dutch painter Rembrandt van Rijn. It is now in the Salm-Salm princely collection in the Wasserburg Anholt in Anholt, Germany.
It shows two episodes from Ovid's Metamorphoses, in both of which someone is punished by the goddess Diana for a sexual offence. On the left, Actaeon is punished for seeing the goddess naked by being turned into a stag and killed by his own hounds. On the right, Diana's other nymphs are tearing off Callisto's clothing to reveal how she has broken her vow of chastity and is now carrying Jupiter's child. For this, Diana expels her from her court and she later gives birth to Arcas before being turned into a bear by Juno, whom Arcas almost kills whilst hunting.
Unusually, the painting also includes an image of an elderly couple unrelated to either of the two stories (background) and a middle-aged nymph (in the foreground). | [
"Salm-Salm",
"Callisto",
"Jupiter",
"Ovid",
"Rembrandt van Rijn",
"Germany",
"Juno",
"Diana",
"Actaeon",
"Rembrandt",
"Anholt",
"Arcas",
"Metamorphoses",
"Anholt, Germany"
] |
|
15687_T | Statue of the Earl of Derby, Parliament Square | Explore the abstract of this artwork, Statue of the Earl of Derby, Parliament Square. | A sculpture of the statesman and three-time Prime Minister of the United Kingdom, Edward Smith-Stanley, 14th Earl of Derby, is located in Parliament Square, London, England. The sculptor was Matthew Noble and the Grade II-listed statue was unveiled on 11 July 1874.The unveiling ceremony was performed by prime minister Benjamin Disraeli and those in attendance included Derby's son, Edward Stanley, 15th Earl of Derby, Charles Gordon-Lennox, 6th Duke of Richmond, Hugh Cairns, 1st Earl Cairns, Henry Liddell, 1st Earl of Ravensworth, numerous Members of Parliament and "a large number of ladies". At the conclusion of his speech, following the unveiling, Disraeli said:
We have raised this statue to him not only as a memorial, but as an example; not merely to commemorate but to inspire.
The four sides of the granite pedestal have bronze reliefs depicting Derby addressing the House of Commons during a debate on slavery, attending a Cabinet meeting, at a meeting of the Lancashire Relief Committee and at his inauguration as Chancellor of the University of Oxford. | [
"Edward Smith-Stanley, 14th Earl of Derby",
"Parliament Square",
"Lancashire Relief Committee",
"Members of Parliament",
"Grade II-listed",
"University of Oxford",
"Charles Gordon-Lennox, 6th Duke of Richmond",
"Prime Minister of the United Kingdom",
"Benjamin Disraeli",
"Hugh Cairns, 1st Earl Cairns",
"slavery",
"Chancellor",
"Matthew Noble",
"Edward Stanley, 15th Earl of Derby",
"Derby",
"London",
"Henry Liddell, 1st Earl of Ravensworth",
"House of Commons"
] |
|
15687_NT | Statue of the Earl of Derby, Parliament Square | Explore the abstract of this artwork. | A sculpture of the statesman and three-time Prime Minister of the United Kingdom, Edward Smith-Stanley, 14th Earl of Derby, is located in Parliament Square, London, England. The sculptor was Matthew Noble and the Grade II-listed statue was unveiled on 11 July 1874.The unveiling ceremony was performed by prime minister Benjamin Disraeli and those in attendance included Derby's son, Edward Stanley, 15th Earl of Derby, Charles Gordon-Lennox, 6th Duke of Richmond, Hugh Cairns, 1st Earl Cairns, Henry Liddell, 1st Earl of Ravensworth, numerous Members of Parliament and "a large number of ladies". At the conclusion of his speech, following the unveiling, Disraeli said:
We have raised this statue to him not only as a memorial, but as an example; not merely to commemorate but to inspire.
The four sides of the granite pedestal have bronze reliefs depicting Derby addressing the House of Commons during a debate on slavery, attending a Cabinet meeting, at a meeting of the Lancashire Relief Committee and at his inauguration as Chancellor of the University of Oxford. | [
"Edward Smith-Stanley, 14th Earl of Derby",
"Parliament Square",
"Lancashire Relief Committee",
"Members of Parliament",
"Grade II-listed",
"University of Oxford",
"Charles Gordon-Lennox, 6th Duke of Richmond",
"Prime Minister of the United Kingdom",
"Benjamin Disraeli",
"Hugh Cairns, 1st Earl Cairns",
"slavery",
"Chancellor",
"Matthew Noble",
"Edward Stanley, 15th Earl of Derby",
"Derby",
"London",
"Henry Liddell, 1st Earl of Ravensworth",
"House of Commons"
] |
|
15688_T | Rest on the Flight into Egypt (Caravaggio) | Focus on Rest on the Flight into Egypt (Caravaggio) and discuss the abstract. | Rest on the Flight into Egypt (c. 1597 creation) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio, in the Doria Pamphilj Gallery, Rome. The Rest on the Flight into Egypt, like the Flight into Egypt, was a popular subject in art, but Caravaggio's composition, with an angel playing the viol to the Holy Family, is unusual. | [
"Michelangelo Merisi da Caravaggio",
"Pamphilj",
"viol",
"Rest on the Flight into Egypt",
"M",
"Baroque",
"Rome",
"Caravaggio",
"Italian",
"Flight into Egypt",
"Doria Pamphilj Gallery",
"Holy Family"
] |
|
15688_NT | Rest on the Flight into Egypt (Caravaggio) | Focus on this artwork and discuss the abstract. | Rest on the Flight into Egypt (c. 1597 creation) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio, in the Doria Pamphilj Gallery, Rome. The Rest on the Flight into Egypt, like the Flight into Egypt, was a popular subject in art, but Caravaggio's composition, with an angel playing the viol to the Holy Family, is unusual. | [
"Michelangelo Merisi da Caravaggio",
"Pamphilj",
"viol",
"Rest on the Flight into Egypt",
"M",
"Baroque",
"Rome",
"Caravaggio",
"Italian",
"Flight into Egypt",
"Doria Pamphilj Gallery",
"Holy Family"
] |
|
15689_T | Rest on the Flight into Egypt (Caravaggio) | How does Rest on the Flight into Egypt (Caravaggio) elucidate its Subject matter? | The scene is based not on any incident in the Bible itself, but on a body of tales or legends that had grown up in the early Middle Ages around the Bible story of the Holy Family fleeing into Egypt for refuge on being warned that Herod the Great was seeking to kill the Christ Child. According to the legend, Joseph and Mary paused on the flight in a grove of trees; the Holy Child ordered the trees to bend down so that Joseph could take fruit from them, and then ordered a spring of water to gush forth from the roots so that his parents could quench their thirst. This basic story acquired many extra details during the centuries.
Caravaggio shows Mary asleep with the infant Jesus, while Joseph holds a manuscript for an angel who is playing a hymn to Mary on the viol. | [
"Joseph",
"Bible",
"viol",
"M",
"Mary",
"fleeing into Egypt",
"Herod the Great",
"Caravaggio",
"Holy Family"
] |
|
15689_NT | Rest on the Flight into Egypt (Caravaggio) | How does this artwork elucidate its Subject matter? | The scene is based not on any incident in the Bible itself, but on a body of tales or legends that had grown up in the early Middle Ages around the Bible story of the Holy Family fleeing into Egypt for refuge on being warned that Herod the Great was seeking to kill the Christ Child. According to the legend, Joseph and Mary paused on the flight in a grove of trees; the Holy Child ordered the trees to bend down so that Joseph could take fruit from them, and then ordered a spring of water to gush forth from the roots so that his parents could quench their thirst. This basic story acquired many extra details during the centuries.
Caravaggio shows Mary asleep with the infant Jesus, while Joseph holds a manuscript for an angel who is playing a hymn to Mary on the viol. | [
"Joseph",
"Bible",
"viol",
"M",
"Mary",
"fleeing into Egypt",
"Herod the Great",
"Caravaggio",
"Holy Family"
] |
|
15690_T | Rest on the Flight into Egypt (Caravaggio) | Focus on Rest on the Flight into Egypt (Caravaggio) and analyze the Date. | The date of the painting is disputed. According to Caravaggio's contemporary Giulio Mancini, this painting and the Penitent Magdalene, together with an unidentified painting of Saint John the Evangelist, was done while Caravaggio was staying with Monsignor Fantino Petrignani, shortly after leaving the workshop of Giuseppe Cesari. This probably happened in January 1594.However, there are problems with accepting Mancini's statement. To begin, none of these three works were listed in Petragnani's inventory of 1600, although it is possible that they could have been painted for another patron. More seriously, the painting has an obvious and direct compositional source in Annibale Carracci's Judgement of Hercules, which was completed early in 1596 and widely admired: the pose of Caravaggio's angel, for example, is closely based on that of Carracci's figure of Vice. While John Gash (2003) accepts Mancini's testimony, others, including Peter Robb and Helen Langdon (both 1998), have raised the possibility that it was painted for Cardinal Francesco Maria Del Monte, who made Caravaggio in effect his household artist from about 1595 or 1596. The sophisticated treatment is appropriate for the cardinal's intellectual tastes and interests (the music held by Joseph is a motet by the Flemish composer Noel Bauldeweyn, with a text from the Song of Songs dedicated to the Madonna, Quam pulchra es, "How beautiful you are"), and it is unlikely that the artist would embark on a work like this other than as a direct commission. | [
"Helen Langdon",
"Annibale Carracci",
"Joseph",
"Fantino Petrignani",
"Giulio Mancini",
"Penitent Magdalene",
"M",
"Saint John the Evangelist",
"Caravaggio",
"Francesco Maria Del Monte",
"Giuseppe Cesari",
"Song of Songs",
"Noel Bauldeweyn",
"Peter Robb",
"John the Evangelist"
] |
|
15690_NT | Rest on the Flight into Egypt (Caravaggio) | Focus on this artwork and analyze the Date. | The date of the painting is disputed. According to Caravaggio's contemporary Giulio Mancini, this painting and the Penitent Magdalene, together with an unidentified painting of Saint John the Evangelist, was done while Caravaggio was staying with Monsignor Fantino Petrignani, shortly after leaving the workshop of Giuseppe Cesari. This probably happened in January 1594.However, there are problems with accepting Mancini's statement. To begin, none of these three works were listed in Petragnani's inventory of 1600, although it is possible that they could have been painted for another patron. More seriously, the painting has an obvious and direct compositional source in Annibale Carracci's Judgement of Hercules, which was completed early in 1596 and widely admired: the pose of Caravaggio's angel, for example, is closely based on that of Carracci's figure of Vice. While John Gash (2003) accepts Mancini's testimony, others, including Peter Robb and Helen Langdon (both 1998), have raised the possibility that it was painted for Cardinal Francesco Maria Del Monte, who made Caravaggio in effect his household artist from about 1595 or 1596. The sophisticated treatment is appropriate for the cardinal's intellectual tastes and interests (the music held by Joseph is a motet by the Flemish composer Noel Bauldeweyn, with a text from the Song of Songs dedicated to the Madonna, Quam pulchra es, "How beautiful you are"), and it is unlikely that the artist would embark on a work like this other than as a direct commission. | [
"Helen Langdon",
"Annibale Carracci",
"Joseph",
"Fantino Petrignani",
"Giulio Mancini",
"Penitent Magdalene",
"M",
"Saint John the Evangelist",
"Caravaggio",
"Francesco Maria Del Monte",
"Giuseppe Cesari",
"Song of Songs",
"Noel Bauldeweyn",
"Peter Robb",
"John the Evangelist"
] |
|
15691_T | Rest on the Flight into Egypt (Caravaggio) | In Rest on the Flight into Egypt (Caravaggio), how is the Style discussed? | This was the first large-scale work done by Caravaggio, and is compositionally more ambitious and more successful than The Musicians, of about 1595. It is also one of the very rare landscapes from this artist who seems always to have been painting in a prison cell, a room at a tavern, or at night – one critic has joked that all the sky in all Caravaggio's 80-odd works would add up to a few square centimeters of paint. The painting was apparently sold to the Pamphilj by the early 17th century. Caravaggio's Lombard and Venetian heritage are evident in the treatment of the landscape and in the luminous tonalities. Like most depictions of the flight to Egypt this is a peaceful moment, one in which the scenery is to be enjoyed, more gardenscape than landscape. The luminous figure of the adolescent angel, at once serene and sensuous, holds the centre of the group. The mother and child grouping, one of many that Caravaggio would paint, is comparable in its delicacy and realism to the best that the thousands in the canon can offer. | [
"Pamphilj",
"M",
"The Musicians",
"Caravaggio",
"Lombard",
"Venetian"
] |
|
15691_NT | Rest on the Flight into Egypt (Caravaggio) | In this artwork, how is the Style discussed? | This was the first large-scale work done by Caravaggio, and is compositionally more ambitious and more successful than The Musicians, of about 1595. It is also one of the very rare landscapes from this artist who seems always to have been painting in a prison cell, a room at a tavern, or at night – one critic has joked that all the sky in all Caravaggio's 80-odd works would add up to a few square centimeters of paint. The painting was apparently sold to the Pamphilj by the early 17th century. Caravaggio's Lombard and Venetian heritage are evident in the treatment of the landscape and in the luminous tonalities. Like most depictions of the flight to Egypt this is a peaceful moment, one in which the scenery is to be enjoyed, more gardenscape than landscape. The luminous figure of the adolescent angel, at once serene and sensuous, holds the centre of the group. The mother and child grouping, one of many that Caravaggio would paint, is comparable in its delicacy and realism to the best that the thousands in the canon can offer. | [
"Pamphilj",
"M",
"The Musicians",
"Caravaggio",
"Lombard",
"Venetian"
] |
|
15692_T | Rest on the Flight into Egypt (Caravaggio) | Focus on Rest on the Flight into Egypt (Caravaggio) and explore the Models. | One of the great pastimes of Caravaggio scholars is identifying his models. Much progress has been made, but the following should be regarded as tentative only, as Caravaggio left few clues. Mary appears to be the same girl who appears as Mary Magdalen in the Penitent Magdalene of about 1597, also in the Doria-Pamphilj Gallery. The aged Joseph appears similar to the elderly saints in The Inspiration of Saint Matthew of 1602 and, less clearly, Saint Jerome in Meditation of about 1605. Some critics have identified the boy-angel with the ingenuous victim of cheats on the left of Cardsharps, while others have seen a similarity with the profile of the boy cheating him instead. | [
"Joseph",
"Pamphilj",
"Cardsharps",
"Penitent Magdalene",
"M",
"Mary",
"Saint Jerome in Meditation",
"The Inspiration of Saint Matthew",
"Caravaggio",
"left"
] |
|
15692_NT | Rest on the Flight into Egypt (Caravaggio) | Focus on this artwork and explore the Models. | One of the great pastimes of Caravaggio scholars is identifying his models. Much progress has been made, but the following should be regarded as tentative only, as Caravaggio left few clues. Mary appears to be the same girl who appears as Mary Magdalen in the Penitent Magdalene of about 1597, also in the Doria-Pamphilj Gallery. The aged Joseph appears similar to the elderly saints in The Inspiration of Saint Matthew of 1602 and, less clearly, Saint Jerome in Meditation of about 1605. Some critics have identified the boy-angel with the ingenuous victim of cheats on the left of Cardsharps, while others have seen a similarity with the profile of the boy cheating him instead. | [
"Joseph",
"Pamphilj",
"Cardsharps",
"Penitent Magdalene",
"M",
"Mary",
"Saint Jerome in Meditation",
"The Inspiration of Saint Matthew",
"Caravaggio",
"left"
] |
|
15693_T | Rest on the Flight into Egypt (Caravaggio) | Focus on Rest on the Flight into Egypt (Caravaggio) and explain the References and sources. | Gash, John (2003). Caravaggio. ISBN 1-904449-22-0.
Hibbard, Howard (1983). Caravaggio. Harper & Row. ISBN 0-06-430128-1.
Langdon, Helen (1998). Caravaggio: A Life. ISBN 0-374-11894-9.
Robb, Peter (1998). M. ISBN 0-312-27474-2. | [
"M",
"Caravaggio"
] |
|
15693_NT | Rest on the Flight into Egypt (Caravaggio) | Focus on this artwork and explain the References and sources. | Gash, John (2003). Caravaggio. ISBN 1-904449-22-0.
Hibbard, Howard (1983). Caravaggio. Harper & Row. ISBN 0-06-430128-1.
Langdon, Helen (1998). Caravaggio: A Life. ISBN 0-374-11894-9.
Robb, Peter (1998). M. ISBN 0-312-27474-2. | [
"M",
"Caravaggio"
] |
|
15694_T | The Bravo (Titian) | Explore the abstract of this artwork, The Bravo (Titian). | The Bravo is an oil painting usually attributed to Titian, dated to around 1516-17 and now in the Kunsthistorisches Museum in Vienna. The painting can be seen as one of a number of Venetian paintings of the 1510s showing two or three half-length figures with heads close together, often with their expressions and interactions enigmatic. Most of these are "Giorgionesque" genre or tronie subjects where the subjects are anonymous, though the group includes Titian's The Tribute Money, with Christ as the main figure, which in terms of style is similar to this painting, and his Lucretia and her Husband, also in Vienna, where at least the woman's identity is clear, if not that of the man.Alternative attributions are to Giorgione (in the past) and Palma Vecchio. | [
"Palma Vecchio",
"tronie",
"Kunsthistorisches Museum",
"Lucretia and her Husband",
"Titian",
"Vienna",
"The Tribute Money",
"Giorgione"
] |
|
15694_NT | The Bravo (Titian) | Explore the abstract of this artwork. | The Bravo is an oil painting usually attributed to Titian, dated to around 1516-17 and now in the Kunsthistorisches Museum in Vienna. The painting can be seen as one of a number of Venetian paintings of the 1510s showing two or three half-length figures with heads close together, often with their expressions and interactions enigmatic. Most of these are "Giorgionesque" genre or tronie subjects where the subjects are anonymous, though the group includes Titian's The Tribute Money, with Christ as the main figure, which in terms of style is similar to this painting, and his Lucretia and her Husband, also in Vienna, where at least the woman's identity is clear, if not that of the man.Alternative attributions are to Giorgione (in the past) and Palma Vecchio. | [
"Palma Vecchio",
"tronie",
"Kunsthistorisches Museum",
"Lucretia and her Husband",
"Titian",
"Vienna",
"The Tribute Money",
"Giorgione"
] |
|
15695_T | The Bravo (Titian) | Focus on The Bravo (Titian) and discuss the History and attribution. | The painting was probably in the Venetian collection of Zuanantonio Venier in 1526, who had one then described as "two half-figures attacking each other by Titian". In 1636 it was sold to the Duke of Hamilton, who brought it to London. Most of his purchases were from the collection of Bartolomeo della Nave, who perhaps had it by then. After Hamilton's execution, it was acquired by Archduke Leopold Wilhelm of Austria, whose collection later became part of the Habsburg imperial collection in Vienna, then passed to the Kunsthistorisches Museum.
An etching after a reduced copy by David Teniers the Younger shows the painting attributed to Giorgione. The painting must have been a popular painting when it was in the Archduke's cabinet, as it was portrayed in some of his gallery paintings by Teniers.
The work was attributed to Titian by the Italian art historian Roberto Longhi, which remains usual. But for John Steer the painting was "surely by" Palma Vecchio. | [
"Palma Vecchio",
"Bartolomeo della Nave",
"David Teniers the Younger",
"John Steer",
"Kunsthistorisches Museum",
"Duke of Hamilton",
"Roberto Longhi",
"Titian",
"Vienna",
"Giorgione",
"Archduke Leopold Wilhelm of Austria"
] |
|
15695_NT | The Bravo (Titian) | Focus on this artwork and discuss the History and attribution. | The painting was probably in the Venetian collection of Zuanantonio Venier in 1526, who had one then described as "two half-figures attacking each other by Titian". In 1636 it was sold to the Duke of Hamilton, who brought it to London. Most of his purchases were from the collection of Bartolomeo della Nave, who perhaps had it by then. After Hamilton's execution, it was acquired by Archduke Leopold Wilhelm of Austria, whose collection later became part of the Habsburg imperial collection in Vienna, then passed to the Kunsthistorisches Museum.
An etching after a reduced copy by David Teniers the Younger shows the painting attributed to Giorgione. The painting must have been a popular painting when it was in the Archduke's cabinet, as it was portrayed in some of his gallery paintings by Teniers.
The work was attributed to Titian by the Italian art historian Roberto Longhi, which remains usual. But for John Steer the painting was "surely by" Palma Vecchio. | [
"Palma Vecchio",
"Bartolomeo della Nave",
"David Teniers the Younger",
"John Steer",
"Kunsthistorisches Museum",
"Duke of Hamilton",
"Roberto Longhi",
"Titian",
"Vienna",
"Giorgione",
"Archduke Leopold Wilhelm of Austria"
] |
|
15696_T | Duke Ellington Memorial | How does Duke Ellington Memorial elucidate its abstract? | The Duke Ellington Memorial by Robert Graham is installed at Duke Ellington Circle in Manhattan, New York City, New York. The monument depicts Duke Ellington at a piano, supported by three columns depicting three caryatids each, known as his nine muses. It was cast in 1997 and dedicated on July 1 of that year. Pianist Bobby Short conceived of the memorial in 1979; it was the first statue erected in Ellington's honor in the country. | [
"New York City",
"Bobby Short",
"New York",
"Manhattan",
"Duke Ellington",
"Duke Ellington Circle"
] |
|
15696_NT | Duke Ellington Memorial | How does this artwork elucidate its abstract? | The Duke Ellington Memorial by Robert Graham is installed at Duke Ellington Circle in Manhattan, New York City, New York. The monument depicts Duke Ellington at a piano, supported by three columns depicting three caryatids each, known as his nine muses. It was cast in 1997 and dedicated on July 1 of that year. Pianist Bobby Short conceived of the memorial in 1979; it was the first statue erected in Ellington's honor in the country. | [
"New York City",
"Bobby Short",
"New York",
"Manhattan",
"Duke Ellington",
"Duke Ellington Circle"
] |
|
15697_T | Statue of Christopher Columbus (Chicago) | Focus on Statue of Christopher Columbus (Chicago) and analyze the abstract. | Christopher Columbus is a bronze statue of Italian explorer and navigator Christopher Columbus. It was installed during 1933 in Chicago's Grant Park, in the U.S. state of Illinois. Created by the Milanese-born sculptor Carlo Brioschi, it was set on an exedra and pedestal designed with the help of architect Clarence H. Johnston. It was removed and put in storage in 2020. | [
"Milan",
"Clarence H. Johnston",
"Illinois",
"Carlo Brioschi",
"U.S. state",
"Italian",
"pedestal",
"Chicago",
"Christopher Columbus",
"exedra",
"Grant Park"
] |
|
15697_NT | Statue of Christopher Columbus (Chicago) | Focus on this artwork and analyze the abstract. | Christopher Columbus is a bronze statue of Italian explorer and navigator Christopher Columbus. It was installed during 1933 in Chicago's Grant Park, in the U.S. state of Illinois. Created by the Milanese-born sculptor Carlo Brioschi, it was set on an exedra and pedestal designed with the help of architect Clarence H. Johnston. It was removed and put in storage in 2020. | [
"Milan",
"Clarence H. Johnston",
"Illinois",
"Carlo Brioschi",
"U.S. state",
"Italian",
"pedestal",
"Chicago",
"Christopher Columbus",
"exedra",
"Grant Park"
] |
|
15698_T | Statue of Christopher Columbus (Chicago) | In Statue of Christopher Columbus (Chicago), how is the History discussed? | In 1933, Chicago celebrated its 100th anniversary with the Century of Progress World's Fair. In conjunction with the fair, Chicago's Italian-American community donated the artwork to the city. The statue was unveiled and dedicated in a ceremony on August 3, 1933, as part of Italian day at the fair.The statue was vandalized on June 13, 2020 during the George Floyd protests. After an incident on July 17, 2020, where protestors attempted to topple the work and a number of injuries occurred during a confrontation with police, the statue was removed in the early morning hours of July 24, by order of Chicago's Mayor Lori Lightfoot. | [
"Century of Progress",
"George Floyd protests",
"Italian",
"Chicago",
"Lori Lightfoot",
"Italian-American"
] |
|
15698_NT | Statue of Christopher Columbus (Chicago) | In this artwork, how is the History discussed? | In 1933, Chicago celebrated its 100th anniversary with the Century of Progress World's Fair. In conjunction with the fair, Chicago's Italian-American community donated the artwork to the city. The statue was unveiled and dedicated in a ceremony on August 3, 1933, as part of Italian day at the fair.The statue was vandalized on June 13, 2020 during the George Floyd protests. After an incident on July 17, 2020, where protestors attempted to topple the work and a number of injuries occurred during a confrontation with police, the statue was removed in the early morning hours of July 24, by order of Chicago's Mayor Lori Lightfoot. | [
"Century of Progress",
"George Floyd protests",
"Italian",
"Chicago",
"Lori Lightfoot",
"Italian-American"
] |
|
15699_T | Statue of Christopher Columbus (Chicago) | Focus on Statue of Christopher Columbus (Chicago) and explore the Design. | The bronze, beaux arts statue shows Columbus standing and gesturing into the distance with one hand. In his other hand, he holds a scrolled map at his side. On the sides of the statue's art deco pedestal are carved depictions of: one of Columbus' ships, the Santa Maria; astronomer and mathematician, Paolo Toscanelli, who plotted the course to the "New World;" the explorer, Amerigo Vespucci; and the seal of the City of Genoa. In the four corners of the pedestal are busts allegorically representing, Faith, Courage, Freedom, and Strength. Despite appearances, Brioschi's son has denied that the figure holding a fasces representing Strength was a portrait of Benito Mussolini. | [
"Paolo Toscanelli",
"art deco",
"Amerigo Vespucci",
"fasces",
"Santa Maria",
"pedestal",
"beaux arts",
"Benito Mussolini"
] |
|
15699_NT | Statue of Christopher Columbus (Chicago) | Focus on this artwork and explore the Design. | The bronze, beaux arts statue shows Columbus standing and gesturing into the distance with one hand. In his other hand, he holds a scrolled map at his side. On the sides of the statue's art deco pedestal are carved depictions of: one of Columbus' ships, the Santa Maria; astronomer and mathematician, Paolo Toscanelli, who plotted the course to the "New World;" the explorer, Amerigo Vespucci; and the seal of the City of Genoa. In the four corners of the pedestal are busts allegorically representing, Faith, Courage, Freedom, and Strength. Despite appearances, Brioschi's son has denied that the figure holding a fasces representing Strength was a portrait of Benito Mussolini. | [
"Paolo Toscanelli",
"art deco",
"Amerigo Vespucci",
"fasces",
"Santa Maria",
"pedestal",
"beaux arts",
"Benito Mussolini"
] |
|
15700_T | Francis I, Charles V and the Duchess of Étampes | Focus on Francis I, Charles V and the Duchess of Étampes and explain the abstract. | Francis I, Charles V and the Duchess of Étampes is an history painting by Richard Parkes Bonington, from c. 1827.
It shows Charles V, Holy Roman Emperor, Francis I of France and Anne de Pisseleu d'Heilly. It is held in the Louvre, in Paris. It was lent to the Musée des beaux-arts de Lyon for its 2014 exhibition L'invention du Passé. Histoires de cœur et d'épée 1802-1850.. | [
"Francis I of France",
"Richard Parkes Bonington",
"Louvre",
"Paris",
"Musée des beaux-arts de Lyon",
"Charles V, Holy Roman Emperor",
"Anne de Pisseleu d'Heilly"
] |
|
15700_NT | Francis I, Charles V and the Duchess of Étampes | Focus on this artwork and explain the abstract. | Francis I, Charles V and the Duchess of Étampes is an history painting by Richard Parkes Bonington, from c. 1827.
It shows Charles V, Holy Roman Emperor, Francis I of France and Anne de Pisseleu d'Heilly. It is held in the Louvre, in Paris. It was lent to the Musée des beaux-arts de Lyon for its 2014 exhibition L'invention du Passé. Histoires de cœur et d'épée 1802-1850.. | [
"Francis I of France",
"Richard Parkes Bonington",
"Louvre",
"Paris",
"Musée des beaux-arts de Lyon",
"Charles V, Holy Roman Emperor",
"Anne de Pisseleu d'Heilly"
] |
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