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15701_T | San Francesco al Prato Resurrection | Explore the abstract of this artwork, San Francesco al Prato Resurrection. | The San Francesco al Prato Resurrection is a painting by the Italian Renaissance painter Pietro Perugino, dating to c. 1499. It is housed in the Pinacoteca Vaticana, Rome. | [
"Renaissance",
"Rome",
"Italian",
"Pietro Perugino",
"Pinacoteca Vaticana"
] |
|
15701_NT | San Francesco al Prato Resurrection | Explore the abstract of this artwork. | The San Francesco al Prato Resurrection is a painting by the Italian Renaissance painter Pietro Perugino, dating to c. 1499. It is housed in the Pinacoteca Vaticana, Rome. | [
"Renaissance",
"Rome",
"Italian",
"Pietro Perugino",
"Pinacoteca Vaticana"
] |
|
15702_T | San Francesco al Prato Resurrection | Focus on San Francesco al Prato Resurrection and discuss the History. | The work takes its name from the church of San Francesco al Prato of Perugia, where it was originally located. It was commissioned in 1499 and finished presumably around 1501. During the artworks spoliations following the French Napoleonic invasion of Italy, it was brought to Paris. It returned to Italy in 1815, and thenceforth it has been exhibited at the Vatican Museums' art gallery.
According to art historian Giovanni Battista Cavalcaselle, Raphael, then an assistant of Perugino, had a major role in the execution of the Resurrection. This opinion is however generally rejected by most other art historians. | [
"Vatican Museums",
"Raphael",
"French Napoleonic invasion of Italy",
"Perugia",
"Italy",
"Giovanni Battista Cavalcaselle"
] |
|
15702_NT | San Francesco al Prato Resurrection | Focus on this artwork and discuss the History. | The work takes its name from the church of San Francesco al Prato of Perugia, where it was originally located. It was commissioned in 1499 and finished presumably around 1501. During the artworks spoliations following the French Napoleonic invasion of Italy, it was brought to Paris. It returned to Italy in 1815, and thenceforth it has been exhibited at the Vatican Museums' art gallery.
According to art historian Giovanni Battista Cavalcaselle, Raphael, then an assistant of Perugino, had a major role in the execution of the Resurrection. This opinion is however generally rejected by most other art historians. | [
"Vatican Museums",
"Raphael",
"French Napoleonic invasion of Italy",
"Perugia",
"Italy",
"Giovanni Battista Cavalcaselle"
] |
|
15703_T | San Francesco al Prato Resurrection | How does San Francesco al Prato Resurrection elucidate its Description? | The work follows a typical scheme of Perugino's art. The divinity, in this case the resurrected Jesus, is depicted within a mandorla occupying the upper part of the painting, among angels. The lower part shows, above a landscape in the background, the open sarcophagus and several Roman soldiers, three of whom are sleeping and one awakened by the miracle. Another example of the scheme is the contemporary Transfiguration in the Collegio del Cambio in Perugia.
The figure of Christ, holding the flag symbolic of the resurrection, has the typical harmony and softness of Perugino's mature works, with a detailed chest and a bright drapery with deep pleats. The two angels at his sides are symmetrical, and were obtained from the same cartoon (used by the artist and his workshop also in other works, such as the Madonna in Glory with Saints at Bologna).
The sarcophagus has its cover correctly painted according to geometrical perspective. The soldiers are also painted with attentions and details, such as the fanciful crest of the helmet, also present in the Collegio del Cambio frescoes. | [
"Madonna in Glory with Saints",
"Collegio del Cambio",
"geometrical perspective",
"Bologna",
"Perugia"
] |
|
15703_NT | San Francesco al Prato Resurrection | How does this artwork elucidate its Description? | The work follows a typical scheme of Perugino's art. The divinity, in this case the resurrected Jesus, is depicted within a mandorla occupying the upper part of the painting, among angels. The lower part shows, above a landscape in the background, the open sarcophagus and several Roman soldiers, three of whom are sleeping and one awakened by the miracle. Another example of the scheme is the contemporary Transfiguration in the Collegio del Cambio in Perugia.
The figure of Christ, holding the flag symbolic of the resurrection, has the typical harmony and softness of Perugino's mature works, with a detailed chest and a bright drapery with deep pleats. The two angels at his sides are symmetrical, and were obtained from the same cartoon (used by the artist and his workshop also in other works, such as the Madonna in Glory with Saints at Bologna).
The sarcophagus has its cover correctly painted according to geometrical perspective. The soldiers are also painted with attentions and details, such as the fanciful crest of the helmet, also present in the Collegio del Cambio frescoes. | [
"Madonna in Glory with Saints",
"Collegio del Cambio",
"geometrical perspective",
"Bologna",
"Perugia"
] |
|
15704_T | Pilgrims Going to Church | Focus on Pilgrims Going to Church and analyze the abstract. | Pilgrims Going To Church (1867) — originally The Early Puritans of New England Going to Church — is a painting by Anglo-American painter George Henry Boughton (1833–1905). | [
"New England",
"Anglo-American",
"George Henry Boughton"
] |
|
15704_NT | Pilgrims Going to Church | Focus on this artwork and analyze the abstract. | Pilgrims Going To Church (1867) — originally The Early Puritans of New England Going to Church — is a painting by Anglo-American painter George Henry Boughton (1833–1905). | [
"New England",
"Anglo-American",
"George Henry Boughton"
] |
|
15705_T | Pilgrims Going to Church | In Pilgrims Going to Church, how is the Description discussed? | The winter scene depicts the 17th-century Puritan settlers of New England (later identified specifically as the Pilgrim Fathers) as a small armed group of somberly clad, God-fearing souls making their way from right to left through a snowy, recently cleared wood to a house of worship (a small building visible in the left background). A minister and his wife lead about a half dozen women and children towards the church and are themselves led and flanked by grim looking men with muskets. The influence of the peasant procession paintings of French artist Jules Bastien-Lepage (1848–1884) is evident. The outer molding of the present frame is thought to be of American manufacture, while the inner liner is English, and incorporates a rosette motif found on the frames of paintings by some the Pre-Raphaelite artists. | [
"New England",
"17th-century Puritan settlers",
"rosette motif",
"Pilgrim Fathers",
"Jules Bastien-Lepage",
"Pre-Raphaelite"
] |
|
15705_NT | Pilgrims Going to Church | In this artwork, how is the Description discussed? | The winter scene depicts the 17th-century Puritan settlers of New England (later identified specifically as the Pilgrim Fathers) as a small armed group of somberly clad, God-fearing souls making their way from right to left through a snowy, recently cleared wood to a house of worship (a small building visible in the left background). A minister and his wife lead about a half dozen women and children towards the church and are themselves led and flanked by grim looking men with muskets. The influence of the peasant procession paintings of French artist Jules Bastien-Lepage (1848–1884) is evident. The outer molding of the present frame is thought to be of American manufacture, while the inner liner is English, and incorporates a rosette motif found on the frames of paintings by some the Pre-Raphaelite artists. | [
"New England",
"17th-century Puritan settlers",
"rosette motif",
"Pilgrim Fathers",
"Jules Bastien-Lepage",
"Pre-Raphaelite"
] |
|
15706_T | Pilgrims Going to Church | Focus on Pilgrims Going to Church and explore the History. | Boughton was sometimes known as the "Painter of New England Puritanism". As with some of his other works, Pilgrims took inspiration from a literary source: William Henry Bartlett’s 1853 history, The Pilgrim Fathers. It was exhibited at the London Royal Academy in 1867, receiving a warm reception, and at the Centennial Exposition in Philadelphia in 1876. It was purchased in 1868 by Robert L. Stuart.
The painting was a favorite of a young Vincent van Gogh when in London in 1873. | [
"New England",
"Philadelphia",
"William Henry Bartlett",
"London Royal Academy",
"Robert L. Stuart",
"Pilgrim Fathers",
"Centennial Exposition",
"Vincent van Gogh"
] |
|
15706_NT | Pilgrims Going to Church | Focus on this artwork and explore the History. | Boughton was sometimes known as the "Painter of New England Puritanism". As with some of his other works, Pilgrims took inspiration from a literary source: William Henry Bartlett’s 1853 history, The Pilgrim Fathers. It was exhibited at the London Royal Academy in 1867, receiving a warm reception, and at the Centennial Exposition in Philadelphia in 1876. It was purchased in 1868 by Robert L. Stuart.
The painting was a favorite of a young Vincent van Gogh when in London in 1873. | [
"New England",
"Philadelphia",
"William Henry Bartlett",
"London Royal Academy",
"Robert L. Stuart",
"Pilgrim Fathers",
"Centennial Exposition",
"Vincent van Gogh"
] |
|
15707_T | The Lagoon of Saint Mark, Venice | Focus on The Lagoon of Saint Mark, Venice and explain the abstract. | The Lagoon of Saint Mark, Venice is an oil on canvas painting by Paul Signac. This painting focuses on a seascape image which became a common theme late in Signac's life.
Paul Signac (1863–1935) was one of the most influential Neo-Impressionist painters of his time. His name is synonymous with that of Georges Seurat (1859–91) as well as the practice of Color Theory. One of his lesser-known paintings, The Lagoon of Saint Mark, Venice, (1905) is a prime example of his technique of pointillism and experimentation with color theory. | [
"Georges Seurat",
"Paul Signac"
] |
|
15707_NT | The Lagoon of Saint Mark, Venice | Focus on this artwork and explain the abstract. | The Lagoon of Saint Mark, Venice is an oil on canvas painting by Paul Signac. This painting focuses on a seascape image which became a common theme late in Signac's life.
Paul Signac (1863–1935) was one of the most influential Neo-Impressionist painters of his time. His name is synonymous with that of Georges Seurat (1859–91) as well as the practice of Color Theory. One of his lesser-known paintings, The Lagoon of Saint Mark, Venice, (1905) is a prime example of his technique of pointillism and experimentation with color theory. | [
"Georges Seurat",
"Paul Signac"
] |
|
15708_T | The Lagoon of Saint Mark, Venice | Explore the Description of this artwork, The Lagoon of Saint Mark, Venice. | The painting depicts an afternoon on a lagoon in Venice, and is a testament to Signac's skill with seascape imagery. The work is constructed with brilliant hues of blues and greens juxtaposing one another. When standing close to the painting, the only discernible features are the brush strokes; this technique of painting was labeled, Pointillism, by Seurat. Artists using this technique along with Seurat became known as Neo-Impressionists.The Lagoon of Saint Mark, Venice, is in the background, gondolas in the middle ground, and docks can be seen in the foreground. The sky is awash with pastel purple and blue and large clouds appear throughout the top half of the canvas. The bottom half of the canvas depicts a series of steps leading down to the docks where gondolas are haphazardly tied to posts in the water. The water slowly ebbs in from the wake of the slow-moving gondola in the middle of the painting. The mirroring effect that the steps and water have on one another makes the painting come alive as this movement extends out of the canvas towards the viewer. | [
"Pointillism",
"Neo-Impressionists"
] |
|
15708_NT | The Lagoon of Saint Mark, Venice | Explore the Description of this artwork. | The painting depicts an afternoon on a lagoon in Venice, and is a testament to Signac's skill with seascape imagery. The work is constructed with brilliant hues of blues and greens juxtaposing one another. When standing close to the painting, the only discernible features are the brush strokes; this technique of painting was labeled, Pointillism, by Seurat. Artists using this technique along with Seurat became known as Neo-Impressionists.The Lagoon of Saint Mark, Venice, is in the background, gondolas in the middle ground, and docks can be seen in the foreground. The sky is awash with pastel purple and blue and large clouds appear throughout the top half of the canvas. The bottom half of the canvas depicts a series of steps leading down to the docks where gondolas are haphazardly tied to posts in the water. The water slowly ebbs in from the wake of the slow-moving gondola in the middle of the painting. The mirroring effect that the steps and water have on one another makes the painting come alive as this movement extends out of the canvas towards the viewer. | [
"Pointillism",
"Neo-Impressionists"
] |
|
15709_T | The Lagoon of Saint Mark, Venice | Focus on The Lagoon of Saint Mark, Venice and discuss the Signac and Seurat. | Signac came into contact with this technique through Seurat as the two became good friends. Signac met Seurat in 1884 at a meeting of the Société des Artistes Indépendants. The two exhibited their work together at the first Salon des Indépendants. Seurat was Signac's primary source of influence and the two were able to come up with a similar the process of color division on a canvas. Eugene Chevreul was a scientist who put forth the theory that colors appear most intensely when placed next to their complements, coining this theory the "law of simultaneous contrast". Signac and Seurat took this theory and created paintings that explored the scientific reasoning behind color.
Signac stayed true to this technique throughout his career from his meeting Seurat until his death in 1935. He published treatises on the topic of color such as D'Eugène Delacroix au Neo-Impressionnisme, in 1898. Signac was active in the Neo-Impressionist world becoming president of the Société des Artistes Indépendants in 1908 and remaining in office until his death. His more famous paintings depict seascapes such as Antibes, The Pink Cloud (1916). The Lagoon of St. Mark is an early example of his seascapes that clearly demonstrates the process of color division and the law of simultaneous contrast.
Hanging in the Impressionist gallery, in the Chrysler Museum of Art, Signac's 1905 painting is surrounded by the likes of Claude Monet, Edgar Degas, and Pierre Renoir. The room is awash with color and movement and amidst it all, The Lagoon is displayed predominantly on the back wall. Next to it hangs Henri-Edmond Cross's Excursion complementing Signac's painting. The two works utilize the pointillist technique although they sport notable differences. Cross was a contemporary of Signac's and the two met at the founding of the Société des Artistes Indépendants in 1884; Cross however didn't practice the theory of Divisionism until 1891. Comparing Signac's painting with Cross's, both clearly utilize the pointillist technique to the fullest, however The Lagoon is much less delineated in terms of appearance. With The Lagoon, viewers are required to step away from the painting in order to take in the whole image; whereas with Excursion, the entirety of the image can be seen closer to the canvas.
Signac's life was devoted to finding harmony with colour, writing, "It is through the harmonies of lines and of colors...not through the subject that the painter ought to stir the emotions." Achieving a perfect balance with colour in this painting is one testament to Signac's skill as a Neo-Impressionist artist. | [
"Pierre Renoir",
"Edgar Degas",
"Henri-Edmond Cross",
"Chrysler Museum of Art",
"Eugene Chevreul",
"Claude Monet",
"Divisionism",
"Société des Artistes Indépendants"
] |
|
15709_NT | The Lagoon of Saint Mark, Venice | Focus on this artwork and discuss the Signac and Seurat. | Signac came into contact with this technique through Seurat as the two became good friends. Signac met Seurat in 1884 at a meeting of the Société des Artistes Indépendants. The two exhibited their work together at the first Salon des Indépendants. Seurat was Signac's primary source of influence and the two were able to come up with a similar the process of color division on a canvas. Eugene Chevreul was a scientist who put forth the theory that colors appear most intensely when placed next to their complements, coining this theory the "law of simultaneous contrast". Signac and Seurat took this theory and created paintings that explored the scientific reasoning behind color.
Signac stayed true to this technique throughout his career from his meeting Seurat until his death in 1935. He published treatises on the topic of color such as D'Eugène Delacroix au Neo-Impressionnisme, in 1898. Signac was active in the Neo-Impressionist world becoming president of the Société des Artistes Indépendants in 1908 and remaining in office until his death. His more famous paintings depict seascapes such as Antibes, The Pink Cloud (1916). The Lagoon of St. Mark is an early example of his seascapes that clearly demonstrates the process of color division and the law of simultaneous contrast.
Hanging in the Impressionist gallery, in the Chrysler Museum of Art, Signac's 1905 painting is surrounded by the likes of Claude Monet, Edgar Degas, and Pierre Renoir. The room is awash with color and movement and amidst it all, The Lagoon is displayed predominantly on the back wall. Next to it hangs Henri-Edmond Cross's Excursion complementing Signac's painting. The two works utilize the pointillist technique although they sport notable differences. Cross was a contemporary of Signac's and the two met at the founding of the Société des Artistes Indépendants in 1884; Cross however didn't practice the theory of Divisionism until 1891. Comparing Signac's painting with Cross's, both clearly utilize the pointillist technique to the fullest, however The Lagoon is much less delineated in terms of appearance. With The Lagoon, viewers are required to step away from the painting in order to take in the whole image; whereas with Excursion, the entirety of the image can be seen closer to the canvas.
Signac's life was devoted to finding harmony with colour, writing, "It is through the harmonies of lines and of colors...not through the subject that the painter ought to stir the emotions." Achieving a perfect balance with colour in this painting is one testament to Signac's skill as a Neo-Impressionist artist. | [
"Pierre Renoir",
"Edgar Degas",
"Henri-Edmond Cross",
"Chrysler Museum of Art",
"Eugene Chevreul",
"Claude Monet",
"Divisionism",
"Société des Artistes Indépendants"
] |
|
15710_T | Children of the West End | How does Children of the West End elucidate its abstract? | Children of the West End is a public art work by artist Erik Blome. It is located on N. 36th St. and W. Wisconsin Ave., west of downtown Milwaukee, Wisconsin. The work was commissioned by the West End Development Corporation as part of the Spirit of Milwaukee's Neighborhood Millennium Art Initiative. The artwork depicts four children cast in bronze. The figures--two male and two female--balance along the top edge of a winding brick wall surrounded by a garden.
According to Blome, "The models for the sculptures of the children were recruited from the surrounding neighborhood." The work includes a bronze relief that spans one face of the wall. The relief design incorporates significant architecture of Milwaukee's west side, including the Pabst Mansion. | [
"Milwaukee",
"Erik Blome",
"Pabst Mansion",
"bronze",
"Wisconsin",
"public art"
] |
|
15710_NT | Children of the West End | How does this artwork elucidate its abstract? | Children of the West End is a public art work by artist Erik Blome. It is located on N. 36th St. and W. Wisconsin Ave., west of downtown Milwaukee, Wisconsin. The work was commissioned by the West End Development Corporation as part of the Spirit of Milwaukee's Neighborhood Millennium Art Initiative. The artwork depicts four children cast in bronze. The figures--two male and two female--balance along the top edge of a winding brick wall surrounded by a garden.
According to Blome, "The models for the sculptures of the children were recruited from the surrounding neighborhood." The work includes a bronze relief that spans one face of the wall. The relief design incorporates significant architecture of Milwaukee's west side, including the Pabst Mansion. | [
"Milwaukee",
"Erik Blome",
"Pabst Mansion",
"bronze",
"Wisconsin",
"public art"
] |
|
15711_T | Jupiter, Neptune and Pluto | Focus on Jupiter, Neptune and Pluto and analyze the abstract. | Jupiter, Neptune and Pluto (c. 1597) is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes (incorrectly) referred to as such. Oil painting is normally on canvas or, less frequently, on wood. | [
"Michelangelo Merisi da Caravaggio",
"Jupiter",
"Villa Ludovisi",
"Neptune",
"Baroque",
"Rome",
"Oil",
"Caravaggio",
"Italian",
"Pluto",
"Oil painting",
"Villa Aurora",
"fresco"
] |
|
15711_NT | Jupiter, Neptune and Pluto | Focus on this artwork and analyze the abstract. | Jupiter, Neptune and Pluto (c. 1597) is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes (incorrectly) referred to as such. Oil painting is normally on canvas or, less frequently, on wood. | [
"Michelangelo Merisi da Caravaggio",
"Jupiter",
"Villa Ludovisi",
"Neptune",
"Baroque",
"Rome",
"Oil",
"Caravaggio",
"Italian",
"Pluto",
"Oil painting",
"Villa Aurora",
"fresco"
] |
|
15712_T | Jupiter, Neptune and Pluto | In Jupiter, Neptune and Pluto, how is the Context discussed? | According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods. | [
"Caravaggio",
"foreshortening",
"perspective"
] |
|
15712_NT | Jupiter, Neptune and Pluto | In this artwork, how is the Context discussed? | According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods. | [
"Caravaggio",
"foreshortening",
"perspective"
] |
|
15713_T | Jupiter, Neptune and Pluto | Focus on Jupiter, Neptune and Pluto and explore the Description. | For a more in-depth description and analysis, see the article at Caravaggio.org.Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology. | [
"Paracelsus",
"salt",
"Jupiter",
"Cerberus",
"Neptune",
"Galileo",
"cosmology",
"earth",
"sulphur",
"Caravaggio",
"Francesco Maria Del Monte",
"celestial sphere",
"Pluto",
"mercury",
"alchemy",
"Earth",
"water",
"hippocamp",
"air"
] |
|
15713_NT | Jupiter, Neptune and Pluto | Focus on this artwork and explore the Description. | For a more in-depth description and analysis, see the article at Caravaggio.org.Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology. | [
"Paracelsus",
"salt",
"Jupiter",
"Cerberus",
"Neptune",
"Galileo",
"cosmology",
"earth",
"sulphur",
"Caravaggio",
"Francesco Maria Del Monte",
"celestial sphere",
"Pluto",
"mercury",
"alchemy",
"Earth",
"water",
"hippocamp",
"air"
] |
|
15714_T | Jupiter, Neptune and Pluto | Focus on Jupiter, Neptune and Pluto and explain the History. | The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.
The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount (minimum offer) on April 7, 2022. | [
"Villa Ludovisi",
"Ludovisi family",
"Caravaggio",
"Villa Aurora"
] |
|
15714_NT | Jupiter, Neptune and Pluto | Focus on this artwork and explain the History. | The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.
The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount (minimum offer) on April 7, 2022. | [
"Villa Ludovisi",
"Ludovisi family",
"Caravaggio",
"Villa Aurora"
] |
|
15715_T | The New World (sculpture) | Explore the Description of this artwork, The New World (sculpture). | The work is installed in a central plaza in three parts. One fountain has a reclining bronze child and a bronze globe. A niche in a pillar has an abstract metal female figure on a chair. Her ankle is chained to the wall. An overhead cast concrete frieze runs along a pergola and down its columns. The frieze has abstract human figures carrying balls, boxes, and pillars. A human figure in the center of the frieze has multiple arms and holds a knife in one hand and a decapitated human head in another. A nearby human figure clings to the underside of a rhinoceros, and another depicts a human figure with an elephant. | [
"bronze",
"abstract",
"pergola"
] |
|
15715_NT | The New World (sculpture) | Explore the Description of this artwork. | The work is installed in a central plaza in three parts. One fountain has a reclining bronze child and a bronze globe. A niche in a pillar has an abstract metal female figure on a chair. Her ankle is chained to the wall. An overhead cast concrete frieze runs along a pergola and down its columns. The frieze has abstract human figures carrying balls, boxes, and pillars. A human figure in the center of the frieze has multiple arms and holds a knife in one hand and a decapitated human head in another. A nearby human figure clings to the underside of a rhinoceros, and another depicts a human figure with an elephant. | [
"bronze",
"abstract",
"pergola"
] |
|
15716_T | The New World (sculpture) | Focus on The New World (sculpture) and discuss the History. | The abstract work was completed during 1982–1991 and installed in 1992. It cost $266,000. The artwork was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1995. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"abstract"
] |
|
15716_NT | The New World (sculpture) | Focus on this artwork and discuss the History. | The abstract work was completed during 1982–1991 and installed in 1992. It cost $266,000. The artwork was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1995. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"abstract"
] |
|
15717_T | Les Choristes | How does Les Choristes elucidate its abstract? | Les Choristes ("The Chorus" or "The Chorus Singers") is an 1877 pastel on monotype by French artist Edgar Degas. Part of a series of similar works depicting daily public entertainment at the time, it shows a group of singers performing a scene from the opera Don Giovanni, the only work by Degas depicting an operatic performance without dancers.Les Choristes, and other contemporary works of the artist such as Café-Concert at Les Ambassadeurs, show the influence of French caricaturists of the era. Honoré Daumier is often invoked, but critics and art historians have identified others. Critics at the time praised it, with one suggesting that the singers' "hideous" faces made them seem more real.
After its initial exhibition, Les Choristes was purchased by Gustave Caillebotte, a fellow painter and friend of Degas's who used his own large inheritance to support fellow Impressionists. Caillebotte bequeathed it to the state upon his death in 1894, which added it to the collection of the Musée du Luxembourg in Paris, and then later exhibited it at the Louvre. In 1986 it was moved to the Musée d'Orsay with other works of modern art.
At the end of 2009, while on loan to the Musée Cantini in Marseille, the work was stolen. Investigators were unable to find any leads. It was recovered in 2018 when customs inspectors found it in the luggage compartment of a bus they searched in the department of Seine-et-Marne outside Paris; the thieves have not been identified. After being found to be relatively undamaged, it was displayed again at the Musée d'Orsay. | [
"Impressionist",
"caricaturists",
"modern art",
"Impressionists",
"Musée Cantini",
"pastel",
"Louvre",
"Edgar Degas",
"Musée d'Orsay",
"Gustave Caillebotte",
"Musée du Luxembourg",
"Don Giovanni",
"art historians",
"Paris",
"monotype",
"Café-Concert at Les Ambassadeurs",
"Seine-et-Marne",
"Honoré Daumier",
"department",
"French art",
"the work was stolen",
"Marseille"
] |
|
15717_NT | Les Choristes | How does this artwork elucidate its abstract? | Les Choristes ("The Chorus" or "The Chorus Singers") is an 1877 pastel on monotype by French artist Edgar Degas. Part of a series of similar works depicting daily public entertainment at the time, it shows a group of singers performing a scene from the opera Don Giovanni, the only work by Degas depicting an operatic performance without dancers.Les Choristes, and other contemporary works of the artist such as Café-Concert at Les Ambassadeurs, show the influence of French caricaturists of the era. Honoré Daumier is often invoked, but critics and art historians have identified others. Critics at the time praised it, with one suggesting that the singers' "hideous" faces made them seem more real.
After its initial exhibition, Les Choristes was purchased by Gustave Caillebotte, a fellow painter and friend of Degas's who used his own large inheritance to support fellow Impressionists. Caillebotte bequeathed it to the state upon his death in 1894, which added it to the collection of the Musée du Luxembourg in Paris, and then later exhibited it at the Louvre. In 1986 it was moved to the Musée d'Orsay with other works of modern art.
At the end of 2009, while on loan to the Musée Cantini in Marseille, the work was stolen. Investigators were unable to find any leads. It was recovered in 2018 when customs inspectors found it in the luggage compartment of a bus they searched in the department of Seine-et-Marne outside Paris; the thieves have not been identified. After being found to be relatively undamaged, it was displayed again at the Musée d'Orsay. | [
"Impressionist",
"caricaturists",
"modern art",
"Impressionists",
"Musée Cantini",
"pastel",
"Louvre",
"Edgar Degas",
"Musée d'Orsay",
"Gustave Caillebotte",
"Musée du Luxembourg",
"Don Giovanni",
"art historians",
"Paris",
"monotype",
"Café-Concert at Les Ambassadeurs",
"Seine-et-Marne",
"Honoré Daumier",
"department",
"French art",
"the work was stolen",
"Marseille"
] |
|
15718_T | Les Choristes | Focus on Les Choristes and analyze the Description. | The work is a pastel drawn over an earlier monotype, a technique Degas used for some other works around this time, also depicting performers. While some of them led to multiple works, Les Choristes is the only one known to have been derived from this particular monotype. It is rectangular, almost square, 27 centimetres (11 in) high by 32 centimetres (13 in) wide.It depicts a line of singers along a stage, seen from just to their left and slightly in front. They are illuminated by footlights from in front. All have open mouths; most also have a hand extended towards the audience. The exceptions are the third singer, who seems to be reaching back towards his chest, and the fourth singer behind him, who appears to be raising a sword. They are wearing predominantly orange and yellow costumes.The faces of the singers in the foreground are distinct, although lacking detail, reflecting the Impressionist aesthetic of the work. In the very background two box seats can be seen overlooking the stage, with patrons, one above the other on a red wall. Degas signed the image at lower left.Degas told Daniel Halévy that the scene depicted is one from a specific opera, Mozart's Don Giovanni. Specifically, it is the end of the first act, with the chorus celebrating the engagement of Massetto and Zerlina. While other works by Degas depict operatic performances, this is the only one that shows only singers, without any dancers.Don Giovanni had not been performed much in Paris until 1866, when Jean-Baptiste Faure, who had commissioned works from Degas, was able to apply his baritone to the title role, after which there were many productions. At the time of Les Choristes, Degas had also illustrated Halévy's father Ludovic's Monsieur Cardinal, which takes place backstage during a performance of the opera. Several of those illustrations depicted dancers preparing for, or in, other scenes from Don Giovanni. | [
"box seat",
"baritone",
"Impressionist",
"Mozart",
"Ludovic",
"Daniel Halévy",
"Jean-Baptiste Faure",
"pastel",
"Don Giovanni",
"Paris",
"monotype",
"left",
"footlight"
] |
|
15718_NT | Les Choristes | Focus on this artwork and analyze the Description. | The work is a pastel drawn over an earlier monotype, a technique Degas used for some other works around this time, also depicting performers. While some of them led to multiple works, Les Choristes is the only one known to have been derived from this particular monotype. It is rectangular, almost square, 27 centimetres (11 in) high by 32 centimetres (13 in) wide.It depicts a line of singers along a stage, seen from just to their left and slightly in front. They are illuminated by footlights from in front. All have open mouths; most also have a hand extended towards the audience. The exceptions are the third singer, who seems to be reaching back towards his chest, and the fourth singer behind him, who appears to be raising a sword. They are wearing predominantly orange and yellow costumes.The faces of the singers in the foreground are distinct, although lacking detail, reflecting the Impressionist aesthetic of the work. In the very background two box seats can be seen overlooking the stage, with patrons, one above the other on a red wall. Degas signed the image at lower left.Degas told Daniel Halévy that the scene depicted is one from a specific opera, Mozart's Don Giovanni. Specifically, it is the end of the first act, with the chorus celebrating the engagement of Massetto and Zerlina. While other works by Degas depict operatic performances, this is the only one that shows only singers, without any dancers.Don Giovanni had not been performed much in Paris until 1866, when Jean-Baptiste Faure, who had commissioned works from Degas, was able to apply his baritone to the title role, after which there were many productions. At the time of Les Choristes, Degas had also illustrated Halévy's father Ludovic's Monsieur Cardinal, which takes place backstage during a performance of the opera. Several of those illustrations depicted dancers preparing for, or in, other scenes from Don Giovanni. | [
"box seat",
"baritone",
"Impressionist",
"Mozart",
"Ludovic",
"Daniel Halévy",
"Jean-Baptiste Faure",
"pastel",
"Don Giovanni",
"Paris",
"monotype",
"left",
"footlight"
] |
|
15719_T | Les Choristes | In Les Choristes, how is the Reception and analysis discussed? | Gustave Caillebotte, a painter who used his large inheritance to support many of the early Impressionists, bought the work from Degas and lent it to the Third Impressionist Exhibition in 1877, soon after it was finished. The title was shortened to simply Choristes. Critics at the time saw it as furthering Degas's place as the Impressionist most concerned with realism in his choice of subjects and representation. "And the hideous chorus, bawling in full voice," wrote one admirer, "aren't they real!"Many critics, looking at all of Degas's work in the show, saw the strong influence of caricature on his work. In particular, they compared his figurative stylings to Honoré Daumier, whom Degas admired to the point of owning several of his works. La Petite Republique Française went further, comparing Les Choristes and other paintings depicting performers offstage and on—Café-Concert and Dancers at the Barre among them—favorably with the work of Paul Gavarni and Alfred Grévin. "No one, including [them], has seen the world of the wings and the café-concert in as humorous a fashion", the journal wrote. "[The works] are a collection of true and witty satire."Appreciation for the work, as part of those Degas showed in 1877, did not diminish with the passage of time. In 1897, when the work was put on exhibit at the Musée du Luxembourg, Léonce Bénédite called Les Choristes part of a group of "acute, ironic and cruel observations ... the work of a firm, sure hand [and] just, sensible eye." He called them "little masterpieces" that a public not generally aware of Degas's genius had done well to acquire. | [
"Impressionist",
"Paul Gavarni",
"Impressionists",
"Léonce Bénédite",
"Gustave Caillebotte",
"Musée du Luxembourg",
"realism",
"Alfred Grévin",
"support many of the early Impressionists",
"Honoré Daumier",
"caricature"
] |
|
15719_NT | Les Choristes | In this artwork, how is the Reception and analysis discussed? | Gustave Caillebotte, a painter who used his large inheritance to support many of the early Impressionists, bought the work from Degas and lent it to the Third Impressionist Exhibition in 1877, soon after it was finished. The title was shortened to simply Choristes. Critics at the time saw it as furthering Degas's place as the Impressionist most concerned with realism in his choice of subjects and representation. "And the hideous chorus, bawling in full voice," wrote one admirer, "aren't they real!"Many critics, looking at all of Degas's work in the show, saw the strong influence of caricature on his work. In particular, they compared his figurative stylings to Honoré Daumier, whom Degas admired to the point of owning several of his works. La Petite Republique Française went further, comparing Les Choristes and other paintings depicting performers offstage and on—Café-Concert and Dancers at the Barre among them—favorably with the work of Paul Gavarni and Alfred Grévin. "No one, including [them], has seen the world of the wings and the café-concert in as humorous a fashion", the journal wrote. "[The works] are a collection of true and witty satire."Appreciation for the work, as part of those Degas showed in 1877, did not diminish with the passage of time. In 1897, when the work was put on exhibit at the Musée du Luxembourg, Léonce Bénédite called Les Choristes part of a group of "acute, ironic and cruel observations ... the work of a firm, sure hand [and] just, sensible eye." He called them "little masterpieces" that a public not generally aware of Degas's genius had done well to acquire. | [
"Impressionist",
"Paul Gavarni",
"Impressionists",
"Léonce Bénédite",
"Gustave Caillebotte",
"Musée du Luxembourg",
"realism",
"Alfred Grévin",
"support many of the early Impressionists",
"Honoré Daumier",
"caricature"
] |
|
15720_T | Les Choristes | Focus on Les Choristes and explore the History. | After the show ended, Caillebotte took Les Choristes back into his private collection. He lent it out for one other exhibit, another show focusing on the Impressionists, in New York in 1886. In this exhibit it went under the title Chorus d'Opéra.At his death eight years later, he left all his art to the state, and Les Choristes was exhibited at the Musée du Luxembourg. During World War I, it was again included in American traveling exhibits, this time to San Francisco, Pittsburgh and Buffalo. After being included in a Degas retrospective in 1924, was transferred to the Louvre in 1929.
For the next 80 years Les Choristes did not leave Paris. It was part of several different exhibits devoted to pastels and Impressionism at the Louvre, and then transferred to the newly opened Musée d'Orsay in 1986. It was part of a special exhibit of Degas works two years later. | [
"New York",
"Impressionist",
"Buffalo",
"Impressionists",
"Impressionism",
"Pittsburgh",
"pastel",
"Louvre",
"Musée d'Orsay",
"San Francisco",
"Musée du Luxembourg",
"Paris",
"World War I",
"left"
] |
|
15720_NT | Les Choristes | Focus on this artwork and explore the History. | After the show ended, Caillebotte took Les Choristes back into his private collection. He lent it out for one other exhibit, another show focusing on the Impressionists, in New York in 1886. In this exhibit it went under the title Chorus d'Opéra.At his death eight years later, he left all his art to the state, and Les Choristes was exhibited at the Musée du Luxembourg. During World War I, it was again included in American traveling exhibits, this time to San Francisco, Pittsburgh and Buffalo. After being included in a Degas retrospective in 1924, was transferred to the Louvre in 1929.
For the next 80 years Les Choristes did not leave Paris. It was part of several different exhibits devoted to pastels and Impressionism at the Louvre, and then transferred to the newly opened Musée d'Orsay in 1986. It was part of a special exhibit of Degas works two years later. | [
"New York",
"Impressionist",
"Buffalo",
"Impressionists",
"Impressionism",
"Pittsburgh",
"pastel",
"Louvre",
"Musée d'Orsay",
"San Francisco",
"Musée du Luxembourg",
"Paris",
"World War I",
"left"
] |
|
15721_T | Les Choristes | In the context of Les Choristes, explain the Theft and recovery of the History. | In 2009 the Orsay loaned Les Choristes to the Musée Cantini in Marseille for "De la scène au tableau" ("The Scene in Painting"), a multi-artist exhibit. On the last morning of the year, shortly before the exhibit ended, the security guard who opened the museum for the day found the painting missing.The thieves had apparently just unscrewed the frame and taken the work, valued at €800,000, off the wall. Investigators believed that, as in many cases of art theft, they had had some help from someone working at the museum. They detained and briefly interviewed a night watchman, but could find no reason to hold him, and released him. After that they had no leads.It was serendipitously recovered a little over nine years later. On February 16, 2018, French customs officers pulled over and searched an intercity bus off an exit from the A4 autoroute in Ferrières-en-Brie, 30 kilometres (19 mi) east of Paris in the department of Seine-et-Marne. They were primarily looking for illegal drugs, since smugglers prefer bus routes to ship them.They did not find any drugs on this occasion, but inside a suitcase in one of the luggage compartments was a small artwork; none of the passengers said it was theirs. They soon confirmed that it appeared to be the missing Les Choristes, although they did not know if it was authentic despite the Degas signature. Experts from the Orsay soon confirmed that it was, and it was undamaged.Several days later, in a joint news release, the customs agency and the Ministry of Culture announced the recovery of Les Choristes. Culture Minister Françoise Nyssen praised the customs service for "the fortunate recovery of a precious work whose disappearance had been a great loss to our national Impressionist heritage." Gérald Darmanin, Minister of Public Action and Accounts, said "the constant vigilance of customs", which had seized 10,000 possibly stolen works of art during 2017, had again proved its value in protecting French heritage.The previous year, the Orsay had marked the centenary of Degas's death with an exhibit of his work focusing on his relationship with Paul Valéry. The museum announced that it would include Les Choristes in an exhibit of the artist's work depicting opera, set to open in September 2019. After that, the exhibit will travel to Washington, D.C., where it will open at the National Gallery of Art in March 2020. | [
"Gérald Darmanin",
"National Gallery of Art",
"Impressionist",
"Paul Valéry",
"Washington, D.C.",
"Françoise Nyssen",
"news release",
"Ferrières-en-Brie",
"Musée Cantini",
"Ministry of Culture",
"art theft",
"Minister of Public Action and Accounts",
"Paris",
"Seine-et-Marne",
"serendipitously",
"A4 autoroute",
"French customs officers",
"department",
"Marseille"
] |
|
15721_NT | Les Choristes | In the context of this artwork, explain the Theft and recovery of the History. | In 2009 the Orsay loaned Les Choristes to the Musée Cantini in Marseille for "De la scène au tableau" ("The Scene in Painting"), a multi-artist exhibit. On the last morning of the year, shortly before the exhibit ended, the security guard who opened the museum for the day found the painting missing.The thieves had apparently just unscrewed the frame and taken the work, valued at €800,000, off the wall. Investigators believed that, as in many cases of art theft, they had had some help from someone working at the museum. They detained and briefly interviewed a night watchman, but could find no reason to hold him, and released him. After that they had no leads.It was serendipitously recovered a little over nine years later. On February 16, 2018, French customs officers pulled over and searched an intercity bus off an exit from the A4 autoroute in Ferrières-en-Brie, 30 kilometres (19 mi) east of Paris in the department of Seine-et-Marne. They were primarily looking for illegal drugs, since smugglers prefer bus routes to ship them.They did not find any drugs on this occasion, but inside a suitcase in one of the luggage compartments was a small artwork; none of the passengers said it was theirs. They soon confirmed that it appeared to be the missing Les Choristes, although they did not know if it was authentic despite the Degas signature. Experts from the Orsay soon confirmed that it was, and it was undamaged.Several days later, in a joint news release, the customs agency and the Ministry of Culture announced the recovery of Les Choristes. Culture Minister Françoise Nyssen praised the customs service for "the fortunate recovery of a precious work whose disappearance had been a great loss to our national Impressionist heritage." Gérald Darmanin, Minister of Public Action and Accounts, said "the constant vigilance of customs", which had seized 10,000 possibly stolen works of art during 2017, had again proved its value in protecting French heritage.The previous year, the Orsay had marked the centenary of Degas's death with an exhibit of his work focusing on his relationship with Paul Valéry. The museum announced that it would include Les Choristes in an exhibit of the artist's work depicting opera, set to open in September 2019. After that, the exhibit will travel to Washington, D.C., where it will open at the National Gallery of Art in March 2020. | [
"Gérald Darmanin",
"National Gallery of Art",
"Impressionist",
"Paul Valéry",
"Washington, D.C.",
"Françoise Nyssen",
"news release",
"Ferrières-en-Brie",
"Musée Cantini",
"Ministry of Culture",
"art theft",
"Minister of Public Action and Accounts",
"Paris",
"Seine-et-Marne",
"serendipitously",
"A4 autoroute",
"French customs officers",
"department",
"Marseille"
] |
|
15722_T | Phryne Before the Areopagus | Explore the abstract of this artwork, Phryne Before the Areopagus. | Phryne Before the Areopagus (French: Phryne devant l'Areopage) is an 1861 painting by the French artist Jean-Léon Gérôme. The subject matter is Phryne, an ancient Greek hetaira (courtesan) who was put on trial for impiety. Phryne was acquitted after her defender Hypereides removed her robe and exposed her naked bosom, "to excite the pity of her judges by the sight of her beauty."The painting was exhibited at the 1861 Salon. It is in the collection of the Kunsthalle Hamburg in Germany. | [
"Phryne",
"impiety",
"Hypereides",
"Salon",
"Jean-Léon Gérôme",
"hetaira",
"Hamburg",
"Kunsthalle Hamburg"
] |
|
15722_NT | Phryne Before the Areopagus | Explore the abstract of this artwork. | Phryne Before the Areopagus (French: Phryne devant l'Areopage) is an 1861 painting by the French artist Jean-Léon Gérôme. The subject matter is Phryne, an ancient Greek hetaira (courtesan) who was put on trial for impiety. Phryne was acquitted after her defender Hypereides removed her robe and exposed her naked bosom, "to excite the pity of her judges by the sight of her beauty."The painting was exhibited at the 1861 Salon. It is in the collection of the Kunsthalle Hamburg in Germany. | [
"Phryne",
"impiety",
"Hypereides",
"Salon",
"Jean-Léon Gérôme",
"hetaira",
"Hamburg",
"Kunsthalle Hamburg"
] |
|
15723_T | Phryne Before the Areopagus | Focus on Phryne Before the Areopagus and discuss the Caricatures. | Bernhard Gillam made a famous caricature drawing in 1884 titled Phryne Before the Chicago Tribunal, where Phryne is replaced by the Republican Party presidential candidate James G. Blaine, covered in scandals, and Hypereides by the newspaper editor Whitelaw Reid. Teddy Roosevelt can be seen in the front row.Another caricature followed in 1908, The High Tariff Phryne Before the Tribunal. | [
"Phryne",
"Republican Party",
"Hypereides",
"Teddy Roosevelt",
"James G. Blaine",
"Bernhard Gillam",
"Whitelaw Reid"
] |
|
15723_NT | Phryne Before the Areopagus | Focus on this artwork and discuss the Caricatures. | Bernhard Gillam made a famous caricature drawing in 1884 titled Phryne Before the Chicago Tribunal, where Phryne is replaced by the Republican Party presidential candidate James G. Blaine, covered in scandals, and Hypereides by the newspaper editor Whitelaw Reid. Teddy Roosevelt can be seen in the front row.Another caricature followed in 1908, The High Tariff Phryne Before the Tribunal. | [
"Phryne",
"Republican Party",
"Hypereides",
"Teddy Roosevelt",
"James G. Blaine",
"Bernhard Gillam",
"Whitelaw Reid"
] |
|
15724_T | Lamentation over the Dead Christ (Botticelli, Munich) | How does Lamentation over the Dead Christ (Botticelli, Munich) elucidate its abstract? | The Lamentation over the Dead Christ, is a painting of the common subject of the Lamentation of Christ by the Italian Renaissance master Sandro Botticelli, finished around 1490–1492. It is now in the Alte Pinakothek, in Munich.
The portrait shows the inert body of Christ surrounded by the Virgin, St. Peter, and Mary Magdalene, St. John the Evangelist, St. Jerome and St. Paul.
The pathetic expressions of the characters were a novelty in Botticelli's art: under the spiritual influence of Savonarola's preachings in Florence, which began around the time the work was executed, he started in fact to abandon the allegoric inspiration that had made him a favourite of the Medici court in favour of more intimate and painstaking religious reflection. | [
"Mary Magdalene",
"Florence",
"Virgin",
"Italian Renaissance",
"St. Jerome",
"St. Peter",
"Sandro Botticelli",
"Christ",
"Jerome",
"Botticelli",
"Alte Pinakothek",
"Munich",
"Savonarola",
"St. Paul",
"Lamentation of Christ",
"John the Evangelist",
"St. John the Evangelist"
] |
|
15724_NT | Lamentation over the Dead Christ (Botticelli, Munich) | How does this artwork elucidate its abstract? | The Lamentation over the Dead Christ, is a painting of the common subject of the Lamentation of Christ by the Italian Renaissance master Sandro Botticelli, finished around 1490–1492. It is now in the Alte Pinakothek, in Munich.
The portrait shows the inert body of Christ surrounded by the Virgin, St. Peter, and Mary Magdalene, St. John the Evangelist, St. Jerome and St. Paul.
The pathetic expressions of the characters were a novelty in Botticelli's art: under the spiritual influence of Savonarola's preachings in Florence, which began around the time the work was executed, he started in fact to abandon the allegoric inspiration that had made him a favourite of the Medici court in favour of more intimate and painstaking religious reflection. | [
"Mary Magdalene",
"Florence",
"Virgin",
"Italian Renaissance",
"St. Jerome",
"St. Peter",
"Sandro Botticelli",
"Christ",
"Jerome",
"Botticelli",
"Alte Pinakothek",
"Munich",
"Savonarola",
"St. Paul",
"Lamentation of Christ",
"John the Evangelist",
"St. John the Evangelist"
] |
|
15725_T | Portrait of Mary Hill, Lady Killigrew | Focus on Portrait of Mary Hill, Lady Killigrew and analyze the abstract. | Portrait of Mary Hill, Lady Killgrew is a 1638 Baroque portrait by the Flemish artist Anthony van Dyck. The portrait is twinned with another of the Lady's husband, William Killigrew. | [
"William Killigrew",
"Anthony van Dyck",
"Baroque",
"Flemish"
] |
|
15725_NT | Portrait of Mary Hill, Lady Killigrew | Focus on this artwork and analyze the abstract. | Portrait of Mary Hill, Lady Killgrew is a 1638 Baroque portrait by the Flemish artist Anthony van Dyck. The portrait is twinned with another of the Lady's husband, William Killigrew. | [
"William Killigrew",
"Anthony van Dyck",
"Baroque",
"Flemish"
] |
|
15726_T | Portrait of Mary Hill, Lady Killigrew | In Portrait of Mary Hill, Lady Killigrew, how is the Subject discussed? | Mary Hill, from Honiley, Warwickshire was the wife of Sir William Killigrew, a courtier to King Charles I and later a noted playwright. The dates of her birth and death are unknown. The couple was known to have had seven children. At the time of the English Civil War (1642-1651), the couple was reduced to poverty and forced to flee the country, living separately for several years. They were reunited at the time of The Restoration in 1660, at which time Sir William regained his position at Court and Lady Mary became dresser to the dowager Queen Henrietta-Maria. | [
"William Killigrew",
"Henrietta-Maria",
"English Civil War",
"Charles I",
"Warwickshire",
"Honiley",
"The Restoration"
] |
|
15726_NT | Portrait of Mary Hill, Lady Killigrew | In this artwork, how is the Subject discussed? | Mary Hill, from Honiley, Warwickshire was the wife of Sir William Killigrew, a courtier to King Charles I and later a noted playwright. The dates of her birth and death are unknown. The couple was known to have had seven children. At the time of the English Civil War (1642-1651), the couple was reduced to poverty and forced to flee the country, living separately for several years. They were reunited at the time of The Restoration in 1660, at which time Sir William regained his position at Court and Lady Mary became dresser to the dowager Queen Henrietta-Maria. | [
"William Killigrew",
"Henrietta-Maria",
"English Civil War",
"Charles I",
"Warwickshire",
"Honiley",
"The Restoration"
] |
|
15727_T | Portrait of Mary Hill, Lady Killigrew | Focus on Portrait of Mary Hill, Lady Killigrew and explore the The painting. | The portrait is dated 1638, a time when Sir William Killigrew was involved with partners in an attempt to drain the Lincolnshire fens, an immensely expensive undertaking which caused the family great economic distress, but which did not prevent their commissioning a set of husband and wife portraits. The Tate Gallery in London acquired van Dyck's Portrait of Sir William Killigrew, also dated 1638, in the year 2002. The portrait of his wife was acquired from a different source in 2003. This acquisition brought together the pair of portraits for the first time in over 150 years.The portrait depicts the Lady Killigrew facing the viewer, and standing on a stone parapet. The subject is wearing a russet colored gown, cut low, with the edges of a white shift underneath. With regards to symbolism, van Dyck was known to have introduced a number of contemporary elements into English portrait-painting. The roses which the subject is touching allude to a happy marriage, and the bare rocks on the background symbolize constancy.Another portrait of Mary Hill, Lady Killigrew, "after Sir Anthony Van Dyck" is located in the collection of Belton House, Lincolnshire (now part of the National Trust). | [
"William Killigrew",
"National Trust",
"Belton House",
"Tate",
"Tate Gallery",
"Lincolnshire",
"London",
"Portrait of Sir William Killigrew"
] |
|
15727_NT | Portrait of Mary Hill, Lady Killigrew | Focus on this artwork and explore the The painting. | The portrait is dated 1638, a time when Sir William Killigrew was involved with partners in an attempt to drain the Lincolnshire fens, an immensely expensive undertaking which caused the family great economic distress, but which did not prevent their commissioning a set of husband and wife portraits. The Tate Gallery in London acquired van Dyck's Portrait of Sir William Killigrew, also dated 1638, in the year 2002. The portrait of his wife was acquired from a different source in 2003. This acquisition brought together the pair of portraits for the first time in over 150 years.The portrait depicts the Lady Killigrew facing the viewer, and standing on a stone parapet. The subject is wearing a russet colored gown, cut low, with the edges of a white shift underneath. With regards to symbolism, van Dyck was known to have introduced a number of contemporary elements into English portrait-painting. The roses which the subject is touching allude to a happy marriage, and the bare rocks on the background symbolize constancy.Another portrait of Mary Hill, Lady Killigrew, "after Sir Anthony Van Dyck" is located in the collection of Belton House, Lincolnshire (now part of the National Trust). | [
"William Killigrew",
"National Trust",
"Belton House",
"Tate",
"Tate Gallery",
"Lincolnshire",
"London",
"Portrait of Sir William Killigrew"
] |
|
15728_T | Ulysses and the Sirens (Draper) | Focus on Ulysses and the Sirens (Draper) and explain the abstract. | Ulysses and the Sirens is a 1909 oil painting by Herbert James Draper measuring 69.25 in × 84 in (175.9 cm × 213.4 cm). It is held at the Ferens Art Gallery in Kingston upon Hull, England. The gallery purchased the painting from Draper in 1910 for £600. Draper also painted a reduced replica that is housed at the Leeds Art Gallery. The subject of the painting is an episode in the epic poem Odyssey by Homer in which Ulysses is tormented by the voices of Sirens, although there are only two Sirens in Homer's poem and they stay in a meadow. The painting depicts Ulysses tied to the mast and forcibly attendant to the Sirens' seductions. Although the Sirens were depicted in ancient Greek art as scary, ugly creatures, Draper maintains the spirit but not the content of the story by transferring the Sirens' seductiveness from their song to a visible form, depicting the Sirens as beautiful mermaids who invade Ulysses' ship. The Sirens are nude or nearly so and their tails disappear as they board the ship. Draper's conflation of Sirens with mermaids and his sexualization of these figures are consistent with other artwork of the Victorian and Edwardian eras. Norwegian social theorist Jon Elster used the name of Draper's painting as the title for his 1979 book about rationality and precommitment. | [
"Kingston upon Hull",
"mast",
"nude",
"Homer",
"Leeds Art Gallery",
"rationality",
"replica",
"epic poem",
"Ferens Art Gallery",
"Edwardian era",
"ancient Greek art",
"precommitment",
"Herbert James Draper",
"Sirens",
"oil painting",
"sexualization",
"Ulysses",
"Odyssey",
"Jon Elster",
"mermaid",
"Victorian"
] |
|
15728_NT | Ulysses and the Sirens (Draper) | Focus on this artwork and explain the abstract. | Ulysses and the Sirens is a 1909 oil painting by Herbert James Draper measuring 69.25 in × 84 in (175.9 cm × 213.4 cm). It is held at the Ferens Art Gallery in Kingston upon Hull, England. The gallery purchased the painting from Draper in 1910 for £600. Draper also painted a reduced replica that is housed at the Leeds Art Gallery. The subject of the painting is an episode in the epic poem Odyssey by Homer in which Ulysses is tormented by the voices of Sirens, although there are only two Sirens in Homer's poem and they stay in a meadow. The painting depicts Ulysses tied to the mast and forcibly attendant to the Sirens' seductions. Although the Sirens were depicted in ancient Greek art as scary, ugly creatures, Draper maintains the spirit but not the content of the story by transferring the Sirens' seductiveness from their song to a visible form, depicting the Sirens as beautiful mermaids who invade Ulysses' ship. The Sirens are nude or nearly so and their tails disappear as they board the ship. Draper's conflation of Sirens with mermaids and his sexualization of these figures are consistent with other artwork of the Victorian and Edwardian eras. Norwegian social theorist Jon Elster used the name of Draper's painting as the title for his 1979 book about rationality and precommitment. | [
"Kingston upon Hull",
"mast",
"nude",
"Homer",
"Leeds Art Gallery",
"rationality",
"replica",
"epic poem",
"Ferens Art Gallery",
"Edwardian era",
"ancient Greek art",
"precommitment",
"Herbert James Draper",
"Sirens",
"oil painting",
"sexualization",
"Ulysses",
"Odyssey",
"Jon Elster",
"mermaid",
"Victorian"
] |
|
15729_T | The Hay Wain | Explore the abstract of this artwork, The Hay Wain. | The Hay Wain – originally titled Landscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings.Painted in oils on canvas, the work depicts as its central feature three horses pulling what appears to be a wood wain or large farm wagon across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far-left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex.
The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series, Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London. Another small oil-sketch, the first in his experimentation with extending of the composition of the painting to the right, is now in the collection of the Yale Center for British Art. Constable originally exhibited the finished work with the title Landscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.The painting measures 130.2 cm × 185.4 cm (51+1⁄4 in × 73 in). | [
"John Constable",
"Willy Lott's Cottage",
"Yale Center for British Art",
"Flatford Mill",
"Royal Academy",
"summer exhibitions",
"wain",
"River Stour",
"left",
"Flatford",
"Essex",
"English paintings",
"National Gallery",
"Suffolk",
"Victoria and Albert Museum",
"London"
] |
|
15729_NT | The Hay Wain | Explore the abstract of this artwork. | The Hay Wain – originally titled Landscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings.Painted in oils on canvas, the work depicts as its central feature three horses pulling what appears to be a wood wain or large farm wagon across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far-left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex.
The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series, Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London. Another small oil-sketch, the first in his experimentation with extending of the composition of the painting to the right, is now in the collection of the Yale Center for British Art. Constable originally exhibited the finished work with the title Landscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.The painting measures 130.2 cm × 185.4 cm (51+1⁄4 in × 73 in). | [
"John Constable",
"Willy Lott's Cottage",
"Yale Center for British Art",
"Flatford Mill",
"Royal Academy",
"summer exhibitions",
"wain",
"River Stour",
"left",
"Flatford",
"Essex",
"English paintings",
"National Gallery",
"Suffolk",
"Victoria and Albert Museum",
"London"
] |
|
15730_T | Statue of John McGraw | Focus on Statue of John McGraw and discuss the History. | The work was surveyed and deemed "well maintained" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in June 1995. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
15730_NT | Statue of John McGraw | Focus on this artwork and discuss the History. | The work was surveyed and deemed "well maintained" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in June 1995. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
15731_T | Khambana Kao Phaba (painting) | How does Khambana Kao Phaba (painting) elucidate its abstract? | The Khambana Kao Phaba (Meitei for 'Khamba capturing Kao bull') is a 2001 oil canvas painting by Manipuri artists, M Betombi Singh and Gopal Sharma. The painting shows the capture of powerful Kao bull by hero Khamba. It is one of the most well known museum series "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya in India. It was exhibited for a whole month of July, 2019. | [
"India",
"Manipuri",
"bull",
"Manipur",
"Khamba",
"Indira Gandhi Rashtriya Manav Sangrahalaya",
"oil canvas painting",
"Kao bull"
] |
|
15731_NT | Khambana Kao Phaba (painting) | How does this artwork elucidate its abstract? | The Khambana Kao Phaba (Meitei for 'Khamba capturing Kao bull') is a 2001 oil canvas painting by Manipuri artists, M Betombi Singh and Gopal Sharma. The painting shows the capture of powerful Kao bull by hero Khamba. It is one of the most well known museum series "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya in India. It was exhibited for a whole month of July, 2019. | [
"India",
"Manipuri",
"bull",
"Manipur",
"Khamba",
"Indira Gandhi Rashtriya Manav Sangrahalaya",
"oil canvas painting",
"Kao bull"
] |
|
15732_T | Khambana Kao Phaba (painting) | Focus on Khambana Kao Phaba (painting) and analyze the Title and subject. | The painting shows an epic legend of Ancient Moirang Kingdom. Angom Nongban Kongyamba, the villain, was jealous of Khuman Khamba, the hero. So, he set a death-trap of Khamba. The hero was asked to capture the giant bull. But Kongyamba's dream of Khamba being killed by the bull was not fulfilled.
Khamba knew the secrecy of the bull. The bull was once the head of Khamba's father's cattle herd. During the capture, Khamba whispered his father's name to the bull's ear. He also showed a silk rope to the bull. The bull recognised Khamba. So, the wild beast was tamed. | [
"Angom Nongban Kongyamba",
"Khuman Khamba",
"Moirang",
"bull",
"Khamba",
"Ancient Moirang"
] |
|
15732_NT | Khambana Kao Phaba (painting) | Focus on this artwork and analyze the Title and subject. | The painting shows an epic legend of Ancient Moirang Kingdom. Angom Nongban Kongyamba, the villain, was jealous of Khuman Khamba, the hero. So, he set a death-trap of Khamba. The hero was asked to capture the giant bull. But Kongyamba's dream of Khamba being killed by the bull was not fulfilled.
Khamba knew the secrecy of the bull. The bull was once the head of Khamba's father's cattle herd. During the capture, Khamba whispered his father's name to the bull's ear. He also showed a silk rope to the bull. The bull recognised Khamba. So, the wild beast was tamed. | [
"Angom Nongban Kongyamba",
"Khuman Khamba",
"Moirang",
"bull",
"Khamba",
"Ancient Moirang"
] |
|
15733_T | Khambana Kao Phaba (painting) | In Khambana Kao Phaba (painting), how is the History discussed? | The artwork was painted by late artist M Betombi Singh in the Sana Konung Palace in Imphal, Manipur. The artist was 93 years old when he completed the artwork. In 2001, the painting was registered into the permanent collection of the Indira Gandhi Rashtriya Manav Sangrahalaya Museum. After that, the artwork was visited by many well known people including RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The painting was kept in Veeth Sankul indoor exhibitions and library of the museum. | [
"India",
"Sana Konung",
"Imphal",
"Manipur",
"Indira Gandhi Rashtriya Manav Sangrahalaya",
"Union Ministry of Culture of India"
] |
|
15733_NT | Khambana Kao Phaba (painting) | In this artwork, how is the History discussed? | The artwork was painted by late artist M Betombi Singh in the Sana Konung Palace in Imphal, Manipur. The artist was 93 years old when he completed the artwork. In 2001, the painting was registered into the permanent collection of the Indira Gandhi Rashtriya Manav Sangrahalaya Museum. After that, the artwork was visited by many well known people including RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The painting was kept in Veeth Sankul indoor exhibitions and library of the museum. | [
"India",
"Sana Konung",
"Imphal",
"Manipur",
"Indira Gandhi Rashtriya Manav Sangrahalaya",
"Union Ministry of Culture of India"
] |
|
15734_T | Khambana Kao Phaba (painting) | Focus on Khambana Kao Phaba (painting) and explore the Exhibition. | In July 2019, the painting was introduced as the "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalayaby RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The exhibition was curated by Nongmaithem Sakamacha. Sakamacha was the Museum Associate of Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal, India. | [
"India",
"Bhopal",
"Indira Gandhi Rashtriya Manav Sangrahalaya",
"Union Ministry of Culture of India"
] |
|
15734_NT | Khambana Kao Phaba (painting) | Focus on this artwork and explore the Exhibition. | In July 2019, the painting was introduced as the "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalayaby RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The exhibition was curated by Nongmaithem Sakamacha. Sakamacha was the Museum Associate of Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal, India. | [
"India",
"Bhopal",
"Indira Gandhi Rashtriya Manav Sangrahalaya",
"Union Ministry of Culture of India"
] |
|
15735_T | San Cassiano Altarpiece | Explore the abstract of this artwork, San Cassiano Altarpiece. | The San Cassiano Altarpiece is a painting by the Italian Renaissance master Antonello da Messina, dating to 1475–1476. Commissioned for the church of San Cassiano in Venice, it was disassembled in the early 17th-century and the reunited central portion is now housed in the Kunsthistorisches Museum in Vienna. It was one of the most influential paintings in the Veneto area of the time. | [
"Kunsthistorisches Museum",
"Antonello da Messina",
"Venice",
"Vienna",
"San Cassiano"
] |
|
15735_NT | San Cassiano Altarpiece | Explore the abstract of this artwork. | The San Cassiano Altarpiece is a painting by the Italian Renaissance master Antonello da Messina, dating to 1475–1476. Commissioned for the church of San Cassiano in Venice, it was disassembled in the early 17th-century and the reunited central portion is now housed in the Kunsthistorisches Museum in Vienna. It was one of the most influential paintings in the Veneto area of the time. | [
"Kunsthistorisches Museum",
"Antonello da Messina",
"Venice",
"Vienna",
"San Cassiano"
] |
|
15736_T | San Cassiano Altarpiece | Focus on San Cassiano Altarpiece and discuss the History. | It is unknown when it was disassembled or why, but it was already in fragments when parts of it were documented by David Teniers the Younger for his Theatrum Pictorium in 1660. It wasn't until 1929 that three of the fragments were reunited by the Hungarian art historian Johannes Wilde. Other surviving fragments have been analysed to fit according to the model of a reconstruction in a virtual architectural study. Originally a larger altarpiece, it now comprises only the central panel with the Virgin Enthroned, and four half-busts of saints: St. Nicholas of Bari, Mary Magdalene (or Ursula), St. Lucy and St. Dominic.
Allegedly inspired by another Holy Conversation by Giovanni Bellini in the church of San Giovanni e Paolo (now known only through copies), it features however a more balance composition and a more sober architecture. Antonello adopted a pyramidal layout, enhanced by the accurate use of light.
The book with three golden balls held by St. Nicholas alludes to the episode in which he gave them to three girls to be used as dowry. | [
"Giovanni Bellini",
"Mary Magdalene",
"David Teniers the Younger",
"Theatrum Pictorium",
"Johannes Wilde",
"San Giovanni e Paolo"
] |
|
15736_NT | San Cassiano Altarpiece | Focus on this artwork and discuss the History. | It is unknown when it was disassembled or why, but it was already in fragments when parts of it were documented by David Teniers the Younger for his Theatrum Pictorium in 1660. It wasn't until 1929 that three of the fragments were reunited by the Hungarian art historian Johannes Wilde. Other surviving fragments have been analysed to fit according to the model of a reconstruction in a virtual architectural study. Originally a larger altarpiece, it now comprises only the central panel with the Virgin Enthroned, and four half-busts of saints: St. Nicholas of Bari, Mary Magdalene (or Ursula), St. Lucy and St. Dominic.
Allegedly inspired by another Holy Conversation by Giovanni Bellini in the church of San Giovanni e Paolo (now known only through copies), it features however a more balance composition and a more sober architecture. Antonello adopted a pyramidal layout, enhanced by the accurate use of light.
The book with three golden balls held by St. Nicholas alludes to the episode in which he gave them to three girls to be used as dowry. | [
"Giovanni Bellini",
"Mary Magdalene",
"David Teniers the Younger",
"Theatrum Pictorium",
"Johannes Wilde",
"San Giovanni e Paolo"
] |
|
15737_T | George Washington (Trumbull) | How does George Washington (Trumbull) elucidate its abstract? | George Washington, also entitled George Washington and William Lee, is a full-length portrait in oil painted in 1780 by the American artist John Trumbull during the American Revolutionary War. General George Washington stands near his enslaved servant William Lee, overlooking the Hudson River in New York, with West Point and ships in the background. Trumbull, who once served as an aide-de-camp to Washington, painted the picture from memory while studying under Benjamin West in London. He finished it before his arrest for high treason in November. The portrait, measuring 36 in × 28 in (0.91 m × 0.71 m), is on view in Gallery 753 at the Metropolitan Museum of Art in New York City. Originally in the possession of the de Neufville family of the Netherlands, it was bequeathed to the museum by Charles Allen Munn in 1924. | [
"Benjamin West",
"New York",
"Charles Allen Munn",
"Hudson River",
"John Trumbull",
"George Washington",
"West Point",
"American Revolutionary War",
"high treason",
"New York City",
"oil",
"London",
"aide-de-camp",
"American Revolution",
"Netherlands",
"Metropolitan Museum of Art",
"William Lee"
] |
|
15737_NT | George Washington (Trumbull) | How does this artwork elucidate its abstract? | George Washington, also entitled George Washington and William Lee, is a full-length portrait in oil painted in 1780 by the American artist John Trumbull during the American Revolutionary War. General George Washington stands near his enslaved servant William Lee, overlooking the Hudson River in New York, with West Point and ships in the background. Trumbull, who once served as an aide-de-camp to Washington, painted the picture from memory while studying under Benjamin West in London. He finished it before his arrest for high treason in November. The portrait, measuring 36 in × 28 in (0.91 m × 0.71 m), is on view in Gallery 753 at the Metropolitan Museum of Art in New York City. Originally in the possession of the de Neufville family of the Netherlands, it was bequeathed to the museum by Charles Allen Munn in 1924. | [
"Benjamin West",
"New York",
"Charles Allen Munn",
"Hudson River",
"John Trumbull",
"George Washington",
"West Point",
"American Revolutionary War",
"high treason",
"New York City",
"oil",
"London",
"aide-de-camp",
"American Revolution",
"Netherlands",
"Metropolitan Museum of Art",
"William Lee"
] |
|
15738_T | George Washington (Trumbull) | Focus on George Washington (Trumbull) and analyze the History. | Trumbull served in the Continental Army as a second aide-de-camp to General Washington from July 27 to August 15, 1775. Later commissioned colonel, he resigned due to a dispute over his service time on February 22, 1777. After that, he resumed his career as a painter in Boston. In May 1780, he travelled to Nantes, France for business, but after this was unsuccessful, went to London in July to study painting under Benjamin West. West's first question was whether Trumbull had brought any of his paintings to show his skill. Since he had no examples, he began by copying gallery paintings. Subsequently, Trumbull painted this portrait of Washington from memory and probably gave it to Leendert de Neufville, son of Jean de Neufville.On November 15, 1780, news of the treason of Benedict Arnold and the death of Major John André reached London. On November 20, Trumbull was arrested for high treason and then imprisoned at Tothill Fields Bridewell. Nearly seven months later, on June 12, 1781, he was released and ordered to leave the country within thirty days. On July 13, by then in Amsterdam, he wrote to his father that he was staying at the home of de Neufville. On July 20, he wrote of his plans to return home aboard the frigate South Carolina, commanded by Commodore Alexander Gillon. The voyage lasted six months, arriving at Boston in January 1782.The painting remained in the possession of the de Neufville family until 1890. It was sold through art dealers in London, and acquired by the New York art dealer Edward G. Kennedy before 1898. By 1908, the painting was in the collection of Charles Allen Munn, who bequeathed it to the Metropolitan Museum of Art in 1924. | [
"Benjamin West",
"New York",
"Boston",
"Charles Allen Munn",
"Jean de Neufville",
"John André",
"Nantes",
"Amsterdam",
"Nantes, France",
"Benedict Arnold",
"Continental Army",
"high treason",
"South Carolina",
"Alexander Gillon",
"London",
"aide-de-camp",
"Edward G. Kennedy",
"Tothill Fields Bridewell",
"Metropolitan Museum of Art"
] |
|
15738_NT | George Washington (Trumbull) | Focus on this artwork and analyze the History. | Trumbull served in the Continental Army as a second aide-de-camp to General Washington from July 27 to August 15, 1775. Later commissioned colonel, he resigned due to a dispute over his service time on February 22, 1777. After that, he resumed his career as a painter in Boston. In May 1780, he travelled to Nantes, France for business, but after this was unsuccessful, went to London in July to study painting under Benjamin West. West's first question was whether Trumbull had brought any of his paintings to show his skill. Since he had no examples, he began by copying gallery paintings. Subsequently, Trumbull painted this portrait of Washington from memory and probably gave it to Leendert de Neufville, son of Jean de Neufville.On November 15, 1780, news of the treason of Benedict Arnold and the death of Major John André reached London. On November 20, Trumbull was arrested for high treason and then imprisoned at Tothill Fields Bridewell. Nearly seven months later, on June 12, 1781, he was released and ordered to leave the country within thirty days. On July 13, by then in Amsterdam, he wrote to his father that he was staying at the home of de Neufville. On July 20, he wrote of his plans to return home aboard the frigate South Carolina, commanded by Commodore Alexander Gillon. The voyage lasted six months, arriving at Boston in January 1782.The painting remained in the possession of the de Neufville family until 1890. It was sold through art dealers in London, and acquired by the New York art dealer Edward G. Kennedy before 1898. By 1908, the painting was in the collection of Charles Allen Munn, who bequeathed it to the Metropolitan Museum of Art in 1924. | [
"Benjamin West",
"New York",
"Boston",
"Charles Allen Munn",
"Jean de Neufville",
"John André",
"Nantes",
"Amsterdam",
"Nantes, France",
"Benedict Arnold",
"Continental Army",
"high treason",
"South Carolina",
"Alexander Gillon",
"London",
"aide-de-camp",
"Edward G. Kennedy",
"Tothill Fields Bridewell",
"Metropolitan Museum of Art"
] |
|
15739_T | George Washington (Trumbull) | In George Washington (Trumbull), how is the Description discussed? | Washington, in full military uniform, a blue coat over buff waistcoat and pants, is shown brightly lit in the center of a landscape, standing on a hill overlooking the Hudson River in New York. In the background, West Point is visible on the left, with a red and white striped banner flying, perhaps the First Navy Jack. Washington holds a hat, sword, and scrolled document. A red turbaned Black servant, usually identified as William "Billy" Lee, attends Washington's horse in the right foreground. Smoke rises from ships on the river in the lower right background.The likeness of Washington may be influenced by Charles Willson Peale's c. 1776 portrait of Washington, which Trumbull had copied in Boston in 1778, and which is now in the Brooklyn Museum. The composition shows influences from other paintings of military men with a groom and horse, back to Anthony van Dyck's c. 1635 painting Charles I at the Hunt. Some aspects, such as the reinforcement of outlines with black, echo the techniques of Benjamin West. | [
"Benjamin West",
"New York",
"Boston",
"Brooklyn Museum",
"Black",
"Hudson River",
"Anthony van Dyck",
"Charles Willson Peale",
"First Navy Jack",
"West Point",
"Charles I at the Hunt",
"buff"
] |
|
15739_NT | George Washington (Trumbull) | In this artwork, how is the Description discussed? | Washington, in full military uniform, a blue coat over buff waistcoat and pants, is shown brightly lit in the center of a landscape, standing on a hill overlooking the Hudson River in New York. In the background, West Point is visible on the left, with a red and white striped banner flying, perhaps the First Navy Jack. Washington holds a hat, sword, and scrolled document. A red turbaned Black servant, usually identified as William "Billy" Lee, attends Washington's horse in the right foreground. Smoke rises from ships on the river in the lower right background.The likeness of Washington may be influenced by Charles Willson Peale's c. 1776 portrait of Washington, which Trumbull had copied in Boston in 1778, and which is now in the Brooklyn Museum. The composition shows influences from other paintings of military men with a groom and horse, back to Anthony van Dyck's c. 1635 painting Charles I at the Hunt. Some aspects, such as the reinforcement of outlines with black, echo the techniques of Benjamin West. | [
"Benjamin West",
"New York",
"Boston",
"Brooklyn Museum",
"Black",
"Hudson River",
"Anthony van Dyck",
"Charles Willson Peale",
"First Navy Jack",
"West Point",
"Charles I at the Hunt",
"buff"
] |
|
15740_T | George Washington (Trumbull) | Focus on George Washington (Trumbull) and explore the Other versions. | British engraver and print publisher, Valentine Green, created a mezzotint version entitled General Washington. It was published by appointment of de Neufville, January 15, 1781. The legend includes a cartouche at the bottom showing a Native American holding the Washington family crest. In 1783, he created a half-length portrait, also entitled General Washington. In 1782, Jacques Le Roy engraved a version entitled G. Washington, with the image reversed. | [
"Valentine Green",
"Washington family",
"mezzotint",
"cartouche",
"Native American",
"Washington family crest"
] |
|
15740_NT | George Washington (Trumbull) | Focus on this artwork and explore the Other versions. | British engraver and print publisher, Valentine Green, created a mezzotint version entitled General Washington. It was published by appointment of de Neufville, January 15, 1781. The legend includes a cartouche at the bottom showing a Native American holding the Washington family crest. In 1783, he created a half-length portrait, also entitled General Washington. In 1782, Jacques Le Roy engraved a version entitled G. Washington, with the image reversed. | [
"Valentine Green",
"Washington family",
"mezzotint",
"cartouche",
"Native American",
"Washington family crest"
] |
|
15741_T | George Washington (Trumbull) | Focus on George Washington (Trumbull) and explain the Critical reception. | Munn in his book, Three Types of Washington Portraits, states:
The popularity of the portrait was very great. It was the first authentic portrait of Washington that had been published in Europe, and copies of it were soon issued in France and elsewhere.
In the Yale University Art Gallery catalogue, John Trumbull: The Hand and Spirit of a Painter, the portrait is described:
Although still careful and restrained, the execution here is looser, recession in space more convincing, and the wooden quality observable in the faces of his earlier sitters has given way to a softer modeling. | [
"John Trumbull",
"Yale University Art Gallery"
] |
|
15741_NT | George Washington (Trumbull) | Focus on this artwork and explain the Critical reception. | Munn in his book, Three Types of Washington Portraits, states:
The popularity of the portrait was very great. It was the first authentic portrait of Washington that had been published in Europe, and copies of it were soon issued in France and elsewhere.
In the Yale University Art Gallery catalogue, John Trumbull: The Hand and Spirit of a Painter, the portrait is described:
Although still careful and restrained, the execution here is looser, recession in space more convincing, and the wooden quality observable in the faces of his earlier sitters has given way to a softer modeling. | [
"John Trumbull",
"Yale University Art Gallery"
] |
|
15742_T | George Washington (Trumbull) | Explore the Legacy of this artwork, George Washington (Trumbull). | A seven-cent postage stamp of Washington based on this painting, printed using black ink, was issued as part of the Washington Bicentennial stamps of 1932 by the United States Post Office. In 1925, the painting was featured on page one of The Metropolitan Museum of Art Bulletin, and described in the article "The Charles Allen Munn Bequest". | [
"Charles Allen Munn",
"United States Post Office",
"postage stamp",
"Washington Bicentennial stamps of 1932",
"Metropolitan Museum of Art"
] |
|
15742_NT | George Washington (Trumbull) | Explore the Legacy of this artwork. | A seven-cent postage stamp of Washington based on this painting, printed using black ink, was issued as part of the Washington Bicentennial stamps of 1932 by the United States Post Office. In 1925, the painting was featured on page one of The Metropolitan Museum of Art Bulletin, and described in the article "The Charles Allen Munn Bequest". | [
"Charles Allen Munn",
"United States Post Office",
"postage stamp",
"Washington Bicentennial stamps of 1932",
"Metropolitan Museum of Art"
] |
|
15743_T | Forever Marilyn | Focus on Forever Marilyn and discuss the abstract. | Forever Marilyn is a giant statue of Marilyn Monroe designed by Seward Johnson. The statue is a representation of the image of Monroe taken from Billy Wilder's 1955 film The Seven Year Itch. Created in 2011, the statue has been displayed in a variety of locations in the United States, as well as in Australia. | [
"statue",
"The Seven Year Itch",
"Seward Johnson",
"Billy Wilder",
"Marilyn Monroe"
] |
|
15743_NT | Forever Marilyn | Focus on this artwork and discuss the abstract. | Forever Marilyn is a giant statue of Marilyn Monroe designed by Seward Johnson. The statue is a representation of the image of Monroe taken from Billy Wilder's 1955 film The Seven Year Itch. Created in 2011, the statue has been displayed in a variety of locations in the United States, as well as in Australia. | [
"statue",
"The Seven Year Itch",
"Seward Johnson",
"Billy Wilder",
"Marilyn Monroe"
] |
|
15744_T | Forever Marilyn | How does Forever Marilyn elucidate its Description? | The 26-foot-tall (7.9 m) 34,000-pound (15,000 kg) sculpture, manufactured of painted stainless steel and aluminium, is a super-sized tribute to Marilyn Monroe's scene from Billy Wilder's 1955 infidelity comedy, The Seven-Year Itch, with the figure capturing the instant a blast of air from a NYC subway grate raises her white dress. | [
"Billy Wilder",
"stainless steel",
"aluminium",
"Marilyn Monroe",
"white dress"
] |
|
15744_NT | Forever Marilyn | How does this artwork elucidate its Description? | The 26-foot-tall (7.9 m) 34,000-pound (15,000 kg) sculpture, manufactured of painted stainless steel and aluminium, is a super-sized tribute to Marilyn Monroe's scene from Billy Wilder's 1955 infidelity comedy, The Seven-Year Itch, with the figure capturing the instant a blast of air from a NYC subway grate raises her white dress. | [
"Billy Wilder",
"stainless steel",
"aluminium",
"Marilyn Monroe",
"white dress"
] |
|
15745_T | Forever Marilyn | Focus on Forever Marilyn and analyze the Locations. | The statue was displayed at Pioneer Court part of the Magnificent Mile section of Chicago, Illinois. In August and September 2011 the statue was vandalized three times, including being splashed with red paint. According to the executive director of the Chicago Public Arts Group, "In our society, we have little room for sexually expressive images ... The social contract doesn't work, because it is itself laden with political meaning, and provocative meaning and sexual meaning."It was moved in 2012 to the corner of Palm Canyon Drive and Tahquitz Canyon Way in Palm Springs, California. It was given a farewell sendoff during the Palm Springs Village Fest on 27 March 2014, and was then relocated to the 42-acre Grounds for Sculpture (GFS) (17 ha) in Hamilton, New Jersey as part of a 2014 retrospective honoring Seward Johnson. Due to its popularity, the statue remained on display at the GFS until September 2015, after the official end of the retrospective.The statue was displayed in 2016 in Rosalind Park in the Australian city of Bendigo in connection with the Bendigo Art Gallery's Marilyn Monroe exhibition.In 2018, the statue was displayed at Latham Park in Stamford, Connecticut, as part of a large public art exhibition honoring the works of Seward Johnson. Thirty-six sculptures were placed throughout streets and parks in Downtown Stamford, with Forever Marilyn being the highlight of the exhibit. The statue sparked controversy when it was placed in Stamford with complaints arising due to her appearing to flash her underwear at the nearby First Congregational Church.In September 2019 Palm Springs mayor Robert Moon announced the statue's return to Palm Springs as a permanent fixture after being stored in a dismantled state in New Jersey. On 3 February 2021 it was announced that the statue would be erected on Museum Way just east of the Palm Springs Art Museum with an unveiling date of 18 April 2021. According to the announcement, Forever Marilyn is set to remain in Palm Springs for up to three years: in two years time the statue's local economic impact is scheduled to be reviewed and its future decided. Litigation seeking to block the erection of Forever Marilyn was filled in the California courts. The statue was unveiled on 20 June 2021, with the Riverside County Superior Court dismissing four of the Committee to Relocate Marilyn's purported causes of action on 18 July 2021, with the committee's remaining two purported causes being dismissed by the Riverside County Superior Court on 9 September 2021.In 2021, the statue was debated on the TV programme Good Morning Britain. The statue was defended from accusations of misogyny by Monroe impersonator Suzie Kennedy.The city council voted in December 2023 to amend the Palm Springs Specific Plan to keep the statue in its current location permanently. A small portion of Museum Way would be vacated to create a parcel for the statue. | [
"Hamilton, New Jersey",
"statue",
"Palm Springs",
"Bendigo Art Gallery",
"Bendigo",
"Seward Johnson",
"Riverside County Superior Court",
"Pioneer Court",
"Palm Springs, California",
"Downtown Stamford",
"Chicago, Illinois",
"Rosalind Park",
"Palm Springs Art Museum",
"Stamford",
"Chicago",
"Marilyn Monroe",
"Grounds for Sculpture",
"Magnificent Mile",
"Stamford, Connecticut"
] |
|
15745_NT | Forever Marilyn | Focus on this artwork and analyze the Locations. | The statue was displayed at Pioneer Court part of the Magnificent Mile section of Chicago, Illinois. In August and September 2011 the statue was vandalized three times, including being splashed with red paint. According to the executive director of the Chicago Public Arts Group, "In our society, we have little room for sexually expressive images ... The social contract doesn't work, because it is itself laden with political meaning, and provocative meaning and sexual meaning."It was moved in 2012 to the corner of Palm Canyon Drive and Tahquitz Canyon Way in Palm Springs, California. It was given a farewell sendoff during the Palm Springs Village Fest on 27 March 2014, and was then relocated to the 42-acre Grounds for Sculpture (GFS) (17 ha) in Hamilton, New Jersey as part of a 2014 retrospective honoring Seward Johnson. Due to its popularity, the statue remained on display at the GFS until September 2015, after the official end of the retrospective.The statue was displayed in 2016 in Rosalind Park in the Australian city of Bendigo in connection with the Bendigo Art Gallery's Marilyn Monroe exhibition.In 2018, the statue was displayed at Latham Park in Stamford, Connecticut, as part of a large public art exhibition honoring the works of Seward Johnson. Thirty-six sculptures were placed throughout streets and parks in Downtown Stamford, with Forever Marilyn being the highlight of the exhibit. The statue sparked controversy when it was placed in Stamford with complaints arising due to her appearing to flash her underwear at the nearby First Congregational Church.In September 2019 Palm Springs mayor Robert Moon announced the statue's return to Palm Springs as a permanent fixture after being stored in a dismantled state in New Jersey. On 3 February 2021 it was announced that the statue would be erected on Museum Way just east of the Palm Springs Art Museum with an unveiling date of 18 April 2021. According to the announcement, Forever Marilyn is set to remain in Palm Springs for up to three years: in two years time the statue's local economic impact is scheduled to be reviewed and its future decided. Litigation seeking to block the erection of Forever Marilyn was filled in the California courts. The statue was unveiled on 20 June 2021, with the Riverside County Superior Court dismissing four of the Committee to Relocate Marilyn's purported causes of action on 18 July 2021, with the committee's remaining two purported causes being dismissed by the Riverside County Superior Court on 9 September 2021.In 2021, the statue was debated on the TV programme Good Morning Britain. The statue was defended from accusations of misogyny by Monroe impersonator Suzie Kennedy.The city council voted in December 2023 to amend the Palm Springs Specific Plan to keep the statue in its current location permanently. A small portion of Museum Way would be vacated to create a parcel for the statue. | [
"Hamilton, New Jersey",
"statue",
"Palm Springs",
"Bendigo Art Gallery",
"Bendigo",
"Seward Johnson",
"Riverside County Superior Court",
"Pioneer Court",
"Palm Springs, California",
"Downtown Stamford",
"Chicago, Illinois",
"Rosalind Park",
"Palm Springs Art Museum",
"Stamford",
"Chicago",
"Marilyn Monroe",
"Grounds for Sculpture",
"Magnificent Mile",
"Stamford, Connecticut"
] |
|
15746_T | Forever Marilyn | In Forever Marilyn, how is the Replica discussed? | The 26.8-foot-tall (8.18 m) stainless steel statue was taller than the original. It had been put on display at a Chinese business center in 2013 to highlight the business's international relations. In June of 2014, the eight ton statue was photographed in a local Guigang, China garbage dump. This statue is featured twice in the 2017 Chinese drama film, Angels Wear White. It is shown both at the start of the film on full display and as part of the films poignant commentary, at the end of the film, in the process of being discarded in pieces and hauled away. | [
"statue",
"stainless steel",
"Angels Wear White"
] |
|
15746_NT | Forever Marilyn | In this artwork, how is the Replica discussed? | The 26.8-foot-tall (8.18 m) stainless steel statue was taller than the original. It had been put on display at a Chinese business center in 2013 to highlight the business's international relations. In June of 2014, the eight ton statue was photographed in a local Guigang, China garbage dump. This statue is featured twice in the 2017 Chinese drama film, Angels Wear White. It is shown both at the start of the film on full display and as part of the films poignant commentary, at the end of the film, in the process of being discarded in pieces and hauled away. | [
"statue",
"stainless steel",
"Angels Wear White"
] |
|
15747_T | Lion of Bienservida | Focus on Lion of Bienservida and explore the abstract. | The Lion of Bienservida (also Lion of Villarrodrigo) is an ancient sculpture depicting a lion and a human head put on a plinth. It is exhibited at the Albacete Provincial Museum.
The piece was found in 1893 in the rural estate of Huertas de Bayona, in Villarrodrigo, in the Spanish province of Jaén. It was gifted to the Museum of Albacete in 1932.It was dated by Teresa Chapa at the late 4th century BC. However, despite the rough carving, Carmen Aranegui Gascó sees no reason to classify the sculpture as an Iberian (Pre-Roman) artifact, rather considering the lion as art from the Roman republican period. The lion is depicted sheltering a human head (bearded and with moustache) within the claws. Chapa interprets the sculpture in the usual vein of the animal protecting the dead one while at the same time carrying their soul. | [
"Teresa Chapa",
"Albacete Provincial Museum",
"Bienservida",
"Roman republican period",
"Carmen Aranegui",
"Albacete",
"province of Jaén",
"Villarrodrigo"
] |
|
15747_NT | Lion of Bienservida | Focus on this artwork and explore the abstract. | The Lion of Bienservida (also Lion of Villarrodrigo) is an ancient sculpture depicting a lion and a human head put on a plinth. It is exhibited at the Albacete Provincial Museum.
The piece was found in 1893 in the rural estate of Huertas de Bayona, in Villarrodrigo, in the Spanish province of Jaén. It was gifted to the Museum of Albacete in 1932.It was dated by Teresa Chapa at the late 4th century BC. However, despite the rough carving, Carmen Aranegui Gascó sees no reason to classify the sculpture as an Iberian (Pre-Roman) artifact, rather considering the lion as art from the Roman republican period. The lion is depicted sheltering a human head (bearded and with moustache) within the claws. Chapa interprets the sculpture in the usual vein of the animal protecting the dead one while at the same time carrying their soul. | [
"Teresa Chapa",
"Albacete Provincial Museum",
"Bienservida",
"Roman republican period",
"Carmen Aranegui",
"Albacete",
"province of Jaén",
"Villarrodrigo"
] |
|
15748_T | The Last Judgment (Bosch, Munich) | Focus on The Last Judgment (Bosch, Munich) and explain the abstract. | The Last Judgment is a triptych created by a follower of Hieronymus Bosch. Unlike the other two triptychs with the same name, in Vienna and in Bruges, only a fragment of this one exists today. It resides at the Alte Pinakothek in Munich.After being damaged, this fragment was heavily repainted, then the paint was removed in 1936. | [
"in Vienna",
"Hieronymus Bosch",
"in Bruges",
"Munich",
"Alte Pinakothek"
] |
|
15748_NT | The Last Judgment (Bosch, Munich) | Focus on this artwork and explain the abstract. | The Last Judgment is a triptych created by a follower of Hieronymus Bosch. Unlike the other two triptychs with the same name, in Vienna and in Bruges, only a fragment of this one exists today. It resides at the Alte Pinakothek in Munich.After being damaged, this fragment was heavily repainted, then the paint was removed in 1936. | [
"in Vienna",
"Hieronymus Bosch",
"in Bruges",
"Munich",
"Alte Pinakothek"
] |
|
15749_T | Bust of Francesco Barberini | Explore the Provenance of this artwork, Bust of Francesco Barberini. | The sculpture was given to the National Gallery of Art in Washington D.C. in 1961 as part of the Kress Collection donation. The Kress Foundation had bought the sculpture in 1950 from Count Alessandro Contini-Bonacossi, as part of a collection of 125 paintings and the one Bernini sculpture. | [
"Alessandro Contini-Bonacossi",
"Count Alessandro Contini-Bonacossi",
"National Gallery of Art"
] |
|
15749_NT | Bust of Francesco Barberini | Explore the Provenance of this artwork. | The sculpture was given to the National Gallery of Art in Washington D.C. in 1961 as part of the Kress Collection donation. The Kress Foundation had bought the sculpture in 1950 from Count Alessandro Contini-Bonacossi, as part of a collection of 125 paintings and the one Bernini sculpture. | [
"Alessandro Contini-Bonacossi",
"Count Alessandro Contini-Bonacossi",
"National Gallery of Art"
] |
|
15750_T | Flaming June | Focus on Flaming June and discuss the abstract. | Flaming June is a painting by Sir Frederic Leighton, produced in 1895. Painted with oil paints on a 47-by-47-inch (1,200 mm × 1,200 mm) square canvas, it is widely considered to be Leighton's best-known work in the 21st century, much reproduced in posters and the like. It shows a sensuous version of his classicist Academic style. It is thought that the woman portrayed alludes to the figures of sleeping nymphs and naiads the Greeks often sculpted.
Flaming June disappeared from view in the 1930s and was rediscovered in the 1960s. It was auctioned shortly after, during a period of time known to be difficult for selling Victorian era paintings, where it failed to sell for its low reserve price of US$140 (the equivalent of $1,126 in modern prices). After the auction, it was promptly purchased by the Museo de Arte de Ponce in Ponce, Puerto Rico. It is currently on loan to the Metropolitan Museum of Art in New York City, where it will be on display until February 2024. | [
"oil paint",
"Academic style",
"New York City",
"Ponce, Puerto Rico",
"nymph",
"naiad",
"Greeks",
"Museo de Arte de Ponce",
"Frederic Leighton",
"Metropolitan Museum of Art"
] |
|
15750_NT | Flaming June | Focus on this artwork and discuss the abstract. | Flaming June is a painting by Sir Frederic Leighton, produced in 1895. Painted with oil paints on a 47-by-47-inch (1,200 mm × 1,200 mm) square canvas, it is widely considered to be Leighton's best-known work in the 21st century, much reproduced in posters and the like. It shows a sensuous version of his classicist Academic style. It is thought that the woman portrayed alludes to the figures of sleeping nymphs and naiads the Greeks often sculpted.
Flaming June disappeared from view in the 1930s and was rediscovered in the 1960s. It was auctioned shortly after, during a period of time known to be difficult for selling Victorian era paintings, where it failed to sell for its low reserve price of US$140 (the equivalent of $1,126 in modern prices). After the auction, it was promptly purchased by the Museo de Arte de Ponce in Ponce, Puerto Rico. It is currently on loan to the Metropolitan Museum of Art in New York City, where it will be on display until February 2024. | [
"oil paint",
"Academic style",
"New York City",
"Ponce, Puerto Rico",
"nymph",
"naiad",
"Greeks",
"Museo de Arte de Ponce",
"Frederic Leighton",
"Metropolitan Museum of Art"
] |
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