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15751_T | Flaming June | How does Flaming June elucidate its Appraisal? | Flaming June was first begun as a motif to adorn a marble bath in one of Leighton's other works, Summer Slumber. He became so attached to the design that he decided to create it as a painting in its own right.According to art historian Andrew Graham-Dixon "her pose is loosely modelled on that of Michelangelo's famous statue of Night, in the Medici Tombs in Florence, which Leighton regarded as one of the supreme achievements of Western art."
The position of the sleeping woman gave Leighton a great deal of trouble. He made several preliminary sketches to determine the way in which she should lie; in particular he had difficulty making the angle of her right arm look natural. His studies show that the picture went through at least four evolutionary sketches before Leighton came to the end result. Out of these studies, four are nude and one is draped. The draped figure looks the least lifelike, demonstrating Leighton's claimed need to draw from a naked model to achieve a fidelity to nature.
The toxic oleander branch in the top right possibly symbolizes the fragile link between sleep and death.Flaming June has become Leighton's most recognisable picture. Samuel Courtauld, founder of the Courtauld Institute, called it "the most wonderful painting in existence". The realism of the transparent material worn by the sleeping woman, the stunningly rich colours and the perfectly recreated marble surround are characteristic of Leighton's work, as is his use of natural light. He allows the sunset in the background to appear as molten gold. | [
"Night",
"Courtauld Institute",
"Andrew Graham-Dixon",
"oleander",
"Samuel Courtauld"
] |
|
15751_NT | Flaming June | How does this artwork elucidate its Appraisal? | Flaming June was first begun as a motif to adorn a marble bath in one of Leighton's other works, Summer Slumber. He became so attached to the design that he decided to create it as a painting in its own right.According to art historian Andrew Graham-Dixon "her pose is loosely modelled on that of Michelangelo's famous statue of Night, in the Medici Tombs in Florence, which Leighton regarded as one of the supreme achievements of Western art."
The position of the sleeping woman gave Leighton a great deal of trouble. He made several preliminary sketches to determine the way in which she should lie; in particular he had difficulty making the angle of her right arm look natural. His studies show that the picture went through at least four evolutionary sketches before Leighton came to the end result. Out of these studies, four are nude and one is draped. The draped figure looks the least lifelike, demonstrating Leighton's claimed need to draw from a naked model to achieve a fidelity to nature.
The toxic oleander branch in the top right possibly symbolizes the fragile link between sleep and death.Flaming June has become Leighton's most recognisable picture. Samuel Courtauld, founder of the Courtauld Institute, called it "the most wonderful painting in existence". The realism of the transparent material worn by the sleeping woman, the stunningly rich colours and the perfectly recreated marble surround are characteristic of Leighton's work, as is his use of natural light. He allows the sunset in the background to appear as molten gold. | [
"Night",
"Courtauld Institute",
"Andrew Graham-Dixon",
"oleander",
"Samuel Courtauld"
] |
|
15752_T | Flaming June | Focus on Flaming June and analyze the Provenance. | The painting's first owners, The Graphic magazine, bought it to create a high-quality reproduction which was given away as a Christmas gift in 1895. When Leighton died in January 1896 it was put in their office window which was passed by the funeral procession.
It was loaned to the Ashmolean Museum in early 1900s; its whereabouts after this are unknown. The painting was rediscovered in a Battersea home in the early 1960s, boxed in over a chimney. Andrew Lloyd Webber saw it soon afterwards in a shop on the Kings Road, but his grandmother refused to lend him the £50 asking price, stating: "I will not have Victorian junk in my flat".In 1963 Luis A. Ferré – the noted Puerto Rican industrialist and politician, who would be elected governor five years later – was on a trip around Europe, engaged in purchasing paintings and sculptures for the Museo de Arte de Ponce in Puerto Rico, which he had founded. "It’s extremely curious to know that this work of such late Victorian importance was bought in Amsterdam by Luis A. Ferre for less than $1,000 dollars in 1960."Once it was part of Museo de Arte de Ponce's collection, it became its symbol and most recognized artwork. Since then, the painting has been loaned to important museums around the world including Museo del Prado in Madrid in 2008, the Staatsgalerie Stuttgart in Germany in 2009 and in the Frick Collection in New York City in 2015.In 2016 the painting was loaned to the Leighton House Museum in Kensington, and was displayed in the studio where it was created.
In 2015 an original pencil and chalk study for the painting – the model's head – was found on the back of a bedroom door in the mansion inherited by Bamber Gascoigne after the death of his great aunt Mary Innes-Ker, Duchess of Roxburghe.In 2023 Leighton's only known colour study for the painting, a small work in oil, was presented to Leighton House Museum by Sir David Verey. | [
"Amsterdam",
"The Graphic",
"New York City",
"Luis A. Ferré",
"David Verey",
"Leighton House Museum",
"Ashmolean Museum",
"governor",
"industrialist",
"Staatsgalerie Stuttgart",
"Bamber Gascoigne",
"Museo del Prado",
"Museo de Arte de Ponce",
"Andrew Lloyd Webber",
"Mary Innes-Ker, Duchess of Roxburghe",
"Frick Collection"
] |
|
15752_NT | Flaming June | Focus on this artwork and analyze the Provenance. | The painting's first owners, The Graphic magazine, bought it to create a high-quality reproduction which was given away as a Christmas gift in 1895. When Leighton died in January 1896 it was put in their office window which was passed by the funeral procession.
It was loaned to the Ashmolean Museum in early 1900s; its whereabouts after this are unknown. The painting was rediscovered in a Battersea home in the early 1960s, boxed in over a chimney. Andrew Lloyd Webber saw it soon afterwards in a shop on the Kings Road, but his grandmother refused to lend him the £50 asking price, stating: "I will not have Victorian junk in my flat".In 1963 Luis A. Ferré – the noted Puerto Rican industrialist and politician, who would be elected governor five years later – was on a trip around Europe, engaged in purchasing paintings and sculptures for the Museo de Arte de Ponce in Puerto Rico, which he had founded. "It’s extremely curious to know that this work of such late Victorian importance was bought in Amsterdam by Luis A. Ferre for less than $1,000 dollars in 1960."Once it was part of Museo de Arte de Ponce's collection, it became its symbol and most recognized artwork. Since then, the painting has been loaned to important museums around the world including Museo del Prado in Madrid in 2008, the Staatsgalerie Stuttgart in Germany in 2009 and in the Frick Collection in New York City in 2015.In 2016 the painting was loaned to the Leighton House Museum in Kensington, and was displayed in the studio where it was created.
In 2015 an original pencil and chalk study for the painting – the model's head – was found on the back of a bedroom door in the mansion inherited by Bamber Gascoigne after the death of his great aunt Mary Innes-Ker, Duchess of Roxburghe.In 2023 Leighton's only known colour study for the painting, a small work in oil, was presented to Leighton House Museum by Sir David Verey. | [
"Amsterdam",
"The Graphic",
"New York City",
"Luis A. Ferré",
"David Verey",
"Leighton House Museum",
"Ashmolean Museum",
"governor",
"industrialist",
"Staatsgalerie Stuttgart",
"Bamber Gascoigne",
"Museo del Prado",
"Museo de Arte de Ponce",
"Andrew Lloyd Webber",
"Mary Innes-Ker, Duchess of Roxburghe",
"Frick Collection"
] |
|
15753_T | Portrait of a Nun (Artemisia Gentileschi) | In Portrait of a Nun (Artemisia Gentileschi), how is the abstract discussed? | The Portrait of a Nun is a painting from the 1610s, attributed to the Italian artist Artemisia Gentileschi. It is currently in a private collection | [
"Artemisia Gentileschi",
"private collection"
] |
|
15753_NT | Portrait of a Nun (Artemisia Gentileschi) | In this artwork, how is the abstract discussed? | The Portrait of a Nun is a painting from the 1610s, attributed to the Italian artist Artemisia Gentileschi. It is currently in a private collection | [
"Artemisia Gentileschi",
"private collection"
] |
|
15754_T | The Beacon Light | Focus on The Beacon Light and explore the abstract. | The Beacon Light is a painting by J. M. W. Turner. It was given to the National Museum of Wales by the Davies sisters (Gwendoline and Margaret). For some time it was regarded as a fake, but is now accepted as authentic. | [
"Margaret",
"Gwendoline",
"J. M. W. Turner",
"National Museum of Wales"
] |
|
15754_NT | The Beacon Light | Focus on this artwork and explore the abstract. | The Beacon Light is a painting by J. M. W. Turner. It was given to the National Museum of Wales by the Davies sisters (Gwendoline and Margaret). For some time it was regarded as a fake, but is now accepted as authentic. | [
"Margaret",
"Gwendoline",
"J. M. W. Turner",
"National Museum of Wales"
] |
|
15755_T | The Beacon Light | Focus on The Beacon Light and explain the Provenance. | Beacon Light was among a number of works that were said to have been given by Turner to his mistress, Mrs Booth. It was sold at Christie's by her son, John Pound (her son by her first marriage).
In 1922, it was sold as a genuine Turner and the Davies sisters (Gwendoline and Margaret) spent £2,625 to buy it. Following the death of Gwendoline Davies, it was among seven works by Turner that were donated to the National Museum of Wales. | [
"Margaret",
"Gwendoline Davies",
"Gwendoline",
"National Museum of Wales"
] |
|
15755_NT | The Beacon Light | Focus on this artwork and explain the Provenance. | Beacon Light was among a number of works that were said to have been given by Turner to his mistress, Mrs Booth. It was sold at Christie's by her son, John Pound (her son by her first marriage).
In 1922, it was sold as a genuine Turner and the Davies sisters (Gwendoline and Margaret) spent £2,625 to buy it. Following the death of Gwendoline Davies, it was among seven works by Turner that were donated to the National Museum of Wales. | [
"Margaret",
"Gwendoline Davies",
"Gwendoline",
"National Museum of Wales"
] |
|
15756_T | The Beacon Light | Explore the Doubts as to authenticity of this artwork, The Beacon Light. | Shortly after the donation, some raised doubts about its authenticity and that of two other Turners donated by the sisters.
Butlin and Joll dated the work to c. 1835-1840 and suggest that it is a fragment of a larger canvas 'which has certainly been worked on by a hand other than Turner's'. At that time, it was believed to depict the Needles on the Isle of Wight
It was removed from display, but did appear in a 2007 exhibition. It returned to display in September 2012. | [
"Isle of Wight"
] |
|
15756_NT | The Beacon Light | Explore the Doubts as to authenticity of this artwork. | Shortly after the donation, some raised doubts about its authenticity and that of two other Turners donated by the sisters.
Butlin and Joll dated the work to c. 1835-1840 and suggest that it is a fragment of a larger canvas 'which has certainly been worked on by a hand other than Turner's'. At that time, it was believed to depict the Needles on the Isle of Wight
It was removed from display, but did appear in a 2007 exhibition. It returned to display in September 2012. | [
"Isle of Wight"
] |
|
15757_T | The Beacon Light | Focus on The Beacon Light and discuss the Fake or Fortune?. | It was featured on the BBC TV programme Fake or Fortune? Scientific analysis showed that the paint used was consistent with Turner's known usage and that the same paint had been used for the whole of the picture. An X-ray showed that a lighthouse at the summit of the bluff had been painted over. Philip Mould and Bendor Grosvenor were able to establish that the scene was near Margate and not on the Isle of Wight as had been previously believed. The evidence for the painting's authenticity was presented to Martin Butlin, the co-author of the Turner catalogue raisonné, who accepted that the work was genuine. | [
"Fake or Fortune?",
"Isle of Wight",
"Margate",
"Martin Butlin",
"Philip Mould",
"catalogue raisonné",
"Bendor Grosvenor"
] |
|
15757_NT | The Beacon Light | Focus on this artwork and discuss the Fake or Fortune?. | It was featured on the BBC TV programme Fake or Fortune? Scientific analysis showed that the paint used was consistent with Turner's known usage and that the same paint had been used for the whole of the picture. An X-ray showed that a lighthouse at the summit of the bluff had been painted over. Philip Mould and Bendor Grosvenor were able to establish that the scene was near Margate and not on the Isle of Wight as had been previously believed. The evidence for the painting's authenticity was presented to Martin Butlin, the co-author of the Turner catalogue raisonné, who accepted that the work was genuine. | [
"Fake or Fortune?",
"Isle of Wight",
"Margate",
"Martin Butlin",
"Philip Mould",
"catalogue raisonné",
"Bendor Grosvenor"
] |
|
15758_T | Les Grandes Misères de la guerre | How does Les Grandes Misères de la guerre elucidate its abstract? | Les Grandes Misères de la guerre (French: [lɛ ɡʁɑ̃d mizɛʁ də la ɡɛʁ]; English: The Great Miseries of War or The Miseries and Misfortunes of War) are a series of 18 etchings by French artist Jacques Callot (1592–1635), titled in full Les Misères et les Malheurs de la Guerre. Despite the grand theme of the series, the images are in fact only about 83 mm × 180 mm (3.25 x 7 inches) each, and are called the "large" Miseries to distinguish them from an even smaller earlier set on the same subject.The series was published in 1633, is Callot's best-known work, and has been called the first "anti-war statement" in European art.
The images are panoramic views with many small figures, and they feature gradation from light to dark that was typical of Callot's etchings.
In sequence, the images recount the story of soldiers as they enroll in an army, fight in a battle, and rampage through the civilian community, only to then be arrested and executed.
The etchings can also be considered as an early prototypical French comic strip, within the text comics genre, since the illustrations are accompanied by a descriptive text beneath the images. | [
"prototypical",
"etching",
"Jacques Callot",
"text comics"
] |
|
15758_NT | Les Grandes Misères de la guerre | How does this artwork elucidate its abstract? | Les Grandes Misères de la guerre (French: [lɛ ɡʁɑ̃d mizɛʁ də la ɡɛʁ]; English: The Great Miseries of War or The Miseries and Misfortunes of War) are a series of 18 etchings by French artist Jacques Callot (1592–1635), titled in full Les Misères et les Malheurs de la Guerre. Despite the grand theme of the series, the images are in fact only about 83 mm × 180 mm (3.25 x 7 inches) each, and are called the "large" Miseries to distinguish them from an even smaller earlier set on the same subject.The series was published in 1633, is Callot's best-known work, and has been called the first "anti-war statement" in European art.
The images are panoramic views with many small figures, and they feature gradation from light to dark that was typical of Callot's etchings.
In sequence, the images recount the story of soldiers as they enroll in an army, fight in a battle, and rampage through the civilian community, only to then be arrested and executed.
The etchings can also be considered as an early prototypical French comic strip, within the text comics genre, since the illustrations are accompanied by a descriptive text beneath the images. | [
"prototypical",
"etching",
"Jacques Callot",
"text comics"
] |
|
15759_T | Les Grandes Misères de la guerre | Focus on Les Grandes Misères de la guerre and analyze the Description. | Les Grandes Misères depict the destruction unleashed on civilians during the Thirty Years' War; no specific campaign is depicted, but the set inevitably recalls the actions of the army that Cardinal Richelieu sent in 1633 to occupy Callot's native Lorraine before annexing it to France. Callot was living in the capital, Nancy, at the time, though the prints were published, like most of his work, in Paris, with the necessary royal licence. The plates still exist, in a museum in Nancy, as do seven drawings of whole compositions, and many tiny studies for figures, with a large group in the Hermitage Museum.The series begins with a florid title page, followed by an enrollment parade and a battle scene. Plates 4–8 show bands of the victorious soldiers successively attacking a farm, convent, and coach, and burning a village. In plates 9–14 they are rounded up and subjected to various methods of public torture and execution. Plate 15 shows crippled soldiers in a grand neo-classical hospital, Plate 16 unemployed soldiers dying in the street, and Plate 17 the peasants taking revenge on a group they have captured, killing them with flails. Plate 18 shows an enthroned king distributing rewards to the victorious generals.
Each print has a six-line verse caption below the image, written by the famous print-collector Michel de Marolles. All show wide panoramic views, with many tiny figures, as is typical of Callot's work. The technique of using multiple bitings of acid on the plate, with different areas "stopped-out", was perfected by Callot. This method allows gradations in the strength of the line, with distant parts of the scene usually lighter. | [
"Thirty Years' War",
"Michel de Marolles",
"Hermitage Museum",
"Nancy",
"multiple bitings of acid",
"Lorraine",
"Cardinal Richelieu",
"flail"
] |
|
15759_NT | Les Grandes Misères de la guerre | Focus on this artwork and analyze the Description. | Les Grandes Misères depict the destruction unleashed on civilians during the Thirty Years' War; no specific campaign is depicted, but the set inevitably recalls the actions of the army that Cardinal Richelieu sent in 1633 to occupy Callot's native Lorraine before annexing it to France. Callot was living in the capital, Nancy, at the time, though the prints were published, like most of his work, in Paris, with the necessary royal licence. The plates still exist, in a museum in Nancy, as do seven drawings of whole compositions, and many tiny studies for figures, with a large group in the Hermitage Museum.The series begins with a florid title page, followed by an enrollment parade and a battle scene. Plates 4–8 show bands of the victorious soldiers successively attacking a farm, convent, and coach, and burning a village. In plates 9–14 they are rounded up and subjected to various methods of public torture and execution. Plate 15 shows crippled soldiers in a grand neo-classical hospital, Plate 16 unemployed soldiers dying in the street, and Plate 17 the peasants taking revenge on a group they have captured, killing them with flails. Plate 18 shows an enthroned king distributing rewards to the victorious generals.
Each print has a six-line verse caption below the image, written by the famous print-collector Michel de Marolles. All show wide panoramic views, with many tiny figures, as is typical of Callot's work. The technique of using multiple bitings of acid on the plate, with different areas "stopped-out", was perfected by Callot. This method allows gradations in the strength of the line, with distant parts of the scene usually lighter. | [
"Thirty Years' War",
"Michel de Marolles",
"Hermitage Museum",
"Nancy",
"multiple bitings of acid",
"Lorraine",
"Cardinal Richelieu",
"flail"
] |
|
15760_T | Les Grandes Misères de la guerre | In Les Grandes Misères de la guerre, how is the Legacy discussed? | The central image in what might be the first editorial cartoon is a parody of La Pendaison. In William Hogarth's early engraving Emblematical Print on the South Sea Scheme, the hanging tree is replaced by a wheel of fortune. Francisco Goya probably owned a set of Callot's etchings, and they are believed to have influenced his similar series, Los Desastres de la guerra (The Disasters of War), almost two centuries later. | [
"Francisco Goya",
"Emblematical Print on the South Sea Scheme",
"wheel of fortune",
"Los Desastres de la guerra",
"etching",
"William Hogarth",
"The Disasters of War"
] |
|
15760_NT | Les Grandes Misères de la guerre | In this artwork, how is the Legacy discussed? | The central image in what might be the first editorial cartoon is a parody of La Pendaison. In William Hogarth's early engraving Emblematical Print on the South Sea Scheme, the hanging tree is replaced by a wheel of fortune. Francisco Goya probably owned a set of Callot's etchings, and they are believed to have influenced his similar series, Los Desastres de la guerra (The Disasters of War), almost two centuries later. | [
"Francisco Goya",
"Emblematical Print on the South Sea Scheme",
"wheel of fortune",
"Los Desastres de la guerra",
"etching",
"William Hogarth",
"The Disasters of War"
] |
|
15761_T | Jantar-Mantar | Focus on Jantar-Mantar and explore the abstract. | Jantar-Mantar is a public art work by sculptor Narendra Patel, located on the campus of the University of Wisconsin–Milwaukee (UWM) on the east side of Milwaukee, Wisconsin. | [
"Milwaukee",
"University of Wisconsin–Milwaukee",
"Narendra Patel",
"Wisconsin",
"public art"
] |
|
15761_NT | Jantar-Mantar | Focus on this artwork and explore the abstract. | Jantar-Mantar is a public art work by sculptor Narendra Patel, located on the campus of the University of Wisconsin–Milwaukee (UWM) on the east side of Milwaukee, Wisconsin. | [
"Milwaukee",
"University of Wisconsin–Milwaukee",
"Narendra Patel",
"Wisconsin",
"public art"
] |
|
15762_T | Jantar-Mantar | Focus on Jantar-Mantar and explain the Description. | Jantar-Mantar is a monumental sculpture of cast concrete located near the College of Engineering and Applied Science building on the west end of the UWM campus. The sculpture's title references the astronomical observation structures constructed in eighteenth century Jaipur, India. The work was created by UWM sculpture professor Narendra Patel in collaboration with an engineering faculty member and a crew of student workers. According to UWM art history department faculty member Kenneth Bendiner, the sculpture is created from a "newly patented concrete" made from recycled "tires, coal slag and whatnot."A 12-member crew constructed the work over four months. | [
"College of Engineering and Applied Science",
"astronomical observation structures",
"Jaipur",
"India",
"Narendra Patel"
] |
|
15762_NT | Jantar-Mantar | Focus on this artwork and explain the Description. | Jantar-Mantar is a monumental sculpture of cast concrete located near the College of Engineering and Applied Science building on the west end of the UWM campus. The sculpture's title references the astronomical observation structures constructed in eighteenth century Jaipur, India. The work was created by UWM sculpture professor Narendra Patel in collaboration with an engineering faculty member and a crew of student workers. According to UWM art history department faculty member Kenneth Bendiner, the sculpture is created from a "newly patented concrete" made from recycled "tires, coal slag and whatnot."A 12-member crew constructed the work over four months. | [
"College of Engineering and Applied Science",
"astronomical observation structures",
"Jaipur",
"India",
"Narendra Patel"
] |
|
15763_T | Avukana Buddha statue | Explore the abstract of this artwork, Avukana Buddha statue. | The Avukana statue is a standing statue of the Buddha near Kekirawa in North Central Sri Lanka. The statue, which has a height of more than 14 m (46 ft), depicts the Buddha with a hand raised in reassurance, a variation of the Abhaya mudra. The Avukana statue is one of the best examples of a standing statue built in Sri Lanka. It is now a popular tourist attraction. | [
"Kekirawa",
"Sri Lanka",
"Buddha",
"Abhaya mudra",
"North Central"
] |
|
15763_NT | Avukana Buddha statue | Explore the abstract of this artwork. | The Avukana statue is a standing statue of the Buddha near Kekirawa in North Central Sri Lanka. The statue, which has a height of more than 14 m (46 ft), depicts the Buddha with a hand raised in reassurance, a variation of the Abhaya mudra. The Avukana statue is one of the best examples of a standing statue built in Sri Lanka. It is now a popular tourist attraction. | [
"Kekirawa",
"Sri Lanka",
"Buddha",
"Abhaya mudra",
"North Central"
] |
|
15764_T | Avukana Buddha statue | Focus on Avukana Buddha statue and discuss the Location and appearance. | The Avukana statue is located in the village of Avukana (also spelled Aukana) near Kekirawa. It figure is set in a slight hollow and faces east, looking toward the Kala Wewa reservoir. It was carved out of a large granite rock face, but is not completely separated. A narrow strip of rock has been left at the back of the statue, connecting it to the rock to support it. The rock face behind the image is carved like Cyclopean masonry, to give the appearance of a mountain. The pedestal on which the Buddha stands takes the form of a lotus flower. The statue alone is 11.84 metres (38 ft 10 in) in height, and with the pedestal, the total height of the Avukana statue reaches over 14 metres (46 ft).The statue was set within a large image house or shrine, of which parts of the lower walls remain. The structure had a stone foundation with the upper portions made of brick. It was 23 metres (74 ft) long and 19 metres (63 ft) wide. | [
"Kekirawa",
"Kala Wewa",
"Buddha",
"left",
"Cyclopean masonry"
] |
|
15764_NT | Avukana Buddha statue | Focus on this artwork and discuss the Location and appearance. | The Avukana statue is located in the village of Avukana (also spelled Aukana) near Kekirawa. It figure is set in a slight hollow and faces east, looking toward the Kala Wewa reservoir. It was carved out of a large granite rock face, but is not completely separated. A narrow strip of rock has been left at the back of the statue, connecting it to the rock to support it. The rock face behind the image is carved like Cyclopean masonry, to give the appearance of a mountain. The pedestal on which the Buddha stands takes the form of a lotus flower. The statue alone is 11.84 metres (38 ft 10 in) in height, and with the pedestal, the total height of the Avukana statue reaches over 14 metres (46 ft).The statue was set within a large image house or shrine, of which parts of the lower walls remain. The structure had a stone foundation with the upper portions made of brick. It was 23 metres (74 ft) long and 19 metres (63 ft) wide. | [
"Kekirawa",
"Kala Wewa",
"Buddha",
"left",
"Cyclopean masonry"
] |
|
15765_T | Avukana Buddha statue | How does Avukana Buddha statue elucidate its Characteristics? | The Avukana statue is considered to be one of the best examples of a standing statue of the Buddha from ancient Sri Lanka. The Avukana statue shows some influence of the Gandhara school of art, as well as the Amaravati School of India. The robe is worn tightly, clearly outlining the shape of the body, and its pleats are carved clearly and delicately. It is worn over the left shoulder, and the right shoulder is bare, as is the tradition in Buddha statues of Sri Lanka. The Buddha's body is straight, and the left-hand clutches the robe at the left shoulder. The right hand is raised to the right shoulder, with the palm facing the left. This position is known as the Asisa mudra, a variation of the Abhaya mudra. | [
"Sri Lanka",
"Amaravati School",
"The Buddha",
"Buddha",
"left",
"Abhaya mudra",
"Gandhara school of art",
"Gandhara"
] |
|
15765_NT | Avukana Buddha statue | How does this artwork elucidate its Characteristics? | The Avukana statue is considered to be one of the best examples of a standing statue of the Buddha from ancient Sri Lanka. The Avukana statue shows some influence of the Gandhara school of art, as well as the Amaravati School of India. The robe is worn tightly, clearly outlining the shape of the body, and its pleats are carved clearly and delicately. It is worn over the left shoulder, and the right shoulder is bare, as is the tradition in Buddha statues of Sri Lanka. The Buddha's body is straight, and the left-hand clutches the robe at the left shoulder. The right hand is raised to the right shoulder, with the palm facing the left. This position is known as the Asisa mudra, a variation of the Abhaya mudra. | [
"Sri Lanka",
"Amaravati School",
"The Buddha",
"Buddha",
"left",
"Abhaya mudra",
"Gandhara school of art",
"Gandhara"
] |
|
15766_T | Avukana Buddha statue | Focus on Avukana Buddha statue and analyze the Dating. | The Avukana statue is widely believed to have been constructed in the 5th century, but several opinions have been expressed from the time of Harry Charles Purvis Bell, Ananda Coomaraswamy, and Senarath Paranavithana. A comprehensive review of the evidence, and a close assessment of the sculpture's style, were undertaken by Diran K. Dohanian, who concluded, based on comparisons with Buddhas elsewhere in Sri Lanka and those produced for the Amaravati school, that the Aukana Buddha belongs to the 8th century. This is confirmed by a donative inscription, found in 1951 on the north wall of the shrine, that is written in Sinhala and dates to the 8th century. | [
"Sri Lanka",
"Ananda Coomaraswamy",
"Amaravati school",
"Buddha",
"Senarath Paranavithana",
"Harry Charles Purvis Bell"
] |
|
15766_NT | Avukana Buddha statue | Focus on this artwork and analyze the Dating. | The Avukana statue is widely believed to have been constructed in the 5th century, but several opinions have been expressed from the time of Harry Charles Purvis Bell, Ananda Coomaraswamy, and Senarath Paranavithana. A comprehensive review of the evidence, and a close assessment of the sculpture's style, were undertaken by Diran K. Dohanian, who concluded, based on comparisons with Buddhas elsewhere in Sri Lanka and those produced for the Amaravati school, that the Aukana Buddha belongs to the 8th century. This is confirmed by a donative inscription, found in 1951 on the north wall of the shrine, that is written in Sinhala and dates to the 8th century. | [
"Sri Lanka",
"Ananda Coomaraswamy",
"Amaravati school",
"Buddha",
"Senarath Paranavithana",
"Harry Charles Purvis Bell"
] |
|
15767_T | Avukana Buddha statue | In Avukana Buddha statue, how is the Legends discussed? | While the statue is often said to have been made at the behest of King Dhatusena, another theory is that it was done by an individual named Barana. There is another nearby standing statue of the Buddha, quite similar to the Avukana statue, at Sasseruwa. According to legend, the two statues are the result of a competition between a stone sculpting guru (master) and a goal (pupil). The story goes that the master constructed the Avukana statue, while the pupil made the statue at Sasseruwa. The first to complete his statue had to notify the other by ringing a bell. The master managed to complete his statue first and won the competition. This is said to be why the Sasseruwa statue is unfinished. The Avukana statue is considered to be the better of the two, and the similarities between them have led historians to believe that the story is true. However, that is a mere legend as the Sasseruwa statue was built nearly four hundred years before the Avukana Buddha image. Reswehera Rajamaha Vihara is an ancient temple that was built by King Devanampiyatissa (307-267 BC). | [
"Reswehera",
"Sasseruwa",
"Buddha"
] |
|
15767_NT | Avukana Buddha statue | In this artwork, how is the Legends discussed? | While the statue is often said to have been made at the behest of King Dhatusena, another theory is that it was done by an individual named Barana. There is another nearby standing statue of the Buddha, quite similar to the Avukana statue, at Sasseruwa. According to legend, the two statues are the result of a competition between a stone sculpting guru (master) and a goal (pupil). The story goes that the master constructed the Avukana statue, while the pupil made the statue at Sasseruwa. The first to complete his statue had to notify the other by ringing a bell. The master managed to complete his statue first and won the competition. This is said to be why the Sasseruwa statue is unfinished. The Avukana statue is considered to be the better of the two, and the similarities between them have led historians to believe that the story is true. However, that is a mere legend as the Sasseruwa statue was built nearly four hundred years before the Avukana Buddha image. Reswehera Rajamaha Vihara is an ancient temple that was built by King Devanampiyatissa (307-267 BC). | [
"Reswehera",
"Sasseruwa",
"Buddha"
] |
|
15768_T | Avukana Buddha statue | Focus on Avukana Buddha statue and explore the Current situation. | Today, pilgrims visit the statue from all parts of the country and the Avukana statue has become a popular tourist attraction. Although the site lacked many facilities, it has now been improved by the Department of Archaeology and the Civil Defence Force. | [
"Civil Defence Force",
"Department of Archaeology"
] |
|
15768_NT | Avukana Buddha statue | Focus on this artwork and explore the Current situation. | Today, pilgrims visit the statue from all parts of the country and the Avukana statue has become a popular tourist attraction. Although the site lacked many facilities, it has now been improved by the Department of Archaeology and the Civil Defence Force. | [
"Civil Defence Force",
"Department of Archaeology"
] |
|
15769_T | Famille d'acrobates avec singe | Focus on Famille d'acrobates avec singe and explain the Background. | After achieving some early success in 1901, Picasso was still struggling by 1905, living in penury in Montmartre. The work was painted at a studio that he took on the top floor of the dilapidated building at 13 rue Ravignan, which the poet Max Jacob termed the "Le Bateau-Lavoir". The other floors were occupied by other artists, making it a hub of artistic activity. The Cirque Médrano was nearby, and Picasso was inspired by the harlequins and saltimbanques, clowns, jugglers and other acts, making the transition from his melancholy Blue Period to his more optimistic Rose Period.Picasso was particularly interested in the life of the saltimbanque during this period. He created several works that depicted circus performers, typically in family groups. This is evident in his gouache and ink work titled Famille D'arlequin (1905) and the monumental oil on canvas Famille de saltimbanques (1905). Picasso saw a form of human suffering in the lives of the circus performers, and portrayed them as figures of loneliness. However, in some of his works, he also depicted them as warm, intimate family groups.The woman holding the child in this painting may have been Picasso's girlfriend, Madeleine, with whom he was living from the end of spring 1904. She was named as the model for another Picasso work from this period titled Girl in a Chemise (c.1905) by Picasso's biographer Pierre Daix. Picasso expert John Richardson stated that Madeleine had become pregnant and had an abortion. It was suggested by Richardson that the woman depicted in Famille d'acrobates avec singe had similar features to Madeleine and was depicted at the same time that she would have given birth. This painting may therefore reflect Picasso's mixture of guilt relating to the abortion and his longing for a child. | [
"Bateau-Lavoir",
"saltimbanque",
"Girl in a Chemise",
"Pierre Daix",
"Rose Period",
"Le Bateau-Lavoir",
"Max Jacob",
"Cirque Médrano",
"Blue Period",
"Montmartre",
"acrobat",
"John Richardson",
"harlequin",
"gouache",
"Famille de saltimbanques"
] |
|
15769_NT | Famille d'acrobates avec singe | Focus on this artwork and explain the Background. | After achieving some early success in 1901, Picasso was still struggling by 1905, living in penury in Montmartre. The work was painted at a studio that he took on the top floor of the dilapidated building at 13 rue Ravignan, which the poet Max Jacob termed the "Le Bateau-Lavoir". The other floors were occupied by other artists, making it a hub of artistic activity. The Cirque Médrano was nearby, and Picasso was inspired by the harlequins and saltimbanques, clowns, jugglers and other acts, making the transition from his melancholy Blue Period to his more optimistic Rose Period.Picasso was particularly interested in the life of the saltimbanque during this period. He created several works that depicted circus performers, typically in family groups. This is evident in his gouache and ink work titled Famille D'arlequin (1905) and the monumental oil on canvas Famille de saltimbanques (1905). Picasso saw a form of human suffering in the lives of the circus performers, and portrayed them as figures of loneliness. However, in some of his works, he also depicted them as warm, intimate family groups.The woman holding the child in this painting may have been Picasso's girlfriend, Madeleine, with whom he was living from the end of spring 1904. She was named as the model for another Picasso work from this period titled Girl in a Chemise (c.1905) by Picasso's biographer Pierre Daix. Picasso expert John Richardson stated that Madeleine had become pregnant and had an abortion. It was suggested by Richardson that the woman depicted in Famille d'acrobates avec singe had similar features to Madeleine and was depicted at the same time that she would have given birth. This painting may therefore reflect Picasso's mixture of guilt relating to the abortion and his longing for a child. | [
"Bateau-Lavoir",
"saltimbanque",
"Girl in a Chemise",
"Pierre Daix",
"Rose Period",
"Le Bateau-Lavoir",
"Max Jacob",
"Cirque Médrano",
"Blue Period",
"Montmartre",
"acrobat",
"John Richardson",
"harlequin",
"gouache",
"Famille de saltimbanques"
] |
|
15770_T | Famille d'acrobates avec singe | Explore the Description of this artwork, Famille d'acrobates avec singe. | The painting is a mixed media composition on cardboard that measures 104 cm × 75 cm (41 in × 30 in). It is signed "Picasso" and on the rear "P 1905". The image depicts a young family of circus performers in the midst of an intimate moment. To the left is the father, a thin male acrobat wearing a tight pink harlequin outfit with a bicorn hat. He is sitting on a drum next to the mother wearing a blue dress. They are both looking at a young boy who is being held by the woman. Lower down and further to the right is a baboon, which is looking up at the family. The figures are circus performers, who are resting off stage between acts. There are splashes of greens and blues in the background, and red on the floor, which is perhaps part of a circus tent. The man's orange bicorn hat is unpainted and the colour of the cardboard background. The figures are arranged in a pyramidal composition, based on classical images of the Holy Family. It is an image of hope, conveyed by the child in the mother's arms.During this period, Picasso decided to push the boundaries of his art with different media. He experimented with oil paints, but also with drawing, pastels and painting with gouache, as is evident by the use of mixed media in this work. | [
"bicorn hat",
"circus tent",
"acrobat",
"harlequin",
"pastel",
"baboon",
"gouache",
"mixed media",
"Holy Family"
] |
|
15770_NT | Famille d'acrobates avec singe | Explore the Description of this artwork. | The painting is a mixed media composition on cardboard that measures 104 cm × 75 cm (41 in × 30 in). It is signed "Picasso" and on the rear "P 1905". The image depicts a young family of circus performers in the midst of an intimate moment. To the left is the father, a thin male acrobat wearing a tight pink harlequin outfit with a bicorn hat. He is sitting on a drum next to the mother wearing a blue dress. They are both looking at a young boy who is being held by the woman. Lower down and further to the right is a baboon, which is looking up at the family. The figures are circus performers, who are resting off stage between acts. There are splashes of greens and blues in the background, and red on the floor, which is perhaps part of a circus tent. The man's orange bicorn hat is unpainted and the colour of the cardboard background. The figures are arranged in a pyramidal composition, based on classical images of the Holy Family. It is an image of hope, conveyed by the child in the mother's arms.During this period, Picasso decided to push the boundaries of his art with different media. He experimented with oil paints, but also with drawing, pastels and painting with gouache, as is evident by the use of mixed media in this work. | [
"bicorn hat",
"circus tent",
"acrobat",
"harlequin",
"pastel",
"baboon",
"gouache",
"mixed media",
"Holy Family"
] |
|
15771_T | Famille d'acrobates avec singe | Focus on Famille d'acrobates avec singe and discuss the Conservation. | Due to Picasso's use of cardboard in this artwork, Famille d'acrobates avec singe has been the focus of an ongoing conservation project to study the condition of the work and also to understand Picasso's technique and materials. Picasso often made use of cardboard for his 1905 works, due to his poor financial condition, as it was cheaper than other media. However, this choice has had an impact on the condition of the work, resulting in the cardboard becoming fragile and requiring ongoing conservation work. | [
"acrobat"
] |
|
15771_NT | Famille d'acrobates avec singe | Focus on this artwork and discuss the Conservation. | Due to Picasso's use of cardboard in this artwork, Famille d'acrobates avec singe has been the focus of an ongoing conservation project to study the condition of the work and also to understand Picasso's technique and materials. Picasso often made use of cardboard for his 1905 works, due to his poor financial condition, as it was cheaper than other media. However, this choice has had an impact on the condition of the work, resulting in the cardboard becoming fragile and requiring ongoing conservation work. | [
"acrobat"
] |
|
15772_T | Bearing Witness (sculpture) | Focus on Bearing Witness (sculpture) and analyze the abstract. | Bearing Witness is an outdoor 1997 sculpture by Martin Puryear, installed outside the Ronald Reagan Building and International Trade Center in Washington, D.C., in the United States. Twenty plus years after its construction the sculpture follows the characteristic style of Puryear and remains standing with minimal maintenance twenty plus years after its construction. The meaning of the sculpture is left up to interpretation, although many observers read into the inspirations Puryear may have had when designing the work. | [
"Martin Puryear",
"Washington, D.C.",
"Ronald Reagan Building and International Trade Center"
] |
|
15772_NT | Bearing Witness (sculpture) | Focus on this artwork and analyze the abstract. | Bearing Witness is an outdoor 1997 sculpture by Martin Puryear, installed outside the Ronald Reagan Building and International Trade Center in Washington, D.C., in the United States. Twenty plus years after its construction the sculpture follows the characteristic style of Puryear and remains standing with minimal maintenance twenty plus years after its construction. The meaning of the sculpture is left up to interpretation, although many observers read into the inspirations Puryear may have had when designing the work. | [
"Martin Puryear",
"Washington, D.C.",
"Ronald Reagan Building and International Trade Center"
] |
|
15773_T | Bearing Witness (sculpture) | In Bearing Witness (sculpture), how is the Design, installation, and maintenance discussed? | Constructed in 1997 for the Reagan Building following the GSA’s standard of spending 1% of a buildings construction budget commissioning an artwork, the sculpture stands forty feet tall and weighs an estimated 20,000 pounds. It cost one million dollars when commissioned, and remains the most expensive GSA commissioned artwork in D.C. It is constructed out of separate bronze sheets formed into a large vertical structure with one flat side and the other with a large bulb curve. The bronze sheets are held together by rivets into an interior, stainless steel armature. This structure is the result of a partnership between Puryear and a Rhode island based shipbuilding company which he worked with to construct the sculpture. At over twenty years old, the sculpture has required some light maintenance in order to conserve it. In a maintenance process conducted by the McKay Lodge Conservation team, a resin coating is applied to the several feet at the bottom of the sculpture, and a wax coating over the entire surface. | [] |
|
15773_NT | Bearing Witness (sculpture) | In this artwork, how is the Design, installation, and maintenance discussed? | Constructed in 1997 for the Reagan Building following the GSA’s standard of spending 1% of a buildings construction budget commissioning an artwork, the sculpture stands forty feet tall and weighs an estimated 20,000 pounds. It cost one million dollars when commissioned, and remains the most expensive GSA commissioned artwork in D.C. It is constructed out of separate bronze sheets formed into a large vertical structure with one flat side and the other with a large bulb curve. The bronze sheets are held together by rivets into an interior, stainless steel armature. This structure is the result of a partnership between Puryear and a Rhode island based shipbuilding company which he worked with to construct the sculpture. At over twenty years old, the sculpture has required some light maintenance in order to conserve it. In a maintenance process conducted by the McKay Lodge Conservation team, a resin coating is applied to the several feet at the bottom of the sculpture, and a wax coating over the entire surface. | [] |
|
15774_T | Bearing Witness (sculpture) | Focus on Bearing Witness (sculpture) and explore the Artist. | Martin Puryear is a D.C. born artist known for his various abstract sculptures. Although his general expertise lies in woodworking, the all metal form of the sculpture “Bearing Witness” is one of a few that diverge from this background, such as his all brick sculpture “by Way of Africa”. Despite the change in medium, the sculpture still bears the abstract and minimalistic style that characterizes Puryear’s work, intentionally designing his sculptures to avoid forcing a rigid narrative on the audience. While leaving it open to interpretation, Puryear has confirmed some of the intent behind his sculpture, purposely selecting the location and orienting the sculpture outward from the Reagan Center. Mindful of the political and government setting the sculpture would be placed into, Puryear has commented the orientation facing away from the building represents how within a democracy “people talk back to the government”. | [
"Martin Puryear"
] |
|
15774_NT | Bearing Witness (sculpture) | Focus on this artwork and explore the Artist. | Martin Puryear is a D.C. born artist known for his various abstract sculptures. Although his general expertise lies in woodworking, the all metal form of the sculpture “Bearing Witness” is one of a few that diverge from this background, such as his all brick sculpture “by Way of Africa”. Despite the change in medium, the sculpture still bears the abstract and minimalistic style that characterizes Puryear’s work, intentionally designing his sculptures to avoid forcing a rigid narrative on the audience. While leaving it open to interpretation, Puryear has confirmed some of the intent behind his sculpture, purposely selecting the location and orienting the sculpture outward from the Reagan Center. Mindful of the political and government setting the sculpture would be placed into, Puryear has commented the orientation facing away from the building represents how within a democracy “people talk back to the government”. | [
"Martin Puryear"
] |
|
15775_T | Bearing Witness (sculpture) | Focus on Bearing Witness (sculpture) and explain the Reception. | Despite its size and prominent location “Bearing Witness” has been the focus of minimal criticism, aside from general criticism over the extensive costs of GSA funded artwork. It is colloquially referred to as “the thumb” by locals, and is the site of occasional concerts, art “jams”, and food tabling. Many observers connect the form of the sculpture to that of a head, or possibly a fang mask, which inspired many of Puryear’s other artworks. Art critic David Levi-Strauss makes the claim that the sculpture is inspired by the head of Puryear’s daughter, Sasha. | [] |
|
15775_NT | Bearing Witness (sculpture) | Focus on this artwork and explain the Reception. | Despite its size and prominent location “Bearing Witness” has been the focus of minimal criticism, aside from general criticism over the extensive costs of GSA funded artwork. It is colloquially referred to as “the thumb” by locals, and is the site of occasional concerts, art “jams”, and food tabling. Many observers connect the form of the sculpture to that of a head, or possibly a fang mask, which inspired many of Puryear’s other artworks. Art critic David Levi-Strauss makes the claim that the sculpture is inspired by the head of Puryear’s daughter, Sasha. | [] |
|
15776_T | Die große Nacht im Eimer | Explore the abstract of this artwork, Die große Nacht im Eimer. | Die große Nacht im Eimer (The Big Night Down the Drain) is an oil on canvas painting by the German painter Georg Baselitz. It was painted in 1962–1963 and is now held in the Museum Ludwig in Cologne. | [
"Museum Ludwig",
"Cologne",
"Georg Baselitz"
] |
|
15776_NT | Die große Nacht im Eimer | Explore the abstract of this artwork. | Die große Nacht im Eimer (The Big Night Down the Drain) is an oil on canvas painting by the German painter Georg Baselitz. It was painted in 1962–1963 and is now held in the Museum Ludwig in Cologne. | [
"Museum Ludwig",
"Cologne",
"Georg Baselitz"
] |
|
15777_T | Die große Nacht im Eimer | Focus on Die große Nacht im Eimer and discuss the Description and analysis. | The painting provocatively depicts a masturbating figure. His facial features are hardly recognizable and he seems to be bare-chested and wearing shorts. The background of the painting is entirely dark. An object not easily identifiable stands behind the figure. One interpretation is that the painting shows a boy after masturbating, while another is that it depicts a hideous dwarf (with Hitler hairdo) with a penis of grotesque size. In both cases, the focus of the painting is sex, and Baselitz's primary objective was to shock his audience. Baselitz said he used the erect organ "as an aggressive act or shock", and it was with attitude the genitals represent that was offensive. It was a caricature to remind the Germans of World War II.
The art historian Klaus Gallwitz described the motif: “The figure, whose physique is reminiscent of a boy, stands with legs apart and holds an oversized phallus in his left hand. He looks past the viewer.” The slender figure stands in extreme contrast to the overemphasized masculinity: “The shape of the face, like the upper body covered with informal brush strokes, has no other physiognomic features apart from the eyes and a large ear.” In the same year, Baselitz created another painting of sexual content with the same title (oil on canvas, 180 × 165 cm), now in a private collection. Here the motif shows the figure with its head and phallus lowered, in a broken depiction of sexuality. There is also a study for the current painting, named The Great Night (pencil and watercolor, 63 × 48 cm, private collection).The paintings come from the early phase of Baselitz' work from 1960 to 1963, when the artist was working on Antonin Artaud. In this phase, he created paintings "that reveal a morbid curiosity about 'feverful openings' and 'corpus cavernosum'". The subjects remain in the paintings without context and convey states of their dissolution in color and painterly conception. Baselitz himself called his color tones "mashed" and later explained this early phase in his works as "puberty mud".In October 1963, the work, as well as the painting Der nackte Mann, shown in the West Berlin gallery Werner & Katz, was seized by the public prosecutor's office because of immorality. The criminal proceedings ended in 1965 with the return of the pictures.Baselitz painted a second version of the painting entitled The Big Night Down the Drain (remix), in 2005. | [
"gallery",
"Hitler",
"masturbating",
"public prosecutor",
"penis",
"West Berlin",
"prosecutor",
"immorality",
"Antonin Artaud"
] |
|
15777_NT | Die große Nacht im Eimer | Focus on this artwork and discuss the Description and analysis. | The painting provocatively depicts a masturbating figure. His facial features are hardly recognizable and he seems to be bare-chested and wearing shorts. The background of the painting is entirely dark. An object not easily identifiable stands behind the figure. One interpretation is that the painting shows a boy after masturbating, while another is that it depicts a hideous dwarf (with Hitler hairdo) with a penis of grotesque size. In both cases, the focus of the painting is sex, and Baselitz's primary objective was to shock his audience. Baselitz said he used the erect organ "as an aggressive act or shock", and it was with attitude the genitals represent that was offensive. It was a caricature to remind the Germans of World War II.
The art historian Klaus Gallwitz described the motif: “The figure, whose physique is reminiscent of a boy, stands with legs apart and holds an oversized phallus in his left hand. He looks past the viewer.” The slender figure stands in extreme contrast to the overemphasized masculinity: “The shape of the face, like the upper body covered with informal brush strokes, has no other physiognomic features apart from the eyes and a large ear.” In the same year, Baselitz created another painting of sexual content with the same title (oil on canvas, 180 × 165 cm), now in a private collection. Here the motif shows the figure with its head and phallus lowered, in a broken depiction of sexuality. There is also a study for the current painting, named The Great Night (pencil and watercolor, 63 × 48 cm, private collection).The paintings come from the early phase of Baselitz' work from 1960 to 1963, when the artist was working on Antonin Artaud. In this phase, he created paintings "that reveal a morbid curiosity about 'feverful openings' and 'corpus cavernosum'". The subjects remain in the paintings without context and convey states of their dissolution in color and painterly conception. Baselitz himself called his color tones "mashed" and later explained this early phase in his works as "puberty mud".In October 1963, the work, as well as the painting Der nackte Mann, shown in the West Berlin gallery Werner & Katz, was seized by the public prosecutor's office because of immorality. The criminal proceedings ended in 1965 with the return of the pictures.Baselitz painted a second version of the painting entitled The Big Night Down the Drain (remix), in 2005. | [
"gallery",
"Hitler",
"masturbating",
"public prosecutor",
"penis",
"West Berlin",
"prosecutor",
"immorality",
"Antonin Artaud"
] |
|
15778_T | El Juicio de Paris (Simonet) | How does El Juicio de Paris (Simonet) elucidate its abstract? | El Juicio de Paris (The Judgment of Paris in English) is an oil-on-canvas painting of the Greek myth, the Judgement of Paris. It depicts the three goddesses naked and Paris deciding whom he should give the apple to. It was executed in 1904 by Enrique Simonet, a Spanish painter, and is one of the many works depicting the scene. The composition is 3.31 by 2.15 metres (10.9 by 7.1 ft). It is owned by heirs of Simonet, and is in the Museo de Málaga. | [
"English",
"heir",
"Museo de Málaga",
"Enrique Simonet",
"works depicting the scene",
"Spanish",
"painter",
"Greek myth",
"painting",
"oil-on-canvas",
"Málaga",
"Judgement of Paris"
] |
|
15778_NT | El Juicio de Paris (Simonet) | How does this artwork elucidate its abstract? | El Juicio de Paris (The Judgment of Paris in English) is an oil-on-canvas painting of the Greek myth, the Judgement of Paris. It depicts the three goddesses naked and Paris deciding whom he should give the apple to. It was executed in 1904 by Enrique Simonet, a Spanish painter, and is one of the many works depicting the scene. The composition is 3.31 by 2.15 metres (10.9 by 7.1 ft). It is owned by heirs of Simonet, and is in the Museo de Málaga. | [
"English",
"heir",
"Museo de Málaga",
"Enrique Simonet",
"works depicting the scene",
"Spanish",
"painter",
"Greek myth",
"painting",
"oil-on-canvas",
"Málaga",
"Judgement of Paris"
] |
|
15779_T | Bacchus (Caravaggio) | Focus on Bacchus (Caravaggio) and analyze the abstract. | Bacchus (c. 1596) is an oil painting by Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610) commissioned by Cardinal Del Monte. The painting shows a youthful Bacchus reclining in classical fashion with grapes and vine leaves in his hair, fingering the drawstring of his loosely draped robe. On a stone table in front of him is a bowl of fruit and a large carafe of red wine. He holds out a shallow goblet of the same wine, inviting the viewer to join him. The painting is currently held in the Uffizi Gallery in Florence. | [
"Michelangelo Merisi da Caravaggio",
"Florence",
"Uffizi",
"Baroque",
"Caravaggio",
"Italian",
"Bacchus",
"Cardinal Del Monte"
] |
|
15779_NT | Bacchus (Caravaggio) | Focus on this artwork and analyze the abstract. | Bacchus (c. 1596) is an oil painting by Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610) commissioned by Cardinal Del Monte. The painting shows a youthful Bacchus reclining in classical fashion with grapes and vine leaves in his hair, fingering the drawstring of his loosely draped robe. On a stone table in front of him is a bowl of fruit and a large carafe of red wine. He holds out a shallow goblet of the same wine, inviting the viewer to join him. The painting is currently held in the Uffizi Gallery in Florence. | [
"Michelangelo Merisi da Caravaggio",
"Florence",
"Uffizi",
"Baroque",
"Caravaggio",
"Italian",
"Bacchus",
"Cardinal Del Monte"
] |
|
15780_T | Bacchus (Caravaggio) | In Bacchus (Caravaggio), how is the Subject matter discussed? | Bacchus, also known as Dionysus was the Greek god of wine, inebriation, fertility and theater. He is known to be joyous and kind to those who admire him, yet cruel and mischievous to those who cross him. Scenes from Greek mythology were often found in the private spaces of aristocrats. Classical images were used to depict the patron’s interests or triumphs. The patron may have valued the finer things in life and saw Bacchus as the perfect allegory for wealth and excess. | [
"Bacchus",
"Dionysus"
] |
|
15780_NT | Bacchus (Caravaggio) | In this artwork, how is the Subject matter discussed? | Bacchus, also known as Dionysus was the Greek god of wine, inebriation, fertility and theater. He is known to be joyous and kind to those who admire him, yet cruel and mischievous to those who cross him. Scenes from Greek mythology were often found in the private spaces of aristocrats. Classical images were used to depict the patron’s interests or triumphs. The patron may have valued the finer things in life and saw Bacchus as the perfect allegory for wealth and excess. | [
"Bacchus",
"Dionysus"
] |
|
15781_T | Bacchus (Caravaggio) | Focus on Bacchus (Caravaggio) and explore the Interpretation. | Caravaggio is not only attempting to depict Bacchus, but also a boy dressed up as Bacchus. It Is a sensual scene inviting the viewer to succumb to their carnal desires. The boy is youthful and handsome, round yet muscular. He barely makes an attempt to keep his robes on as he coaxes the viewer to join him with a suggestive look in his eye. In the basket there is a bursting pomegranate as well as a rotting apple. Caravaggio uses these elements together to hint at the Vanitas theme. Youth and pleasure are fleeting. Everything must succumb to death and rot. It is also possible that the rotting apple simply represents fermentation, suggesting not only that fermentation is literally rot, but also that improper methods of fermentation lead to the personification of rot. The homoeroticism felt in the painting could be Caravaggio alluding to his own romantic feelings for the young model in the painting. Many of Caravaggio's patrons and fellow artists turned a blind eye to his behavior and continued to support his work. Art historian, Donald Posner, felt that the homoeroticism in the painting was actually alluding to Cardinal Del Monte's sexuality and his relationships with the young boys that ran in his inner circle. | [
"Caravaggio",
"Vanitas",
"Bacchus",
"Cardinal Del Monte"
] |
|
15781_NT | Bacchus (Caravaggio) | Focus on this artwork and explore the Interpretation. | Caravaggio is not only attempting to depict Bacchus, but also a boy dressed up as Bacchus. It Is a sensual scene inviting the viewer to succumb to their carnal desires. The boy is youthful and handsome, round yet muscular. He barely makes an attempt to keep his robes on as he coaxes the viewer to join him with a suggestive look in his eye. In the basket there is a bursting pomegranate as well as a rotting apple. Caravaggio uses these elements together to hint at the Vanitas theme. Youth and pleasure are fleeting. Everything must succumb to death and rot. It is also possible that the rotting apple simply represents fermentation, suggesting not only that fermentation is literally rot, but also that improper methods of fermentation lead to the personification of rot. The homoeroticism felt in the painting could be Caravaggio alluding to his own romantic feelings for the young model in the painting. Many of Caravaggio's patrons and fellow artists turned a blind eye to his behavior and continued to support his work. Art historian, Donald Posner, felt that the homoeroticism in the painting was actually alluding to Cardinal Del Monte's sexuality and his relationships with the young boys that ran in his inner circle. | [
"Caravaggio",
"Vanitas",
"Bacchus",
"Cardinal Del Monte"
] |
|
15782_T | Bacchus (Caravaggio) | Focus on Bacchus (Caravaggio) and explain the Commission. | Bacchus was painted shortly after Caravaggio joined the household of his first important patron, Cardinal Del Monte, and reflects the humanist interests of the Cardinal's educated circle. Caravaggio moved into the Palazzo Madama in 1596 and remained a guest of the cardinal for five years. Del Monte held a passion for the arts and requested multiple paintings from Caravaggio including Medusa. The cardinal was a fan of classical greek mythology and used allegorical images to emphasize his knowledge of art, music, and theater. Both Bacchus and Medusa were donated by the cardinal to the Medici family and have remained in Florence ever since. Del Monte's early support and guidance brought wealth and recognition to Caravaggio, making him one his most important patrons. | [
"Florence",
"Medusa",
"Caravaggio",
"Bacchus",
"Cardinal Del Monte",
"humanist"
] |
|
15782_NT | Bacchus (Caravaggio) | Focus on this artwork and explain the Commission. | Bacchus was painted shortly after Caravaggio joined the household of his first important patron, Cardinal Del Monte, and reflects the humanist interests of the Cardinal's educated circle. Caravaggio moved into the Palazzo Madama in 1596 and remained a guest of the cardinal for five years. Del Monte held a passion for the arts and requested multiple paintings from Caravaggio including Medusa. The cardinal was a fan of classical greek mythology and used allegorical images to emphasize his knowledge of art, music, and theater. Both Bacchus and Medusa were donated by the cardinal to the Medici family and have remained in Florence ever since. Del Monte's early support and guidance brought wealth and recognition to Caravaggio, making him one his most important patrons. | [
"Florence",
"Medusa",
"Caravaggio",
"Bacchus",
"Cardinal Del Monte",
"humanist"
] |
|
15783_T | Bacchus (Caravaggio) | Explore the Model of this artwork, Bacchus (Caravaggio). | The model for Bacchus might have actually been Caravaggio's pupil, Mario Minniti, whom he had used as a model in The Musicians, Boy with a Basket of Fruit, The Fortune Teller, Lute Player, and The Calling of Saint Matthew. There was speculation that Caravaggio and Minnit's relationship was that of a sexual nature. Paintings that he modeled for could be seen as having a homoerotic quality. Especially in Bacchus, the lounging model is inviting the viewer into the scene with a glass of wine and a basket of ripe fruits while his robe slips off. Caravaggio was known for staging scenes, including the models and painting them in costume, doing away with the need to sketch the scene from his mind before applying paint to canvas. Some critics, such as Giovanni Baglione, believed that Caravaggio used himself as the model. During 1595 he would have been twenty-four and could have played up his youthful features for this work. Bacchus is offering of the wine with his left hand, despite the obvious effort this is causing the model. This has led to speculation that Caravaggio used a mirror to assist himself while working from life, doing away with the need for drawing. It is believed that Caravaggio was unable to paint the human figure without a model in front of him. | [
"Boy with a Basket of Fruit",
"Lute Player",
"The Musicians",
"Caravaggio",
"Bacchus",
"Giovanni Baglione",
"The Fortune Teller",
"Mario Minniti"
] |
|
15783_NT | Bacchus (Caravaggio) | Explore the Model of this artwork. | The model for Bacchus might have actually been Caravaggio's pupil, Mario Minniti, whom he had used as a model in The Musicians, Boy with a Basket of Fruit, The Fortune Teller, Lute Player, and The Calling of Saint Matthew. There was speculation that Caravaggio and Minnit's relationship was that of a sexual nature. Paintings that he modeled for could be seen as having a homoerotic quality. Especially in Bacchus, the lounging model is inviting the viewer into the scene with a glass of wine and a basket of ripe fruits while his robe slips off. Caravaggio was known for staging scenes, including the models and painting them in costume, doing away with the need to sketch the scene from his mind before applying paint to canvas. Some critics, such as Giovanni Baglione, believed that Caravaggio used himself as the model. During 1595 he would have been twenty-four and could have played up his youthful features for this work. Bacchus is offering of the wine with his left hand, despite the obvious effort this is causing the model. This has led to speculation that Caravaggio used a mirror to assist himself while working from life, doing away with the need for drawing. It is believed that Caravaggio was unable to paint the human figure without a model in front of him. | [
"Boy with a Basket of Fruit",
"Lute Player",
"The Musicians",
"Caravaggio",
"Bacchus",
"Giovanni Baglione",
"The Fortune Teller",
"Mario Minniti"
] |
|
15784_T | Bacchus (Caravaggio) | Focus on Bacchus (Caravaggio) and discuss the Other versions. | Young Sick Bacchus (c. 1593) is another image of Bacchus done by Caravaggio for the Borghese family. The model for this portrait is also believed to be the same model used in Bacchus (c. 1595). Unlike the later version, this version Bacchus' skin appears jaundiced and his body is positioned away from the viewer. Again, it is unclear if the model is Caravaggio himself or his pupil Mario Minniti. This version shows Caravaggio's interest in tenebrism. The background remains dark while the subject looks like they are under a spotlight, creating a dramatic effect forcing the viewer to focus on one aspect of the scene. Unlike the later Bacchus, this depiction focuses on the decay of Bacchus himself rather than the decay of decadence. There is another version of Young Sick Bacchus by Caravaggio (c. 1593) at the Galleria Nazionale d'Arte Antica in Rome. The title is Self-portrait as Bacchus, but the image is almost the same as the Borghese version. | [
"tenebrism",
"Borghese",
"Caravaggio",
"Bacchus",
"Young Sick Bacchus",
"Mario Minniti"
] |
|
15784_NT | Bacchus (Caravaggio) | Focus on this artwork and discuss the Other versions. | Young Sick Bacchus (c. 1593) is another image of Bacchus done by Caravaggio for the Borghese family. The model for this portrait is also believed to be the same model used in Bacchus (c. 1595). Unlike the later version, this version Bacchus' skin appears jaundiced and his body is positioned away from the viewer. Again, it is unclear if the model is Caravaggio himself or his pupil Mario Minniti. This version shows Caravaggio's interest in tenebrism. The background remains dark while the subject looks like they are under a spotlight, creating a dramatic effect forcing the viewer to focus on one aspect of the scene. Unlike the later Bacchus, this depiction focuses on the decay of Bacchus himself rather than the decay of decadence. There is another version of Young Sick Bacchus by Caravaggio (c. 1593) at the Galleria Nazionale d'Arte Antica in Rome. The title is Self-portrait as Bacchus, but the image is almost the same as the Borghese version. | [
"tenebrism",
"Borghese",
"Caravaggio",
"Bacchus",
"Young Sick Bacchus",
"Mario Minniti"
] |
|
15785_T | Portrait of Adeline Ravoux | How does Portrait of Adeline Ravoux elucidate its abstract? | Portrait of Adeline Ravoux is an oil painting from June 1890 by Vincent van Gogh.
It is in the collection of the Cleveland Museum of Art. | [
"Vincent van Gogh",
"Cleveland Museum of Art"
] |
|
15785_NT | Portrait of Adeline Ravoux | How does this artwork elucidate its abstract? | Portrait of Adeline Ravoux is an oil painting from June 1890 by Vincent van Gogh.
It is in the collection of the Cleveland Museum of Art. | [
"Vincent van Gogh",
"Cleveland Museum of Art"
] |
|
15786_T | Portrait of Adeline Ravoux | Focus on Portrait of Adeline Ravoux and analyze the Description. | The twelve-year-old Adeline Ravoux was the daughter of Arthur-Gustave Ravoux, whose inn is where Van Gogh lodged in Auvers-sur-Oise. She later wrote a memoir of Van Gogh's stay with them. She witnessed Van Gogh's return to the inn after the fatal incident where he shot himself: "Vincent walked bent, holding his stomach, again exaggerating his habit of holding one shoulder higher than the other. Mother asked him: " M. Vincent, we were anxious, we are happy to see you to return; have you had a problem?" He replied in a suffering voice: "No, but I have…" he did not finish, crossed the hall, took the staircase and climbed to his bedroom. I was witness to this scene. Vincent made on us such a strange impression that Father got up and went to the staircase to see if he could hear anything." | [] |
|
15786_NT | Portrait of Adeline Ravoux | Focus on this artwork and analyze the Description. | The twelve-year-old Adeline Ravoux was the daughter of Arthur-Gustave Ravoux, whose inn is where Van Gogh lodged in Auvers-sur-Oise. She later wrote a memoir of Van Gogh's stay with them. She witnessed Van Gogh's return to the inn after the fatal incident where he shot himself: "Vincent walked bent, holding his stomach, again exaggerating his habit of holding one shoulder higher than the other. Mother asked him: " M. Vincent, we were anxious, we are happy to see you to return; have you had a problem?" He replied in a suffering voice: "No, but I have…" he did not finish, crossed the hall, took the staircase and climbed to his bedroom. I was witness to this scene. Vincent made on us such a strange impression that Father got up and went to the staircase to see if he could hear anything." | [] |
|
15787_T | Portrait of Pierre Seriziat | Focus on Portrait of Pierre Seriziat and explore the abstract. | The Portrait of Pierre Seriziat (or Sériziat) is a 1795 oil canvas portrait by French artist Jacques Louis David. The portrait shows an elegant and wealthy Frenchman, Pierre Seriziat, seated outdoors on top of a rock. The painting is one of a pair done by David for Seriziat and his wife Emilie, the sister of David's then-estranged wife Charlotte. The companion piece, Portrait of Emilie Seriziat, shows a woman in a white dress indoors, holding flowers in one hand and the hand of a child in the other. Both paintings are held in the Louvre in Paris. | [
"Louvre",
"Frenchman",
"Paris",
"Portrait",
"Jacques Louis David",
"Charlotte",
"oil",
"portrait"
] |
|
15787_NT | Portrait of Pierre Seriziat | Focus on this artwork and explore the abstract. | The Portrait of Pierre Seriziat (or Sériziat) is a 1795 oil canvas portrait by French artist Jacques Louis David. The portrait shows an elegant and wealthy Frenchman, Pierre Seriziat, seated outdoors on top of a rock. The painting is one of a pair done by David for Seriziat and his wife Emilie, the sister of David's then-estranged wife Charlotte. The companion piece, Portrait of Emilie Seriziat, shows a woman in a white dress indoors, holding flowers in one hand and the hand of a child in the other. Both paintings are held in the Louvre in Paris. | [
"Louvre",
"Frenchman",
"Paris",
"Portrait",
"Jacques Louis David",
"Charlotte",
"oil",
"portrait"
] |
|
15788_T | Athenebrunnen | Focus on Athenebrunnen and explain the Appearance. | In the center of the neoclassical fountain dominates the statue of the goddess Athena at the moment of her birth. According to Greek mythology – Hesiod's Theogony (886–900) – she emerged from the head of her father Zeus in full armor. The stone statue of Athena wears a metal shield, spear, armor and helmet. Only the head of Zeus appears; this serves as a pedestal for the statue of the goddess.
Below the statue of Athena and the head of Zeus, two well basins lie like a staircase. Next to the lower basin, the stone figure of Prometheus can be seen on the right hand of Athena. On her left is the figure of Pandora with the famous box on her lap. | [
"Athena",
"Pandora",
"Prometheus",
"Greek mythology",
"Theogony",
"Hesiod",
"Zeus"
] |
|
15788_NT | Athenebrunnen | Focus on this artwork and explain the Appearance. | In the center of the neoclassical fountain dominates the statue of the goddess Athena at the moment of her birth. According to Greek mythology – Hesiod's Theogony (886–900) – she emerged from the head of her father Zeus in full armor. The stone statue of Athena wears a metal shield, spear, armor and helmet. Only the head of Zeus appears; this serves as a pedestal for the statue of the goddess.
Below the statue of Athena and the head of Zeus, two well basins lie like a staircase. Next to the lower basin, the stone figure of Prometheus can be seen on the right hand of Athena. On her left is the figure of Pandora with the famous box on her lap. | [
"Athena",
"Pandora",
"Prometheus",
"Greek mythology",
"Theogony",
"Hesiod",
"Zeus"
] |
|
15789_T | Athenebrunnen | Explore the Symbolism of this artwork, Athenebrunnen. | The choice of the goddess Athena reflects how the Siegle family liked to see themselves. Athena is the protector of the city of Athens but moreover she is considered the goddess of wisdom and the patroness of the arts and sciences. Gustav and Julie Siegle were also generous supporters of cultural, social and scientific purposes. Not only was the first hospital (1893) in Feuerbach theirs, but also the Gustav-Siegle-Haus in Stuttgart in 1912, which was used for popular education.
Moreover, the system of fountains symbolizes the dual value of all human striving for knowledge. According to Greek mythology, Prometheus brought fire to men and was cruelly punished for his act by Zeus. On the other hand, Pandora brought all the evils to humanity by leaving them only hope.Three years later, in 1914, Karl Donndorf undertook another work in Stuttgart on the ambivalence of good and bad with the Schicksalsbrunnen (Fountain of Destiny), composed of the Goddess of Fate in the center of a semicircle, on the left the statue of the allegory of pain, on the right the statue of the allegory of joy and love. | [
"Gustav-Siegle-Haus",
"Athena",
"Pandora",
"Prometheus",
"Schicksalsbrunnen",
"Goddess of Fate",
"Greek mythology",
"Stuttgart",
"Karl Donndorf",
"Zeus",
"Athens",
"Feuerbach"
] |
|
15789_NT | Athenebrunnen | Explore the Symbolism of this artwork. | The choice of the goddess Athena reflects how the Siegle family liked to see themselves. Athena is the protector of the city of Athens but moreover she is considered the goddess of wisdom and the patroness of the arts and sciences. Gustav and Julie Siegle were also generous supporters of cultural, social and scientific purposes. Not only was the first hospital (1893) in Feuerbach theirs, but also the Gustav-Siegle-Haus in Stuttgart in 1912, which was used for popular education.
Moreover, the system of fountains symbolizes the dual value of all human striving for knowledge. According to Greek mythology, Prometheus brought fire to men and was cruelly punished for his act by Zeus. On the other hand, Pandora brought all the evils to humanity by leaving them only hope.Three years later, in 1914, Karl Donndorf undertook another work in Stuttgart on the ambivalence of good and bad with the Schicksalsbrunnen (Fountain of Destiny), composed of the Goddess of Fate in the center of a semicircle, on the left the statue of the allegory of pain, on the right the statue of the allegory of joy and love. | [
"Gustav-Siegle-Haus",
"Athena",
"Pandora",
"Prometheus",
"Schicksalsbrunnen",
"Goddess of Fate",
"Greek mythology",
"Stuttgart",
"Karl Donndorf",
"Zeus",
"Athens",
"Feuerbach"
] |
|
15790_T | Athenebrunnen | How does Athenebrunnen elucidate its Literature? | "Pallas-Athene-Brunnen." In: Bernd Langner and Wolfgang Kress, Ausblicke nach allen Richtungen: 150 Jahre Verschönerungsverein Stuttgart e.V.; 1861–2011. Stuttgart: Schönerungsverein Stuttgart, 2011; ISBN 9783000174599, page 171. | [
"Verschönerungsverein Stuttgart",
"Stuttgart"
] |
|
15790_NT | Athenebrunnen | How does this artwork elucidate its Literature? | "Pallas-Athene-Brunnen." In: Bernd Langner and Wolfgang Kress, Ausblicke nach allen Richtungen: 150 Jahre Verschönerungsverein Stuttgart e.V.; 1861–2011. Stuttgart: Schönerungsverein Stuttgart, 2011; ISBN 9783000174599, page 171. | [
"Verschönerungsverein Stuttgart",
"Stuttgart"
] |
|
15791_T | Christus Dolens (Bramantino) | Focus on Christus Dolens (Bramantino) and analyze the abstract. | Christus Dolens or Christ as the Man of Sorrows is a tempera on panel painting by Bramantino, executed c. 1490, in the Museo Thyssen-Bornemisza in Madrid. The original Thyssen-Bornemisza Collection acquired it in 1937 from Countess Teresa Soranza-Mocenigo. A similar work by Bramantino is in the Museo della Certosa in Pavia.The painting was recorded in the Della Porta Pusterla family collection in Milan in 1590, where it remained until the first quarter of the 20th century. It was published for the first time by Müller Walde in 1898 and various studies attributed it to Bramantino or Bramante. In 1905 William Suida was the first to suggest an attribution to Bramantino. Mulazzini dated it to 1490, early in Bramantino's career. | [
"1898",
"Bramante",
"William Suida",
"Milan",
"Museo della Certosa",
"Museo Thyssen-Bornemisza",
"Pavia",
"Bramantino",
"Madrid"
] |
|
15791_NT | Christus Dolens (Bramantino) | Focus on this artwork and analyze the abstract. | Christus Dolens or Christ as the Man of Sorrows is a tempera on panel painting by Bramantino, executed c. 1490, in the Museo Thyssen-Bornemisza in Madrid. The original Thyssen-Bornemisza Collection acquired it in 1937 from Countess Teresa Soranza-Mocenigo. A similar work by Bramantino is in the Museo della Certosa in Pavia.The painting was recorded in the Della Porta Pusterla family collection in Milan in 1590, where it remained until the first quarter of the 20th century. It was published for the first time by Müller Walde in 1898 and various studies attributed it to Bramantino or Bramante. In 1905 William Suida was the first to suggest an attribution to Bramantino. Mulazzini dated it to 1490, early in Bramantino's career. | [
"1898",
"Bramante",
"William Suida",
"Milan",
"Museo della Certosa",
"Museo Thyssen-Bornemisza",
"Pavia",
"Bramantino",
"Madrid"
] |
|
15792_T | Christus Dolens (Bramantino) | In Christus Dolens (Bramantino), how is the Description and style discussed? | The work represents Christ as a Man of Sorrows, frontal, half-length up to the knee, but it may also want to represent the Resurrection. Against the background of a ruined architecture (possibly the sepulcher) and a lunar landscape (with a river, trees and a sailing ship), the emaciated body of Christ stands out very close to the viewer, of a stony whiteness, wrapped in a mantle that draws deep creased paper-like folds, derived from the Nordic painting.
A feeling of austerity and compassion prevails towards the figure who solemnly shows the signs of martyrdom, with an incisive graphic definition of the forms. Instead of the triumphant over death, Christ is depicted with red eyes, an expression of intense suffering and sadness, an almost ghostly pale body, drawn with great precision, as can be seen in the fingers, tendons of the outstretched arm and muscles and chest. The expression of Christ is powerful enough to focus the observer's attention on the sphere of emotions, which is the aspect Bramantino was most interested in presenting. | [
"Bramantino"
] |
|
15792_NT | Christus Dolens (Bramantino) | In this artwork, how is the Description and style discussed? | The work represents Christ as a Man of Sorrows, frontal, half-length up to the knee, but it may also want to represent the Resurrection. Against the background of a ruined architecture (possibly the sepulcher) and a lunar landscape (with a river, trees and a sailing ship), the emaciated body of Christ stands out very close to the viewer, of a stony whiteness, wrapped in a mantle that draws deep creased paper-like folds, derived from the Nordic painting.
A feeling of austerity and compassion prevails towards the figure who solemnly shows the signs of martyrdom, with an incisive graphic definition of the forms. Instead of the triumphant over death, Christ is depicted with red eyes, an expression of intense suffering and sadness, an almost ghostly pale body, drawn with great precision, as can be seen in the fingers, tendons of the outstretched arm and muscles and chest. The expression of Christ is powerful enough to focus the observer's attention on the sphere of emotions, which is the aspect Bramantino was most interested in presenting. | [
"Bramantino"
] |
|
15793_T | The Doctor (painting) | Focus on The Doctor (painting) and explore the abstract. | The Doctor is an 1891 painting by Luke Fildes that depicts a Victorian doctor observing the critical stage in a child's illness while the parents gaze on helplessly from the periphery. It has been used to portray the values of the ideal physician and the inadequacies of the medical profession. Different theories exist as to the painting's origin but it is most likely based upon Fildes' own experience of the death of his son. Critics have noted that Fildes omitted common medical equipment of his era in order to focus on the relationship between physician and patient. | [
"Luke Fildes"
] |
|
15793_NT | The Doctor (painting) | Focus on this artwork and explore the abstract. | The Doctor is an 1891 painting by Luke Fildes that depicts a Victorian doctor observing the critical stage in a child's illness while the parents gaze on helplessly from the periphery. It has been used to portray the values of the ideal physician and the inadequacies of the medical profession. Different theories exist as to the painting's origin but it is most likely based upon Fildes' own experience of the death of his son. Critics have noted that Fildes omitted common medical equipment of his era in order to focus on the relationship between physician and patient. | [
"Luke Fildes"
] |
|
15794_T | The Doctor (painting) | Focus on The Doctor (painting) and explain the Origins. | The painting was commissioned by Henry Tate in 1890 as a work of "social realism" on a topic of Fildes' choosing to be displayed in the National Gallery of British Art, now known as the Tate Gallery London. Fildes was paid £3,000 for the work, a sum he felt was too small for such a painting and less than he expected for painting portraits. Two Victorian doctors, Dr Thomas Buzzard (neurologist) and Dr Gustavus Murray (obstetrician), have been particularly associated with the painting, as has the genre of the period in which it was painted. Fildes had the particular desire "to put on record the status of the doctor in our time".Different theories exist as to the origins of the painting. | [
"Gustavus Murray",
"Henry Tate",
"Tate",
"social realism",
"Tate Gallery",
"Tate Gallery London",
"Thomas Buzzard",
"London"
] |
|
15794_NT | The Doctor (painting) | Focus on this artwork and explain the Origins. | The painting was commissioned by Henry Tate in 1890 as a work of "social realism" on a topic of Fildes' choosing to be displayed in the National Gallery of British Art, now known as the Tate Gallery London. Fildes was paid £3,000 for the work, a sum he felt was too small for such a painting and less than he expected for painting portraits. Two Victorian doctors, Dr Thomas Buzzard (neurologist) and Dr Gustavus Murray (obstetrician), have been particularly associated with the painting, as has the genre of the period in which it was painted. Fildes had the particular desire "to put on record the status of the doctor in our time".Different theories exist as to the origins of the painting. | [
"Gustavus Murray",
"Henry Tate",
"Tate",
"social realism",
"Tate Gallery",
"Tate Gallery London",
"Thomas Buzzard",
"London"
] |
|
15795_T | The Doctor (painting) | Explore the Fildes' personal loss about the Origins of this artwork, The Doctor (painting). | The most important personal influence was probably the death of Fildes' first child, his one-year-old son, Philip, from typhoid fever on Christmas morning, 1877. Fildes' biographer has described how the boy's death compelled Fildes to paint a picture revolving around the compassionate Dr Murray visiting his dying child. The story was confirmed later by Fildes' second son, who described this as Fildes' "quickest painted of his 'big' pictures". | [
"typhoid fever"
] |
|
15795_NT | The Doctor (painting) | Explore the Fildes' personal loss about the Origins of this artwork. | The most important personal influence was probably the death of Fildes' first child, his one-year-old son, Philip, from typhoid fever on Christmas morning, 1877. Fildes' biographer has described how the boy's death compelled Fildes to paint a picture revolving around the compassionate Dr Murray visiting his dying child. The story was confirmed later by Fildes' second son, who described this as Fildes' "quickest painted of his 'big' pictures". | [
"typhoid fever"
] |
|
15796_T | The Doctor (painting) | In the context of The Doctor (painting), discuss the Fildes' experiences of the Origins. | Documentation of Fildes' work with the homeless reveals that a child was once brought into the studio by a labourer, a scenario which prompted the painting The Widower (1876). This painting included many features later seen in The Doctor.Fildes most likely modelled the characters in the painting on his own family and himself. Observing photographs of himself, Fildes guided his models, who were frequently his friends. His daughter was likely the prototype of the sick child, and a professional model was used for the mother. The child's resting hand and extended arm may have been drawn from Fildes' older son. Despite reports that doctors visited Fildes in the hope of being used as models, the final painting of the doctor resembles Fildes himself.Paying tribute to his family origins in the fishing industry, Fildes adds a fishing net hanging from the ceiling. His father was a mariner and shipping agent. | [
"mariner"
] |
|
15796_NT | The Doctor (painting) | In the context of this artwork, discuss the Fildes' experiences of the Origins. | Documentation of Fildes' work with the homeless reveals that a child was once brought into the studio by a labourer, a scenario which prompted the painting The Widower (1876). This painting included many features later seen in The Doctor.Fildes most likely modelled the characters in the painting on his own family and himself. Observing photographs of himself, Fildes guided his models, who were frequently his friends. His daughter was likely the prototype of the sick child, and a professional model was used for the mother. The child's resting hand and extended arm may have been drawn from Fildes' older son. Despite reports that doctors visited Fildes in the hope of being used as models, the final painting of the doctor resembles Fildes himself.Paying tribute to his family origins in the fishing industry, Fildes adds a fishing net hanging from the ceiling. His father was a mariner and shipping agent. | [
"mariner"
] |
|
15797_T | The Doctor (painting) | In The Doctor (painting), how is the On Queen Victoria's orders of the Origins elucidated? | The cottage setting has led some to believe that the painting was ordered by Queen Victoria to honour her own physician, Sir James Clark. This alternative account also originates in the story about her physician being sent to Balmoral to care for the sick child of a servant. This account, however, is simply groundless because not a single contemporary reviewer mentioned this episode when the picture was first exhibited in 1891 at the Royal Academy in London and Fildes himself made no mention of Queen Victoria in his several interviews concerning the painting. | [
"Sir James Clark",
"Queen Victoria",
"London"
] |
|
15797_NT | The Doctor (painting) | In this artwork, how is the On Queen Victoria's orders of the Origins elucidated? | The cottage setting has led some to believe that the painting was ordered by Queen Victoria to honour her own physician, Sir James Clark. This alternative account also originates in the story about her physician being sent to Balmoral to care for the sick child of a servant. This account, however, is simply groundless because not a single contemporary reviewer mentioned this episode when the picture was first exhibited in 1891 at the Royal Academy in London and Fildes himself made no mention of Queen Victoria in his several interviews concerning the painting. | [
"Sir James Clark",
"Queen Victoria",
"London"
] |
|
15798_T | The Doctor (painting) | In the context of The Doctor (painting), analyze the Social context of the Origins. | 18th and 19th century concerns by society of the rise of scientific medicine also could have possibly influenced the format of the painting. | [] |
|
15798_NT | The Doctor (painting) | In the context of this artwork, analyze the Social context of the Origins. | 18th and 19th century concerns by society of the rise of scientific medicine also could have possibly influenced the format of the painting. | [] |
|
15799_T | The Doctor (painting) | In the context of The Doctor (painting), explore the Preparation of the Composition. | The painting was first exhibited in 1891. Prior to completion, a number of sketches were made which are preserved at the Tate Gallery and depict various alternative compositions such as the doctor being on the right side of the canvas, the child seated rather than lying down, and different facial expressions for the doctor. Fildes built a model cottage to copy after visiting numerous cottages in north-east Scotland, ensuring that the picture included authentic detail of roof rafters, tablecloth, lampshade, and lighting. Particular attention was paid to ensuring the room had a poor, Victorian, multi-purpose appearance. | [
"right",
"Tate",
"Tate Gallery"
] |
|
15799_NT | The Doctor (painting) | In the context of this artwork, explore the Preparation of the Composition. | The painting was first exhibited in 1891. Prior to completion, a number of sketches were made which are preserved at the Tate Gallery and depict various alternative compositions such as the doctor being on the right side of the canvas, the child seated rather than lying down, and different facial expressions for the doctor. Fildes built a model cottage to copy after visiting numerous cottages in north-east Scotland, ensuring that the picture included authentic detail of roof rafters, tablecloth, lampshade, and lighting. Particular attention was paid to ensuring the room had a poor, Victorian, multi-purpose appearance. | [
"right",
"Tate",
"Tate Gallery"
] |
|
15800_T | The Doctor (painting) | In the context of The Doctor (painting), explain the Doctor and patient of the Composition. | The focus of the picture is the worried but sympathetic physician and the sick child, with everything else in the shadows. The child had experienced a 'crisis', the critical stage of a potentially life-threatening illness. The ' dawn' light through the window, represents recovery and hope as the child survived the night.The concentrated focus of the doctor on the child shows the patient as a person and individual and the doctor as a compassionate carer with empathy for the patient's suffering. In 2002, Douglas wrote in the British Medical Journal, "So his manner is all, and Fildes captures it forever: the furrowed brow; the hand propping the firm bearded chin; the calm, concerned authority". | [
"British Medical Journal"
] |
|
15800_NT | The Doctor (painting) | In the context of this artwork, explain the Doctor and patient of the Composition. | The focus of the picture is the worried but sympathetic physician and the sick child, with everything else in the shadows. The child had experienced a 'crisis', the critical stage of a potentially life-threatening illness. The ' dawn' light through the window, represents recovery and hope as the child survived the night.The concentrated focus of the doctor on the child shows the patient as a person and individual and the doctor as a compassionate carer with empathy for the patient's suffering. In 2002, Douglas wrote in the British Medical Journal, "So his manner is all, and Fildes captures it forever: the furrowed brow; the hand propping the firm bearded chin; the calm, concerned authority". | [
"British Medical Journal"
] |
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