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15801_T | The Doctor (painting) | Explore the Parents about the Composition of this artwork, The Doctor (painting). | The parents are insignificant, helpless, and not central to the picture. A father gives support to his wife by extending his arm and resting his hand on her shoulder. She appears to be crying and possibly praying. He, however, is also helpless and peers on at the doctor and child. | [] |
|
15801_NT | The Doctor (painting) | Explore the Parents about the Composition of this artwork. | The parents are insignificant, helpless, and not central to the picture. A father gives support to his wife by extending his arm and resting his hand on her shoulder. She appears to be crying and possibly praying. He, however, is also helpless and peers on at the doctor and child. | [] |
|
15802_T | The Doctor (painting) | In the context of The Doctor (painting), discuss the Lighting and room of the Composition. | The artificial light from the lamp on the table and the natural rising sunlight beginning to shine through the single window suggest that the doctor has been in attendance all night. A distressed, poor, and modest family is depicted by one small carpet and the washing suspended in a small room. Two mismatched chairs, pressed together, construct a makeshift bed in the labourer's cottage. A couple of scrunched up papers lie on the floor, "most probably a filled prescription" which has been frustratingly discarded. An easily missed medicine bottle is placed in the shadow of the lamp and in close proximity to the doctor and his control, not the parents'. | [] |
|
15802_NT | The Doctor (painting) | In the context of this artwork, discuss the Lighting and room of the Composition. | The artificial light from the lamp on the table and the natural rising sunlight beginning to shine through the single window suggest that the doctor has been in attendance all night. A distressed, poor, and modest family is depicted by one small carpet and the washing suspended in a small room. Two mismatched chairs, pressed together, construct a makeshift bed in the labourer's cottage. A couple of scrunched up papers lie on the floor, "most probably a filled prescription" which has been frustratingly discarded. An easily missed medicine bottle is placed in the shadow of the lamp and in close proximity to the doctor and his control, not the parents'. | [] |
|
15803_T | The Doctor (painting) | How does The Doctor (painting) elucidate its Accuracy? | Fildes stated that his choice of subject was "to put on record the status of the doctor in our own time", but his depiction of 19th-century healthcare is not entirely accurate. There is no stethoscope, microscope, sphygmomanometer, or thermometer in the picture, well-known instruments of physicians in the late 19th century which saved time. It may be that these instruments were omitted in order to show the doctors' "professional and personal commitment". Fildes does include a pestle and mortar, and a cup and a spoon, equipment used before the scientific era of medicine.It has also been pointed out that it was unlikely that a Victorian physician would make an overnight home visit to a poor family, such services being available only to the middle class and the wealthy. | [
"sphygmomanometer",
"stethoscope",
"thermometer",
"microscope"
] |
|
15803_NT | The Doctor (painting) | How does this artwork elucidate its Accuracy? | Fildes stated that his choice of subject was "to put on record the status of the doctor in our own time", but his depiction of 19th-century healthcare is not entirely accurate. There is no stethoscope, microscope, sphygmomanometer, or thermometer in the picture, well-known instruments of physicians in the late 19th century which saved time. It may be that these instruments were omitted in order to show the doctors' "professional and personal commitment". Fildes does include a pestle and mortar, and a cup and a spoon, equipment used before the scientific era of medicine.It has also been pointed out that it was unlikely that a Victorian physician would make an overnight home visit to a poor family, such services being available only to the middle class and the wealthy. | [
"sphygmomanometer",
"stethoscope",
"thermometer",
"microscope"
] |
|
15804_T | The Doctor (painting) | Focus on The Doctor (painting) and analyze the Reception and legacy. | The painting caught the public's attention and toured Britain. Received with a striking admiration, there is one report of an observer who, overwhelmed at the painting, died on the spot. The work is considered one of the most famous depictions of the practice of medicine and has been described as "iconic". It epitomises an idyllic kind of medicine and has often been used to illustrate the virtues of a good doctor and the inadequacies of the medical profession.Subsequently, the painting received comments including this by surgeon W. Mitchell Banks: "What do we not owe to Mr. Fildes for showing to the world the typical doctor as we would all like him to be shown – an honest man and a gentle man, doing his best to relieve suffering?" He continued: "A library of books written in your honour would not do what this picture has done and will do for the medical profession in making the hearts of our fellow men warm to us with confidence and affection".Seen today as "Victorian spin" by some, in its time the depiction of the doctor as a hero serving the poor raised the status of the medical profession during a period when public opinion was critical of the increasingly impersonal nature of medicine.
The painting has inspired poetry and film. In 1911 it featured in a Punch cartoon commenting satirically on the effect of the National Insurance Act 1911 on doctors. In 1933, the American artist Joseph Tomanek painted a version of the painting making small changes to the composition. In 1947 it was reproduced on a United States postage stamp for the centenary of the American Medical Association, which in 1949 used it in their campaign against nationalised medical care as proposed by President Harry S. Truman. The image was printed on 65,000 posters and brochures with the slogan, "Keep Politics Out of this Picture". This has been described as contributing to public distrust of nationalised medical care in the United States. By contrast, in Britain it was used as the emblem for a celebration of Britain's National Health Service.In 1933, a sculpture of the scene in the painting was made using the "life-size, life-like, new art form" of sculpticolor and displayed at the Petrolagar laxative exhibit in the Hall of Science at the Chicago Century of Progress exhibition. It was cast from a model made by the sculptor John Paulding and then painted by Rudolph F. Ingerle, the entire work measuring 15 feet (4.6 m) in length, 11 feet (3.4 m) in height, and 9 feet (2.7 m) in depth. Publicity stated that "The Doctor impressively emphasizes the ideal relationship between physician and patient - 'The Human Touch'".As late as 1951, the painting was used in advertising for Wyeth pharmaceuticals, which repeated the story that Queen Victoria commissioned it, adding: "the pictured child recovered despite the inadequacies of her humble home–a tribute to her doctor's genius and to the progress of medical science".Since the mid-1990s, the medical humanities journals The Lancet and the British Medical Journal have revived interest in the painting, stimulating discussion about the role of the doctor. Debate on the role and status of doctors has led to the inclusion of medical humanities in medical schools, where this painting has been used as a teaching aid for medical students.The reason for the painting's popularity has been much debated. The universal sentiment associated with a doctor tending to a sick child appears simple. Ultimately, it is likely that The Doctor was hailed as iconic due to the wish to be cared for with single-minded attentiveness. | [
"National Insurance Act 1911",
"Rudolph F. Ingerle",
"National Health Service",
"John Paulding",
"Punch",
"Century of Progress",
"Joseph Tomanek",
"sculpticolor",
"Petrolagar",
"Wyeth",
"Harry S. Truman",
"British Medical Journal",
"Queen Victoria",
"American Medical Association"
] |
|
15804_NT | The Doctor (painting) | Focus on this artwork and analyze the Reception and legacy. | The painting caught the public's attention and toured Britain. Received with a striking admiration, there is one report of an observer who, overwhelmed at the painting, died on the spot. The work is considered one of the most famous depictions of the practice of medicine and has been described as "iconic". It epitomises an idyllic kind of medicine and has often been used to illustrate the virtues of a good doctor and the inadequacies of the medical profession.Subsequently, the painting received comments including this by surgeon W. Mitchell Banks: "What do we not owe to Mr. Fildes for showing to the world the typical doctor as we would all like him to be shown – an honest man and a gentle man, doing his best to relieve suffering?" He continued: "A library of books written in your honour would not do what this picture has done and will do for the medical profession in making the hearts of our fellow men warm to us with confidence and affection".Seen today as "Victorian spin" by some, in its time the depiction of the doctor as a hero serving the poor raised the status of the medical profession during a period when public opinion was critical of the increasingly impersonal nature of medicine.
The painting has inspired poetry and film. In 1911 it featured in a Punch cartoon commenting satirically on the effect of the National Insurance Act 1911 on doctors. In 1933, the American artist Joseph Tomanek painted a version of the painting making small changes to the composition. In 1947 it was reproduced on a United States postage stamp for the centenary of the American Medical Association, which in 1949 used it in their campaign against nationalised medical care as proposed by President Harry S. Truman. The image was printed on 65,000 posters and brochures with the slogan, "Keep Politics Out of this Picture". This has been described as contributing to public distrust of nationalised medical care in the United States. By contrast, in Britain it was used as the emblem for a celebration of Britain's National Health Service.In 1933, a sculpture of the scene in the painting was made using the "life-size, life-like, new art form" of sculpticolor and displayed at the Petrolagar laxative exhibit in the Hall of Science at the Chicago Century of Progress exhibition. It was cast from a model made by the sculptor John Paulding and then painted by Rudolph F. Ingerle, the entire work measuring 15 feet (4.6 m) in length, 11 feet (3.4 m) in height, and 9 feet (2.7 m) in depth. Publicity stated that "The Doctor impressively emphasizes the ideal relationship between physician and patient - 'The Human Touch'".As late as 1951, the painting was used in advertising for Wyeth pharmaceuticals, which repeated the story that Queen Victoria commissioned it, adding: "the pictured child recovered despite the inadequacies of her humble home–a tribute to her doctor's genius and to the progress of medical science".Since the mid-1990s, the medical humanities journals The Lancet and the British Medical Journal have revived interest in the painting, stimulating discussion about the role of the doctor. Debate on the role and status of doctors has led to the inclusion of medical humanities in medical schools, where this painting has been used as a teaching aid for medical students.The reason for the painting's popularity has been much debated. The universal sentiment associated with a doctor tending to a sick child appears simple. Ultimately, it is likely that The Doctor was hailed as iconic due to the wish to be cared for with single-minded attentiveness. | [
"National Insurance Act 1911",
"Rudolph F. Ingerle",
"National Health Service",
"John Paulding",
"Punch",
"Century of Progress",
"Joseph Tomanek",
"sculpticolor",
"Petrolagar",
"Wyeth",
"Harry S. Truman",
"British Medical Journal",
"Queen Victoria",
"American Medical Association"
] |
|
15805_T | The Vision of Saint Anthony of Padua (Pittoni) | In The Vision of Saint Anthony of Padua (Pittoni), how is the abstract discussed? | The Vision of Saint Anthony of Padua or Saint Anthony with the Christ Child is an oil on canvas painting by the Italian artist Giambattista Pittoni, completed in August 1730 in Venice. It is now in the San Diego Museum of Art in California, which acquired it in 1948.It was displayed in the exhibition 'The Allure of La Serenissima: Eighteenth-Century Venetian Art' (9/9/2010 - 1/2/2011). | [
"San Diego",
"Giambattista Pittoni",
"San Diego Museum of Art",
"California"
] |
|
15805_NT | The Vision of Saint Anthony of Padua (Pittoni) | In this artwork, how is the abstract discussed? | The Vision of Saint Anthony of Padua or Saint Anthony with the Christ Child is an oil on canvas painting by the Italian artist Giambattista Pittoni, completed in August 1730 in Venice. It is now in the San Diego Museum of Art in California, which acquired it in 1948.It was displayed in the exhibition 'The Allure of La Serenissima: Eighteenth-Century Venetian Art' (9/9/2010 - 1/2/2011). | [
"San Diego",
"Giambattista Pittoni",
"San Diego Museum of Art",
"California"
] |
|
15806_T | Piscator (Paolozzi) | Focus on Piscator (Paolozzi) and explore the abstract. | Piscator, also known as the Euston Head, is a large abstract sculpture by Eduardo Paolozzi. It was commissioned by British Rail in 1980 for the forecourt of Euston Station in London, and is named for the German theatre director Erwin Piscator.
The sculpture is made from cast iron with an aluminium finish, and was cast by the ironfounders Robert Taylor and Co. It measures 3.1 by 4.6 by 1.85 metres (10.2 ft × 15.1 ft × 6.1 ft). In making the work, Paolozzi was assisted by Ray Watson. The sides of the sculpture have silvered bumps and hollows; viewed from above, the top surface resolves into a blocky human body and face. It is described in Pevsner as "a silvered block with curved hollows, and rectangular shapes above".
In late 2016, it was reported that the ownership of the sculpture was unclear. It was commissioned by British Rail, which was privatised in the 1990s, and the sculpture may have been inherited by Network Rail, who owns the freehold of the land on which it sits. However, Network Rail has denied ownership, saying that the land is leased to Sydney & London Properties, but the leaseholders have also denied any responsibility for the sculpture. It has since been discovered that the Arts Council of England owns the work.
A series of six 4.5 inches (110 mm) models in bronze were also cast, with one held by the Science Museum. | [
"Eduardo Paolozzi",
"Sydney & London Properties",
"cast iron",
"Network Rail",
"Pevsner",
"British Rail",
"Ray Watson",
"Science Museum",
"Erwin Piscator",
"Euston Station"
] |
|
15806_NT | Piscator (Paolozzi) | Focus on this artwork and explore the abstract. | Piscator, also known as the Euston Head, is a large abstract sculpture by Eduardo Paolozzi. It was commissioned by British Rail in 1980 for the forecourt of Euston Station in London, and is named for the German theatre director Erwin Piscator.
The sculpture is made from cast iron with an aluminium finish, and was cast by the ironfounders Robert Taylor and Co. It measures 3.1 by 4.6 by 1.85 metres (10.2 ft × 15.1 ft × 6.1 ft). In making the work, Paolozzi was assisted by Ray Watson. The sides of the sculpture have silvered bumps and hollows; viewed from above, the top surface resolves into a blocky human body and face. It is described in Pevsner as "a silvered block with curved hollows, and rectangular shapes above".
In late 2016, it was reported that the ownership of the sculpture was unclear. It was commissioned by British Rail, which was privatised in the 1990s, and the sculpture may have been inherited by Network Rail, who owns the freehold of the land on which it sits. However, Network Rail has denied ownership, saying that the land is leased to Sydney & London Properties, but the leaseholders have also denied any responsibility for the sculpture. It has since been discovered that the Arts Council of England owns the work.
A series of six 4.5 inches (110 mm) models in bronze were also cast, with one held by the Science Museum. | [
"Eduardo Paolozzi",
"Sydney & London Properties",
"cast iron",
"Network Rail",
"Pevsner",
"British Rail",
"Ray Watson",
"Science Museum",
"Erwin Piscator",
"Euston Station"
] |
|
15807_T | Moschophoros | Focus on Moschophoros and explain the abstract. | Moschophoros (Greek: μοσχοφόρος "calf-bearer") is an ancient Greek statue of the Archaic period, also known in English as The Calf Bearer. It was excavated in fragments in the Perserschutt on the Acropolis of Athens in 1864. The statue, dated c. 560 BC and estimated to have originally measured 1.65 meters (5.4 ft) in height, is now in the Acropolis Museum in Athens, Greece. | [
"Acropolis Museum",
"Acropolis of Athens",
"Perserschutt",
"Archaic period",
"Athens",
"Greek",
"Archaic"
] |
|
15807_NT | Moschophoros | Focus on this artwork and explain the abstract. | Moschophoros (Greek: μοσχοφόρος "calf-bearer") is an ancient Greek statue of the Archaic period, also known in English as The Calf Bearer. It was excavated in fragments in the Perserschutt on the Acropolis of Athens in 1864. The statue, dated c. 560 BC and estimated to have originally measured 1.65 meters (5.4 ft) in height, is now in the Acropolis Museum in Athens, Greece. | [
"Acropolis Museum",
"Acropolis of Athens",
"Perserschutt",
"Archaic period",
"Athens",
"Greek",
"Archaic"
] |
|
15808_T | Moschophoros | Explore the Condition of this artwork, Moschophoros. | The condition of the Moschophoros is poor and broken in some areas. The legs are missing below the knees on both sides. The hands are broken off. The genitals and the left thigh have separated from the whole sculpture. The lower half of the face (the chin area) is chipped off. The foot with a plinth is connected to base. The calf is well preserved, while Moschophoros's eyes are absent. The rest of the sculpture is in a fine state. | [] |
|
15808_NT | Moschophoros | Explore the Condition of this artwork. | The condition of the Moschophoros is poor and broken in some areas. The legs are missing below the knees on both sides. The hands are broken off. The genitals and the left thigh have separated from the whole sculpture. The lower half of the face (the chin area) is chipped off. The foot with a plinth is connected to base. The calf is well preserved, while Moschophoros's eyes are absent. The rest of the sculpture is in a fine state. | [] |
|
15809_T | Moschophoros | Focus on Moschophoros and discuss the History. | The sculpture was found on the Athenian Acropolis in 1864. In 1887, the base was discovered. It is made of permeable limestone, and its plinth was attached to the right foot of the sculpture.The inscription on that plinth claims that this statue was dedicated by someone named Rhombos (possibly Kombos or Bombos; the beginning of the name is missing). The dedication is often said to be for Athena, but because it is a male calf, a male deity such as Zeus Polieus or Erechtheus is more likely. This suggests that the sponsor was a very well-to-do-man and a prominent citizen of Attica, who offered his own likeness to the deity. He has a calf on his shoulders which represents the sacrificial offering he is about to give to the god. | [
"Attica",
"sacrificial offering"
] |
|
15809_NT | Moschophoros | Focus on this artwork and discuss the History. | The sculpture was found on the Athenian Acropolis in 1864. In 1887, the base was discovered. It is made of permeable limestone, and its plinth was attached to the right foot of the sculpture.The inscription on that plinth claims that this statue was dedicated by someone named Rhombos (possibly Kombos or Bombos; the beginning of the name is missing). The dedication is often said to be for Athena, but because it is a male calf, a male deity such as Zeus Polieus or Erechtheus is more likely. This suggests that the sponsor was a very well-to-do-man and a prominent citizen of Attica, who offered his own likeness to the deity. He has a calf on his shoulders which represents the sacrificial offering he is about to give to the god. | [
"Attica",
"sacrificial offering"
] |
|
15810_T | Moschophoros | How does Moschophoros elucidate its Form and relevance? | The Moschophoros stands with his left foot a little forward, like other kouroi. He has a thick beard, a symbol of adulthood. He wears a thin cloak. The sculpture's nudity is the main aspect of the art as it adhered to the artistic conventions of the era. The cloak on the other hand, depicts him as a respectable and well-recognized citizen.The challenge of representing man and animal together is successfully accomplished by this Archaic sculpture. The calf's legs are held firmly, making a bold X-shaped composition. This interaction between the calf and the calf-bearer represents a strong, inseparable bond between the two. The man in the sculpture is smiling, in a feature referred to as the Archaic smile, which began in the 6th century BC.
Kriophoros statues of a man with a sheep on his shoulders in a similar manner, are more common. | [
"Kriophoros",
"kouroi",
"Archaic smile",
"Archaic"
] |
|
15810_NT | Moschophoros | How does this artwork elucidate its Form and relevance? | The Moschophoros stands with his left foot a little forward, like other kouroi. He has a thick beard, a symbol of adulthood. He wears a thin cloak. The sculpture's nudity is the main aspect of the art as it adhered to the artistic conventions of the era. The cloak on the other hand, depicts him as a respectable and well-recognized citizen.The challenge of representing man and animal together is successfully accomplished by this Archaic sculpture. The calf's legs are held firmly, making a bold X-shaped composition. This interaction between the calf and the calf-bearer represents a strong, inseparable bond between the two. The man in the sculpture is smiling, in a feature referred to as the Archaic smile, which began in the 6th century BC.
Kriophoros statues of a man with a sheep on his shoulders in a similar manner, are more common. | [
"Kriophoros",
"kouroi",
"Archaic smile",
"Archaic"
] |
|
15811_T | Moschophoros | Focus on Moschophoros and analyze the Style. | Moschophoros's hair is very curly, encircling his forehead. There are three plaits on each side falling over his chest. The hair at the top is tied with a narrow ribbon. He has a thick beard that curves around his shaved upper and lower lip. The eyes are large and were made out of colored stones. The stones are absent now but it gave a more lively appeal to the statue before. His mouth is very diligently carved and outlined.
By looking at its form and style, this sculpture is typical in its composition of the early 6th century BC, around 570 BC. | [] |
|
15811_NT | Moschophoros | Focus on this artwork and analyze the Style. | Moschophoros's hair is very curly, encircling his forehead. There are three plaits on each side falling over his chest. The hair at the top is tied with a narrow ribbon. He has a thick beard that curves around his shaved upper and lower lip. The eyes are large and were made out of colored stones. The stones are absent now but it gave a more lively appeal to the statue before. His mouth is very diligently carved and outlined.
By looking at its form and style, this sculpture is typical in its composition of the early 6th century BC, around 570 BC. | [] |
|
15812_T | Moschophoros | In Moschophoros, how is the Interpretation discussed? | The main idea of a connection between a man and an animal is strongly portrayed. The crossed legs of the calf with the arms of the calf-bearer creates unity between them. The forms are simple such as the round face, eyes and mouth are created with simple arcs. The beard represents an adult man. The body structure is well built depicting strength and power. His mouth and eyes are round in form giving the impression of a positive person, especially, as the man wears a smile on his face. | [] |
|
15812_NT | Moschophoros | In this artwork, how is the Interpretation discussed? | The main idea of a connection between a man and an animal is strongly portrayed. The crossed legs of the calf with the arms of the calf-bearer creates unity between them. The forms are simple such as the round face, eyes and mouth are created with simple arcs. The beard represents an adult man. The body structure is well built depicting strength and power. His mouth and eyes are round in form giving the impression of a positive person, especially, as the man wears a smile on his face. | [] |
|
15813_T | Lot and His Daughters (Artemisia Gentileschi) | Focus on Lot and His Daughters (Artemisia Gentileschi) and explore the abstract. | Lot and His Daughters is a 1636-1638 painting by Artemisia Gentileschi, now in the Toledo Museum of Art. | [
"Artemisia Gentileschi",
"Toledo Museum of Art",
"Lot"
] |
|
15813_NT | Lot and His Daughters (Artemisia Gentileschi) | Focus on this artwork and explore the abstract. | Lot and His Daughters is a 1636-1638 painting by Artemisia Gentileschi, now in the Toledo Museum of Art. | [
"Artemisia Gentileschi",
"Toledo Museum of Art",
"Lot"
] |
|
15814_T | Lot and His Daughters (Artemisia Gentileschi) | Focus on Lot and His Daughters (Artemisia Gentileschi) and explain the Provenance. | Scholars suspect the painting may once have been in the collection of Luigi Romeo, Barone of San Luigi, Naples, during the 18th century. It was sold from a private collection in Switzerland in 1982 and was purchased the following year by the present owner. | [
"Naples"
] |
|
15814_NT | Lot and His Daughters (Artemisia Gentileschi) | Focus on this artwork and explain the Provenance. | Scholars suspect the painting may once have been in the collection of Luigi Romeo, Barone of San Luigi, Naples, during the 18th century. It was sold from a private collection in Switzerland in 1982 and was purchased the following year by the present owner. | [
"Naples"
] |
|
15815_T | Lot and His Daughters (Artemisia Gentileschi) | Explore the Attribution of this artwork, Lot and His Daughters (Artemisia Gentileschi). | The painting has only recently been attributed to Gentileschi. It was first purchased by the Toledo Museum of Art as a work of Bernardo Cavallini. Domenico Gargiulo has also been mentioned by some art historians as having carried out aspects of the painting. | [
"Domenico Gargiulo",
"Toledo Museum of Art",
"Bernardo Cavallini"
] |
|
15815_NT | Lot and His Daughters (Artemisia Gentileschi) | Explore the Attribution of this artwork. | The painting has only recently been attributed to Gentileschi. It was first purchased by the Toledo Museum of Art as a work of Bernardo Cavallini. Domenico Gargiulo has also been mentioned by some art historians as having carried out aspects of the painting. | [
"Domenico Gargiulo",
"Toledo Museum of Art",
"Bernardo Cavallini"
] |
|
15816_T | Statue of Lucille Ball | Focus on Statue of Lucille Ball and discuss the First statue. | In 2009, a statue of Ball was installed in her hometown of Celoron, depicting the climactic scene from the 1952 I Love Lucy episode "Lucy Does a TV Commercial" in which Ball's character, Lucy Ricardo, hawks the alcohol-rich patent medicine Vitameatavegamin while under the effects of heavy dosage of the tonic. Residents noted the statue's deranged, androgynous expression, which bore little resemblance to Ball, earning it the nickname Scary Lucy. The statue garnered little outside attention until 2015, when images of the statue went viral and received international media coverage. The artist discussed fixing the statue with town officials, but claimed they wanted him to do it at his own expense. In 2015, Celoron's mayor said the town was looking to hire a different artist instead. | [
"viral",
"Lucy Ricardo",
"Lucy Does a TV Commercial",
"patent medicine",
"Ball",
"I Love Lucy",
"androgynous"
] |
|
15816_NT | Statue of Lucille Ball | Focus on this artwork and discuss the First statue. | In 2009, a statue of Ball was installed in her hometown of Celoron, depicting the climactic scene from the 1952 I Love Lucy episode "Lucy Does a TV Commercial" in which Ball's character, Lucy Ricardo, hawks the alcohol-rich patent medicine Vitameatavegamin while under the effects of heavy dosage of the tonic. Residents noted the statue's deranged, androgynous expression, which bore little resemblance to Ball, earning it the nickname Scary Lucy. The statue garnered little outside attention until 2015, when images of the statue went viral and received international media coverage. The artist discussed fixing the statue with town officials, but claimed they wanted him to do it at his own expense. In 2015, Celoron's mayor said the town was looking to hire a different artist instead. | [
"viral",
"Lucy Ricardo",
"Lucy Does a TV Commercial",
"patent medicine",
"Ball",
"I Love Lucy",
"androgynous"
] |
|
15817_T | Statue of Lucille Ball | How does Statue of Lucille Ball elucidate its Second statue? | On August 1, 2016, it was announced that a new statue of Ball would replace the original. Carolyn Palmer was unanimously chosen out of a national competition of more than 65 sculptors. She said in a statement, "I not only wanted to portray the playful, animated and spontaneous Lucy, but also the glamorous Hollywood icon" and "I just hope that all the Lucy fans are pleased and that Lucille Ball herself would have enjoyed this image of her." On August 6, 2016, the day that would have been Ball's 105th birthday, the replacement statue was revealed; it depicts Ball standing on a copy of her Hollywood star.Since Scary Lucy became a local tourist attraction after receiving media attention, it was placed 75 yards from its original location so visitors could visit both statues. | [
"Lucille Ball",
"Ball"
] |
|
15817_NT | Statue of Lucille Ball | How does this artwork elucidate its Second statue? | On August 1, 2016, it was announced that a new statue of Ball would replace the original. Carolyn Palmer was unanimously chosen out of a national competition of more than 65 sculptors. She said in a statement, "I not only wanted to portray the playful, animated and spontaneous Lucy, but also the glamorous Hollywood icon" and "I just hope that all the Lucy fans are pleased and that Lucille Ball herself would have enjoyed this image of her." On August 6, 2016, the day that would have been Ball's 105th birthday, the replacement statue was revealed; it depicts Ball standing on a copy of her Hollywood star.Since Scary Lucy became a local tourist attraction after receiving media attention, it was placed 75 yards from its original location so visitors could visit both statues. | [
"Lucille Ball",
"Ball"
] |
|
15818_T | Triptych of the Temptation of St. Anthony | Focus on Triptych of the Temptation of St. Anthony and analyze the abstract. | The Triptych of Temptation of St. Anthony is an oil painting on wood panels by the Early Netherlandish painter Hieronymus Bosch, dating from around 1501. The work portrays the mental and spiritual torments endured by Saint Anthony the Great (Anthony Abbot), one of the most prominent of the Desert Fathers of Egypt in the late 3rd and early 4th centuries. The Temptation of St. Anthony was a popular subject in Medieval and Renaissance art. In common with many of Bosch's works, the triptych contains much fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon. | [
"Desert Fathers",
"Early Netherlandish",
"Triptych",
"Anthony the Great",
"Museu Nacional de Arte Antiga",
"Temptation of St. Anthony",
"Egypt",
"triptych",
"Hieronymus Bosch",
"Lisbon"
] |
|
15818_NT | Triptych of the Temptation of St. Anthony | Focus on this artwork and analyze the abstract. | The Triptych of Temptation of St. Anthony is an oil painting on wood panels by the Early Netherlandish painter Hieronymus Bosch, dating from around 1501. The work portrays the mental and spiritual torments endured by Saint Anthony the Great (Anthony Abbot), one of the most prominent of the Desert Fathers of Egypt in the late 3rd and early 4th centuries. The Temptation of St. Anthony was a popular subject in Medieval and Renaissance art. In common with many of Bosch's works, the triptych contains much fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon. | [
"Desert Fathers",
"Early Netherlandish",
"Triptych",
"Anthony the Great",
"Museu Nacional de Arte Antiga",
"Temptation of St. Anthony",
"Egypt",
"triptych",
"Hieronymus Bosch",
"Lisbon"
] |
|
15819_T | Triptych of the Temptation of St. Anthony | In Triptych of the Temptation of St. Anthony, how is the History discussed? | According to some historians, the work could be one of the three Temptations recorded in the inventory of Philip II of Spain sent to the Escorial in 1574. From the 1950s, it had traditionally been considered more likely that the triptych was that bought by the Portuguese humanist Damião de Góis between 1523 and 1545. In fact, the painting was documented as part of the collections in the Royal Palace of Lisbon in 1872 March from Spain, and in 1911 King Manuel II donated it to its current museum.Although the painting has usually been attributed to the period 1490–1500, dendochronologic analysis has assigned it to around 1501.Like many of Bosch's paintings, The Temptation of St. Anthony was the subject of a number of copies. A workshop copy is in Royal Museums of Fine Arts of Belgium and a later copy is in Gemäldegalerie, Berlin. Reduced copy of two wings is in Prado Museum in Madrid. Another version of the central panel is found in MASP in São Paulo, Brazil, first rehearsal Version. Circle of Jheronimus Bosch, Temptation of Saint Anthony central panel copy, (Barnes Foundation), a work by a follower after Bosch can be found in the National Gallery of Canada in Ottawa. | [
"Damião de Góis",
"São Paulo",
"Gemäldegalerie, Berlin",
"Philip II of Spain",
"Royal Museums of Fine Arts of Belgium",
"National Gallery of Canada",
"dendochronologic",
"Manuel II",
"Escorial",
"Temptation of St. Anthony",
"triptych",
"Prado Museum",
"MASP",
"Lisbon"
] |
|
15819_NT | Triptych of the Temptation of St. Anthony | In this artwork, how is the History discussed? | According to some historians, the work could be one of the three Temptations recorded in the inventory of Philip II of Spain sent to the Escorial in 1574. From the 1950s, it had traditionally been considered more likely that the triptych was that bought by the Portuguese humanist Damião de Góis between 1523 and 1545. In fact, the painting was documented as part of the collections in the Royal Palace of Lisbon in 1872 March from Spain, and in 1911 King Manuel II donated it to its current museum.Although the painting has usually been attributed to the period 1490–1500, dendochronologic analysis has assigned it to around 1501.Like many of Bosch's paintings, The Temptation of St. Anthony was the subject of a number of copies. A workshop copy is in Royal Museums of Fine Arts of Belgium and a later copy is in Gemäldegalerie, Berlin. Reduced copy of two wings is in Prado Museum in Madrid. Another version of the central panel is found in MASP in São Paulo, Brazil, first rehearsal Version. Circle of Jheronimus Bosch, Temptation of Saint Anthony central panel copy, (Barnes Foundation), a work by a follower after Bosch can be found in the National Gallery of Canada in Ottawa. | [
"Damião de Góis",
"São Paulo",
"Gemäldegalerie, Berlin",
"Philip II of Spain",
"Royal Museums of Fine Arts of Belgium",
"National Gallery of Canada",
"dendochronologic",
"Manuel II",
"Escorial",
"Temptation of St. Anthony",
"triptych",
"Prado Museum",
"MASP",
"Lisbon"
] |
|
15820_T | Triptych of the Temptation of St. Anthony | Focus on Triptych of the Temptation of St. Anthony and explore the Description. | The Temptation of St. Anthony is an oil painting on three wooden panels, having the form of a triptych, the two outer panels being hinged shutters to the central section. The centre panel measures 131.5 by 119 cm, and the wings measure 131.5 by 53 cm.
The work tells symbolically the story of the mental and spiritual torments endured by St. Anthony Abbot throughout his life. The sources for the subjects were Athanasius of Alexandria's Life of St. Anthony, which had been popularized in Flanders by Pieter van Os, and Jacopo da Varazze's Golden Legend. | [
"symbol",
"Golden Legend",
"St. Anthony Abbot",
"Athanasius of Alexandria",
"Jacopo da Varazze",
"Temptation of St. Anthony",
"triptych",
"Flanders"
] |
|
15820_NT | Triptych of the Temptation of St. Anthony | Focus on this artwork and explore the Description. | The Temptation of St. Anthony is an oil painting on three wooden panels, having the form of a triptych, the two outer panels being hinged shutters to the central section. The centre panel measures 131.5 by 119 cm, and the wings measure 131.5 by 53 cm.
The work tells symbolically the story of the mental and spiritual torments endured by St. Anthony Abbot throughout his life. The sources for the subjects were Athanasius of Alexandria's Life of St. Anthony, which had been popularized in Flanders by Pieter van Os, and Jacopo da Varazze's Golden Legend. | [
"symbol",
"Golden Legend",
"St. Anthony Abbot",
"Athanasius of Alexandria",
"Jacopo da Varazze",
"Temptation of St. Anthony",
"triptych",
"Flanders"
] |
|
15821_T | Triptych of the Temptation of St. Anthony | In the context of Triptych of the Temptation of St. Anthony, explain the Left panel of the Description. | The left panel portrays the legendary flight and the fall of St. Anthony. In the sky, the saint is brought down by a host of demons. Below, is the saint's grotto (or a brothel), carved within a hill in the shape of a man on all fours, whose backside forms the entrance. An impious procession is directed towards the latter, led by a demon wearing holy vestments and by a deer. In the foreground is a tired-out Anthony, supported after the fall by a monk and a layman; the latter has been traditionally identified as Bosch himself.
Under the bridge which crosses an icy lake are three figures, one of which is a monk reading a letter. Also on the lake is a demon bird with skates: its beak holds a cartouche with the word "fat". This could be a reference to the simony scandal. | [
"simony",
"cartouche"
] |
|
15821_NT | Triptych of the Temptation of St. Anthony | In the context of this artwork, explain the Left panel of the Description. | The left panel portrays the legendary flight and the fall of St. Anthony. In the sky, the saint is brought down by a host of demons. Below, is the saint's grotto (or a brothel), carved within a hill in the shape of a man on all fours, whose backside forms the entrance. An impious procession is directed towards the latter, led by a demon wearing holy vestments and by a deer. In the foreground is a tired-out Anthony, supported after the fall by a monk and a layman; the latter has been traditionally identified as Bosch himself.
Under the bridge which crosses an icy lake are three figures, one of which is a monk reading a letter. Also on the lake is a demon bird with skates: its beak holds a cartouche with the word "fat". This could be a reference to the simony scandal. | [
"simony",
"cartouche"
] |
|
15822_T | Triptych of the Temptation of St. Anthony | Explore the Central panel about the Description of this artwork, Triptych of the Temptation of St. Anthony. | The center panel exemplifies Bosch's attraction to the saintly ability of refusing temptation. It depicts the temptation of St. Anthony scene proper. At the center is the saint in contemplation, with a blessing hand pointing at his small cell inside a ruined tower where a miniature Christ appears to point at the Crucifix, to suggest the true sacrifice in reply to the profanatory mass celebrated by demons and priestess at his left. A black-skinned priestess holds a vessel with a toad, a symbol of witchcraft as well as of luxury; the animal in turns holds an egg. A black-dressed singer has a pig face and a little owl (an allegory of heresy) above his head, while a crippled man is going to receive the communion. The saint looks out into the world while pointing in the direction of Christ; no one in the panel (world) is looking in His direction.
The background shows, at left, a city on fire, a traditional symbol of the protection granted by Anthony against ergotism and fire. The monks of the Order of St. Anthony specialized in the treatment and care of victims of ergotism (also known as St. Anthony's fire), who experienced burning sensations and hallucinations.
The demon group at the left, including a woman wearing a helmet resembling a hollow tree, may symbolize the bloody violence. The group in the water at right may be a devilish parody of either the flight into Egypt or the Adoration of the Magi; a third demonic group is that getting out from the red fruit in the foreground. This include a devil who is playing a harp, riding a chicken, and another moving around the fish-boat at the center.
In the sky are a ship-shaped bird, flying fish and winged boats. Finally, the bearded man with a top hat could be the wizard who has set up the whole visions package.In another interpretation, much of the images relate to ergotism and the forms of treatment at the time of Bosch. The large fruit can be interpreted as a mandrake apple and the man wielding the sword can be seen as a reference to the uprooting ceremony. Mandrake root was used often as a protection against ergotism, and the fruit was used as an anesthetic, which helped with necessary amputations resulting from disease. The natural anesthetic also could kill the patients if given too much, and it also caused hallucinations of its own in addition to the hallucinations of ergotism, giving meaning to the violent nature of the characters surrounding the fruit in the panel. The images of fish and thistle relate to alchemy from the time and other 'cold' elements used to counter the 'hot' malady. | [
"flight into Egypt",
"symbol",
"Order of St. Anthony",
"harp",
"St. Anthony's fire",
"temptation of St. Anthony",
"heresy",
"Egypt",
"toad",
"Adoration of the Magi",
"top hat",
"little owl",
"ergotism"
] |
|
15822_NT | Triptych of the Temptation of St. Anthony | Explore the Central panel about the Description of this artwork. | The center panel exemplifies Bosch's attraction to the saintly ability of refusing temptation. It depicts the temptation of St. Anthony scene proper. At the center is the saint in contemplation, with a blessing hand pointing at his small cell inside a ruined tower where a miniature Christ appears to point at the Crucifix, to suggest the true sacrifice in reply to the profanatory mass celebrated by demons and priestess at his left. A black-skinned priestess holds a vessel with a toad, a symbol of witchcraft as well as of luxury; the animal in turns holds an egg. A black-dressed singer has a pig face and a little owl (an allegory of heresy) above his head, while a crippled man is going to receive the communion. The saint looks out into the world while pointing in the direction of Christ; no one in the panel (world) is looking in His direction.
The background shows, at left, a city on fire, a traditional symbol of the protection granted by Anthony against ergotism and fire. The monks of the Order of St. Anthony specialized in the treatment and care of victims of ergotism (also known as St. Anthony's fire), who experienced burning sensations and hallucinations.
The demon group at the left, including a woman wearing a helmet resembling a hollow tree, may symbolize the bloody violence. The group in the water at right may be a devilish parody of either the flight into Egypt or the Adoration of the Magi; a third demonic group is that getting out from the red fruit in the foreground. This include a devil who is playing a harp, riding a chicken, and another moving around the fish-boat at the center.
In the sky are a ship-shaped bird, flying fish and winged boats. Finally, the bearded man with a top hat could be the wizard who has set up the whole visions package.In another interpretation, much of the images relate to ergotism and the forms of treatment at the time of Bosch. The large fruit can be interpreted as a mandrake apple and the man wielding the sword can be seen as a reference to the uprooting ceremony. Mandrake root was used often as a protection against ergotism, and the fruit was used as an anesthetic, which helped with necessary amputations resulting from disease. The natural anesthetic also could kill the patients if given too much, and it also caused hallucinations of its own in addition to the hallucinations of ergotism, giving meaning to the violent nature of the characters surrounding the fruit in the panel. The images of fish and thistle relate to alchemy from the time and other 'cold' elements used to counter the 'hot' malady. | [
"flight into Egypt",
"symbol",
"Order of St. Anthony",
"harp",
"St. Anthony's fire",
"temptation of St. Anthony",
"heresy",
"Egypt",
"toad",
"Adoration of the Magi",
"top hat",
"little owl",
"ergotism"
] |
|
15823_T | Triptych of the Temptation of St. Anthony | In the context of Triptych of the Temptation of St. Anthony, discuss the Right panel of the Description. | The right panel depicts the Contemplation of St. Anthony. The two figures riding the fish in the sky had, according to the legend, obtained the capability to fly by the Devil in order to partake in Witches' Sabbaths.
In the foreground is a naked woman, a symbol of luxury. She is peeping from a hollow trunk through a tent, which is being kept open for her by a toad. Her tempting body is being offered to the saint, who is portrayed at right, contemplating while looking at the observer at the same time. The dwarf next to him, who wears a red mantle and a whirligig, is a symbol of humanity's fecklessness. In the foreground, finally, are the last temptations: a table with bread and a jar of vine, supported by naked demons. One of the human pillars has his foot caught in a jar — an allusion to the sexual act.The background includes a towered city, windmills and a lake. | [
"symbol",
"fecklessness",
"Witches' Sabbath",
"toad",
"whirligig"
] |
|
15823_NT | Triptych of the Temptation of St. Anthony | In the context of this artwork, discuss the Right panel of the Description. | The right panel depicts the Contemplation of St. Anthony. The two figures riding the fish in the sky had, according to the legend, obtained the capability to fly by the Devil in order to partake in Witches' Sabbaths.
In the foreground is a naked woman, a symbol of luxury. She is peeping from a hollow trunk through a tent, which is being kept open for her by a toad. Her tempting body is being offered to the saint, who is portrayed at right, contemplating while looking at the observer at the same time. The dwarf next to him, who wears a red mantle and a whirligig, is a symbol of humanity's fecklessness. In the foreground, finally, are the last temptations: a table with bread and a jar of vine, supported by naked demons. One of the human pillars has his foot caught in a jar — an allusion to the sexual act.The background includes a towered city, windmills and a lake. | [
"symbol",
"fecklessness",
"Witches' Sabbath",
"toad",
"whirligig"
] |
|
15824_T | Triptych of the Temptation of St. Anthony | In Triptych of the Temptation of St. Anthony, how is the Shutters of the Description elucidated? | As usual in other similar Flemish works of the time, the exteriors of the shutters are painted in grisaille. By tradition, in many churches artworks are covered, and altarpieces with wings are closed in the week before Easter. The subdued coloration and the subject matter of the shutter exteriors of this triptych are in keeping with the Lenten theme.
The left panel shows the Arrest of Christ, including, in the foreground, St. Peter cutting Malchus's ear and, in the background, the soldiers are surrounding a fallen Jesus; at the left is Judas fleeing after his kiss.The right panel portrays Christ Carrying the Cross in the background, while the foreground depicts the two thieves, one confessing and the other refusing to convert. Around Jesus is a crowd, in which figures such as Simon of Cyrene, who is supporting the cross, and the Veronica, can be identified. | [
"Malchus",
"Easter",
"Simon of Cyrene",
"grisaille",
"triptych",
"Veronica",
"Lent"
] |
|
15824_NT | Triptych of the Temptation of St. Anthony | In this artwork, how is the Shutters of the Description elucidated? | As usual in other similar Flemish works of the time, the exteriors of the shutters are painted in grisaille. By tradition, in many churches artworks are covered, and altarpieces with wings are closed in the week before Easter. The subdued coloration and the subject matter of the shutter exteriors of this triptych are in keeping with the Lenten theme.
The left panel shows the Arrest of Christ, including, in the foreground, St. Peter cutting Malchus's ear and, in the background, the soldiers are surrounding a fallen Jesus; at the left is Judas fleeing after his kiss.The right panel portrays Christ Carrying the Cross in the background, while the foreground depicts the two thieves, one confessing and the other refusing to convert. Around Jesus is a crowd, in which figures such as Simon of Cyrene, who is supporting the cross, and the Veronica, can be identified. | [
"Malchus",
"Easter",
"Simon of Cyrene",
"grisaille",
"triptych",
"Veronica",
"Lent"
] |
|
15825_T | Portrait of a Young Man (Masaccio) | Focus on Portrait of a Young Man (Masaccio) and analyze the abstract. | Portrait of a Young Man is a painting attributed to the Italian Renaissance painter Masaccio, although this attribution is disputed. The identity of the chaperon-wearing subject of this painting is unknown. The portrait is currently displayed in the National Gallery of Art in Washington, D.C. | [
"Washington, D.C.",
"Italian",
"Renaissance",
"chaperon",
"National Gallery of Art",
"Masaccio"
] |
|
15825_NT | Portrait of a Young Man (Masaccio) | Focus on this artwork and analyze the abstract. | Portrait of a Young Man is a painting attributed to the Italian Renaissance painter Masaccio, although this attribution is disputed. The identity of the chaperon-wearing subject of this painting is unknown. The portrait is currently displayed in the National Gallery of Art in Washington, D.C. | [
"Washington, D.C.",
"Italian",
"Renaissance",
"chaperon",
"National Gallery of Art",
"Masaccio"
] |
|
15826_T | Untitled (1982 Basquiat devil painting) | In Untitled (1982 Basquiat devil painting), how is the abstract discussed? | Untitled is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork was sold at Christie's for $57.3 million in May 2016. At the time, that was the record for Basquiat's most expensive painting. In 2022, it was sold for $85 million at Phillips, becoming Basquiat's third highest auction sale and fourth most expensive painting. | [
"Phillips",
"Jean-Michel Basquiat",
"Christie's",
"Untitled"
] |
|
15826_NT | Untitled (1982 Basquiat devil painting) | In this artwork, how is the abstract discussed? | Untitled is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork was sold at Christie's for $57.3 million in May 2016. At the time, that was the record for Basquiat's most expensive painting. In 2022, it was sold for $85 million at Phillips, becoming Basquiat's third highest auction sale and fourth most expensive painting. | [
"Phillips",
"Jean-Michel Basquiat",
"Christie's",
"Untitled"
] |
|
15827_T | Untitled (1982 Basquiat devil painting) | Focus on Untitled (1982 Basquiat devil painting) and explore the Exhibitions. | Untitled has been exhibited at major art institutions worldwide, which include:Jean-Michel Basquiat, Paintings at Akira Ikeda Gallery in Tokyo, December 1985.
Jean-Michel Basquiat at Galerie Enrico Navarra in Paris, April–June 1996.
Jean-Michel Basquiat at Kaohsiung Museum of Fine Arts in Taiwan, January–June 1997; Pinacoteca do Estado de São Paulo in Brazil, June–August 1998.
Basquiat a Venezia at Fondazione Bevilacqua La Masa in Venice, June–October 1999.
Basquiat a Napoli at Il Museo Civico di Castel Nuovo in Naples, December 1999–March 2000.
Jean-Michel Basquiat: Dipinti at Chiostro del Bramante in Rome, January–March 2002.
Jean-Michel Basquiat: The Work of a Lifetime at Musée Maillol in Paris, June–October 2003.
Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011. | [
"Fondation Beyeler",
"Jean-Michel Basquiat",
"Musée d'Art Moderne de la Ville de Paris",
"Chiostro del Bramante",
"Musée Maillol",
"Il Museo Civico di Castel Nuovo",
"Castel Nuovo",
"Pinacoteca do Estado de São Paulo",
"Kaohsiung Museum of Fine Arts",
"Untitled"
] |
|
15827_NT | Untitled (1982 Basquiat devil painting) | Focus on this artwork and explore the Exhibitions. | Untitled has been exhibited at major art institutions worldwide, which include:Jean-Michel Basquiat, Paintings at Akira Ikeda Gallery in Tokyo, December 1985.
Jean-Michel Basquiat at Galerie Enrico Navarra in Paris, April–June 1996.
Jean-Michel Basquiat at Kaohsiung Museum of Fine Arts in Taiwan, January–June 1997; Pinacoteca do Estado de São Paulo in Brazil, June–August 1998.
Basquiat a Venezia at Fondazione Bevilacqua La Masa in Venice, June–October 1999.
Basquiat a Napoli at Il Museo Civico di Castel Nuovo in Naples, December 1999–March 2000.
Jean-Michel Basquiat: Dipinti at Chiostro del Bramante in Rome, January–March 2002.
Jean-Michel Basquiat: The Work of a Lifetime at Musée Maillol in Paris, June–October 2003.
Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011. | [
"Fondation Beyeler",
"Jean-Michel Basquiat",
"Musée d'Art Moderne de la Ville de Paris",
"Chiostro del Bramante",
"Musée Maillol",
"Il Museo Civico di Castel Nuovo",
"Castel Nuovo",
"Pinacoteca do Estado de São Paulo",
"Kaohsiung Museum of Fine Arts",
"Untitled"
] |
|
15828_T | Equestrian statue of Winfield Scott Hancock | Focus on Equestrian statue of Winfield Scott Hancock and explain the abstract. | General Winfield Scott Hancock is an equestrian statue of Winfield Scott Hancock, by Henry Jackson Ellicott together with architect Paul J. Pelz.
It is located at Pennsylvania Avenue in United States Navy Memorial Park at the northwest corner of 7th Street, Northwest, Washington, D.C.
It was commissioned on March 2, 1889, and dedicated on May 12, 1896, by president Grover Cleveland. It cost $50,000.The statue is a contributing monument to the Civil War Monuments in Washington, DC, of the National Register of Historic Places.
The statue is featured in the opening of the Netflix series House of Cards. | [
"Grover Cleveland",
"National Register of Historic Places",
"Hancock",
"Paul J. Pelz",
"House of Cards",
"Washington, D.C.",
"United States Navy Memorial",
"7th Street",
"Pennsylvania Avenue",
"Civil War Monuments in Washington, DC",
"Northwest, Washington, D.C.",
"Netflix",
"Winfield Scott Hancock",
"Henry Jackson Ellicott"
] |
|
15828_NT | Equestrian statue of Winfield Scott Hancock | Focus on this artwork and explain the abstract. | General Winfield Scott Hancock is an equestrian statue of Winfield Scott Hancock, by Henry Jackson Ellicott together with architect Paul J. Pelz.
It is located at Pennsylvania Avenue in United States Navy Memorial Park at the northwest corner of 7th Street, Northwest, Washington, D.C.
It was commissioned on March 2, 1889, and dedicated on May 12, 1896, by president Grover Cleveland. It cost $50,000.The statue is a contributing monument to the Civil War Monuments in Washington, DC, of the National Register of Historic Places.
The statue is featured in the opening of the Netflix series House of Cards. | [
"Grover Cleveland",
"National Register of Historic Places",
"Hancock",
"Paul J. Pelz",
"House of Cards",
"Washington, D.C.",
"United States Navy Memorial",
"7th Street",
"Pennsylvania Avenue",
"Civil War Monuments in Washington, DC",
"Northwest, Washington, D.C.",
"Netflix",
"Winfield Scott Hancock",
"Henry Jackson Ellicott"
] |
|
15829_T | An Entrance to the Paris Métropolitain | Explore the abstract of this artwork, An Entrance to the Paris Métropolitain. | An Entrance to the Paris Métropolitain is a sculpture by Hector Guimard, conceived in 1902 and fabricated between 1902 and 1913. Guimard designed 141 entrances to the Paris Métro of varying types, 86 of which are still standing. One is featured at the National Gallery of Art Sculpture Garden in Washington, D.C. | [
"Paris Métro",
"Washington, D.C.",
"Hector Guimard",
"entrances",
"National Gallery of Art",
"National Gallery of Art Sculpture Garden"
] |
|
15829_NT | An Entrance to the Paris Métropolitain | Explore the abstract of this artwork. | An Entrance to the Paris Métropolitain is a sculpture by Hector Guimard, conceived in 1902 and fabricated between 1902 and 1913. Guimard designed 141 entrances to the Paris Métro of varying types, 86 of which are still standing. One is featured at the National Gallery of Art Sculpture Garden in Washington, D.C. | [
"Paris Métro",
"Washington, D.C.",
"Hector Guimard",
"entrances",
"National Gallery of Art",
"National Gallery of Art Sculpture Garden"
] |
|
15830_T | An Entrance to the Paris Métropolitain | In An Entrance to the Paris Métropolitain, how is the Conception of the History elucidated? | Before the turn of the century, the French were lacking a public transportation system. During their time of reconstruction during the mid-1800s, London was building their “Underground.” This time would have been ideal for the French to build such a transportation system. City officials did realize at the time, that without a metro system, Paris would suffer in the future. Despite this, Parisians did not like the idea of something so industrial being all over the city. The French were so opposed to the idea of a metro that the first line had to be built entirely underground without ripping up surface streets. Obviously the above ground effect was important to Parisians. This meant that the entrances to the metro had to look good but not overwhelm the surrounding areas. | [
"entrances",
"Underground"
] |
|
15830_NT | An Entrance to the Paris Métropolitain | In this artwork, how is the Conception of the History elucidated? | Before the turn of the century, the French were lacking a public transportation system. During their time of reconstruction during the mid-1800s, London was building their “Underground.” This time would have been ideal for the French to build such a transportation system. City officials did realize at the time, that without a metro system, Paris would suffer in the future. Despite this, Parisians did not like the idea of something so industrial being all over the city. The French were so opposed to the idea of a metro that the first line had to be built entirely underground without ripping up surface streets. Obviously the above ground effect was important to Parisians. This meant that the entrances to the metro had to look good but not overwhelm the surrounding areas. | [
"entrances",
"Underground"
] |
|
15831_T | An Entrance to the Paris Métropolitain | In the context of An Entrance to the Paris Métropolitain, analyze the Selection of Guimard of the History. | After several designs were refused by the citizens of Paris a compromise was made to make the metro's above ground components a work of art rather than an industrial eyesore. The entrances were said to be sleek and modern, but none of the proposed designs in the past had achieved either of these descriptions. Most of the previous designs had been made to look classical and were too bulky for Paris sidewalks. A contest was held to see who would design the above-ground entrances and stations. The winner, an architecture firm by the name of: Duray, Lemaresquier, and Paumier; however, was not the one who designed the entrances. The decision was overruled by Adrien Benard, the chairman of the Conseil Municipal de Paris. Instead Hector Guimard, an art nouveau artist who had not entered the contest, won the honor of designing the entrances. He was chosen because of his own take on the “Art Nouveau” style and because his metal designs were cheaper and easier to make than other designs involving masonry and stone. Other than the practical reasons, Guimard's designs, which centered around sleek lines that come from natural curves of plants, were better made with steel. Guimard made different designs of above-ground entrances ranging from grand steel and glass pavilions to the most common type of entrance, a small railing, two lamps, and a sign saying Metropolitain. By 1904, 141 stations were completed, most of which were the most famous type of entrance. | [
"Hector Guimard",
"entrances",
"Art Nouveau"
] |
|
15831_NT | An Entrance to the Paris Métropolitain | In the context of this artwork, analyze the Selection of Guimard of the History. | After several designs were refused by the citizens of Paris a compromise was made to make the metro's above ground components a work of art rather than an industrial eyesore. The entrances were said to be sleek and modern, but none of the proposed designs in the past had achieved either of these descriptions. Most of the previous designs had been made to look classical and were too bulky for Paris sidewalks. A contest was held to see who would design the above-ground entrances and stations. The winner, an architecture firm by the name of: Duray, Lemaresquier, and Paumier; however, was not the one who designed the entrances. The decision was overruled by Adrien Benard, the chairman of the Conseil Municipal de Paris. Instead Hector Guimard, an art nouveau artist who had not entered the contest, won the honor of designing the entrances. He was chosen because of his own take on the “Art Nouveau” style and because his metal designs were cheaper and easier to make than other designs involving masonry and stone. Other than the practical reasons, Guimard's designs, which centered around sleek lines that come from natural curves of plants, were better made with steel. Guimard made different designs of above-ground entrances ranging from grand steel and glass pavilions to the most common type of entrance, a small railing, two lamps, and a sign saying Metropolitain. By 1904, 141 stations were completed, most of which were the most famous type of entrance. | [
"Hector Guimard",
"entrances",
"Art Nouveau"
] |
|
15832_T | An Entrance to the Paris Métropolitain | Describe the characteristics of the Later history in An Entrance to the Paris Métropolitain's History. | Parisians did not necessarily like the entrances. In fact they called the font which Guimard himself designed “un-French.” Parisians also called the green on the entrance “german.” Despite the bad reception from Parisians, the entrances were kept up rather than being taken down because of popular opinion. All of the entrances were above ground, outdoors. Because of this, they had to endure the sun, rain and all of the damages that come with the elements. Many of the entrances began peeling, fading, and falling into disrepair. Many of the entrances were taken down before the Art Nouveau style was considered worthy to preserve. Right now, only 86 of the original 141 entrances remain in use. The ones that were not taken down had been repaired and repainted so many times that they bore little resemblance to the originals. Parisians eventually grew to love the entrances as a symbol of Paris. | [
"entrances",
"Art Nouveau"
] |
|
15832_NT | An Entrance to the Paris Métropolitain | Describe the characteristics of the Later history in this artwork's History. | Parisians did not necessarily like the entrances. In fact they called the font which Guimard himself designed “un-French.” Parisians also called the green on the entrance “german.” Despite the bad reception from Parisians, the entrances were kept up rather than being taken down because of popular opinion. All of the entrances were above ground, outdoors. Because of this, they had to endure the sun, rain and all of the damages that come with the elements. Many of the entrances began peeling, fading, and falling into disrepair. Many of the entrances were taken down before the Art Nouveau style was considered worthy to preserve. Right now, only 86 of the original 141 entrances remain in use. The ones that were not taken down had been repaired and repainted so many times that they bore little resemblance to the originals. Parisians eventually grew to love the entrances as a symbol of Paris. | [
"entrances",
"Art Nouveau"
] |
|
15833_T | An Entrance to the Paris Métropolitain | Focus on An Entrance to the Paris Métropolitain and explore the Restoration process. | One of the original entrances now stands in the sculpture garden at the National Gallery of Art. Because the entrance was “repaired’ so much that none of the colors were original, it had to be restored by the gallery. In fact, the existing paint layers were, “faded and chalky, and were actively lifting from the cast iron structure” Layers of corrosion inhibitors and more durable paint had to be added for the harsh winters in Washington D.C. The restoration was done by conservators and contractors who restored the original “faux bronze” look which Guimard intended. | [
"entrances",
"National Gallery of Art"
] |
|
15833_NT | An Entrance to the Paris Métropolitain | Focus on this artwork and explore the Restoration process. | One of the original entrances now stands in the sculpture garden at the National Gallery of Art. Because the entrance was “repaired’ so much that none of the colors were original, it had to be restored by the gallery. In fact, the existing paint layers were, “faded and chalky, and were actively lifting from the cast iron structure” Layers of corrosion inhibitors and more durable paint had to be added for the harsh winters in Washington D.C. The restoration was done by conservators and contractors who restored the original “faux bronze” look which Guimard intended. | [
"entrances",
"National Gallery of Art"
] |
|
15834_T | EDSA Shrine | Focus on EDSA Shrine and explain the abstract. | The Shrine of Mary, Queen of Peace, Our Lady of EDSA, or more popularly, the EDSA Shrine is a small church of the Roman Catholic Archdiocese of Manila located at the intersection of Ortigas Avenue and Epifanio de los Santos Avenue (EDSA) in Barangay Ugong Norte, Quezon City. The church is also called the Archdiocesan Shrine of Mary, Queen of Peace or Mary, Queen of Peace Quasi-Parish, although these names are seldom used. It is also a declared Important Cultural Property by the National Commission for Culture and the Arts.
Built in 1989 on donated land to commemorate the People Power Revolution, the shrine is the site of two peaceful demonstrations that toppled Presidents Ferdinand Marcos (the People Power Revolution or EDSA I) in 1986, and Joseph Estrada (the EDSA Revolution of 2001 or EDSA II).
The EDSA Shrine is the northernmost tip of the Ortigas Center, a financial and commercial district occupying large tracts of land in Quezon City, Mandaluyong, and Pasig. | [
"Ortigas Avenue",
"Manila",
"Roman Catholic Archdiocese of Manila",
"Presidents",
"Archdiocese of Manila",
"Property",
"Joseph Estrada",
"Peace",
"Ortigas Center",
"Quezon City",
"EDSA Revolution of 2001",
"Roman Catholic",
"Mary, Queen of Peace",
"Shrine",
"Mandaluyong",
"Epifanio de los Santos Avenue",
"Ferdinand Marcos",
"peace",
"church",
"Pasig",
"Epifanio de los Santos",
"National Commission for Culture and the Arts",
"EDSA",
"People Power Revolution"
] |
|
15834_NT | EDSA Shrine | Focus on this artwork and explain the abstract. | The Shrine of Mary, Queen of Peace, Our Lady of EDSA, or more popularly, the EDSA Shrine is a small church of the Roman Catholic Archdiocese of Manila located at the intersection of Ortigas Avenue and Epifanio de los Santos Avenue (EDSA) in Barangay Ugong Norte, Quezon City. The church is also called the Archdiocesan Shrine of Mary, Queen of Peace or Mary, Queen of Peace Quasi-Parish, although these names are seldom used. It is also a declared Important Cultural Property by the National Commission for Culture and the Arts.
Built in 1989 on donated land to commemorate the People Power Revolution, the shrine is the site of two peaceful demonstrations that toppled Presidents Ferdinand Marcos (the People Power Revolution or EDSA I) in 1986, and Joseph Estrada (the EDSA Revolution of 2001 or EDSA II).
The EDSA Shrine is the northernmost tip of the Ortigas Center, a financial and commercial district occupying large tracts of land in Quezon City, Mandaluyong, and Pasig. | [
"Ortigas Avenue",
"Manila",
"Roman Catholic Archdiocese of Manila",
"Presidents",
"Archdiocese of Manila",
"Property",
"Joseph Estrada",
"Peace",
"Ortigas Center",
"Quezon City",
"EDSA Revolution of 2001",
"Roman Catholic",
"Mary, Queen of Peace",
"Shrine",
"Mandaluyong",
"Epifanio de los Santos Avenue",
"Ferdinand Marcos",
"peace",
"church",
"Pasig",
"Epifanio de los Santos",
"National Commission for Culture and the Arts",
"EDSA",
"People Power Revolution"
] |
|
15835_T | EDSA Shrine | Explore the History of this artwork, EDSA Shrine. | Cardinal-Archbishop Jaime Sin proposed the construction of a commemorative shrine two days after the Marcos family went into exile following the People Power Revolution of February 1986 which saw the deposing of President Ferdinand Marcos, the end of his authoritarian regime and the installation of Corazon Aquino as his successor. Sin made the proposal as an act of thanksgiving to the Virgin Mary to whom devout Catholics attribute the success of the peaceful revolution.The concept for a commemorative shrine developed when Sin and Bishop Gabriel Reyes were en route to Camp Aguinaldo to preside a Thanksgiving Mass. At a corner of Epifanio de los Santos and Ortigas Avenues, Reyes pointed out to Sin the site where a group of protesters, which included Catholic religious sisters, offered flowers to soldiers during the revolution. At an empty lot nearby stood two billboards that featured advertisements by the Family Rosary Crusade. The billboards showed the image of the Virgin Mary along with the slogans "The family that prays together stays together" and "A world at prayer is a world at peace". The two clergymen concluded that the success of the revolution was a miracle that could be attributed to the intercession of the Virgin Mary. They compared the EDSA event to the success of the Battle of Lepanto and Battles of La Naval de Manila which also both ended in victories for the Catholic belligerents (i.e., the Venetians and Spaniards in Lepanto against the Muslim Ottomans and the Spaniards against the Protestant Dutch forces in Manila).Cardinal Sin convinced the Ortigas and Gokongwei family to donate the corner lot where the EDSA Shrine now stands today The shrine was initially planned to be built inside Camp Crame, but plans were scrapped because churches built on government-owned property had to be ecumenical in nature.EDSA Shrine was then constructed with Francisco Mañosa as architect. Leandro Locsin and William Coscolluela was also involved with the preparatory work of the building. The construction was almost finished by November 1989 and the shrine was set to be inaugurated by December 8, 1989, the date of the Feast of the Immaculate Conception. However such plans were interrupted by a coup attempt which began on November 29, 1989 by the Reform the Armed Forces Movement against President Corazon Aquino.
The coup attempt ended on December 7, 1989, and the inauguration went as planned which was never postponed by Cardinal Sin. The church was consecrated on December 15, 1989, and dedicated to the Virgin Mary on the same date. Socrates Villegas, then a priest, was installed as the church's first rector.When the Second EDSA Revolution was successful in deposing President Joseph Estrada in January 2001, Sin declared the EDSA Shrine as a "Holy Ground", crediting the Virgin Mary to the event. A marker was installed on the anniversary of the 1986 People Power Revolution recognizing the shrine as a "Holy Ground". At the facade is set of sculptures recalling the events of the First and Second People Power Revolutions, the latter which was held there at the shrine.
Other rallies and demonstrations held in the shrine were: Pro-Estrada rally (April 25 – May 1, 2001), protests against Reproductive Health Bill (August 4, 2012), EDSA Tayo rally against pork barrel (September 7, 2013), 2015 Iglesia ni Cristo protests (August 27–31, 2015) and Lord, Heal Our Land con-celebrated mass (November 5, 2017).
In 2019, the National Commission for Culture and the Arts declared the church as an Important Cultural Property. | [
"a coup attempt",
"Ortigas Avenue",
"Battles of La Naval de Manila",
"Camp Crame",
"2015 Iglesia ni Cristo protests",
"Second EDSA Revolution",
"Virgin Mary",
"Manila",
"Francisco Mañosa",
"Archbishop",
"Battle of Lepanto",
"Property",
"Socrates Villegas",
"Joseph Estrada",
"Camp Aguinaldo",
"Marcos family",
"Gabriel Reyes",
"Family Rosary Crusade",
"Cardinal-Archbishop",
"Shrine",
"Pro-Estrada rally",
"Ferdinand Marcos",
"peace",
"Feast of the Immaculate Conception",
"Leandro Locsin",
"Jaime Sin",
"Corazon Aquino",
"advertisements",
"church",
"Epifanio de los Santos",
"Reform the Armed Forces Movement",
"National Commission for Culture and the Arts",
"EDSA",
"ecumenical",
"Ottomans",
"pork barrel",
"People Power Revolution"
] |
|
15835_NT | EDSA Shrine | Explore the History of this artwork. | Cardinal-Archbishop Jaime Sin proposed the construction of a commemorative shrine two days after the Marcos family went into exile following the People Power Revolution of February 1986 which saw the deposing of President Ferdinand Marcos, the end of his authoritarian regime and the installation of Corazon Aquino as his successor. Sin made the proposal as an act of thanksgiving to the Virgin Mary to whom devout Catholics attribute the success of the peaceful revolution.The concept for a commemorative shrine developed when Sin and Bishop Gabriel Reyes were en route to Camp Aguinaldo to preside a Thanksgiving Mass. At a corner of Epifanio de los Santos and Ortigas Avenues, Reyes pointed out to Sin the site where a group of protesters, which included Catholic religious sisters, offered flowers to soldiers during the revolution. At an empty lot nearby stood two billboards that featured advertisements by the Family Rosary Crusade. The billboards showed the image of the Virgin Mary along with the slogans "The family that prays together stays together" and "A world at prayer is a world at peace". The two clergymen concluded that the success of the revolution was a miracle that could be attributed to the intercession of the Virgin Mary. They compared the EDSA event to the success of the Battle of Lepanto and Battles of La Naval de Manila which also both ended in victories for the Catholic belligerents (i.e., the Venetians and Spaniards in Lepanto against the Muslim Ottomans and the Spaniards against the Protestant Dutch forces in Manila).Cardinal Sin convinced the Ortigas and Gokongwei family to donate the corner lot where the EDSA Shrine now stands today The shrine was initially planned to be built inside Camp Crame, but plans were scrapped because churches built on government-owned property had to be ecumenical in nature.EDSA Shrine was then constructed with Francisco Mañosa as architect. Leandro Locsin and William Coscolluela was also involved with the preparatory work of the building. The construction was almost finished by November 1989 and the shrine was set to be inaugurated by December 8, 1989, the date of the Feast of the Immaculate Conception. However such plans were interrupted by a coup attempt which began on November 29, 1989 by the Reform the Armed Forces Movement against President Corazon Aquino.
The coup attempt ended on December 7, 1989, and the inauguration went as planned which was never postponed by Cardinal Sin. The church was consecrated on December 15, 1989, and dedicated to the Virgin Mary on the same date. Socrates Villegas, then a priest, was installed as the church's first rector.When the Second EDSA Revolution was successful in deposing President Joseph Estrada in January 2001, Sin declared the EDSA Shrine as a "Holy Ground", crediting the Virgin Mary to the event. A marker was installed on the anniversary of the 1986 People Power Revolution recognizing the shrine as a "Holy Ground". At the facade is set of sculptures recalling the events of the First and Second People Power Revolutions, the latter which was held there at the shrine.
Other rallies and demonstrations held in the shrine were: Pro-Estrada rally (April 25 – May 1, 2001), protests against Reproductive Health Bill (August 4, 2012), EDSA Tayo rally against pork barrel (September 7, 2013), 2015 Iglesia ni Cristo protests (August 27–31, 2015) and Lord, Heal Our Land con-celebrated mass (November 5, 2017).
In 2019, the National Commission for Culture and the Arts declared the church as an Important Cultural Property. | [
"a coup attempt",
"Ortigas Avenue",
"Battles of La Naval de Manila",
"Camp Crame",
"2015 Iglesia ni Cristo protests",
"Second EDSA Revolution",
"Virgin Mary",
"Manila",
"Francisco Mañosa",
"Archbishop",
"Battle of Lepanto",
"Property",
"Socrates Villegas",
"Joseph Estrada",
"Camp Aguinaldo",
"Marcos family",
"Gabriel Reyes",
"Family Rosary Crusade",
"Cardinal-Archbishop",
"Shrine",
"Pro-Estrada rally",
"Ferdinand Marcos",
"peace",
"Feast of the Immaculate Conception",
"Leandro Locsin",
"Jaime Sin",
"Corazon Aquino",
"advertisements",
"church",
"Epifanio de los Santos",
"Reform the Armed Forces Movement",
"National Commission for Culture and the Arts",
"EDSA",
"ecumenical",
"Ottomans",
"pork barrel",
"People Power Revolution"
] |
|
15836_T | EDSA Shrine | Focus on EDSA Shrine and discuss the Dedication. | Our Lady of Peace, Mother of Peace, Queen of Peace or Our Lady Queen of Peace is a title of the Blessed Virgin Mary in the Catholic Church. She is represented in art holding a dove and an olive branch – both traditional symbols of peace. The patronal image for this particular shrine is unique, as its design follows that of the statue atop the shrine roof. Mary, crowned and clad in golden robes, has her arms outstretched and her Immaculate Heart exposed, while two or three white doves rest at her hands and feet.
Her official memorial in the General Roman Calendar is on July 9 in the universal Church except for Hawaii and some churches in the United States, where it is kept on January 24. | [
"General Roman Calendar",
"Virgin Mary",
"memorial",
"United States",
"Catholic Church",
"olive",
"Immaculate Heart",
"title",
"Peace",
"Our Lady of Peace",
"peace",
"church",
"dove",
"Hawaii",
"Blessed Virgin Mary"
] |
|
15836_NT | EDSA Shrine | Focus on this artwork and discuss the Dedication. | Our Lady of Peace, Mother of Peace, Queen of Peace or Our Lady Queen of Peace is a title of the Blessed Virgin Mary in the Catholic Church. She is represented in art holding a dove and an olive branch – both traditional symbols of peace. The patronal image for this particular shrine is unique, as its design follows that of the statue atop the shrine roof. Mary, crowned and clad in golden robes, has her arms outstretched and her Immaculate Heart exposed, while two or three white doves rest at her hands and feet.
Her official memorial in the General Roman Calendar is on July 9 in the universal Church except for Hawaii and some churches in the United States, where it is kept on January 24. | [
"General Roman Calendar",
"Virgin Mary",
"memorial",
"United States",
"Catholic Church",
"olive",
"Immaculate Heart",
"title",
"Peace",
"Our Lady of Peace",
"peace",
"church",
"dove",
"Hawaii",
"Blessed Virgin Mary"
] |
|
15837_T | EDSA Shrine | How does EDSA Shrine elucidate its Architecture and design? | Francisco Mañosa was responsible for the architectural and structural design of the EDSA Shrine. The National Commission for Culture and the Arts (NCAA) described Mañosa's take on the building's design as a "modern take on Filipino architecture and adaptation of tropical architecture". The building is also noted for its "neovernacular" style and its distinguished "native architectural forms and indigenous materials" by architecture historian Gerard Lico.The EDSA Shrine's design consisted of a promenade, the People's Plaza, with a statue of the Virgin Mary sculpted by Virginia Ty-Navarro as its focal point, and an underground church which was inspired from the Cathedral of Brasilia.Mañosa envisioned a different design from the existing building. The architect's vision for the shrine, which he dubbed as the "People's Basilica" is derived from the concept of the bahay kubo but on a larger scale. The initial design called for the use of seven pitched roofs clustered together which framed a statue of the Virgin Mary. However one influential member of the committee objected to the design preferring a Spanish colonial design for the EDSA Shrine which caused Mañosa to withdraw from the project but was convinced by Cardinal Jaime Sin to remain committed to the project and made the design for the current building. | [
"Virginia Ty-Navarro",
"Virgin Mary",
"Cathedral of Brasilia",
"Architect",
"Spanish colonial design",
"Francisco Mañosa",
"Shrine",
"Cathedral",
"Jaime Sin",
"church",
"National Commission for Culture and the Arts",
"EDSA",
"Filipino architecture",
"bahay kubo"
] |
|
15837_NT | EDSA Shrine | How does this artwork elucidate its Architecture and design? | Francisco Mañosa was responsible for the architectural and structural design of the EDSA Shrine. The National Commission for Culture and the Arts (NCAA) described Mañosa's take on the building's design as a "modern take on Filipino architecture and adaptation of tropical architecture". The building is also noted for its "neovernacular" style and its distinguished "native architectural forms and indigenous materials" by architecture historian Gerard Lico.The EDSA Shrine's design consisted of a promenade, the People's Plaza, with a statue of the Virgin Mary sculpted by Virginia Ty-Navarro as its focal point, and an underground church which was inspired from the Cathedral of Brasilia.Mañosa envisioned a different design from the existing building. The architect's vision for the shrine, which he dubbed as the "People's Basilica" is derived from the concept of the bahay kubo but on a larger scale. The initial design called for the use of seven pitched roofs clustered together which framed a statue of the Virgin Mary. However one influential member of the committee objected to the design preferring a Spanish colonial design for the EDSA Shrine which caused Mañosa to withdraw from the project but was convinced by Cardinal Jaime Sin to remain committed to the project and made the design for the current building. | [
"Virginia Ty-Navarro",
"Virgin Mary",
"Cathedral of Brasilia",
"Architect",
"Spanish colonial design",
"Francisco Mañosa",
"Shrine",
"Cathedral",
"Jaime Sin",
"church",
"National Commission for Culture and the Arts",
"EDSA",
"Filipino architecture",
"bahay kubo"
] |
|
15838_T | EDSA Shrine | Focus on EDSA Shrine and analyze the Our Lady of EDSA sculpture. | The sculpture of the Virgin Mary as the Our Lady of EDSA, Queen of Peace is a prominent feature of the EDSA Shrine. The committee behind the construction of the EDSA Shrine commissioned sculptor Virginia Ty-Navarro for the sculpture. Napoleon Abueva was initially considered for the sculpture design but Abueva was recovering from a stroke at that time. Manny Casal was the second choice who proposed a marble sculpture of the Virgin Mary with open arms comforting people of various backgrounds; lay people, clergy, children, and soldiers. Casal intended the sculpture to be done on-site. Abueva and Casal while not selected to sculpt the shrine's main sculpture contributed other works installed within the shrine grounds.Ty-Navarro sculpted the Virgin Mary sculpture in her studio in San Juan. The sculpture was transported to the shrine by helicopter with assistance from the United States embassy due to Ty-Navarro not anticipating that the road to the shrine is too narrow for the sculpture. | [
"Virginia Ty-Navarro",
"Virgin Mary",
"United States",
"Peace",
"Shrine",
"United States embassy",
"EDSA",
"Napoleon Abueva",
"San Juan"
] |
|
15838_NT | EDSA Shrine | Focus on this artwork and analyze the Our Lady of EDSA sculpture. | The sculpture of the Virgin Mary as the Our Lady of EDSA, Queen of Peace is a prominent feature of the EDSA Shrine. The committee behind the construction of the EDSA Shrine commissioned sculptor Virginia Ty-Navarro for the sculpture. Napoleon Abueva was initially considered for the sculpture design but Abueva was recovering from a stroke at that time. Manny Casal was the second choice who proposed a marble sculpture of the Virgin Mary with open arms comforting people of various backgrounds; lay people, clergy, children, and soldiers. Casal intended the sculpture to be done on-site. Abueva and Casal while not selected to sculpt the shrine's main sculpture contributed other works installed within the shrine grounds.Ty-Navarro sculpted the Virgin Mary sculpture in her studio in San Juan. The sculpture was transported to the shrine by helicopter with assistance from the United States embassy due to Ty-Navarro not anticipating that the road to the shrine is too narrow for the sculpture. | [
"Virginia Ty-Navarro",
"Virgin Mary",
"United States",
"Peace",
"Shrine",
"United States embassy",
"EDSA",
"Napoleon Abueva",
"San Juan"
] |
|
15839_T | Matin à Villeneuve | Focus on Matin à Villeneuve and explore the Description. | Matin à Villeneuve is an oil painting on canvas in a vertical format with dimensions 153.7 x 127 cm (60.5 by 50 in), signed by Henri Biva (lower left).
This highly detailed work depicts a morning scene at the Villeneuve-l'étang park, located just outside Paris in the western suburb of Marnes-la-Coquette (Seine-et-Oise), France. The artist has chosen a quiet section of the park with a view facing towards the east. The greenery suggests the work was painted en plein air during July or August, and possibly finished sometime later in Biva's Parisian atelier.
Unlike works of the Neo-Impressionists or Fauves, in vogue at the time, Biva has gone to great lengths to show even the most minute details of the scene, such as leaves and petals floating on the surface of the water; overlapping blades of grass; superimposed branches and leaves of varying size indicating distance from the observer; reflecting background trees in the rippling body of water; patches of raking sunlit shimmering seemingly at random throughout carefully selected sections of the composition.
This work of skillfully controlled artistry presents a dominant palette of green variously mixed and blended by the artist to form diverse tones, values and hues, contrasted only by the transpiercing light of the morning sky partly visible through the delicate foliage while bouncing off the surface of the shallows. | [
"Henri Biva",
"en plein air",
"atelier",
"Fauves",
"Neo-Impressionists"
] |
|
15839_NT | Matin à Villeneuve | Focus on this artwork and explore the Description. | Matin à Villeneuve is an oil painting on canvas in a vertical format with dimensions 153.7 x 127 cm (60.5 by 50 in), signed by Henri Biva (lower left).
This highly detailed work depicts a morning scene at the Villeneuve-l'étang park, located just outside Paris in the western suburb of Marnes-la-Coquette (Seine-et-Oise), France. The artist has chosen a quiet section of the park with a view facing towards the east. The greenery suggests the work was painted en plein air during July or August, and possibly finished sometime later in Biva's Parisian atelier.
Unlike works of the Neo-Impressionists or Fauves, in vogue at the time, Biva has gone to great lengths to show even the most minute details of the scene, such as leaves and petals floating on the surface of the water; overlapping blades of grass; superimposed branches and leaves of varying size indicating distance from the observer; reflecting background trees in the rippling body of water; patches of raking sunlit shimmering seemingly at random throughout carefully selected sections of the composition.
This work of skillfully controlled artistry presents a dominant palette of green variously mixed and blended by the artist to form diverse tones, values and hues, contrasted only by the transpiercing light of the morning sky partly visible through the delicate foliage while bouncing off the surface of the shallows. | [
"Henri Biva",
"en plein air",
"atelier",
"Fauves",
"Neo-Impressionists"
] |
|
15840_T | Matin à Villeneuve | Focus on Matin à Villeneuve and explain the Naturalism. | A trace of Biva's meticulous and rigorous professors at the École des Beaux-Arts in Paris—Léon Tanzi (1846-1913), an esteemed Realist painter and Alexandre Nozal (1852-1929) a respected landscape artist—can be contemplated in Biva's work.
Janet Whitmore writes of Henri Biva's work, something that could apply to many of his paintings:"Like the naturalist painters such as Jules Bastien-Lepage or Rosa Bonheur", writes Janet Whitmore, "there is a strong tactile quality to Biva’s work, focused on the shapes, colors and forms of the small plants beside the stream or the smooth grey surface of the tree trunks". Equally important, she writes, "this type of landscape painting offered an intimate glimpse of a specific locale, a reminder of days spent in the French countryside, or perhaps at the immense forest preserves surrounding Paris. Unlike contemporaries such as Pissarro or Monet, Biva’s landscapes suggest a time before industrialization when no railroad or factory disrupted rural vistas. Rather, these images show no evidence of human activity at all except for the occasional fisherman drowsing by the riverside. (Janet Whitmore, Ph.D.) | [
"Realist",
"École des Beaux-Arts",
"Henri Biva",
"Monet",
"Pissarro",
"Jules Bastien-Lepage",
"Rosa Bonheur"
] |
|
15840_NT | Matin à Villeneuve | Focus on this artwork and explain the Naturalism. | A trace of Biva's meticulous and rigorous professors at the École des Beaux-Arts in Paris—Léon Tanzi (1846-1913), an esteemed Realist painter and Alexandre Nozal (1852-1929) a respected landscape artist—can be contemplated in Biva's work.
Janet Whitmore writes of Henri Biva's work, something that could apply to many of his paintings:"Like the naturalist painters such as Jules Bastien-Lepage or Rosa Bonheur", writes Janet Whitmore, "there is a strong tactile quality to Biva’s work, focused on the shapes, colors and forms of the small plants beside the stream or the smooth grey surface of the tree trunks". Equally important, she writes, "this type of landscape painting offered an intimate glimpse of a specific locale, a reminder of days spent in the French countryside, or perhaps at the immense forest preserves surrounding Paris. Unlike contemporaries such as Pissarro or Monet, Biva’s landscapes suggest a time before industrialization when no railroad or factory disrupted rural vistas. Rather, these images show no evidence of human activity at all except for the occasional fisherman drowsing by the riverside. (Janet Whitmore, Ph.D.) | [
"Realist",
"École des Beaux-Arts",
"Henri Biva",
"Monet",
"Pissarro",
"Jules Bastien-Lepage",
"Rosa Bonheur"
] |
|
15841_T | Statue of Alexander Hamilton (Columbia University) | Focus on Statue of Alexander Hamilton (Columbia University) and discuss the abstract. | An outdoor 1908 sculpture of Alexander Hamilton by William Ordway Partridge is installed outside Hamilton Hall on the Columbia University campus in Manhattan, New York, United States. | [
"Hamilton Hal",
"William Ordway Partridge",
"Alexander Hamilton",
"Columbia University"
] |
|
15841_NT | Statue of Alexander Hamilton (Columbia University) | Focus on this artwork and discuss the abstract. | An outdoor 1908 sculpture of Alexander Hamilton by William Ordway Partridge is installed outside Hamilton Hall on the Columbia University campus in Manhattan, New York, United States. | [
"Hamilton Hal",
"William Ordway Partridge",
"Alexander Hamilton",
"Columbia University"
] |
|
15842_T | A Woman Peeling Apples | How does A Woman Peeling Apples elucidate its abstract? | A Woman Peeling Apples (c. 1663) is a painting by the Dutch Golden Age painter Pieter de Hooch in the Wallace Collection in London. | [
"Wallace Collection",
"Pieter de Hooch",
"Dutch Golden Age painter",
"London"
] |
|
15842_NT | A Woman Peeling Apples | How does this artwork elucidate its abstract? | A Woman Peeling Apples (c. 1663) is a painting by the Dutch Golden Age painter Pieter de Hooch in the Wallace Collection in London. | [
"Wallace Collection",
"Pieter de Hooch",
"Dutch Golden Age painter",
"London"
] |
|
15843_T | A Woman Peeling Apples | Focus on A Woman Peeling Apples and analyze the Description. | It is a genre painting showing a quiet domestic scene from the time, like most of de Hooch's works. The elaborate fireplace and fur and embroidery in the mother's clothes show a prosperous household, and the cupid between the two figures implies a happy one. Its sensitive handling of light—in particular, natural light filtered into an otherwise unlit interior space—led 19th-century art historians to attribute it to Johannes Vermeer, with whose work the painting does bear strong similarities. However, Vermeer's work typically portrayed a woman working alone instead of a family scene as in A Woman Peeling Apples. Most scholars also now believe that de Hooch was influenced by Vermeer instead of Vermeer by de Hooch.The painting is in oil on canvas (67 cm × 55 cm). It is also sometimes referred to as A Woman Peeling Apples, with a Small Child. This painting was documented by Hofstede de Groot in 1908, who wrote:33. WOMAN PEELING APPLES. de G. 55. In the right-hand corner of a room sits a woman, facing the spectator. She wears a black velvet jacket trimmed with fur, a red skirt, and a white apron. In her lap she holds a basket of apples which she is peeling. She holds out a long rind in her right hand to a little girl standing to the left and seen in profile. A tub is on the floor at the woman's feet. To the left is a fireplace with a kettle on the fire. The fireplace is lined with Delft tiles, and is enclosed with pilasters worked in low relief. Behind the woman hangs a mirror in a black frame. The sunlight enters through a window above to the right and illumines the wall and a corner of the mirror. The floor is composed of brown and white tiles. The picture is in a very dirty condition. Its general effect is fine. It is somewhat similar in style to the Weissbach picture (4), but not so charming in subject; it is Canvas, 26 inches by 21 inches. Mentioned by Waagen, Supplement, p. 87, in the collection of the Marquis of Hertford, who bought it from C. Perrier in 1848 (for £283 : 10s.). Described by Bürger, Gazette des Beaux-Arts, 1866, vol. xxi. p. 561, as a Vermeer, No. 16. Exhibited at the Royal Academy Winter Exhibition, London, 1893, No. 55. Now in the Wallace collection, London, No. 23 in the 1901 catalogue. | [
"Hofstede de Groot",
"genre painting",
"Royal Academy",
"Johannes Vermeer",
"oil",
"cupid",
"Waagen",
"Marquis of Hertford",
"art historians",
"Gazette des Beaux-Arts",
"London"
] |
|
15843_NT | A Woman Peeling Apples | Focus on this artwork and analyze the Description. | It is a genre painting showing a quiet domestic scene from the time, like most of de Hooch's works. The elaborate fireplace and fur and embroidery in the mother's clothes show a prosperous household, and the cupid between the two figures implies a happy one. Its sensitive handling of light—in particular, natural light filtered into an otherwise unlit interior space—led 19th-century art historians to attribute it to Johannes Vermeer, with whose work the painting does bear strong similarities. However, Vermeer's work typically portrayed a woman working alone instead of a family scene as in A Woman Peeling Apples. Most scholars also now believe that de Hooch was influenced by Vermeer instead of Vermeer by de Hooch.The painting is in oil on canvas (67 cm × 55 cm). It is also sometimes referred to as A Woman Peeling Apples, with a Small Child. This painting was documented by Hofstede de Groot in 1908, who wrote:33. WOMAN PEELING APPLES. de G. 55. In the right-hand corner of a room sits a woman, facing the spectator. She wears a black velvet jacket trimmed with fur, a red skirt, and a white apron. In her lap she holds a basket of apples which she is peeling. She holds out a long rind in her right hand to a little girl standing to the left and seen in profile. A tub is on the floor at the woman's feet. To the left is a fireplace with a kettle on the fire. The fireplace is lined with Delft tiles, and is enclosed with pilasters worked in low relief. Behind the woman hangs a mirror in a black frame. The sunlight enters through a window above to the right and illumines the wall and a corner of the mirror. The floor is composed of brown and white tiles. The picture is in a very dirty condition. Its general effect is fine. It is somewhat similar in style to the Weissbach picture (4), but not so charming in subject; it is Canvas, 26 inches by 21 inches. Mentioned by Waagen, Supplement, p. 87, in the collection of the Marquis of Hertford, who bought it from C. Perrier in 1848 (for £283 : 10s.). Described by Bürger, Gazette des Beaux-Arts, 1866, vol. xxi. p. 561, as a Vermeer, No. 16. Exhibited at the Royal Academy Winter Exhibition, London, 1893, No. 55. Now in the Wallace collection, London, No. 23 in the 1901 catalogue. | [
"Hofstede de Groot",
"genre painting",
"Royal Academy",
"Johannes Vermeer",
"oil",
"cupid",
"Waagen",
"Marquis of Hertford",
"art historians",
"Gazette des Beaux-Arts",
"London"
] |
|
15844_T | Triumph of the Human Spirit | In Triumph of the Human Spirit, how is the abstract discussed? | Triumph of the Human Spirit is a 2000 black granite sculpture by Lorenzo Pace, installed at Manhattan's Foley Square, in the U.S. state of New York. According to the City of New York, the 50-foot (15 m), 300-ton, abstract monument is derived from the female antelope Chiwara forms of Bambaran art. The sculpture is sited near a rediscovered Colonial-era African Burial Ground, and its support structure alludes to the slave trade's Middle Passage. The work was commissioned by the New York City Government program Percent for Art. | [
"New York City",
"Percent for Art",
"Bambaran art",
"black granite",
"Middle Passage",
"Chiwara",
"New York",
"antelope",
"African Burial Ground",
"U.S. state",
"Manhattan",
"Foley Square",
"abstract",
"Lorenzo Pace"
] |
|
15844_NT | Triumph of the Human Spirit | In this artwork, how is the abstract discussed? | Triumph of the Human Spirit is a 2000 black granite sculpture by Lorenzo Pace, installed at Manhattan's Foley Square, in the U.S. state of New York. According to the City of New York, the 50-foot (15 m), 300-ton, abstract monument is derived from the female antelope Chiwara forms of Bambaran art. The sculpture is sited near a rediscovered Colonial-era African Burial Ground, and its support structure alludes to the slave trade's Middle Passage. The work was commissioned by the New York City Government program Percent for Art. | [
"New York City",
"Percent for Art",
"Bambaran art",
"black granite",
"Middle Passage",
"Chiwara",
"New York",
"antelope",
"African Burial Ground",
"U.S. state",
"Manhattan",
"Foley Square",
"abstract",
"Lorenzo Pace"
] |
|
15845_T | Chair (sculpture) | Focus on Chair (sculpture) and explore the abstract. | Chair is a public artwork designed as an advertisement by Bassett Furniture, located at the intersection of Martin Luther King Ave. and V. Street S.E., in the Anacostia neighborhood of Washington, D.C., United States. Chair was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1994. It was once considered the world's largest chair, but has been overtaken by works like Broken Chair in Geneva and the temporary The Writer on Hampstead Heath in London. | [
"Geneva",
"Washington, D.C.",
"Anacostia",
"Smithsonian's",
"Hampstead Heath",
"Save Outdoor Sculpture!",
"Broken Chair",
"Bassett Furniture"
] |
|
15845_NT | Chair (sculpture) | Focus on this artwork and explore the abstract. | Chair is a public artwork designed as an advertisement by Bassett Furniture, located at the intersection of Martin Luther King Ave. and V. Street S.E., in the Anacostia neighborhood of Washington, D.C., United States. Chair was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1994. It was once considered the world's largest chair, but has been overtaken by works like Broken Chair in Geneva and the temporary The Writer on Hampstead Heath in London. | [
"Geneva",
"Washington, D.C.",
"Anacostia",
"Smithsonian's",
"Hampstead Heath",
"Save Outdoor Sculpture!",
"Broken Chair",
"Bassett Furniture"
] |
|
15846_T | Chair (sculpture) | Focus on Chair (sculpture) and explain the Description. | The chair, which stands 19½ feet high, is a detail-to-detail replica of a Duncan Phyfe style chair. Painted brown with a white and brown striped "cushion", the chair is entirely made of aluminum. Weighing between 4,000 and 4,600 pounds, the chair sits on a concrete base. | [
"aluminum",
"Duncan Phyfe"
] |
|
15846_NT | Chair (sculpture) | Focus on this artwork and explain the Description. | The chair, which stands 19½ feet high, is a detail-to-detail replica of a Duncan Phyfe style chair. Painted brown with a white and brown striped "cushion", the chair is entirely made of aluminum. Weighing between 4,000 and 4,600 pounds, the chair sits on a concrete base. | [
"aluminum",
"Duncan Phyfe"
] |
|
15847_T | Chair (sculpture) | Explore the Acquisition of this artwork, Chair (sculpture). | The chair was built in 1959 by Virginia-based furniture maker Bassett Furniture. The concept for the chair came from Charles Curtis, of the Curtis Brothers Furniture company, as a clever way to bring customers to their family showroom which was located on the grounds where the chair is currently placed.The piece was dedicated on July 11, 1959, and a plaque was placed with it, stating:THE WORLD'S LARGEST CHAIR
PRESENTED TO
CURTIS BROS.
FOR THEIR OUTSTANDING LEADERSHIP
AND SERVICE TO THE PUBLIC/BY THE
BASSETT FURNITURE INDUSTRIES.
THE CHAIR MADE OF SOUND HONDURAS MAHOGANY
IS 19½ FEET TALL AND WEIGHS 4000 POUNDS
DEDICATED JULY 11, 1959
DESIGNED
LEO M. HIRAMETT
BUILT BY J. E. BASSETT, JR. | [
"rot",
"Bassett Furniture"
] |
|
15847_NT | Chair (sculpture) | Explore the Acquisition of this artwork. | The chair was built in 1959 by Virginia-based furniture maker Bassett Furniture. The concept for the chair came from Charles Curtis, of the Curtis Brothers Furniture company, as a clever way to bring customers to their family showroom which was located on the grounds where the chair is currently placed.The piece was dedicated on July 11, 1959, and a plaque was placed with it, stating:THE WORLD'S LARGEST CHAIR
PRESENTED TO
CURTIS BROS.
FOR THEIR OUTSTANDING LEADERSHIP
AND SERVICE TO THE PUBLIC/BY THE
BASSETT FURNITURE INDUSTRIES.
THE CHAIR MADE OF SOUND HONDURAS MAHOGANY
IS 19½ FEET TALL AND WEIGHS 4000 POUNDS
DEDICATED JULY 11, 1959
DESIGNED
LEO M. HIRAMETT
BUILT BY J. E. BASSETT, JR. | [
"rot",
"Bassett Furniture"
] |
|
15848_T | Chair (sculpture) | Focus on Chair (sculpture) and discuss the Re-dedication. | John Kidwell, the caretaker of the Chair, frequently patched holes that would form after heavy rains with cement. During the days of August 23–24, 2005, the original Chair was disassembled by a backhoe and taken away for restoration. Made entirely of Honduras Mahogany, the legs had begun to rot. On April 25, 2006, the chair was returned by Curtis Properties (was Curtis Brothers), however, this was a new chair, made entirely of brown aluminum. Over 250 people attended the re-dedication including Mayor Anthony A. Williams.With the dedication of a new chair, a new plaque was placed, reading:THE BIG CHAIR
RE-DEDICATION April 25, 2006
THIS COMMUNITY LANDMARK REPRESENTS THE CURTIS COMPANIES
LONG-STANDING ALLEGIANCE TO THE NEIGHBORHOOD AND
STEADFAST COMMITMENT TO UNITY, PROSPERITY, AND GOOD WILL
TO ALL WASHINGTONIANS AND FRIENDS OF ANACOSTIA.This new chair was designed by Devery Lomax managed by John Kidwell. It was fabricated by Cinnbar, an Orlando-based business known for their oversized objects, and Nelson's Welding. The new chair cost over $40,000 to build. Upon its delivery, by flatbed truck, overpasses had to be avoided due to the size of the chair. | [
"Anthony A. Williams",
"Mayor Anthony A. Williams",
"Honduras Mahogany",
"rot",
"aluminum"
] |
|
15848_NT | Chair (sculpture) | Focus on this artwork and discuss the Re-dedication. | John Kidwell, the caretaker of the Chair, frequently patched holes that would form after heavy rains with cement. During the days of August 23–24, 2005, the original Chair was disassembled by a backhoe and taken away for restoration. Made entirely of Honduras Mahogany, the legs had begun to rot. On April 25, 2006, the chair was returned by Curtis Properties (was Curtis Brothers), however, this was a new chair, made entirely of brown aluminum. Over 250 people attended the re-dedication including Mayor Anthony A. Williams.With the dedication of a new chair, a new plaque was placed, reading:THE BIG CHAIR
RE-DEDICATION April 25, 2006
THIS COMMUNITY LANDMARK REPRESENTS THE CURTIS COMPANIES
LONG-STANDING ALLEGIANCE TO THE NEIGHBORHOOD AND
STEADFAST COMMITMENT TO UNITY, PROSPERITY, AND GOOD WILL
TO ALL WASHINGTONIANS AND FRIENDS OF ANACOSTIA.This new chair was designed by Devery Lomax managed by John Kidwell. It was fabricated by Cinnbar, an Orlando-based business known for their oversized objects, and Nelson's Welding. The new chair cost over $40,000 to build. Upon its delivery, by flatbed truck, overpasses had to be avoided due to the size of the chair. | [
"Anthony A. Williams",
"Mayor Anthony A. Williams",
"Honduras Mahogany",
"rot",
"aluminum"
] |
|
15849_T | Chair (sculpture) | How does Chair (sculpture) elucidate its Looking Glass House? | On August 13, 1960, Rebecca Kirby (aka Lynn Arnold) moved "onto" the chair. A 10-by-10-foot cubicle was built and placed on the seat, furnished with a shower, bed, toilet, heater, air conditioner and balcony. Placed upon the chair by way of forklift, Kirby lived in the chair for 42 days. In the cubicle, she would watch TV, read books, and talk on the telephone, as well as dine, as her meals were delivered every day.Kirby would step outside onto the balcony every few hours to greet visitors who learned about her living situation due to newspapers advertising her as "Alice in the Looking Glass House". Visitors would be encouraged to guess how long she'd maintain her residency. Her then 14-month-old son, Richard, visited often, being placed in a dumb waiter and sent up to see her.After 42 days, Kirby "decided to return to earth," earning $1,500 for her stay. | [] |
|
15849_NT | Chair (sculpture) | How does this artwork elucidate its Looking Glass House? | On August 13, 1960, Rebecca Kirby (aka Lynn Arnold) moved "onto" the chair. A 10-by-10-foot cubicle was built and placed on the seat, furnished with a shower, bed, toilet, heater, air conditioner and balcony. Placed upon the chair by way of forklift, Kirby lived in the chair for 42 days. In the cubicle, she would watch TV, read books, and talk on the telephone, as well as dine, as her meals were delivered every day.Kirby would step outside onto the balcony every few hours to greet visitors who learned about her living situation due to newspapers advertising her as "Alice in the Looking Glass House". Visitors would be encouraged to guess how long she'd maintain her residency. Her then 14-month-old son, Richard, visited often, being placed in a dumb waiter and sent up to see her.After 42 days, Kirby "decided to return to earth," earning $1,500 for her stay. | [] |
|
15850_T | Chair (sculpture) | Focus on Chair (sculpture) and analyze the Community reception. | Chair has been received as a part of neighborhood life since its original installation. Anacostia, a neighborhood that has seen economic and cultural ups and downs prides itself on a landmark that withstands the community's evolution.Chair is often used as a geographic marker for direction giving and holiday celebration; Santa Claus sits upon the chair during Christmas. When the Chair was reinstalled in 2006, community members surrounded the giant, clapping, yelling and photographing the new chair.During the riots in 1968, Chair was one of the few landmarks to go unscathed in a neighborhood heavily affected by Martin Luther King Jr.'s death. | [
"Anacostia",
"riots in 1968",
"Martin Luther King Jr.",
"Santa Claus",
"Christmas"
] |
|
15850_NT | Chair (sculpture) | Focus on this artwork and analyze the Community reception. | Chair has been received as a part of neighborhood life since its original installation. Anacostia, a neighborhood that has seen economic and cultural ups and downs prides itself on a landmark that withstands the community's evolution.Chair is often used as a geographic marker for direction giving and holiday celebration; Santa Claus sits upon the chair during Christmas. When the Chair was reinstalled in 2006, community members surrounded the giant, clapping, yelling and photographing the new chair.During the riots in 1968, Chair was one of the few landmarks to go unscathed in a neighborhood heavily affected by Martin Luther King Jr.'s death. | [
"Anacostia",
"riots in 1968",
"Martin Luther King Jr.",
"Santa Claus",
"Christmas"
] |
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