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15851_T | Bust of a Child | In Bust of a Child, how is the abstract discussed? | Bust of a Child is the title given to a Tuscan grey sandstone (or pietra serena) Italian Renaissance sculpture in bas-relief. On its acquisition by the Louvre in 1859 it was thought to be a 1571 funerary monument and attributed to the French sculptor Jean Goujon. This attribution has been since dropped and it is now held to be by an unknown Florentine artist of the late 15th or early 16th century. It is still on display in Room 1 (also known as the "Donatello gallery") of the aile Denon at the Louvre. | [
"Louvre",
"Renaissance",
"Jean Goujon",
"bas-relief",
"pietra serena",
"Italian Renaissance sculpture",
"Florentine"
] |
|
15851_NT | Bust of a Child | In this artwork, how is the abstract discussed? | Bust of a Child is the title given to a Tuscan grey sandstone (or pietra serena) Italian Renaissance sculpture in bas-relief. On its acquisition by the Louvre in 1859 it was thought to be a 1571 funerary monument and attributed to the French sculptor Jean Goujon. This attribution has been since dropped and it is now held to be by an unknown Florentine artist of the late 15th or early 16th century. It is still on display in Room 1 (also known as the "Donatello gallery") of the aile Denon at the Louvre. | [
"Louvre",
"Renaissance",
"Jean Goujon",
"bas-relief",
"pietra serena",
"Italian Renaissance sculpture",
"Florentine"
] |
|
15852_T | Dead Christ Supported by Two Angels (Bellini, Berlin) | Focus on Dead Christ Supported by Two Angels (Bellini, Berlin) and explore the abstract. | Dead Christ Supported by Two Angels is a tempera-on-panel painting by the Italian Renaissance painter Giovanni Bellini, now in the Gemäldegalerie, Berlin. It is dated to 1465–1470, as shown by similarities to his 1464 San Vincenzo Ferrer Polyptych, an early mature work. | [
"Gemäldegalerie, Berlin",
"tempera",
"Giovanni Bellini",
"Gemäldegalerie",
"San Vincenzo Ferrer Polyptych",
"Berlin"
] |
|
15852_NT | Dead Christ Supported by Two Angels (Bellini, Berlin) | Focus on this artwork and explore the abstract. | Dead Christ Supported by Two Angels is a tempera-on-panel painting by the Italian Renaissance painter Giovanni Bellini, now in the Gemäldegalerie, Berlin. It is dated to 1465–1470, as shown by similarities to his 1464 San Vincenzo Ferrer Polyptych, an early mature work. | [
"Gemäldegalerie, Berlin",
"tempera",
"Giovanni Bellini",
"Gemäldegalerie",
"San Vincenzo Ferrer Polyptych",
"Berlin"
] |
|
15853_T | Emma Willard Memorial | Focus on Emma Willard Memorial and explain the Description. | The overall dimensions of this marble relief are 4 feet (1.2 m) tall, 6 feet (1.8 m) long, and 4 inches (10 cm) wide. It rests on a white marble double base. The upper base measures 8 inches (20 cm) tall, 6 feet (1.8 m) long, and 8 inches (20 cm) wide. The lower base measures 8 inches (20 cm) tall, 7 feet (2.1 m) long, and 8 inches (20 cm) wide.
The Emma Willard Memorial is a two sided slab of marble with straight sides and an arched top. One side is carved to depict educator and American women's rights advocate Emma Willard seated at a desk, and holding a pen as she writes. A globe, ink well, and books are depicted on the desk. The words "In memory of Emma Hart Willard Who Wrote at Middlebury in 1818 the Magna Carta for Higher Education of Women in America" are carved above the relief. On the opposite side of the memorial, the carved inscription reads, "Education Should Seek To Bring Its Subjects to the Perfection of their Moral, Intellectual and Physical Nature, in order that they May be of the Greatest Possible Use to Themselves and Others 1787 - Emma Hart Willard 1870".
The relief is unsigned. | [
"marble",
"Emma Willard"
] |
|
15853_NT | Emma Willard Memorial | Focus on this artwork and explain the Description. | The overall dimensions of this marble relief are 4 feet (1.2 m) tall, 6 feet (1.8 m) long, and 4 inches (10 cm) wide. It rests on a white marble double base. The upper base measures 8 inches (20 cm) tall, 6 feet (1.8 m) long, and 8 inches (20 cm) wide. The lower base measures 8 inches (20 cm) tall, 7 feet (2.1 m) long, and 8 inches (20 cm) wide.
The Emma Willard Memorial is a two sided slab of marble with straight sides and an arched top. One side is carved to depict educator and American women's rights advocate Emma Willard seated at a desk, and holding a pen as she writes. A globe, ink well, and books are depicted on the desk. The words "In memory of Emma Hart Willard Who Wrote at Middlebury in 1818 the Magna Carta for Higher Education of Women in America" are carved above the relief. On the opposite side of the memorial, the carved inscription reads, "Education Should Seek To Bring Its Subjects to the Perfection of their Moral, Intellectual and Physical Nature, in order that they May be of the Greatest Possible Use to Themselves and Others 1787 - Emma Hart Willard 1870".
The relief is unsigned. | [
"marble",
"Emma Willard"
] |
|
15854_T | Emma Willard Memorial | Explore the Information of this artwork, Emma Willard Memorial. | Emma Hart Willard (February 23, 1787 – April 15, 1870) came to Middlebury, Vermont in 1807 to run the Middlebury Female Seminary. She left her position at the Seminary in 1809 when she married a local doctor and banker John Willard. Due to a financial reversal in 1814, Emma Willard began to teach women at the collegiate level in her home, and, thus, is credited as being the start of women's collegiate education in the United States. The quote on the reverse side of the monument is taken from Willard's An Address to the Public, particularly to the Members of the Legislature of New York, proposing a Plan for Improving Female Education, published in 1819. | [
"Middlebury, Vermont",
"United States",
"Emma Willard",
"John Willard"
] |
|
15854_NT | Emma Willard Memorial | Explore the Information of this artwork. | Emma Hart Willard (February 23, 1787 – April 15, 1870) came to Middlebury, Vermont in 1807 to run the Middlebury Female Seminary. She left her position at the Seminary in 1809 when she married a local doctor and banker John Willard. Due to a financial reversal in 1814, Emma Willard began to teach women at the collegiate level in her home, and, thus, is credited as being the start of women's collegiate education in the United States. The quote on the reverse side of the monument is taken from Willard's An Address to the Public, particularly to the Members of the Legislature of New York, proposing a Plan for Improving Female Education, published in 1819. | [
"Middlebury, Vermont",
"United States",
"Emma Willard",
"John Willard"
] |
|
15855_T | Emma Willard Memorial | In the context of Emma Willard Memorial, discuss the Acquisition of the Information. | The sculpture was designed and sculpted with funding from the Federal Arts Project, and erected with funding from the Works Progress Administration. Since its dedication in 1941, the Emma Willard Memorial has been maintained by the Daughters of the American Revolution and is presently administered by the Daughters of the American Revolution, Ethan Allen Chapter, Middlebury, Vermont. | [
"Works Progress Administration",
"Middlebury, Vermont",
"Emma Willard",
"Daughters of the American Revolution"
] |
|
15855_NT | Emma Willard Memorial | In the context of this artwork, discuss the Acquisition of the Information. | The sculpture was designed and sculpted with funding from the Federal Arts Project, and erected with funding from the Works Progress Administration. Since its dedication in 1941, the Emma Willard Memorial has been maintained by the Daughters of the American Revolution and is presently administered by the Daughters of the American Revolution, Ethan Allen Chapter, Middlebury, Vermont. | [
"Works Progress Administration",
"Middlebury, Vermont",
"Emma Willard",
"Daughters of the American Revolution"
] |
|
15856_T | Emma Willard Memorial | How does Emma Willard Memorial elucidate its Artist? | American artist/illustrator Marion Guild was employed by Pierre Zwick, a painter and director of arts for the state of Vermont under the Works Progress Administration, to create the memorial's design. Guild is perhaps best known for creating the pop-up illustrations for the 1939 edition of Robert L. May's Rudolph the Red-Nosed Reindeer. Zwick was initially solely credited for the design of the memorial. | [
"Works Progress Administration",
"Rudolph the Red-Nosed Reindeer"
] |
|
15856_NT | Emma Willard Memorial | How does this artwork elucidate its Artist? | American artist/illustrator Marion Guild was employed by Pierre Zwick, a painter and director of arts for the state of Vermont under the Works Progress Administration, to create the memorial's design. Guild is perhaps best known for creating the pop-up illustrations for the 1939 edition of Robert L. May's Rudolph the Red-Nosed Reindeer. Zwick was initially solely credited for the design of the memorial. | [
"Works Progress Administration",
"Rudolph the Red-Nosed Reindeer"
] |
|
15857_T | Emma Willard Memorial | Focus on Emma Willard Memorial and analyze the Condition. | This sculpture was documented as well maintained in 1992 as part of Save Outdoor Sculpture!, a campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States. In Vermont, the survey was sponsored by the Vermont Museum and Gallery Alliance from 1992 to 1993 where 110 volunteers surveyed 242 sculptures dating from 1740 to 1993. The archives from the project are maintained by the Vermont Historical Society. | [
"Vermont Historical Society",
"Smithsonian American Art Museum",
"United States",
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
15857_NT | Emma Willard Memorial | Focus on this artwork and analyze the Condition. | This sculpture was documented as well maintained in 1992 as part of Save Outdoor Sculpture!, a campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States. In Vermont, the survey was sponsored by the Vermont Museum and Gallery Alliance from 1992 to 1993 where 110 volunteers surveyed 242 sculptures dating from 1740 to 1993. The archives from the project are maintained by the Vermont Historical Society. | [
"Vermont Historical Society",
"Smithsonian American Art Museum",
"United States",
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
15858_T | Titania and Bottom | In Titania and Bottom, how is the abstract discussed? | Titania and Bottom is an oil painting by the Anglo-Swiss painter Henry Fuseli. It dates to around 1790 and is displayed at Tate Britain in London. It was commissioned for the Boydell Shakespeare Gallery and depicts a scene from A Midsummer Night's Dream by William Shakespeare. | [
"Titania",
"Shakespeare Gallery",
"A Midsummer Night's Dream",
"Boydell Shakespeare Gallery",
"William Shakespeare",
"Tate",
"Tate Britain",
"Henry Fuseli",
"oil painting"
] |
|
15858_NT | Titania and Bottom | In this artwork, how is the abstract discussed? | Titania and Bottom is an oil painting by the Anglo-Swiss painter Henry Fuseli. It dates to around 1790 and is displayed at Tate Britain in London. It was commissioned for the Boydell Shakespeare Gallery and depicts a scene from A Midsummer Night's Dream by William Shakespeare. | [
"Titania",
"Shakespeare Gallery",
"A Midsummer Night's Dream",
"Boydell Shakespeare Gallery",
"William Shakespeare",
"Tate",
"Tate Britain",
"Henry Fuseli",
"oil painting"
] |
|
15859_T | Titania and Bottom | Focus on Titania and Bottom and explore the Background. | Henry Fuseli had become familiar with William Shakespeare's plays as a student in Zürich. He used them as the basis for paintings throughout his career. He became famous for his treatment of supernatural matters, which gave a special appeal to A Midsummer Night's Dream, along with plays like The Tempest, Hamlet and Macbeth.Titania and Bottom was commissioned by the publisher John Boydell for his Shakespeare Gallery. Fuseli also made a large pendant for Boydell's gallery, Titania's Awakening, which depicts a later moment from the same scene. | [
"Titania",
"Shakespeare Gallery",
"Hamlet",
"A Midsummer Night's Dream",
"The Tempest",
"William Shakespeare",
"Henry Fuseli",
"Zürich",
"John Boydell",
"Macbeth"
] |
|
15859_NT | Titania and Bottom | Focus on this artwork and explore the Background. | Henry Fuseli had become familiar with William Shakespeare's plays as a student in Zürich. He used them as the basis for paintings throughout his career. He became famous for his treatment of supernatural matters, which gave a special appeal to A Midsummer Night's Dream, along with plays like The Tempest, Hamlet and Macbeth.Titania and Bottom was commissioned by the publisher John Boydell for his Shakespeare Gallery. Fuseli also made a large pendant for Boydell's gallery, Titania's Awakening, which depicts a later moment from the same scene. | [
"Titania",
"Shakespeare Gallery",
"Hamlet",
"A Midsummer Night's Dream",
"The Tempest",
"William Shakespeare",
"Henry Fuseli",
"Zürich",
"John Boydell",
"Macbeth"
] |
|
15860_T | Titania and Bottom | Focus on Titania and Bottom and explain the Subject and composition. | The painting depicts a moment from the first scene of the fourth act of William Shakespeare's play A Midsummer Night's Dream. Titania, Queen of the Fairies, is under the influence of a love potion, given to her by her husband Oberon to punish her for her pride. The potion has made her fall in love with the weaver Nick Bottom, who in turn is under a spell which has transformed his head into that of an ass. Titania stands next to the seated Bottom. Her right hand is raised and holds a wand and her left hand rests on the donkey's head. They are surrounded by a group of beings of different sizes, called by Titania to attend to Bottom. A fairy servant scratches Bottom's head and another stands on his hand, offering assistance. A girl to the right has brought a basket of dried peas. A hooded woman to the right is holding a changeling made of wax, and to the left is a group of children artificially created by witches.
Titania's seductive pose is adapted from Leda and the Swan by Leonardo da Vinci. Two fairies plunging into calyces to the right are inspired by one of Sandro Botticelli's illustrations for Dante's Divine Comedy, "Canto XXX" from Paradiso. At the bottom left is a girl with a butterfly head, who follows a type of child portrait developed by Joshua Reynolds, where a child posing with a pet animal exhibits features from that animal. A woman on the right is reminiscent of Jan Steen's sexually suggestive The Oyster Eater, but instead of offering an oyster, the woman holds a tiny old man in a leash, suggesting female sexual domination. Like Titania's Awakening, the painting also borrows figures from works by the Dutch painter Abraham Bloemaert. | [
"Titania",
"A Midsummer Night's Dream",
"Nick Bottom",
"Queen of the Fairies",
"William Shakespeare",
"Paradiso",
"wand",
"ass",
"Sandro Botticelli",
"changeling",
"Leda and the Swan",
"Joshua Reynolds",
"Jan Steen",
"Oberon",
"love potion",
"Leonardo da Vinci",
"The Oyster Eater",
"Abraham Bloemaert"
] |
|
15860_NT | Titania and Bottom | Focus on this artwork and explain the Subject and composition. | The painting depicts a moment from the first scene of the fourth act of William Shakespeare's play A Midsummer Night's Dream. Titania, Queen of the Fairies, is under the influence of a love potion, given to her by her husband Oberon to punish her for her pride. The potion has made her fall in love with the weaver Nick Bottom, who in turn is under a spell which has transformed his head into that of an ass. Titania stands next to the seated Bottom. Her right hand is raised and holds a wand and her left hand rests on the donkey's head. They are surrounded by a group of beings of different sizes, called by Titania to attend to Bottom. A fairy servant scratches Bottom's head and another stands on his hand, offering assistance. A girl to the right has brought a basket of dried peas. A hooded woman to the right is holding a changeling made of wax, and to the left is a group of children artificially created by witches.
Titania's seductive pose is adapted from Leda and the Swan by Leonardo da Vinci. Two fairies plunging into calyces to the right are inspired by one of Sandro Botticelli's illustrations for Dante's Divine Comedy, "Canto XXX" from Paradiso. At the bottom left is a girl with a butterfly head, who follows a type of child portrait developed by Joshua Reynolds, where a child posing with a pet animal exhibits features from that animal. A woman on the right is reminiscent of Jan Steen's sexually suggestive The Oyster Eater, but instead of offering an oyster, the woman holds a tiny old man in a leash, suggesting female sexual domination. Like Titania's Awakening, the painting also borrows figures from works by the Dutch painter Abraham Bloemaert. | [
"Titania",
"A Midsummer Night's Dream",
"Nick Bottom",
"Queen of the Fairies",
"William Shakespeare",
"Paradiso",
"wand",
"ass",
"Sandro Botticelli",
"changeling",
"Leda and the Swan",
"Joshua Reynolds",
"Jan Steen",
"Oberon",
"love potion",
"Leonardo da Vinci",
"The Oyster Eater",
"Abraham Bloemaert"
] |
|
15861_T | Titania and Bottom | Explore the Provenance of this artwork, Titania and Bottom. | Since 1887, the painting has been in the collection of the Tate galleries. It is exhibited at Tate Britain as part of the display Walk Through British Art. | [
"Tate",
"Tate Britain"
] |
|
15861_NT | Titania and Bottom | Explore the Provenance of this artwork. | Since 1887, the painting has been in the collection of the Tate galleries. It is exhibited at Tate Britain as part of the display Walk Through British Art. | [
"Tate",
"Tate Britain"
] |
|
15862_T | Metronome (public artwork) | Focus on Metronome (public artwork) and discuss the abstract. | Metronome is a large public art installation located along the south end of Union Square in New York City. The work was commissioned by the Related Companies, developers of One Union Square South, with the participation of the Public Art Fund and the Municipal Art Society. The $4.2 million provided by the developer makes it one of the largest private commissions of public art.
The artwork was created by Kristin Jones and Andrew Ginzel and consists of several sections, including a round circular void from which puffs of steam were at one point released throughout the day, and a clock made of large orange LED digits. Installation of Metronome began in February 1999, and its dedication took place on October 26, 1999. | [
"New York City",
"LED",
"Kristin Jones and Andrew Ginzel",
"the south end",
"art installation",
"Union Square",
"New York",
"Public Art Fund",
"Related Companies",
"Municipal Art Society"
] |
|
15862_NT | Metronome (public artwork) | Focus on this artwork and discuss the abstract. | Metronome is a large public art installation located along the south end of Union Square in New York City. The work was commissioned by the Related Companies, developers of One Union Square South, with the participation of the Public Art Fund and the Municipal Art Society. The $4.2 million provided by the developer makes it one of the largest private commissions of public art.
The artwork was created by Kristin Jones and Andrew Ginzel and consists of several sections, including a round circular void from which puffs of steam were at one point released throughout the day, and a clock made of large orange LED digits. Installation of Metronome began in February 1999, and its dedication took place on October 26, 1999. | [
"New York City",
"LED",
"Kristin Jones and Andrew Ginzel",
"the south end",
"art installation",
"Union Square",
"New York",
"Public Art Fund",
"Related Companies",
"Municipal Art Society"
] |
|
15863_T | Metronome (public artwork) | How does Metronome (public artwork) elucidate its The clock? | On the left side of the work is a set of fifteen large LED digits, called "The Passage", which display the time in 24-hour format. The seven leftmost digits show the time in conventional 24-hour format, as hours (2 digits), minutes (2 digits), seconds (2 digits), tenths of a second (1 digit). The seven rightmost digits display the amount of time remaining in a 24-hour day, as tenths of a second (1 digit), seconds (2 digits), minutes (2 digits), hours (2 digits). The center digit represents hundredths of a second. For instance, if the clock reads "195641287180304", it means that time is 19:56 (7:56 PM) and 41.2 seconds, and that there are 04 hours, 03 minutes, and 18.7 seconds remaining in the day.For a few months in 2005, the clock on Metronome did not give the time of day, but instead counted down the time until the International Olympic Committee was to announce the host city of the 2012 Summer Olympics. New York City ultimately lost its bid to be host city to the 2012 Olympics to London.
The clock showed the wrong figures for over a year in 2010–2011 until, in June 2011, the dial-up connection it had previously used to obtain an atomic time reading was updated.On September 19, 2020, Metronome became a climate clock as it started showing the time remaining until the Earth's carbon budget is used up as a result of concerns related to global warming above the 1.5°C threshold that was outlined in the Paris Agreement. The fifteen digits counted down the years (1 digit), days (3 digits), hours (2 digits), minutes (2 digits), and seconds (2 digits) from left to right, in conventional 24-hour format with spaces to the left of each digit. The modified display was devised by artists Andrew Boyd and Gan Golan. | [
"Paris Agreement",
"carbon budget",
"New York City",
"PM",
"LED",
"its bid to be host city to the 2012 Olympics",
"climate clock",
"right",
"24-hour",
"atomic time",
"International Olympic Committee",
"24-hour format",
"New York",
"left",
"global warming",
"2012 Summer Olympics",
"Earth",
"London"
] |
|
15863_NT | Metronome (public artwork) | How does this artwork elucidate its The clock? | On the left side of the work is a set of fifteen large LED digits, called "The Passage", which display the time in 24-hour format. The seven leftmost digits show the time in conventional 24-hour format, as hours (2 digits), minutes (2 digits), seconds (2 digits), tenths of a second (1 digit). The seven rightmost digits display the amount of time remaining in a 24-hour day, as tenths of a second (1 digit), seconds (2 digits), minutes (2 digits), hours (2 digits). The center digit represents hundredths of a second. For instance, if the clock reads "195641287180304", it means that time is 19:56 (7:56 PM) and 41.2 seconds, and that there are 04 hours, 03 minutes, and 18.7 seconds remaining in the day.For a few months in 2005, the clock on Metronome did not give the time of day, but instead counted down the time until the International Olympic Committee was to announce the host city of the 2012 Summer Olympics. New York City ultimately lost its bid to be host city to the 2012 Olympics to London.
The clock showed the wrong figures for over a year in 2010–2011 until, in June 2011, the dial-up connection it had previously used to obtain an atomic time reading was updated.On September 19, 2020, Metronome became a climate clock as it started showing the time remaining until the Earth's carbon budget is used up as a result of concerns related to global warming above the 1.5°C threshold that was outlined in the Paris Agreement. The fifteen digits counted down the years (1 digit), days (3 digits), hours (2 digits), minutes (2 digits), and seconds (2 digits) from left to right, in conventional 24-hour format with spaces to the left of each digit. The modified display was devised by artists Andrew Boyd and Gan Golan. | [
"Paris Agreement",
"carbon budget",
"New York City",
"PM",
"LED",
"its bid to be host city to the 2012 Olympics",
"climate clock",
"right",
"24-hour",
"atomic time",
"International Olympic Committee",
"24-hour format",
"New York",
"left",
"global warming",
"2012 Summer Olympics",
"Earth",
"London"
] |
|
15864_T | Metronome (public artwork) | Focus on Metronome (public artwork) and analyze the Artists' statement. | Artists Kristin Jones and Andrew Ginzel state that:Metronome is an investigation into the nature of time. The work references the multiple measures of time that simultaneously inform and confound our consciousness of the moment. The composite work intends to evoke contemplation on the dynamic flux of the city. The elements suggest the instant and infinity, astronomical sequence, geological epoch and ephemerality. Metronome is meant to be integral to the very history, architectural fabric, spirit and vitality of the city.
The elements that compose Metronome refer to and are very much a part of the place where the work exists: Union Square in the City of New York.
The central element is a brick wall built in concentric circles, creating a wave pattern like ripples on still water after a stone is cast into it, making the wall seem to undulate. Gold leaf accentuates the center of the work, a dark aperture that emanates a constant halo of steam. At noon and midnight the hole erupts with a huge plume of steam that is accompanied by an explosion of sound composed to mark the exact instant and its passage, like a noonday whistle or a public clock that marks the time.
Counterpoised below on the wall is a massive piece of bedrock, displaying the millennia of geological history. A long thin bronze cone is poised at a diagonal on the rippling brick façade: a time indicator that suggests perspective.
A large bronze hand poised high on the wall is an accurate enlargement taken from the historical statue of George Washington in Union Square Park directly below.
Left of the vertical brick center, on the glass façade of the building is a horizontal clock with pairs of digits that accurately display the hours, minutes and seconds that have passed since midnight, as well as the time remaining in a 24-hour period. Like an hourglass that contains a specific measure of sand, the digital time piece counts up on the left and down on the right, measuring both the sum and the balance of the day. The center three digits are a frenzy of intangible fractions of seconds, which reveal the pace of life in the city.
On the right metallic façade is a sphere, half black and half gold, which turns daily in synchrony with the phases of the moon. When the moon reaches fullness, the entire golden face of the orb is revealed.
Metronome contemplates time: geological, solar, lunar, daily, hourly, and momentarily, revealing the fractions of seconds in the life of a city – and of a human being.
... New York City pulses with enormous energy. There is an ever-present sense that an underlying source makes the city a hot spot, active with desire, intellect, pathos. Certain places on earth are geothermally active; Manhattan's streets release vaporous plumes from a plethora of fumaroles. The ephemerality of this steam in the streets suggests the volatility of the place. Metronome poses as a vent for this energy – an oracular center for the public to gauge their momentary presence, their mortality, from which the city can be examined as a vital infrastructure.
Viewers are confronted and reassured, confused, enlightened and asked to question the moment of their existence in relation to their natural and built environment.Ultimately, the work is an ode to mortality and the impossibility of knowing time. | [
"New York City",
"Kristin Jones and Andrew Ginzel",
"right",
"24-hour",
"City of New York",
"Union Square",
"New York",
"left",
"Manhattan",
"George Washington"
] |
|
15864_NT | Metronome (public artwork) | Focus on this artwork and analyze the Artists' statement. | Artists Kristin Jones and Andrew Ginzel state that:Metronome is an investigation into the nature of time. The work references the multiple measures of time that simultaneously inform and confound our consciousness of the moment. The composite work intends to evoke contemplation on the dynamic flux of the city. The elements suggest the instant and infinity, astronomical sequence, geological epoch and ephemerality. Metronome is meant to be integral to the very history, architectural fabric, spirit and vitality of the city.
The elements that compose Metronome refer to and are very much a part of the place where the work exists: Union Square in the City of New York.
The central element is a brick wall built in concentric circles, creating a wave pattern like ripples on still water after a stone is cast into it, making the wall seem to undulate. Gold leaf accentuates the center of the work, a dark aperture that emanates a constant halo of steam. At noon and midnight the hole erupts with a huge plume of steam that is accompanied by an explosion of sound composed to mark the exact instant and its passage, like a noonday whistle or a public clock that marks the time.
Counterpoised below on the wall is a massive piece of bedrock, displaying the millennia of geological history. A long thin bronze cone is poised at a diagonal on the rippling brick façade: a time indicator that suggests perspective.
A large bronze hand poised high on the wall is an accurate enlargement taken from the historical statue of George Washington in Union Square Park directly below.
Left of the vertical brick center, on the glass façade of the building is a horizontal clock with pairs of digits that accurately display the hours, minutes and seconds that have passed since midnight, as well as the time remaining in a 24-hour period. Like an hourglass that contains a specific measure of sand, the digital time piece counts up on the left and down on the right, measuring both the sum and the balance of the day. The center three digits are a frenzy of intangible fractions of seconds, which reveal the pace of life in the city.
On the right metallic façade is a sphere, half black and half gold, which turns daily in synchrony with the phases of the moon. When the moon reaches fullness, the entire golden face of the orb is revealed.
Metronome contemplates time: geological, solar, lunar, daily, hourly, and momentarily, revealing the fractions of seconds in the life of a city – and of a human being.
... New York City pulses with enormous energy. There is an ever-present sense that an underlying source makes the city a hot spot, active with desire, intellect, pathos. Certain places on earth are geothermally active; Manhattan's streets release vaporous plumes from a plethora of fumaroles. The ephemerality of this steam in the streets suggests the volatility of the place. Metronome poses as a vent for this energy – an oracular center for the public to gauge their momentary presence, their mortality, from which the city can be examined as a vital infrastructure.
Viewers are confronted and reassured, confused, enlightened and asked to question the moment of their existence in relation to their natural and built environment.Ultimately, the work is an ode to mortality and the impossibility of knowing time. | [
"New York City",
"Kristin Jones and Andrew Ginzel",
"right",
"24-hour",
"City of New York",
"Union Square",
"New York",
"left",
"Manhattan",
"George Washington"
] |
|
15865_T | Metronome (public artwork) | In Metronome (public artwork), how is the Reception discussed? | Metronome and One Union Square, the building to which it is attached, have not been well received by critics or the public. Kristin Jones, co-creator of the work, complains that it is "the most unloved piece of public art in the city". Among Metronome's critics are New York Times architecture critic Herbert Muschamp, who described it as "Pretentious ... the artists' basic miscalculation was to assume that a large surface called for comparably big forms ... It's just some space in a box with a leaky hole in it." The New York Post put One Union Square at #2 on its "10 Buildings We Love to Hate" list, calling it "a grotesque modern nightmare." James Gaynor of the New York Observer wrote of Metronome, "Fail so big that no one can do anything about it ... New York now has its very own Wailing Wall, a site (and sight) of cultural pilgrimage where the death of aesthetics can be contemplated."In various letters to the editor, the public has written of Metronome: "Well-intentioned, but ultimately flat, corporate art. It is a confounding installation based on a contrived theme ('the impossibility of knowing Time')"; "[a] gigantic waste of time, space, and money [that] seems like a satire on all public monuments"; and "a colossal waste of a facade". However, one respondent felt that Metronome was "a large and very elegant digital hourglass; time 'pours' from the numbers on the right to the left ... The other elements are likewise very thoughtful and sophisticated ruminations on time, its passage and the ways in which we mark it." | [
"New York Times",
"letters to the editor",
"right",
"New York Observer",
"Wailing Wall",
"Herbert Muschamp",
"Union Square",
"New York",
"left",
"New York Post"
] |
|
15865_NT | Metronome (public artwork) | In this artwork, how is the Reception discussed? | Metronome and One Union Square, the building to which it is attached, have not been well received by critics or the public. Kristin Jones, co-creator of the work, complains that it is "the most unloved piece of public art in the city". Among Metronome's critics are New York Times architecture critic Herbert Muschamp, who described it as "Pretentious ... the artists' basic miscalculation was to assume that a large surface called for comparably big forms ... It's just some space in a box with a leaky hole in it." The New York Post put One Union Square at #2 on its "10 Buildings We Love to Hate" list, calling it "a grotesque modern nightmare." James Gaynor of the New York Observer wrote of Metronome, "Fail so big that no one can do anything about it ... New York now has its very own Wailing Wall, a site (and sight) of cultural pilgrimage where the death of aesthetics can be contemplated."In various letters to the editor, the public has written of Metronome: "Well-intentioned, but ultimately flat, corporate art. It is a confounding installation based on a contrived theme ('the impossibility of knowing Time')"; "[a] gigantic waste of time, space, and money [that] seems like a satire on all public monuments"; and "a colossal waste of a facade". However, one respondent felt that Metronome was "a large and very elegant digital hourglass; time 'pours' from the numbers on the right to the left ... The other elements are likewise very thoughtful and sophisticated ruminations on time, its passage and the ways in which we mark it." | [
"New York Times",
"letters to the editor",
"right",
"New York Observer",
"Wailing Wall",
"Herbert Muschamp",
"Union Square",
"New York",
"left",
"New York Post"
] |
|
15866_T | Madonna of the Red Cherubim | Focus on Madonna of the Red Cherubim and explore the abstract. | The Madonna of the Red Cherubim is an oil-on-panel painting by Italian Renaissance artist Giovanni Bellini, completed around 1485.
Stylistic elements such as the child on one of the Virgin's knees, and the mutual glance, suggest that the work was based on Bellini's Alzano Madonna in the Accademia Carrara. | [
"oil-on-panel",
"Giovanni Bellini",
"Alzano Madonna",
"Accademia Carrara",
"Cherub",
"Red Cherubim"
] |
|
15866_NT | Madonna of the Red Cherubim | Focus on this artwork and explore the abstract. | The Madonna of the Red Cherubim is an oil-on-panel painting by Italian Renaissance artist Giovanni Bellini, completed around 1485.
Stylistic elements such as the child on one of the Virgin's knees, and the mutual glance, suggest that the work was based on Bellini's Alzano Madonna in the Accademia Carrara. | [
"oil-on-panel",
"Giovanni Bellini",
"Alzano Madonna",
"Accademia Carrara",
"Cherub",
"Red Cherubim"
] |
|
15867_T | Madonna of the Red Cherubim | Focus on Madonna of the Red Cherubim and explain the Description. | The Virgin and Child are portrayed in the foreground, before a typical landscape with towers, castles and a fluvial inlet with a small boat.
The bright sky features a series of red cherubim which give their name to the picture. Also typical of Bellini is the parapet in the lower part, although this time he did not add the cartouche with the signature. | [
"cherubim"
] |
|
15867_NT | Madonna of the Red Cherubim | Focus on this artwork and explain the Description. | The Virgin and Child are portrayed in the foreground, before a typical landscape with towers, castles and a fluvial inlet with a small boat.
The bright sky features a series of red cherubim which give their name to the picture. Also typical of Bellini is the parapet in the lower part, although this time he did not add the cartouche with the signature. | [
"cherubim"
] |
|
15868_T | The dress | Explore the abstract of this artwork, The dress. | The dress was a 2015 online viral phenomenon centred on a photograph of a dress. Viewers disagreed on whether the dress was blue and black, or white and gold. The phenomenon revealed differences in human colour perception and became the subject of scientific investigations into neuroscience and vision science.
The phenomenon originated in a photograph of a dress posted on the social networking service Facebook. The dress was black and blue, but the conditions of the photograph caused many to perceive it as white and gold, creating debate. Within a week, more than ten million tweets had mentioned the dress. The retailer of the dress, Roman Originals, reported a surge in sales and produced a one-off version in white and gold sold for charity. | [
"tweets",
"vision science",
"colour perception",
"online viral phenomenon",
"Facebook",
"neuroscience",
"viral phenomenon"
] |
|
15868_NT | The dress | Explore the abstract of this artwork. | The dress was a 2015 online viral phenomenon centred on a photograph of a dress. Viewers disagreed on whether the dress was blue and black, or white and gold. The phenomenon revealed differences in human colour perception and became the subject of scientific investigations into neuroscience and vision science.
The phenomenon originated in a photograph of a dress posted on the social networking service Facebook. The dress was black and blue, but the conditions of the photograph caused many to perceive it as white and gold, creating debate. Within a week, more than ten million tweets had mentioned the dress. The retailer of the dress, Roman Originals, reported a surge in sales and produced a one-off version in white and gold sold for charity. | [
"tweets",
"vision science",
"colour perception",
"online viral phenomenon",
"Facebook",
"neuroscience",
"viral phenomenon"
] |
|
15869_T | The dress | Focus on The dress and discuss the Origin. | In February 2015, about a week before the wedding of Grace and Keir Johnston, of Colonsay, Scotland, the bride's mother, Cecilia Bleasdale, took a photograph of a dress at Cheshire Oaks Designer Outlet north of Chester, England. Bleasdale intended to wear the dress at the wedding and sent the photograph to Grace. The dress was coloured blue with black lace. However, Grace told her mother she perceived it in the photograph as white with gold lace.After Grace posted the photograph on Facebook, her friends also disagreed; some saw it as white with gold, while others saw it as blue with black. For a week, the debate became well known in Colonsay, a small island community.On the day of the wedding, Caitlin McNeill, a friend of the bride and groom, performed with her band at the wedding. Even after seeing that the dress was "obviously blue and black" in reality, the musicians remained preoccupied by the photograph. They said they almost failed to make it on stage because they were caught up discussing the dress. A few days later, on 26 February, McNeill reposted the image to her blog on Tumblr, creating further public discussion surrounding the image. | [
"Cheshire Oaks Designer Outlet",
"Chester",
"Colonsay",
"Facebook",
"reality",
"Tumblr"
] |
|
15869_NT | The dress | Focus on this artwork and discuss the Origin. | In February 2015, about a week before the wedding of Grace and Keir Johnston, of Colonsay, Scotland, the bride's mother, Cecilia Bleasdale, took a photograph of a dress at Cheshire Oaks Designer Outlet north of Chester, England. Bleasdale intended to wear the dress at the wedding and sent the photograph to Grace. The dress was coloured blue with black lace. However, Grace told her mother she perceived it in the photograph as white with gold lace.After Grace posted the photograph on Facebook, her friends also disagreed; some saw it as white with gold, while others saw it as blue with black. For a week, the debate became well known in Colonsay, a small island community.On the day of the wedding, Caitlin McNeill, a friend of the bride and groom, performed with her band at the wedding. Even after seeing that the dress was "obviously blue and black" in reality, the musicians remained preoccupied by the photograph. They said they almost failed to make it on stage because they were caught up discussing the dress. A few days later, on 26 February, McNeill reposted the image to her blog on Tumblr, creating further public discussion surrounding the image. | [
"Cheshire Oaks Designer Outlet",
"Chester",
"Colonsay",
"Facebook",
"reality",
"Tumblr"
] |
|
15870_T | The dress | In the context of The dress, analyze the Initial viral spread of the Response. |
Cates Holderness, who ran the Tumblr page for BuzzFeed at the site's New York offices, received a message from McNeill asking for help resolving the colour dispute of the dress. She dismissed it, but checked the page near the end of her workday and saw that it had received around 5,000 notes, a large amount for Tumblr. Tom Christ, Tumblr's director of data, said at its peak the page was receiving 14,000 views a second (or 840,000 views per minute), well over the normal rates. Later that night, the number of notes increased tenfold.Holderness showed the picture to other members of the BuzzFeed social media team, who immediately began arguing about the dress colours. She created a simple poll for Tumblr users, then left work and took the subway home. When she got off the train and checked her phone, it was overwhelmed by messages. That evening, the page set a new record at BuzzFeed for concurrent visitors, and eventually peaked at 673,000.The image became a worldwide Internet meme across social media. On Twitter, users created the hashtags "#whiteandgold", "#blueandblack", and "#dressgate" to discuss their opinions on what the colour of the dress was, and theories surrounding their arguments. The number of tweets about the dress increased throughout the night; at 11:36 pm GMT, when the first increase in the number of tweets about the dress occurred, there were five thousand tweets per minute using the hashtag "#TheDress", increasing to 11,000 tweets per minute with the hashtag by 1:31 am GMT. The photo also attracted discussion relating to the triviality of the matter as a whole; The Washington Post described the dispute as "[the] drama that divided a planet". Some articles humorously suggested that the dress could prompt an existential crisis over the nature of sight and reality, or that the debate could harm interpersonal relationships. Others examined why people were making such a big argument over a seemingly trivial matter. | [
"The Washington Post",
"Internet meme",
"hashtag",
"existential crisis",
"tweets",
"Twitter",
"concurrent visitors",
"BuzzFeed",
"social media",
"reality",
"Tumblr"
] |
|
15870_NT | The dress | In the context of this artwork, analyze the Initial viral spread of the Response. |
Cates Holderness, who ran the Tumblr page for BuzzFeed at the site's New York offices, received a message from McNeill asking for help resolving the colour dispute of the dress. She dismissed it, but checked the page near the end of her workday and saw that it had received around 5,000 notes, a large amount for Tumblr. Tom Christ, Tumblr's director of data, said at its peak the page was receiving 14,000 views a second (or 840,000 views per minute), well over the normal rates. Later that night, the number of notes increased tenfold.Holderness showed the picture to other members of the BuzzFeed social media team, who immediately began arguing about the dress colours. She created a simple poll for Tumblr users, then left work and took the subway home. When she got off the train and checked her phone, it was overwhelmed by messages. That evening, the page set a new record at BuzzFeed for concurrent visitors, and eventually peaked at 673,000.The image became a worldwide Internet meme across social media. On Twitter, users created the hashtags "#whiteandgold", "#blueandblack", and "#dressgate" to discuss their opinions on what the colour of the dress was, and theories surrounding their arguments. The number of tweets about the dress increased throughout the night; at 11:36 pm GMT, when the first increase in the number of tweets about the dress occurred, there were five thousand tweets per minute using the hashtag "#TheDress", increasing to 11,000 tweets per minute with the hashtag by 1:31 am GMT. The photo also attracted discussion relating to the triviality of the matter as a whole; The Washington Post described the dispute as "[the] drama that divided a planet". Some articles humorously suggested that the dress could prompt an existential crisis over the nature of sight and reality, or that the debate could harm interpersonal relationships. Others examined why people were making such a big argument over a seemingly trivial matter. | [
"The Washington Post",
"Internet meme",
"hashtag",
"existential crisis",
"tweets",
"Twitter",
"concurrent visitors",
"BuzzFeed",
"social media",
"reality",
"Tumblr"
] |
|
15871_T | The dress | Describe the characteristics of the Overnight popularity in The dress's Response. | On the evening BuzzFeed posted the article, the Wellesley College neuroscientist Bevil Conway gave some comments about the phenomenon to the Wired reporter Adam Rogers. Before they hung up, Rogers warned him, "Your tomorrow will not be the same." Conway thought he was exaggerating. Rogers's story eventually received 32.8 million unique visitors. When Conway woke up the next morning, his inbox had so many emails he initially thought it had been hacked, until he saw that most were interview requests from major media organisations. "I did 10 interviews and had to have a colleague take my class that day," said Conway.Celebrities with larger Twitter followings began to comment. A tweet by the American songwriter Taylor Swift, in which she saw the dress as blue and black and said she was "confused and scared"—was retweeted 111,134 times and liked 154,188 times. Jaden Smith, Frankie Muniz, Demi Lovato, Mindy Kaling, and Justin Bieber saw the dress was blue and black, while Anna Kendrick, B. J. Novak, Katy Perry, Julianne Moore, and Sarah Hyland saw it as white and gold. Kim Kardashian tweeted that she saw it as white and gold, while her then-husband Kanye West saw it as blue and black. Lucy Hale, Phoebe Tonkin, and Katie Nolan saw different colour schemes at different times. Lady Gaga described the dress as "periwinkle and sand", while David Duchovny called it teal. Other celebrities, including Ellen DeGeneres and Ariana Grande, mentioned the dress on social media without mentioning specific colours. Politicians, government agencies and social media platforms of major brands also wrote humorous posts. Ultimately, the dress was the subject of 4.4 million tweets within 24 hours.The dress was designed and manufactured by Roman Originals. In the UK, where the phenomenon had begun, Ian Johnson, creative manager for Roman Originals, learned of the controversy from his Facebook news feed that morning. "I was pretty gobsmacked. I just laughed and told the wife that I'd better get to work," he said. TV presenter Alex Jones wore the dress on that night's edition of The One Show.Businesses that had nothing to do with the dress, or even the clothing industry, devoted social media attention to the phenomenon. Adobe retweeted another Twitter user who had used some of the company's apps to isolate the dress's colours. "We jumped in the conversation and thought, Let's see what happens," recalled Karen Do, the company's senior manager for social media. Jenna Bromberg, a digital brand manager for Pizza Hut, saw the dress as white and gold and quickly sent out a tweet with a picture of pizza noting that it, too, was the same colours. Do called it "literally a tweet heard around the world".Ben Fischer of the New York Business Journal reported that interest in the first BuzzFeed article about the dress exhibited vertical growth instead of the typical bell curve of a viral phenomenon, leading BuzzFeed to assign two editorial teams to generate additional articles about the dress to drive ad revenue, and, by 1 March, the original BuzzFeed article had received over 37 million views. The dress was cited by CNN commentator Mel Robbins as a viral phenomenon having the requisite qualities of positivity bias incorporating "awe, laughter and amusement" and was compared to and contrasted with a story about escaped llamas in an Arizona retirement community earlier that day, as well as to tributes paid to actor Leonard Nimoy after his death the following day. | [
"Jaden Smith",
"Pizza Hut",
"Lucy Hale",
"Wired",
"Alex Jones",
"Sarah Hyland",
"Wellesley College",
"David Duchovny",
"Anna Kendrick",
"Phoebe Tonkin",
"tweets",
"Bevil Conway",
"Julianne Moore",
"Twitter",
"Kanye West",
"Ellen DeGeneres",
"Justin Bieber",
"Adobe",
"Kim Kardashian",
"Katie Nolan",
"teal",
"Frankie Muniz",
"Ariana Grande",
"B. J. Novak",
"bell curve",
"Lady Gaga",
"Facebook",
"Katy Perry",
"Demi Lovato",
"Leonard Nimoy",
"periwinkle",
"BuzzFeed",
"Taylor Swift",
"The One Show",
"clothing industry",
"CNN",
"Mel Robbins",
"social media",
"viral phenomenon",
"Mindy Kaling",
"positivity bias"
] |
|
15871_NT | The dress | Describe the characteristics of the Overnight popularity in this artwork's Response. | On the evening BuzzFeed posted the article, the Wellesley College neuroscientist Bevil Conway gave some comments about the phenomenon to the Wired reporter Adam Rogers. Before they hung up, Rogers warned him, "Your tomorrow will not be the same." Conway thought he was exaggerating. Rogers's story eventually received 32.8 million unique visitors. When Conway woke up the next morning, his inbox had so many emails he initially thought it had been hacked, until he saw that most were interview requests from major media organisations. "I did 10 interviews and had to have a colleague take my class that day," said Conway.Celebrities with larger Twitter followings began to comment. A tweet by the American songwriter Taylor Swift, in which she saw the dress as blue and black and said she was "confused and scared"—was retweeted 111,134 times and liked 154,188 times. Jaden Smith, Frankie Muniz, Demi Lovato, Mindy Kaling, and Justin Bieber saw the dress was blue and black, while Anna Kendrick, B. J. Novak, Katy Perry, Julianne Moore, and Sarah Hyland saw it as white and gold. Kim Kardashian tweeted that she saw it as white and gold, while her then-husband Kanye West saw it as blue and black. Lucy Hale, Phoebe Tonkin, and Katie Nolan saw different colour schemes at different times. Lady Gaga described the dress as "periwinkle and sand", while David Duchovny called it teal. Other celebrities, including Ellen DeGeneres and Ariana Grande, mentioned the dress on social media without mentioning specific colours. Politicians, government agencies and social media platforms of major brands also wrote humorous posts. Ultimately, the dress was the subject of 4.4 million tweets within 24 hours.The dress was designed and manufactured by Roman Originals. In the UK, where the phenomenon had begun, Ian Johnson, creative manager for Roman Originals, learned of the controversy from his Facebook news feed that morning. "I was pretty gobsmacked. I just laughed and told the wife that I'd better get to work," he said. TV presenter Alex Jones wore the dress on that night's edition of The One Show.Businesses that had nothing to do with the dress, or even the clothing industry, devoted social media attention to the phenomenon. Adobe retweeted another Twitter user who had used some of the company's apps to isolate the dress's colours. "We jumped in the conversation and thought, Let's see what happens," recalled Karen Do, the company's senior manager for social media. Jenna Bromberg, a digital brand manager for Pizza Hut, saw the dress as white and gold and quickly sent out a tweet with a picture of pizza noting that it, too, was the same colours. Do called it "literally a tweet heard around the world".Ben Fischer of the New York Business Journal reported that interest in the first BuzzFeed article about the dress exhibited vertical growth instead of the typical bell curve of a viral phenomenon, leading BuzzFeed to assign two editorial teams to generate additional articles about the dress to drive ad revenue, and, by 1 March, the original BuzzFeed article had received over 37 million views. The dress was cited by CNN commentator Mel Robbins as a viral phenomenon having the requisite qualities of positivity bias incorporating "awe, laughter and amusement" and was compared to and contrasted with a story about escaped llamas in an Arizona retirement community earlier that day, as well as to tributes paid to actor Leonard Nimoy after his death the following day. | [
"Jaden Smith",
"Pizza Hut",
"Lucy Hale",
"Wired",
"Alex Jones",
"Sarah Hyland",
"Wellesley College",
"David Duchovny",
"Anna Kendrick",
"Phoebe Tonkin",
"tweets",
"Bevil Conway",
"Julianne Moore",
"Twitter",
"Kanye West",
"Ellen DeGeneres",
"Justin Bieber",
"Adobe",
"Kim Kardashian",
"Katie Nolan",
"teal",
"Frankie Muniz",
"Ariana Grande",
"B. J. Novak",
"bell curve",
"Lady Gaga",
"Facebook",
"Katy Perry",
"Demi Lovato",
"Leonard Nimoy",
"periwinkle",
"BuzzFeed",
"Taylor Swift",
"The One Show",
"clothing industry",
"CNN",
"Mel Robbins",
"social media",
"viral phenomenon",
"Mindy Kaling",
"positivity bias"
] |
|
15872_T | The dress | In the context of The dress, explore the Real colours of dress confirmed of the Response. | The dress was confirmed as a royal blue "Lace Bodycon Dress" from the retailer, Roman Originals. The dress is black and blue; although it was available in three other colours (red, pink, and ivory, each with black lace), a white and gold version was not available at the time. The day after McNeill's post, Roman Originals' website experienced a major surge in traffic and sold out of the dress within 30 minutes. On 28 February, Roman Originals announced that they would make a single white and gold dress for a Comic Relief charity auction.On 3 March, the Johnstons, Bleasdale, and MacNeill appeared as guests on The Ellen DeGeneres Show in the United States. The presenter, Ellen DeGeneres, presented each of them with gifts of underwear patterned after the dress and combining both colour schemes. The show sponsors also gave the Johnstons a gift of $10,000 and a honeymoon trip to Grenada, as they had left their honeymoon early to participate in the show.By 1 March, over two thirds of BuzzFeed users polled responded that the dress was white and gold. Some people have suggested that the dress changes colours on its own. Media outlets noted that the photo was overexposed and had poor white balance, causing its colours to be washed out, giving rise to the perception by some that the dress is white and gold. | [
"overexposed",
"Comic Relief",
"Grenada",
"Ellen DeGeneres",
"honeymoon",
"BuzzFeed",
"white balance",
"The Ellen DeGeneres Show"
] |
|
15872_NT | The dress | In the context of this artwork, explore the Real colours of dress confirmed of the Response. | The dress was confirmed as a royal blue "Lace Bodycon Dress" from the retailer, Roman Originals. The dress is black and blue; although it was available in three other colours (red, pink, and ivory, each with black lace), a white and gold version was not available at the time. The day after McNeill's post, Roman Originals' website experienced a major surge in traffic and sold out of the dress within 30 minutes. On 28 February, Roman Originals announced that they would make a single white and gold dress for a Comic Relief charity auction.On 3 March, the Johnstons, Bleasdale, and MacNeill appeared as guests on The Ellen DeGeneres Show in the United States. The presenter, Ellen DeGeneres, presented each of them with gifts of underwear patterned after the dress and combining both colour schemes. The show sponsors also gave the Johnstons a gift of $10,000 and a honeymoon trip to Grenada, as they had left their honeymoon early to participate in the show.By 1 March, over two thirds of BuzzFeed users polled responded that the dress was white and gold. Some people have suggested that the dress changes colours on its own. Media outlets noted that the photo was overexposed and had poor white balance, causing its colours to be washed out, giving rise to the perception by some that the dress is white and gold. | [
"overexposed",
"Comic Relief",
"Grenada",
"Ellen DeGeneres",
"honeymoon",
"BuzzFeed",
"white balance",
"The Ellen DeGeneres Show"
] |
|
15873_T | The dress | Focus on The dress and explain the Scientific explanations. | There is no consensus on why the dress elicits such discordant perceptions. The neuroscientists Bevil Conway and Jay Neitz believe they are a result of how the human brain perceives colour and chromatic adaptation. Conway believes it is connected to how the brain processes the various hues of a daylight sky: "Your visual system is looking at this thing, and you're trying to discount the chromatic bias of the daylight axis ... people either discount the blue side, in which case they end up seeing white and gold, or discount the gold side, in which case they end up with blue and black." Neitz said:Our visual system is supposed to throw away information about the illuminant and extract information about the actual reflectance ... but I've studied individual differences in colour vision for 30 years, and this is one of the biggest individual differences I've ever seen.
Similar theories have been expounded by the University of Liverpool's Paul Knox, who stated that what the brain interprets as colour may be affected by the device the photograph is viewed on, or the viewer's own expectations. Anya Hurlbert and collaborators also considered the problem from the perspective of colour perception. They attributed the differences in perception to individual perception of colour constancy.The neuroscientist and psychologist Pascal Wallisch states that while inherently ambiguous stimuli have been known to vision science for many years, this is the first such stimulus in the colour domain that was brought to the attention of science by social media. He attributes differential perceptions to differences in illumination and fabric priors, but also notes that the stimulus is highly unusual insofar as the perception of most people does not switch. If it does, it does so only on very long time scales, which is highly unusual for bistable stimuli, so perceptual learning might be at play. In addition, he says that discussions of this stimulus are not frivolous, as the stimulus is both of interest to science and a paradigmatic case of how different people can sincerely see the world differently. Daniel Hardiman-McCartney of the College of Optometrists stated that the picture was ambiguous, suggesting that the illusion was caused by a strong yellow light shining onto the dress, and human perception of the colours of the dress and light source by comparing them with other colours and objects in the picture. The philosopher Barry C. Smith compared the phenomenon with Ludwig Wittgenstein and the rabbit–duck illusion, although the rabbit-duck illusion is an ambiguous image where, for most people, the alternative perceptions switch very easily.
The Journal of Vision, a scientific journal about vision research, announced in March 2015 that a special issue about the dress would be published with the title A Dress Rehearsal for Vision Science. The first large-scale scientific study on the dress was published in Current Biology three months after the image went viral. The study, which involved 1,400 respondents, found that 57 per cent saw the dress as blue and black, 30 per cent saw it as white and gold, 11 per cent saw it as blue and brown, and two per cent reported it as "other". Women and older people disproportionately saw the dress as white and gold. The researchers further found that if the dress was shown in artificial yellow-coloured lighting almost all respondents saw the dress as black and blue, while they saw it as white and gold if the simulated lighting had a blue bias. Another study in the Journal of Vision, by Pascal Wallisch, found that people who were early risers were more likely to think the dress was lit by natural light, perceiving it as white and gold, and that "night owls" saw the dress as blue and black.A study carried out by Schlaffke et al. reported that individuals who saw the dress as white and gold showed increased activity in the frontal and parietal regions of the brain. These areas are thought to be critical in higher cognition activities such as top-down modulation in visual perception. | [
"Journal of Vision",
"Ludwig Wittgenstein",
"Current Biology",
"Anya Hurlbert",
"Bevil Conway",
"chromatic adaptation",
"rabbit–duck illusion",
"vision science",
"colour perception",
"ambiguous image",
"perceives colour",
"Jay Neitz",
"social media",
"daylight",
"University of Liverpool",
"Barry C. Smith",
"College of Optometrists",
"colour constancy"
] |
|
15873_NT | The dress | Focus on this artwork and explain the Scientific explanations. | There is no consensus on why the dress elicits such discordant perceptions. The neuroscientists Bevil Conway and Jay Neitz believe they are a result of how the human brain perceives colour and chromatic adaptation. Conway believes it is connected to how the brain processes the various hues of a daylight sky: "Your visual system is looking at this thing, and you're trying to discount the chromatic bias of the daylight axis ... people either discount the blue side, in which case they end up seeing white and gold, or discount the gold side, in which case they end up with blue and black." Neitz said:Our visual system is supposed to throw away information about the illuminant and extract information about the actual reflectance ... but I've studied individual differences in colour vision for 30 years, and this is one of the biggest individual differences I've ever seen.
Similar theories have been expounded by the University of Liverpool's Paul Knox, who stated that what the brain interprets as colour may be affected by the device the photograph is viewed on, or the viewer's own expectations. Anya Hurlbert and collaborators also considered the problem from the perspective of colour perception. They attributed the differences in perception to individual perception of colour constancy.The neuroscientist and psychologist Pascal Wallisch states that while inherently ambiguous stimuli have been known to vision science for many years, this is the first such stimulus in the colour domain that was brought to the attention of science by social media. He attributes differential perceptions to differences in illumination and fabric priors, but also notes that the stimulus is highly unusual insofar as the perception of most people does not switch. If it does, it does so only on very long time scales, which is highly unusual for bistable stimuli, so perceptual learning might be at play. In addition, he says that discussions of this stimulus are not frivolous, as the stimulus is both of interest to science and a paradigmatic case of how different people can sincerely see the world differently. Daniel Hardiman-McCartney of the College of Optometrists stated that the picture was ambiguous, suggesting that the illusion was caused by a strong yellow light shining onto the dress, and human perception of the colours of the dress and light source by comparing them with other colours and objects in the picture. The philosopher Barry C. Smith compared the phenomenon with Ludwig Wittgenstein and the rabbit–duck illusion, although the rabbit-duck illusion is an ambiguous image where, for most people, the alternative perceptions switch very easily.
The Journal of Vision, a scientific journal about vision research, announced in March 2015 that a special issue about the dress would be published with the title A Dress Rehearsal for Vision Science. The first large-scale scientific study on the dress was published in Current Biology three months after the image went viral. The study, which involved 1,400 respondents, found that 57 per cent saw the dress as blue and black, 30 per cent saw it as white and gold, 11 per cent saw it as blue and brown, and two per cent reported it as "other". Women and older people disproportionately saw the dress as white and gold. The researchers further found that if the dress was shown in artificial yellow-coloured lighting almost all respondents saw the dress as black and blue, while they saw it as white and gold if the simulated lighting had a blue bias. Another study in the Journal of Vision, by Pascal Wallisch, found that people who were early risers were more likely to think the dress was lit by natural light, perceiving it as white and gold, and that "night owls" saw the dress as blue and black.A study carried out by Schlaffke et al. reported that individuals who saw the dress as white and gold showed increased activity in the frontal and parietal regions of the brain. These areas are thought to be critical in higher cognition activities such as top-down modulation in visual perception. | [
"Journal of Vision",
"Ludwig Wittgenstein",
"Current Biology",
"Anya Hurlbert",
"Bevil Conway",
"chromatic adaptation",
"rabbit–duck illusion",
"vision science",
"colour perception",
"ambiguous image",
"perceives colour",
"Jay Neitz",
"social media",
"daylight",
"University of Liverpool",
"Barry C. Smith",
"College of Optometrists",
"colour constancy"
] |
|
15874_T | The dress | Explore the Legacy of this artwork, The dress. | The dress was included on multiple year-end lists of notable Internet memes in 2015. As the original authors of the photograph that sparked the viral phenomenon, Bleasdale and her partner Paul Jinks later expressed frustration and regret over being "completely left out from the story", including their lack of control over the story, the omission of their role in the discovery, and the commercial use of the photograph. In South Africa, the Salvation Army used the dress in a 2015 campaign to raise awareness of domestic violence, with the slogan: "Why is it so hard to see black and blue?" | [
"the Salvation Army",
"Internet meme",
"viral phenomenon"
] |
|
15874_NT | The dress | Explore the Legacy of this artwork. | The dress was included on multiple year-end lists of notable Internet memes in 2015. As the original authors of the photograph that sparked the viral phenomenon, Bleasdale and her partner Paul Jinks later expressed frustration and regret over being "completely left out from the story", including their lack of control over the story, the omission of their role in the discovery, and the commercial use of the photograph. In South Africa, the Salvation Army used the dress in a 2015 campaign to raise awareness of domestic violence, with the slogan: "Why is it so hard to see black and blue?" | [
"the Salvation Army",
"Internet meme",
"viral phenomenon"
] |
|
15875_T | St. Charlemagne (Master Theodoric) | Focus on St. Charlemagne (Master Theodoric) and discuss the abstract. | St. Charles the Great (Charlemagne) is an oil tempera on beech board painjting by Bohemian painter Master Theodoric. It is included in the set made for the Chapel of the Holy Cross at Karlštejn by the artist himself. The portrait was placed in a prominent position in the middle of the row of rulers on the west wall of the nave. The quality of the artwork ranks it among the finest works of 14th century European painting. The painting is on display in the collection of medieval art of the National Gallery in Prague. | [
"Chapel of the Holy Cross at Karlštejn",
"Master Theodoric",
"Karlštejn",
"National Gallery in Prague",
"St. Charles the Great",
"Charlemagne"
] |
|
15875_NT | St. Charlemagne (Master Theodoric) | Focus on this artwork and discuss the abstract. | St. Charles the Great (Charlemagne) is an oil tempera on beech board painjting by Bohemian painter Master Theodoric. It is included in the set made for the Chapel of the Holy Cross at Karlštejn by the artist himself. The portrait was placed in a prominent position in the middle of the row of rulers on the west wall of the nave. The quality of the artwork ranks it among the finest works of 14th century European painting. The painting is on display in the collection of medieval art of the National Gallery in Prague. | [
"Chapel of the Holy Cross at Karlštejn",
"Master Theodoric",
"Karlštejn",
"National Gallery in Prague",
"St. Charles the Great",
"Charlemagne"
] |
|
15876_T | St. Charlemagne (Master Theodoric) | How does St. Charlemagne (Master Theodoric) elucidate its Description and classification? | In the preserved original frame there is a circular reliquary hole at the bottom. A gilded heraldic shield with the imperial emblem - a double-headed eagle is attached to the plate.
The central position of the painting in the composition of the entire western wall of the chapel and the exceptional position of the monarch required the depiction of the face from the front view. The detailed underdrawing of the face as well as the generous layout of the drapery overlapping the frame can be seen in the images taken by infrared reflectography. These confirm that the original design was not changed during the execution of the painting.
The painter's style is identical to other works attributed to Master Theodoric. The painting is characterised by the perfect harmony of grey and ochre tones in the hair and beard and a velvety brown face with a concentrated expression of dark eyes. The pinkish-red robes have been partially damaged by the washing off of the top glazes and the underdrawing shines through in places. The background of the painting and the frame are covered with relief decoration. Charlemagne's head was adorned with a golden imperial crown. This was probably torn off during the siege of Karlštejn by the Hussites, when the other paintings suffered in the same way. The gold was used to pay mercenaries to the defenders of the castle. | [
"Master Theodoric",
"infrared reflectography",
"Hussites",
"Karlštejn",
"imperial crown",
"Charlemagne"
] |
|
15876_NT | St. Charlemagne (Master Theodoric) | How does this artwork elucidate its Description and classification? | In the preserved original frame there is a circular reliquary hole at the bottom. A gilded heraldic shield with the imperial emblem - a double-headed eagle is attached to the plate.
The central position of the painting in the composition of the entire western wall of the chapel and the exceptional position of the monarch required the depiction of the face from the front view. The detailed underdrawing of the face as well as the generous layout of the drapery overlapping the frame can be seen in the images taken by infrared reflectography. These confirm that the original design was not changed during the execution of the painting.
The painter's style is identical to other works attributed to Master Theodoric. The painting is characterised by the perfect harmony of grey and ochre tones in the hair and beard and a velvety brown face with a concentrated expression of dark eyes. The pinkish-red robes have been partially damaged by the washing off of the top glazes and the underdrawing shines through in places. The background of the painting and the frame are covered with relief decoration. Charlemagne's head was adorned with a golden imperial crown. This was probably torn off during the siege of Karlštejn by the Hussites, when the other paintings suffered in the same way. The gold was used to pay mercenaries to the defenders of the castle. | [
"Master Theodoric",
"infrared reflectography",
"Hussites",
"Karlštejn",
"imperial crown",
"Charlemagne"
] |
|
15877_T | St. Charlemagne (Master Theodoric) | In the context of St. Charlemagne (Master Theodoric), analyze the The relationship of Emperor Charles IV to Charlemagne of the Description and classification. | The restorer of the Holy Roman Empire was of special importance to Emperor Charles IV, who traced his lineage back to the Přemyslid dynasty and Charlemagne. He showed him boundless respect and considered him a model of a good and just ruler and his patron. He conceived his coronation as Holy Roman Emperor in the Carolingian Chapel in Aachen in 1349 as a religious pilgrimage to the holy relics and brought the relics of Charlemagne to Prague. Later, he had a Gothic choir with a chapel of St. Wenceslaus added at Aachen, where he donated precious goldsmith's reliquaries. In 1351, he founded the Church of the Assumption of the Virgin Mary and St. Charlemagne in Prague's New Town, on an unusual octagonal plan, inspired by the chapel at Aachen. Charles IV kept the coronation treasure of the Holy Roman Empire, which included relics as well as the 11th-century imperial crown associated with the veneration of Charlemagne.In 1453-1454, Charles IV summoned the Italian priest and papal legate Giovanni de' Marignolli to Prague to compile a chronicle of the Roman Empire and a genealogy of the Luxembourg family. Master Theodoric's paintings were preceded by a gallery of figures of monarchs, including Charlemagne, painted in 1355-1360 in the main hall of the Imperial Palace at Karlštejn by the Master of the Luxembourg Family Tree (destroyed before 1597). According to the report of Jan of Hazmburk, the palace at Prague Castle was similarly decorated (paintings were destroyed in a fire in 1541). | [
"Holy Roman Emperor",
"Emperor Charles IV",
"Master Theodoric",
"Holy Roman Empire",
"Luxembourg family",
"Prague Castle",
"Přemyslid dynasty",
"Carolingian Chapel in Aachen",
"Master of the Luxembourg Family Tree",
"Roman Empire",
"relic",
"chapel at Aachen",
"Giovanni de' Marignolli",
"Karlštejn",
"chapel of St. Wenceslaus added at Aachen",
"imperial crown",
"Church of the Assumption of the Virgin Mary and St. Charlemagne",
"Imperial Palace at Karlštejn",
"Charlemagne",
"Charles IV"
] |
|
15877_NT | St. Charlemagne (Master Theodoric) | In the context of this artwork, analyze the The relationship of Emperor Charles IV to Charlemagne of the Description and classification. | The restorer of the Holy Roman Empire was of special importance to Emperor Charles IV, who traced his lineage back to the Přemyslid dynasty and Charlemagne. He showed him boundless respect and considered him a model of a good and just ruler and his patron. He conceived his coronation as Holy Roman Emperor in the Carolingian Chapel in Aachen in 1349 as a religious pilgrimage to the holy relics and brought the relics of Charlemagne to Prague. Later, he had a Gothic choir with a chapel of St. Wenceslaus added at Aachen, where he donated precious goldsmith's reliquaries. In 1351, he founded the Church of the Assumption of the Virgin Mary and St. Charlemagne in Prague's New Town, on an unusual octagonal plan, inspired by the chapel at Aachen. Charles IV kept the coronation treasure of the Holy Roman Empire, which included relics as well as the 11th-century imperial crown associated with the veneration of Charlemagne.In 1453-1454, Charles IV summoned the Italian priest and papal legate Giovanni de' Marignolli to Prague to compile a chronicle of the Roman Empire and a genealogy of the Luxembourg family. Master Theodoric's paintings were preceded by a gallery of figures of monarchs, including Charlemagne, painted in 1355-1360 in the main hall of the Imperial Palace at Karlštejn by the Master of the Luxembourg Family Tree (destroyed before 1597). According to the report of Jan of Hazmburk, the palace at Prague Castle was similarly decorated (paintings were destroyed in a fire in 1541). | [
"Holy Roman Emperor",
"Emperor Charles IV",
"Master Theodoric",
"Holy Roman Empire",
"Luxembourg family",
"Prague Castle",
"Přemyslid dynasty",
"Carolingian Chapel in Aachen",
"Master of the Luxembourg Family Tree",
"Roman Empire",
"relic",
"chapel at Aachen",
"Giovanni de' Marignolli",
"Karlštejn",
"chapel of St. Wenceslaus added at Aachen",
"imperial crown",
"Church of the Assumption of the Virgin Mary and St. Charlemagne",
"Imperial Palace at Karlštejn",
"Charlemagne",
"Charles IV"
] |
|
15878_T | The Gloomy Day | Focus on The Gloomy Day and explore the abstract. | The Gloomy Day is an oil on wood painting by Pieter Bruegel the Elder in 1565. The painting is one in a series of six works, five of which are still extant, that depict different times of the year. The painting is currently in the collection of the Kunsthistorisches Museum, located in Vienna, Austria.
The scene, also known as Early Spring, is set around February and March, portrayed by the bleak atmosphere and leafless trees. The paper crown around the boy's head and the eating of waffles are references to the Carnival time prior to Lent. The sky, the ships crashing against the shoreline, and the children preparing themselves in the foreground suggest that harsh weather is coming.
In this painting “The bold contrast of shadow and light, the knowing gradation between the planes, and the admirable harmony of yellows, tans and browns qualify this work as a masterpiece. It exudes an ardent melancholy, a strange quality, at once gentle and powerful, that touches and penetrates the viewer”.Bruegel is famous for his paintings of scenery and nature. Most of his paintings of the countryside tell a story or have a moral message.The surviving Months of the Year cycle are: | [
"waffles",
"Pieter Bruegel the Elder",
"moral message",
"Kunsthistorisches Museum",
"Austria",
"Vienna",
"Carnival",
"Lent"
] |
|
15878_NT | The Gloomy Day | Focus on this artwork and explore the abstract. | The Gloomy Day is an oil on wood painting by Pieter Bruegel the Elder in 1565. The painting is one in a series of six works, five of which are still extant, that depict different times of the year. The painting is currently in the collection of the Kunsthistorisches Museum, located in Vienna, Austria.
The scene, also known as Early Spring, is set around February and March, portrayed by the bleak atmosphere and leafless trees. The paper crown around the boy's head and the eating of waffles are references to the Carnival time prior to Lent. The sky, the ships crashing against the shoreline, and the children preparing themselves in the foreground suggest that harsh weather is coming.
In this painting “The bold contrast of shadow and light, the knowing gradation between the planes, and the admirable harmony of yellows, tans and browns qualify this work as a masterpiece. It exudes an ardent melancholy, a strange quality, at once gentle and powerful, that touches and penetrates the viewer”.Bruegel is famous for his paintings of scenery and nature. Most of his paintings of the countryside tell a story or have a moral message.The surviving Months of the Year cycle are: | [
"waffles",
"Pieter Bruegel the Elder",
"moral message",
"Kunsthistorisches Museum",
"Austria",
"Vienna",
"Carnival",
"Lent"
] |
|
15879_T | Thirty-six Views of Mount Fuji (Hiroshige) | Focus on Thirty-six Views of Mount Fuji (Hiroshige) and explain the abstract. | Thirty-six Views of Mount Fuji (Japanese: 富士三十六景, Hepburn: Fuji Sanjū-Rokkei) is the title of two series of woodblock prints by Japanese ukiyo-e artist Hiroshige, depicting Mount Fuji in differing seasons and weather conditions from a variety of different places and distances. The 1852 series, published by Sanoya Kihei, are in landscape orientation using the chūban format, while the 1858 series are in the portrait ōban format and were published by Tsutaya Kichizō. The same subject had previously been dealt with by Hokusai in two of his own series, Thirty-six Views of Mount Fuji, produced from c. 1830 to 1832, and One Hundred Views of Mount Fuji, published in three volumes from 1834 to 1849. | [
"Sanoya Kihei",
"chūban",
"Tsutaya Kichizō",
"woodblock prints",
"Hiroshige",
"Thirty-six Views of Mount Fuji",
"ōban",
"Hokusai",
"ukiyo-e",
"Mount Fuji",
"One Hundred Views of Mount Fuji"
] |
|
15879_NT | Thirty-six Views of Mount Fuji (Hiroshige) | Focus on this artwork and explain the abstract. | Thirty-six Views of Mount Fuji (Japanese: 富士三十六景, Hepburn: Fuji Sanjū-Rokkei) is the title of two series of woodblock prints by Japanese ukiyo-e artist Hiroshige, depicting Mount Fuji in differing seasons and weather conditions from a variety of different places and distances. The 1852 series, published by Sanoya Kihei, are in landscape orientation using the chūban format, while the 1858 series are in the portrait ōban format and were published by Tsutaya Kichizō. The same subject had previously been dealt with by Hokusai in two of his own series, Thirty-six Views of Mount Fuji, produced from c. 1830 to 1832, and One Hundred Views of Mount Fuji, published in three volumes from 1834 to 1849. | [
"Sanoya Kihei",
"chūban",
"Tsutaya Kichizō",
"woodblock prints",
"Hiroshige",
"Thirty-six Views of Mount Fuji",
"ōban",
"Hokusai",
"ukiyo-e",
"Mount Fuji",
"One Hundred Views of Mount Fuji"
] |
|
15880_T | Thirty-six Views of Mount Fuji (Hiroshige) | In the context of Thirty-six Views of Mount Fuji (Hiroshige), discuss the 1852 series of the Prints. | This series was published by Sanoya Kihei. The images are shown in the order as determined by the Yamanashi Prefectural Museum. There is an alternate numbering scheme that corresponds to that given by Edmond de Goncourt in his work on Hokusai. | [
"Sanoya Kihei",
"Yamanashi Prefectural Museum",
"Edmond de Goncourt",
"Hokusai"
] |
|
15880_NT | Thirty-six Views of Mount Fuji (Hiroshige) | In the context of this artwork, discuss the 1852 series of the Prints. | This series was published by Sanoya Kihei. The images are shown in the order as determined by the Yamanashi Prefectural Museum. There is an alternate numbering scheme that corresponds to that given by Edmond de Goncourt in his work on Hokusai. | [
"Sanoya Kihei",
"Yamanashi Prefectural Museum",
"Edmond de Goncourt",
"Hokusai"
] |
|
15881_T | Portrait of a Doctor | Focus on Portrait of a Doctor and analyze the abstract. | Retrato de un médico (or Portrait of a Doctor) is an oil painting by El Greco.
Painted in Toledo between 1582 and 1585, and on display at the Museo del Prado, some authors suggest the portrait of the anonymous doctor (as defined by his thumb ring) may either be that of Luis de Mercado, Felipe II's chamber doctor, or of Rodrigo de la Fuente, a friend of El Greco. | [
"El Greco",
"Museo del Prado",
"Doctor",
"Toledo",
"Felipe II"
] |
|
15881_NT | Portrait of a Doctor | Focus on this artwork and analyze the abstract. | Retrato de un médico (or Portrait of a Doctor) is an oil painting by El Greco.
Painted in Toledo between 1582 and 1585, and on display at the Museo del Prado, some authors suggest the portrait of the anonymous doctor (as defined by his thumb ring) may either be that of Luis de Mercado, Felipe II's chamber doctor, or of Rodrigo de la Fuente, a friend of El Greco. | [
"El Greco",
"Museo del Prado",
"Doctor",
"Toledo",
"Felipe II"
] |
|
15882_T | Everydays: the First 5000 Days | In Everydays: the First 5000 Days, how is the abstract discussed? | Everydays: the First 5000 Days is a digital work of art created by Mike Winkelmann, known professionally as Beeple. The work is a collage of 5000 digital images created by Winkelmann for his Everydays series. Its associated non-fungible token (NFT) was sold for $69.3 million at Christie's in 2021, making it the most expensive non-fungible token ever.Everydays was purchased by Singapore-based programmer Vignesh Sundaresan, a cryptocurrency investor and the founder of the Metapurse NFT project, also known online by his pseudonym MetaKovan. Sundaresan paid for the artwork using 42,329 Ether. Both the buyer Sundaresan and the seller Winkelmann had a vested interest in driving up the price of the work, in order to bring attention to and drive sales for a speculative asset related to twenty other Beeple works, which they called "B20 tokens." The price of these tokens, in which Sundaresan held a majority stake, reached its peak during media coverage of the Everydays auction, and subsequently collapsed. Because of this, some observers have described the auction as a publicity stunt and a scam.Sundaresan receives rights to display the artwork, but does not receive copyright. He has displayed the artwork in a digital museum within "the metaverse", which the public can view through a web browser. | [
"non-fungible token",
"most expensive non-fungible token",
"Christie's",
"Ether",
"Vignesh Sundaresan",
"metaverse",
"Mike Winkelmann"
] |
|
15882_NT | Everydays: the First 5000 Days | In this artwork, how is the abstract discussed? | Everydays: the First 5000 Days is a digital work of art created by Mike Winkelmann, known professionally as Beeple. The work is a collage of 5000 digital images created by Winkelmann for his Everydays series. Its associated non-fungible token (NFT) was sold for $69.3 million at Christie's in 2021, making it the most expensive non-fungible token ever.Everydays was purchased by Singapore-based programmer Vignesh Sundaresan, a cryptocurrency investor and the founder of the Metapurse NFT project, also known online by his pseudonym MetaKovan. Sundaresan paid for the artwork using 42,329 Ether. Both the buyer Sundaresan and the seller Winkelmann had a vested interest in driving up the price of the work, in order to bring attention to and drive sales for a speculative asset related to twenty other Beeple works, which they called "B20 tokens." The price of these tokens, in which Sundaresan held a majority stake, reached its peak during media coverage of the Everydays auction, and subsequently collapsed. Because of this, some observers have described the auction as a publicity stunt and a scam.Sundaresan receives rights to display the artwork, but does not receive copyright. He has displayed the artwork in a digital museum within "the metaverse", which the public can view through a web browser. | [
"non-fungible token",
"most expensive non-fungible token",
"Christie's",
"Ether",
"Vignesh Sundaresan",
"metaverse",
"Mike Winkelmann"
] |
|
15883_T | Záboj and Slavoj | Focus on Záboj and Slavoj and explore the abstract. | Záboj and Slavoj (Czech: Záboj a Slavoj) is an outdoor sculpture by Josef Václav Myslbek, installed at Vyšehradské sady in Vyšehrad, Prague, Czech Republic.It depicts the heroic brothers from the manuscripts of Dvůr Králové and of Zelená Hora. The brothers were leaders of the rebellion against invasion of the German troops of Charlemagne and allegedly led the victorious battle in 805. | [
"Josef Václav Myslbek",
"Charlemagne",
"manuscripts of Dvůr Králové and of Zelená Hora",
"Vyšehrad"
] |
|
15883_NT | Záboj and Slavoj | Focus on this artwork and explore the abstract. | Záboj and Slavoj (Czech: Záboj a Slavoj) is an outdoor sculpture by Josef Václav Myslbek, installed at Vyšehradské sady in Vyšehrad, Prague, Czech Republic.It depicts the heroic brothers from the manuscripts of Dvůr Králové and of Zelená Hora. The brothers were leaders of the rebellion against invasion of the German troops of Charlemagne and allegedly led the victorious battle in 805. | [
"Josef Václav Myslbek",
"Charlemagne",
"manuscripts of Dvůr Králové and of Zelená Hora",
"Vyšehrad"
] |
|
15884_T | The First Game | Focus on The First Game and explain the abstract. | The First Game is a painting by Arnold Friberg, and was commissioned in 1968 by Chevrolet Motor Division as one of four paintings to commemorate the then-upcoming centennial celebration of college football in the United States. It depicts the famous first game of American intercollegiate football, played by Rutgers College (now Rutgers University) and the visiting College of New Jersey (by then more commonly known as Princeton College) on November 6, 1869, at College Field in New Brunswick, New Jersey. The game was played in front of 100 spectators, who were also depicted in the picture in the background. | [
"Princeton College",
"college football",
"Rutgers College",
"first game of American intercollegiate football",
"Arnold Friberg",
"Chevrolet",
"New Brunswick, New Jersey",
"Chevrolet Motor Division"
] |
|
15884_NT | The First Game | Focus on this artwork and explain the abstract. | The First Game is a painting by Arnold Friberg, and was commissioned in 1968 by Chevrolet Motor Division as one of four paintings to commemorate the then-upcoming centennial celebration of college football in the United States. It depicts the famous first game of American intercollegiate football, played by Rutgers College (now Rutgers University) and the visiting College of New Jersey (by then more commonly known as Princeton College) on November 6, 1869, at College Field in New Brunswick, New Jersey. The game was played in front of 100 spectators, who were also depicted in the picture in the background. | [
"Princeton College",
"college football",
"Rutgers College",
"first game of American intercollegiate football",
"Arnold Friberg",
"Chevrolet",
"New Brunswick, New Jersey",
"Chevrolet Motor Division"
] |
|
15885_T | The First Game | Explore the The picture of this artwork, The First Game. | In The First Game, Friberg extolled the fight and physical strength of the game. His painting shows how bruised players collide each other. Some of them even have blood stains in their uniforms. Rutgers players wear a headscarf that resembles a piracy-style. The ball is small and round, like an association football. The field is covered by dry leaves, as usual in November, when the game was played. Spectators are seen at background, some are sitting on a fence, and others run along the players.
Spectators depicted include a Rutgers professor who is reported to have waved his umbrella at the participants while yelling, "You will come to no Christian end!" Friberg included the man with the umbrella in the painting as a tribute. | [
"piracy",
"association football"
] |
|
15885_NT | The First Game | Explore the The picture of this artwork. | In The First Game, Friberg extolled the fight and physical strength of the game. His painting shows how bruised players collide each other. Some of them even have blood stains in their uniforms. Rutgers players wear a headscarf that resembles a piracy-style. The ball is small and round, like an association football. The field is covered by dry leaves, as usual in November, when the game was played. Spectators are seen at background, some are sitting on a fence, and others run along the players.
Spectators depicted include a Rutgers professor who is reported to have waved his umbrella at the participants while yelling, "You will come to no Christian end!" Friberg included the man with the umbrella in the painting as a tribute. | [
"piracy",
"association football"
] |
|
15886_T | Portrait of a Seated Woman with a Handkerchief | Focus on Portrait of a Seated Woman with a Handkerchief and discuss the abstract. | Portrait of a Seated Woman with a Handkerchief is a painting at the Art Gallery of Ontario, in Toronto. Today it is attributed to Carel Fabritius, but was previously considered a work by Rembrandt.
The work was sold in 1845 as part of the auction of the collection of Joseph Cardinal Fesch. It was later in the collection of Sir George Holford of Dorchester House, London. It was sold alongside the rest of the collection at Christie's in 1928. While still attributed to Rembrandt it was bought at auction by the Eaton's corporation for 30,000 Guineas. The company displayed the portrait at their College Park store and later at stores in Montreal and Winnipeg; at the time the only Rembrandt on public display in Canada. It was later moved to one of the private rooms of the College Street building and was then given as a retirement present to R.Y. Eaton. He loaned the painting to the Art Gallery of Toronto and his widow donated it in 1966. In 1959, it was one of six works stolen from the gallery. The thieves targeted the most valuable works also taking the Portrait of Isaak Abrahamsz. Massa and Rembrandt's Portrait of a Lady with a Lap Dog. Then still believed to be a Rembrandt, Woman with a Handkerchief had the highest value of those stolen according to the gallery's insurance.
The painting is signed "Rembrandt f. 1644" and this signature was long accepted as valid. It is today known that there are many works with Rembrandt signatures that were faked. Some of these are works produced in Rembrandt's workshop, often following an initial sketch of Rembrandt's. Others are pure forgeries with the signature added at a later date to increase its value. The painting does date from the era of Rembrandt, and the date could be accurate. It is rejected as the hand of Rembrandt as the hands and face of the portrait are painted in a distinctive style, and a style very different from Rembrandt's. The style is similar to the surviving works of Carel Fabritius, one of Rembrandt's most skilled pupils. There is still considerably scholarly debate over if the painting is truly one by Fabritius.
There has also long been speculation over the identity of the sitter. Aaltje van Uylenburgh, a cousin of Rembrandt's wife Saskia, is the most common conjecture. The pose of the sitter suggests the painting was paired with a portrait of the woman's husband. A painting known as Portrait of a Scholar is of the same size and general style. It today hangs in Cologne and is believed to depict J.C. Sylvius, van Uylenburgh's husband. The two paintings are also recorded as having been sold together in a sale in 1811. | [
"Eaton",
"Saskia",
"Portrait of Isaak Abrahamsz. Massa",
"Dorchester House",
"Winnipeg",
"Joseph Cardinal Fesch",
"Art Gallery of Ontario",
"Seated Woman with a Handkerchief",
"Toronto",
"R.Y. Eaton",
"Rembrandt",
"George Holford",
"Montreal",
"Carel Fabritius",
"Sir George Holford",
"Guineas",
"College Park",
"Eaton's"
] |
|
15886_NT | Portrait of a Seated Woman with a Handkerchief | Focus on this artwork and discuss the abstract. | Portrait of a Seated Woman with a Handkerchief is a painting at the Art Gallery of Ontario, in Toronto. Today it is attributed to Carel Fabritius, but was previously considered a work by Rembrandt.
The work was sold in 1845 as part of the auction of the collection of Joseph Cardinal Fesch. It was later in the collection of Sir George Holford of Dorchester House, London. It was sold alongside the rest of the collection at Christie's in 1928. While still attributed to Rembrandt it was bought at auction by the Eaton's corporation for 30,000 Guineas. The company displayed the portrait at their College Park store and later at stores in Montreal and Winnipeg; at the time the only Rembrandt on public display in Canada. It was later moved to one of the private rooms of the College Street building and was then given as a retirement present to R.Y. Eaton. He loaned the painting to the Art Gallery of Toronto and his widow donated it in 1966. In 1959, it was one of six works stolen from the gallery. The thieves targeted the most valuable works also taking the Portrait of Isaak Abrahamsz. Massa and Rembrandt's Portrait of a Lady with a Lap Dog. Then still believed to be a Rembrandt, Woman with a Handkerchief had the highest value of those stolen according to the gallery's insurance.
The painting is signed "Rembrandt f. 1644" and this signature was long accepted as valid. It is today known that there are many works with Rembrandt signatures that were faked. Some of these are works produced in Rembrandt's workshop, often following an initial sketch of Rembrandt's. Others are pure forgeries with the signature added at a later date to increase its value. The painting does date from the era of Rembrandt, and the date could be accurate. It is rejected as the hand of Rembrandt as the hands and face of the portrait are painted in a distinctive style, and a style very different from Rembrandt's. The style is similar to the surviving works of Carel Fabritius, one of Rembrandt's most skilled pupils. There is still considerably scholarly debate over if the painting is truly one by Fabritius.
There has also long been speculation over the identity of the sitter. Aaltje van Uylenburgh, a cousin of Rembrandt's wife Saskia, is the most common conjecture. The pose of the sitter suggests the painting was paired with a portrait of the woman's husband. A painting known as Portrait of a Scholar is of the same size and general style. It today hangs in Cologne and is believed to depict J.C. Sylvius, van Uylenburgh's husband. The two paintings are also recorded as having been sold together in a sale in 1811. | [
"Eaton",
"Saskia",
"Portrait of Isaak Abrahamsz. Massa",
"Dorchester House",
"Winnipeg",
"Joseph Cardinal Fesch",
"Art Gallery of Ontario",
"Seated Woman with a Handkerchief",
"Toronto",
"R.Y. Eaton",
"Rembrandt",
"George Holford",
"Montreal",
"Carel Fabritius",
"Sir George Holford",
"Guineas",
"College Park",
"Eaton's"
] |
|
15887_T | The Cliff Walk at Pourville | How does The Cliff Walk at Pourville elucidate its abstract? | The Cliff Walk at Pourville is an 1882 painting by the French Impressionist painter Claude Monet. It currently resides at the Art Institute of Chicago. It is a landscape painting featuring two women atop a cliff above the sea.
The canvas was inspired by an extended stay at Pourville in 1882. Monet settled in the village between February and mid-April, during which time he wrote to his future wife, Alice Hoschedé, "How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!" They returned in June of that year. The two young women standing atop the cliff may be Hoschedé's daughters, Marthe and Blanche; it has also been suggested that the figures represent Alice and Blanche, both of whom painted out of doors at that time.The various elements of the painting are unified through brushwork; short, crisp strokes were used to paint the grasses of the cliff, the women's drapery and the distant sea. A sense of movement suggested by painterly calligraphy was a property of Monet's work in the 1880s, and is here used to connote the effect of a summer wind upon figures, land, water, and clouds moving across the sky. During the painting process, Monet reduced the size of a rocky promontory at far right, to better balance the composition's proportions; however, it's also been noted that this secondary cliff was a late addition to the canvas, and was not part of the original design. An X-ray of the painting indicates that the artist originally painted a third figure into the grouping, then removed it.Describing similar works by the artist, art historian John House wrote, “His cliff tops rarely show a single sweep of terrain. Instead there are breaks in space; the eye progresses into depth by a succession of jumps; distance is expressed by planes overlapping each other and by atmospheric rather than linear perspective- by softening the focus and changes of color.” The sense of immediacy is heightened by the juxtapositions of the cliff and sea, the contrast between ground and openness. | [
"Alice Hoschedé",
"Claude Monet",
"Art Institute of Chicago",
"Pourville"
] |
|
15887_NT | The Cliff Walk at Pourville | How does this artwork elucidate its abstract? | The Cliff Walk at Pourville is an 1882 painting by the French Impressionist painter Claude Monet. It currently resides at the Art Institute of Chicago. It is a landscape painting featuring two women atop a cliff above the sea.
The canvas was inspired by an extended stay at Pourville in 1882. Monet settled in the village between February and mid-April, during which time he wrote to his future wife, Alice Hoschedé, "How beautiful the countryside is becoming, and what joy it would be for me to show you all its delightful nooks and crannies!" They returned in June of that year. The two young women standing atop the cliff may be Hoschedé's daughters, Marthe and Blanche; it has also been suggested that the figures represent Alice and Blanche, both of whom painted out of doors at that time.The various elements of the painting are unified through brushwork; short, crisp strokes were used to paint the grasses of the cliff, the women's drapery and the distant sea. A sense of movement suggested by painterly calligraphy was a property of Monet's work in the 1880s, and is here used to connote the effect of a summer wind upon figures, land, water, and clouds moving across the sky. During the painting process, Monet reduced the size of a rocky promontory at far right, to better balance the composition's proportions; however, it's also been noted that this secondary cliff was a late addition to the canvas, and was not part of the original design. An X-ray of the painting indicates that the artist originally painted a third figure into the grouping, then removed it.Describing similar works by the artist, art historian John House wrote, “His cliff tops rarely show a single sweep of terrain. Instead there are breaks in space; the eye progresses into depth by a succession of jumps; distance is expressed by planes overlapping each other and by atmospheric rather than linear perspective- by softening the focus and changes of color.” The sense of immediacy is heightened by the juxtapositions of the cliff and sea, the contrast between ground and openness. | [
"Alice Hoschedé",
"Claude Monet",
"Art Institute of Chicago",
"Pourville"
] |
|
15888_T | Mound of Butter | Focus on Mound of Butter and analyze the abstract. | Mound of Butter is a still life painting of a mound of butter, by the 19th-century French realist painter Antoine Vollon made between 1875 and 1885. The painting is in the National Gallery of Art in Washington D.C., with the New York Times calling it one of "Washington’s Crown Jewels". | [
"still life",
"Butter",
"New York Times",
"National Gallery of Art",
"Washington D.C.",
"realist",
"butter",
"Antoine Vollon"
] |
|
15888_NT | Mound of Butter | Focus on this artwork and analyze the abstract. | Mound of Butter is a still life painting of a mound of butter, by the 19th-century French realist painter Antoine Vollon made between 1875 and 1885. The painting is in the National Gallery of Art in Washington D.C., with the New York Times calling it one of "Washington’s Crown Jewels". | [
"still life",
"Butter",
"New York Times",
"National Gallery of Art",
"Washington D.C.",
"realist",
"butter",
"Antoine Vollon"
] |
|
15889_T | Mound of Butter | In Mound of Butter, how is the Painter discussed? | Throughout his career, Vollon was best known as a painter of still lifes, this including his landscapes and figures. He was part of the French Realist movement, and in his lifetime achieved celebrity status, earning a number of prestigious awards such as the Legion of Honor, and declared "the Chardin of his day" (alluding to the French master of still life paintings, Jean-Baptiste-Siméon Chardin). In the late nineteenth century, Vollon's paintings maintained popularity, and thus many of his works are in private collections today. French writer Alexandre Dumas, fils and fellow American painter William Merritt Chase, for example, collected his various artworks.Vollon was a member of the Académie des Beaux-Arts, and his works were present at the Paris Salon for over thirty years, together with other realist French painters like Charles-François Daubigny, Alexandre-Gabriel Decamps, Jean-Baptiste-Camille Corot, Henri Fantin-Latour and Eugène Boudin, but Vollon is not quite as celebrated or remembered today as his other French Realist colleagues such as Corot and Fantin-Latour. | [
"French painters",
"still life",
"Alexandre Dumas, fils",
"figure",
"landscape",
"William Merritt Chase",
"Henri Fantin-Latour",
"Paris Salon",
"Eugène Boudin",
"realist",
"Académie des Beaux-Arts",
"Jean-Baptiste-Camille Corot",
"Alexandre-Gabriel Decamps",
"Legion of Honor",
"Jean-Baptiste-Siméon Chardin",
"Charles-François Daubigny"
] |
|
15889_NT | Mound of Butter | In this artwork, how is the Painter discussed? | Throughout his career, Vollon was best known as a painter of still lifes, this including his landscapes and figures. He was part of the French Realist movement, and in his lifetime achieved celebrity status, earning a number of prestigious awards such as the Legion of Honor, and declared "the Chardin of his day" (alluding to the French master of still life paintings, Jean-Baptiste-Siméon Chardin). In the late nineteenth century, Vollon's paintings maintained popularity, and thus many of his works are in private collections today. French writer Alexandre Dumas, fils and fellow American painter William Merritt Chase, for example, collected his various artworks.Vollon was a member of the Académie des Beaux-Arts, and his works were present at the Paris Salon for over thirty years, together with other realist French painters like Charles-François Daubigny, Alexandre-Gabriel Decamps, Jean-Baptiste-Camille Corot, Henri Fantin-Latour and Eugène Boudin, but Vollon is not quite as celebrated or remembered today as his other French Realist colleagues such as Corot and Fantin-Latour. | [
"French painters",
"still life",
"Alexandre Dumas, fils",
"figure",
"landscape",
"William Merritt Chase",
"Henri Fantin-Latour",
"Paris Salon",
"Eugène Boudin",
"realist",
"Académie des Beaux-Arts",
"Jean-Baptiste-Camille Corot",
"Alexandre-Gabriel Decamps",
"Legion of Honor",
"Jean-Baptiste-Siméon Chardin",
"Charles-François Daubigny"
] |
|
15890_T | Mound of Butter | Focus on Mound of Butter and explore the Painting. | The painting is a great example of Vollon's still life art, depicting a mound of butter, coloured in rich, deep yellow colour (presumably from the carotene of the fresh plants that grazing cows commonly eat on barn fields). At the time when Antoine Vollon lived, it was usual to purchase the butter from the farmer, handmade.
Typically, after milking, the cream is to be collected, churned and the butter lumps are kneaded by hand or worked with a spatula to get rid of the moisture from it, because the high amounts of buttermilk would shorten its storage life. Back then, butter was usually stored wrapped in a cheesecloth, in a cool place. In the painting, the butter mound's cloth is falling loosely over a couple of eggs beside it.The painting also has thick marks layered on top of the artist's brush-work, probably meant to illustrate the marks after the butter knife was used to spread butter with; or the wooden spatula, used to spread the butter with and also used in producing the butter. Kitchen scenes, food preparation, and depiction of everyday objects were a usual subject for still lifes in Vollon's time. | [
"still life",
"barn fields",
"moisture",
"kneaded",
"storage life",
"cheesecloth",
"egg",
"cows",
"grazing",
"spatula",
"carotene",
"butter knife",
"wooden",
"butter",
"churned",
"food preparation",
"Antoine Vollon",
"brush"
] |
|
15890_NT | Mound of Butter | Focus on this artwork and explore the Painting. | The painting is a great example of Vollon's still life art, depicting a mound of butter, coloured in rich, deep yellow colour (presumably from the carotene of the fresh plants that grazing cows commonly eat on barn fields). At the time when Antoine Vollon lived, it was usual to purchase the butter from the farmer, handmade.
Typically, after milking, the cream is to be collected, churned and the butter lumps are kneaded by hand or worked with a spatula to get rid of the moisture from it, because the high amounts of buttermilk would shorten its storage life. Back then, butter was usually stored wrapped in a cheesecloth, in a cool place. In the painting, the butter mound's cloth is falling loosely over a couple of eggs beside it.The painting also has thick marks layered on top of the artist's brush-work, probably meant to illustrate the marks after the butter knife was used to spread butter with; or the wooden spatula, used to spread the butter with and also used in producing the butter. Kitchen scenes, food preparation, and depiction of everyday objects were a usual subject for still lifes in Vollon's time. | [
"still life",
"barn fields",
"moisture",
"kneaded",
"storage life",
"cheesecloth",
"egg",
"cows",
"grazing",
"spatula",
"carotene",
"butter knife",
"wooden",
"butter",
"churned",
"food preparation",
"Antoine Vollon",
"brush"
] |
|
15891_T | Boulevard Montmartre, Mardi Gras | Focus on Boulevard Montmartre, Mardi Gras and explain the abstract. | Boulevard Montmartre, Mardi Gras (Paris, 1897) by Camille Pissarro currently resides in the permanent exhibition at the Armand Hammer Museum in Los Angeles, California. This work is part of a series of fourteen paintings depicting different times of the day and seasons of the Boulevard Montmartre in Paris. Camille Pissarro is known as the "Father of Impression" for his "teacher's eye" of drawing what he saw in front of him.Pissarro first sketched this idea, before using oil on canvas to paint from his balcony window of the Grand Hôtel de Russie overlooking the grand boulevard. He depicts a nineteenth century Mardi Gras procession, also known as the Carnaval de Paris from the streets below extending its grandeur far into the distance. The Carnaval de Paris also included a parade before the masked ball at the Paris Opera House. This street scene focuses on the idea of a "New Paris" that reveals an outdoor natural setting of beauty without adulteration in order to educate the public of real ideas. This painting marks one of Pissarro's last major works due to his weakening eyesight commonly associated with his elderly age. Many critics believe that this disability formed his appearance of unclear, spontaneous, artistic freedom. | [
"Camille Pissarro",
"Carnaval de Paris",
"Mardi Gras",
"Boulevard Montmartre",
"Armand Hammer Museum",
"Hammer Museum"
] |
|
15891_NT | Boulevard Montmartre, Mardi Gras | Focus on this artwork and explain the abstract. | Boulevard Montmartre, Mardi Gras (Paris, 1897) by Camille Pissarro currently resides in the permanent exhibition at the Armand Hammer Museum in Los Angeles, California. This work is part of a series of fourteen paintings depicting different times of the day and seasons of the Boulevard Montmartre in Paris. Camille Pissarro is known as the "Father of Impression" for his "teacher's eye" of drawing what he saw in front of him.Pissarro first sketched this idea, before using oil on canvas to paint from his balcony window of the Grand Hôtel de Russie overlooking the grand boulevard. He depicts a nineteenth century Mardi Gras procession, also known as the Carnaval de Paris from the streets below extending its grandeur far into the distance. The Carnaval de Paris also included a parade before the masked ball at the Paris Opera House. This street scene focuses on the idea of a "New Paris" that reveals an outdoor natural setting of beauty without adulteration in order to educate the public of real ideas. This painting marks one of Pissarro's last major works due to his weakening eyesight commonly associated with his elderly age. Many critics believe that this disability formed his appearance of unclear, spontaneous, artistic freedom. | [
"Camille Pissarro",
"Carnaval de Paris",
"Mardi Gras",
"Boulevard Montmartre",
"Armand Hammer Museum",
"Hammer Museum"
] |
|
15892_T | Boulevard Montmartre, Mardi Gras | Explore the Technique of this artwork, Boulevard Montmartre, Mardi Gras. | Pissarro's inspiration and artistic style was constantly evolving from the different environments he placed himself within. He studied at the Académie Suisse where he was introduced to two of the most influential people in his life: Claude Monet and Paul Cézanne. He moved around often in search of new inspiration and direction for his work. It was not until he returned to Paris and directed his attention from country landscapes to urban cities that emphasized the importance of order, proportion, and structure. His work depicts dynamic movement through his lack of attention to fine details, less individually drawn figures, and an increase of broad subjects portraying real life. His brushstrokes consists of short, loose, semi-thick strokes to enhance the idea of motion running through his work. At first glance, the work comes off as blurry and poorly painted until the viewer gazes at the painting and sees the qualities of details he positions through his stylistic brushstrokes. The clumps of men in black top coats and suits are significant to traditional ninetieth century dress and the men on horses signify the police patrolling the street parade. The trees in front of the building are intricately stylized for the viewer to believe there are streamers flying through the winding trees. Pissarro designs the French Baroque architecture of the building as a static subject by its clarity and attention to detail of traditional French architecture. | [
"Académie Suisse",
"Claude Monet",
"Paul Cézanne"
] |
|
15892_NT | Boulevard Montmartre, Mardi Gras | Explore the Technique of this artwork. | Pissarro's inspiration and artistic style was constantly evolving from the different environments he placed himself within. He studied at the Académie Suisse where he was introduced to two of the most influential people in his life: Claude Monet and Paul Cézanne. He moved around often in search of new inspiration and direction for his work. It was not until he returned to Paris and directed his attention from country landscapes to urban cities that emphasized the importance of order, proportion, and structure. His work depicts dynamic movement through his lack of attention to fine details, less individually drawn figures, and an increase of broad subjects portraying real life. His brushstrokes consists of short, loose, semi-thick strokes to enhance the idea of motion running through his work. At first glance, the work comes off as blurry and poorly painted until the viewer gazes at the painting and sees the qualities of details he positions through his stylistic brushstrokes. The clumps of men in black top coats and suits are significant to traditional ninetieth century dress and the men on horses signify the police patrolling the street parade. The trees in front of the building are intricately stylized for the viewer to believe there are streamers flying through the winding trees. Pissarro designs the French Baroque architecture of the building as a static subject by its clarity and attention to detail of traditional French architecture. | [
"Académie Suisse",
"Claude Monet",
"Paul Cézanne"
] |
|
15893_T | Boulevard Montmartre, Mardi Gras | Focus on Boulevard Montmartre, Mardi Gras and discuss the Pointillism Influence. | This work has an influence of Pointillism which Pissarro tested as an emerging "scientific" theory of art before creating this work. However, he was not very talented in this style and shortly after absorbed the Neo-Impressionism style with a strong emphasis of an abnormal amount of brush strokes and overlapping details. Unlike most of the other paintings from the Boulevard Montmartre series, the lower half of this particular work references similar characteristics to pointillism by clustering primary colors throughout the painting. However, once seen in person, one can automatically notice the extent of blending the colors together instead of separate dots. Many also believe that his study of the Japanese art nouveau style instilled a sense of distance to the street's progression, which can be seen from the foreground's progress of linear perspective. | [
"Pointillism",
"Neo-Impressionism",
"Boulevard Montmartre"
] |
|
15893_NT | Boulevard Montmartre, Mardi Gras | Focus on this artwork and discuss the Pointillism Influence. | This work has an influence of Pointillism which Pissarro tested as an emerging "scientific" theory of art before creating this work. However, he was not very talented in this style and shortly after absorbed the Neo-Impressionism style with a strong emphasis of an abnormal amount of brush strokes and overlapping details. Unlike most of the other paintings from the Boulevard Montmartre series, the lower half of this particular work references similar characteristics to pointillism by clustering primary colors throughout the painting. However, once seen in person, one can automatically notice the extent of blending the colors together instead of separate dots. Many also believe that his study of the Japanese art nouveau style instilled a sense of distance to the street's progression, which can be seen from the foreground's progress of linear perspective. | [
"Pointillism",
"Neo-Impressionism",
"Boulevard Montmartre"
] |
|
15894_T | Presentation at the Temple (Bellini) | How does Presentation at the Temple (Bellini) elucidate its abstract? | The Presentation at the Temple is a painting of the Presentation of Jesus at the Temple by the Italian master Giovanni Bellini, dating to c. 1460. It is housed in the Fondazione Querini Stampalia, in Venice, Italy. | [
"Giovanni Bellini",
"Fondazione Querini Stampalia",
"Bellini",
"Presentation of Jesus",
"Venice",
"Presentation of Jesus at the Temple",
"Presentation at the Temple"
] |
|
15894_NT | Presentation at the Temple (Bellini) | How does this artwork elucidate its abstract? | The Presentation at the Temple is a painting of the Presentation of Jesus at the Temple by the Italian master Giovanni Bellini, dating to c. 1460. It is housed in the Fondazione Querini Stampalia, in Venice, Italy. | [
"Giovanni Bellini",
"Fondazione Querini Stampalia",
"Bellini",
"Presentation of Jesus",
"Venice",
"Presentation of Jesus at the Temple",
"Presentation at the Temple"
] |
|
15895_T | Presentation at the Temple (Bellini) | Focus on Presentation at the Temple (Bellini) and analyze the History. | The dating of the work is uncertain, though it is usually considered to be subsequent to the Presentation at the Temple by Andrea Mantegna (Berlin, c. 1455), from which Bellini took a very similar placement of the figures.
The commission of the two works is unknown, as well as if the figures, as is sometimes suggested, portrayed members of the Mantegna and Bellini families. | [
"Bellini",
"Andrea Mantegna",
"Presentation at the Temple"
] |
|
15895_NT | Presentation at the Temple (Bellini) | Focus on this artwork and analyze the History. | The dating of the work is uncertain, though it is usually considered to be subsequent to the Presentation at the Temple by Andrea Mantegna (Berlin, c. 1455), from which Bellini took a very similar placement of the figures.
The commission of the two works is unknown, as well as if the figures, as is sometimes suggested, portrayed members of the Mantegna and Bellini families. | [
"Bellini",
"Andrea Mantegna",
"Presentation at the Temple"
] |
|
15896_T | Presentation at the Temple (Bellini) | In Presentation at the Temple (Bellini), how is the Description and style discussed? | The main characters are nearly the same as those in Mantegna's work: the Virgin is holding the Child, whose feet are lying on a cushion, while the bearded figure of Simeon is coming to take him. In the front is Saint Joseph, which, according to some scholars, would be a portrait of Bellini's father, Jacopo. On the sides the painter added two further figures, which make the picture rather crowded. Apart his father, other identifications include the author's self-portrait and Mantegna (or his brother Gentile Bellini) for the two men on the right; and Nicolosia, sister of Giovanni and Gentile, and wife of Mantegna, together with their mother Anna for the women on the left.
Bellini also replaced Mantegna's bronze frame with a parapet, making the characters nearer to the observer, and omitted their haloes. | [
"Gentile Bellini",
"Bellini",
"Saint Joseph",
"haloes",
"Simeon",
"Jacopo"
] |
|
15896_NT | Presentation at the Temple (Bellini) | In this artwork, how is the Description and style discussed? | The main characters are nearly the same as those in Mantegna's work: the Virgin is holding the Child, whose feet are lying on a cushion, while the bearded figure of Simeon is coming to take him. In the front is Saint Joseph, which, according to some scholars, would be a portrait of Bellini's father, Jacopo. On the sides the painter added two further figures, which make the picture rather crowded. Apart his father, other identifications include the author's self-portrait and Mantegna (or his brother Gentile Bellini) for the two men on the right; and Nicolosia, sister of Giovanni and Gentile, and wife of Mantegna, together with their mother Anna for the women on the left.
Bellini also replaced Mantegna's bronze frame with a parapet, making the characters nearer to the observer, and omitted their haloes. | [
"Gentile Bellini",
"Bellini",
"Saint Joseph",
"haloes",
"Simeon",
"Jacopo"
] |
|
15897_T | Lamentation (Gerard David) | Focus on Lamentation (Gerard David) and explore the abstract. | The Lamentation of Christ is a painting of the common subject of the Lamentation of Christ by the painter and manuscript illuminator Gerard David, originally a wing of a now dismantled and lost altarpiece. | [
"David",
"Christ",
"painter",
"illuminator",
"Gerard David",
"Lamentation of Christ"
] |
|
15897_NT | Lamentation (Gerard David) | Focus on this artwork and explore the abstract. | The Lamentation of Christ is a painting of the common subject of the Lamentation of Christ by the painter and manuscript illuminator Gerard David, originally a wing of a now dismantled and lost altarpiece. | [
"David",
"Christ",
"painter",
"illuminator",
"Gerard David",
"Lamentation of Christ"
] |
|
15898_T | Lamentation (Gerard David) | Focus on Lamentation (Gerard David) and explain the Description. | It portrays the body of Christ wrapped in his shroud and being anointed. Mary Magdalene is at his feet, as the Virgin Mary holds him in her arms, weeping for his death watched over by Saint John. Four other grieving figures are present; they may be Saint Anne, the mother of the Virgin, and women who followed Christ. | [
"Mary Magdalene",
"Saint John",
"Christ",
"Virgin Mary",
"shroud"
] |
|
15898_NT | Lamentation (Gerard David) | Focus on this artwork and explain the Description. | It portrays the body of Christ wrapped in his shroud and being anointed. Mary Magdalene is at his feet, as the Virgin Mary holds him in her arms, weeping for his death watched over by Saint John. Four other grieving figures are present; they may be Saint Anne, the mother of the Virgin, and women who followed Christ. | [
"Mary Magdalene",
"Saint John",
"Christ",
"Virgin Mary",
"shroud"
] |
|
15899_T | Lamentation (Gerard David) | Explore the Style of this artwork, Lamentation (Gerard David). | While its exact dating is debated, it seems likely that it was completed between 1515 and 1523.
This painting and David's Adoration of the Kings, also in the National Gallery (NG 1079), were two wings from a single altarpiece. The theme of the Lamentation of Christ was common in medieval and Renaissance art, although this treatment, dating back to a subject known as the Anointing of Christ, is unusual for the period. David was influenced by Jan van Eyck's approach to realism. David was innovative in his depiction of religious subjects, which he represented not as icons but rather as approachable individuals. Additionally, David was known for the originality of his treatment of color and light. | [
"Adoration of the Kings",
"Renaissance",
"Jan van Eyck",
"David",
"Christ",
"National Gallery",
"Lamentation of Christ"
] |
|
15899_NT | Lamentation (Gerard David) | Explore the Style of this artwork. | While its exact dating is debated, it seems likely that it was completed between 1515 and 1523.
This painting and David's Adoration of the Kings, also in the National Gallery (NG 1079), were two wings from a single altarpiece. The theme of the Lamentation of Christ was common in medieval and Renaissance art, although this treatment, dating back to a subject known as the Anointing of Christ, is unusual for the period. David was influenced by Jan van Eyck's approach to realism. David was innovative in his depiction of religious subjects, which he represented not as icons but rather as approachable individuals. Additionally, David was known for the originality of his treatment of color and light. | [
"Adoration of the Kings",
"Renaissance",
"Jan van Eyck",
"David",
"Christ",
"National Gallery",
"Lamentation of Christ"
] |
|
15900_T | Lamentation (Gerard David) | Focus on Lamentation (Gerard David) and discuss the Original altarpiece. | For all the known history of the painting it has been together with the NG 1079 Adoration, but this goes no further back than early 19th-century London. Whether the two originally formed part of the same polyptych is not quite certain, but it seems most likely. The Lamentation is some 3 cm larger in both dimensions, and its underdrawing "is inconsistent in style and some parts can be reconciled with the underdrawing of the Adoration", but others not. In the two panels the figures are about the same size, and the horizons at the same level, and no other panels of these dimensions are attributed to David or his workshop. Both panels are planed down at the back, and may originally have been painted on both sides, as parts of the wings of an altarpiece on the Life of Christ or Life of the Virgin, with a central panel about four times the size of these ones. | [
"David",
"Christ",
"underdrawing",
"Life of Christ",
"Life of the Virgin",
"London",
"polyptych"
] |
|
15900_NT | Lamentation (Gerard David) | Focus on this artwork and discuss the Original altarpiece. | For all the known history of the painting it has been together with the NG 1079 Adoration, but this goes no further back than early 19th-century London. Whether the two originally formed part of the same polyptych is not quite certain, but it seems most likely. The Lamentation is some 3 cm larger in both dimensions, and its underdrawing "is inconsistent in style and some parts can be reconciled with the underdrawing of the Adoration", but others not. In the two panels the figures are about the same size, and the horizons at the same level, and no other panels of these dimensions are attributed to David or his workshop. Both panels are planed down at the back, and may originally have been painted on both sides, as parts of the wings of an altarpiece on the Life of Christ or Life of the Virgin, with a central panel about four times the size of these ones. | [
"David",
"Christ",
"underdrawing",
"Life of Christ",
"Life of the Virgin",
"London",
"polyptych"
] |
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