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|---|---|---|---|---|---|
15951_T | Empire Towers | Focus on Empire Towers and explore the Information. | In 1985 Fischer's Empire Towers was chosen, along with artworks by nine other artists, for exhibition at the art symposium Sculpture Chicago `85. | [
"Sculpture Chicago `85"
] |
|
15951_NT | Empire Towers | Focus on this artwork and explore the Information. | In 1985 Fischer's Empire Towers was chosen, along with artworks by nine other artists, for exhibition at the art symposium Sculpture Chicago `85. | [
"Sculpture Chicago `85"
] |
|
15952_T | Garfield Monument (San Francisco) | Focus on Garfield Monument (San Francisco) and explain the abstract. | The Garfield Monument is installed in San Francisco's Golden Gate Park, in the U.S. state of California. | [
"U.S. state",
"San Francisco",
"Golden Gate Park",
"California"
] |
|
15952_NT | Garfield Monument (San Francisco) | Focus on this artwork and explain the abstract. | The Garfield Monument is installed in San Francisco's Golden Gate Park, in the U.S. state of California. | [
"U.S. state",
"San Francisco",
"Golden Gate Park",
"California"
] |
|
15953_T | Cannon Rock (painting) | Explore the abstract of this artwork, Cannon Rock (painting). | Cannon Rock is an 1895 oil painting by Winslow Homer. It is part of the Metropolitan Museum of Art's collection. | [
"Winslow Homer",
"Metropolitan Museum of Art"
] |
|
15953_NT | Cannon Rock (painting) | Explore the abstract of this artwork. | Cannon Rock is an 1895 oil painting by Winslow Homer. It is part of the Metropolitan Museum of Art's collection. | [
"Winslow Homer",
"Metropolitan Museum of Art"
] |
|
15954_T | Statue of Adam Clayton Powell Jr. | Focus on Statue of Adam Clayton Powell Jr. and discuss the abstract. | A statue of Adam Clayton Powell Jr., sometimes called the Adam Clayton Powell Jr. Memorial, is installed in Harlem, New York City. The 12-foot (3.7 m) tall bronze sculpture by Branly Cadet was cast in 2005, and inspired by the quote, "Press forward at all times, climbing forward toward that higher ground of the harmonious society that shapes the laws of man to the laws of God." | [
"bronze sculpture",
"New York City",
"Adam Clayton Powell Jr.",
"Harlem",
"Branly Cadet"
] |
|
15954_NT | Statue of Adam Clayton Powell Jr. | Focus on this artwork and discuss the abstract. | A statue of Adam Clayton Powell Jr., sometimes called the Adam Clayton Powell Jr. Memorial, is installed in Harlem, New York City. The 12-foot (3.7 m) tall bronze sculpture by Branly Cadet was cast in 2005, and inspired by the quote, "Press forward at all times, climbing forward toward that higher ground of the harmonious society that shapes the laws of man to the laws of God." | [
"bronze sculpture",
"New York City",
"Adam Clayton Powell Jr.",
"Harlem",
"Branly Cadet"
] |
|
15955_T | Daguerre Memorial | How does Daguerre Memorial elucidate its abstract? | The Daguerre Memorial is a bronze and granite sculpture by Jonathan Scott Hartley in Washington, D.C. It was erected in memory of Louis Daguerre. | [
"Washington, D.C.",
"Jonathan Scott Hartley",
"Louis Daguerre"
] |
|
15955_NT | Daguerre Memorial | How does this artwork elucidate its abstract? | The Daguerre Memorial is a bronze and granite sculpture by Jonathan Scott Hartley in Washington, D.C. It was erected in memory of Louis Daguerre. | [
"Washington, D.C.",
"Jonathan Scott Hartley",
"Louis Daguerre"
] |
|
15956_T | Portrait of a Man (Rembrandt, New York) | Focus on Portrait of a Man (Rembrandt, New York) and analyze the abstract. | Portrait of a Man is a c. 1657 portrait painting painted by Rembrandt. It is an oil on canvas and is in the collection of the Metropolitan Museum of Art. | [
"Man",
"Rembrandt",
"Metropolitan Museum of Art"
] |
|
15956_NT | Portrait of a Man (Rembrandt, New York) | Focus on this artwork and analyze the abstract. | Portrait of a Man is a c. 1657 portrait painting painted by Rembrandt. It is an oil on canvas and is in the collection of the Metropolitan Museum of Art. | [
"Man",
"Rembrandt",
"Metropolitan Museum of Art"
] |
|
15957_T | Portrait of a Man (Rembrandt, New York) | In Portrait of a Man (Rembrandt, New York), how is the Description discussed? | This painting came into the collection via the Henry G. Marquand bequest.This painting was documented by Hofstede de Groot in 1914, who wrote:753. A PALE MAN WITH LONG DARK HAIR. Bode 222; Dut. 339; Wb. 209; B.-HdG. 495. About forty. Half-length with one hand; life size. He stands, seen almost in full face, looking straight before him. His left hand is in his black cloak, which envelopes the figure. He wears a large, smooth, close-fitting collar with tassels and a high broad-brimmed black hat. He has a slight moustache, is partly shaven, and has dark eyes. The light falls from the left on the right side of the face and the collar. The background is illumined to the left. Signed in full, and dated 1664; canvas, 31 1/2 inches by 25 inches. Mentioned by Bode, pp. 531, 588; Dutuit, p. 46; Michel, p. 442].
Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, No. 107. In the collection of the Marquess of Lansdowne, London, 1883. In the collection of H. G. Marquand, New York; given by him in 1890 to the Museum.
Despite extensive research, the sitter and earlier owners of this painting are unknown. Surface examination has shown that the date Hofstede de Groot saw had disappeared by the 1950s, and the overall condition of the painting is rather abraded. The shading of the eyes under the hat is characteristic of Rembrandt's work in the 1650s. | [
"Hofstede de Groot",
"Dut.",
"Bode",
"Michel",
"Rembrandt",
"Hudson-Fulton Celebration",
"Henry G. Marquand",
"Wb."
] |
|
15957_NT | Portrait of a Man (Rembrandt, New York) | In this artwork, how is the Description discussed? | This painting came into the collection via the Henry G. Marquand bequest.This painting was documented by Hofstede de Groot in 1914, who wrote:753. A PALE MAN WITH LONG DARK HAIR. Bode 222; Dut. 339; Wb. 209; B.-HdG. 495. About forty. Half-length with one hand; life size. He stands, seen almost in full face, looking straight before him. His left hand is in his black cloak, which envelopes the figure. He wears a large, smooth, close-fitting collar with tassels and a high broad-brimmed black hat. He has a slight moustache, is partly shaven, and has dark eyes. The light falls from the left on the right side of the face and the collar. The background is illumined to the left. Signed in full, and dated 1664; canvas, 31 1/2 inches by 25 inches. Mentioned by Bode, pp. 531, 588; Dutuit, p. 46; Michel, p. 442].
Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, No. 107. In the collection of the Marquess of Lansdowne, London, 1883. In the collection of H. G. Marquand, New York; given by him in 1890 to the Museum.
Despite extensive research, the sitter and earlier owners of this painting are unknown. Surface examination has shown that the date Hofstede de Groot saw had disappeared by the 1950s, and the overall condition of the painting is rather abraded. The shading of the eyes under the hat is characteristic of Rembrandt's work in the 1650s. | [
"Hofstede de Groot",
"Dut.",
"Bode",
"Michel",
"Rembrandt",
"Hudson-Fulton Celebration",
"Henry G. Marquand",
"Wb."
] |
|
15958_T | Statue of Junípero Serra (U.S. Capitol) | Focus on Statue of Junípero Serra (U.S. Capitol) and explore the abstract. | Junípero Serra, or Father Junipero Serra, is a bronze sculpture depicting the Roman Catholic Spanish priest and friar Junípero Serra by Ettore Cadorin.
One statue is installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. It was donated by the U.S. state of California in 1931.Another bronze statue was installed in Los Angeles in 1934. | [
"Ettore Cadorin",
"California",
"National Statuary Hall Collection",
"bronze sculpture",
"Roman Catholic",
"Washington, D.C.",
"National Statuary Hall",
"Spanish",
"Los Angeles",
"U.S. state",
"Another bronze statue",
"United States Capitol",
"Junípero Serra",
"Serra"
] |
|
15958_NT | Statue of Junípero Serra (U.S. Capitol) | Focus on this artwork and explore the abstract. | Junípero Serra, or Father Junipero Serra, is a bronze sculpture depicting the Roman Catholic Spanish priest and friar Junípero Serra by Ettore Cadorin.
One statue is installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. It was donated by the U.S. state of California in 1931.Another bronze statue was installed in Los Angeles in 1934. | [
"Ettore Cadorin",
"California",
"National Statuary Hall Collection",
"bronze sculpture",
"Roman Catholic",
"Washington, D.C.",
"National Statuary Hall",
"Spanish",
"Los Angeles",
"U.S. state",
"Another bronze statue",
"United States Capitol",
"Junípero Serra",
"Serra"
] |
|
15959_T | Delivery of the Franciscan Rule | Focus on Delivery of the Franciscan Rule and explain the abstract. | Delivery of the Franciscan Rule is a painting by the Italian early Renaissance artist Colantonio, dating from 1445 and housed in the Capodimonte Museum of Naples. | [
"Franciscan",
"Naples",
"Colantonio",
"Capodimonte Museum"
] |
|
15959_NT | Delivery of the Franciscan Rule | Focus on this artwork and explain the abstract. | Delivery of the Franciscan Rule is a painting by the Italian early Renaissance artist Colantonio, dating from 1445 and housed in the Capodimonte Museum of Naples. | [
"Franciscan",
"Naples",
"Colantonio",
"Capodimonte Museum"
] |
|
15960_T | Delivery of the Franciscan Rule | Explore the History of this artwork, Delivery of the Franciscan Rule. | Colantonio operated in Naples from around 1440 to 1460, under king René of Anjou (1438–1442), an admirer of Flemish, Burgundian and Provençal art, and under Alfonso V of Aragon, who was connected to Aragon, where art was in turn inspired by Flemish models.
The diversity of these two influences is visible in the two panels executed by Colantonio for the Franciscan church of San Lorenzo Maggiore, which were painted in two different moments and were later completed by Antonello da Messina with smaller side panels of blessed Franciscans. The general theme of the altarpiece was the celebration of the Franciscan thought, of which St. Jerome, according to the theories of St. Bernardino of Siena, had been one of the main influences. | [
"Franciscan",
"St. Jerome",
"Naples",
"Alfonso V of Aragon",
"San Lorenzo Maggiore",
"Colantonio",
"Antonello da Messina",
"Bernardino of Siena",
"Flemish",
"René of Anjou",
"Jerome",
"St. Bernardino of Siena"
] |
|
15960_NT | Delivery of the Franciscan Rule | Explore the History of this artwork. | Colantonio operated in Naples from around 1440 to 1460, under king René of Anjou (1438–1442), an admirer of Flemish, Burgundian and Provençal art, and under Alfonso V of Aragon, who was connected to Aragon, where art was in turn inspired by Flemish models.
The diversity of these two influences is visible in the two panels executed by Colantonio for the Franciscan church of San Lorenzo Maggiore, which were painted in two different moments and were later completed by Antonello da Messina with smaller side panels of blessed Franciscans. The general theme of the altarpiece was the celebration of the Franciscan thought, of which St. Jerome, according to the theories of St. Bernardino of Siena, had been one of the main influences. | [
"Franciscan",
"St. Jerome",
"Naples",
"Alfonso V of Aragon",
"San Lorenzo Maggiore",
"Colantonio",
"Antonello da Messina",
"Bernardino of Siena",
"Flemish",
"René of Anjou",
"Jerome",
"St. Bernardino of Siena"
] |
|
15961_T | Delivery of the Franciscan Rule | Focus on Delivery of the Franciscan Rule and discuss the Description. | The scene depicts, above a gilt background, a slender St. Francis of Assisi who, in the center, consigns the Franciscan Rule to his brothers, who are kneeling around him. The men at the left, with Fra Leone receiving the book, and the women at the right, including St. Claire. At the top are two symmetrical flying birds, which hold two cartouches.
The work shows that Colantonio, at the time of its realization, was already acquainted of the novelties brought from Aragon at Alfonso's court. This is visible in details such as the steep, nearly vertical pavement, the characters' feature, the holed aureolas, the rigid and geometrical folds of the clothes. The other panel, depicting St. Jerome in His Study, despite being one or two years earlier, is still more influenced by the early Netherlandish painting in favour at the Angevine court, with painters such as Barthélemy d'Eyck. | [
"St. Claire",
"Franciscan",
"Barthélemy d'Eyck",
"St. Jerome",
"St. Francis of Assisi",
"Colantonio",
"Jerome",
"early Netherlandish painting",
"St. Jerome in His Study",
"aureola",
"Francis of Assisi",
"cartouche"
] |
|
15961_NT | Delivery of the Franciscan Rule | Focus on this artwork and discuss the Description. | The scene depicts, above a gilt background, a slender St. Francis of Assisi who, in the center, consigns the Franciscan Rule to his brothers, who are kneeling around him. The men at the left, with Fra Leone receiving the book, and the women at the right, including St. Claire. At the top are two symmetrical flying birds, which hold two cartouches.
The work shows that Colantonio, at the time of its realization, was already acquainted of the novelties brought from Aragon at Alfonso's court. This is visible in details such as the steep, nearly vertical pavement, the characters' feature, the holed aureolas, the rigid and geometrical folds of the clothes. The other panel, depicting St. Jerome in His Study, despite being one or two years earlier, is still more influenced by the early Netherlandish painting in favour at the Angevine court, with painters such as Barthélemy d'Eyck. | [
"St. Claire",
"Franciscan",
"Barthélemy d'Eyck",
"St. Jerome",
"St. Francis of Assisi",
"Colantonio",
"Jerome",
"early Netherlandish painting",
"St. Jerome in His Study",
"aureola",
"Francis of Assisi",
"cartouche"
] |
|
15962_T | Dawn at the Alamo | How does Dawn at the Alamo elucidate its abstract? | Dawn at the Alamo is a 1905 painting by Henry Arthur McArdle, displayed in the Texas State Capitol's Senate Chamber, in Austin, Texas, United States. The artwork has received some negative criticism by scholars for depicting David Crockett and William B. Travis with "an angelic glow amid dark imagery". | [
"David Crockett",
"Henry Arthur McArdle",
"Texas",
"Texas State Capitol",
"William B. Travis",
"Austin, Texas"
] |
|
15962_NT | Dawn at the Alamo | How does this artwork elucidate its abstract? | Dawn at the Alamo is a 1905 painting by Henry Arthur McArdle, displayed in the Texas State Capitol's Senate Chamber, in Austin, Texas, United States. The artwork has received some negative criticism by scholars for depicting David Crockett and William B. Travis with "an angelic glow amid dark imagery". | [
"David Crockett",
"Henry Arthur McArdle",
"Texas",
"Texas State Capitol",
"William B. Travis",
"Austin, Texas"
] |
|
15963_T | View of the World from 9th Avenue | Focus on View of the World from 9th Avenue and analyze the abstract. | View of the World from 9th Avenue (sometimes A Parochial New Yorker's View of the World, A New Yorker's View of the World or simply View of the World) is a 1976 illustration by Saul Steinberg that served as the cover of the March 29, 1976, edition of The New Yorker. The work presents the view from Manhattan of the rest of the world showing Manhattan as the center of the world. The work of art is an artistic representation of distorted self-importance relative to one's true place in the world that is a form of perception-based cartography humor.
View of the World has been parodied by Columbia Pictures, The Economist, Mad, and The New Yorker itself, among others. The parodies all reassign the distorted self-importance to a new subject as a satire. The work has been imitated and printed without authorization in a variety of ways. The film poster for Moscow on the Hudson led to a ruling by the United States District Court for the Southern District of New York in Steinberg v. Columbia Pictures Industries, Inc. in favor of Steinberg because of copyright violations by Columbia Pictures.
The illustration was regarded in 2005 as one of the greatest magazine covers of the prior 40 years. Similarly-themed perception-based cartoons had preceded Steinberg, notably a pair by John T. McCutcheon were published on the front page of the Chicago Tribune in the early 20th century. The 1922 McCutcheon work is regarded as an inspiration for this work. | [
"New York",
"Manhattan",
"Chicago",
"United States District Court for the Southern District of New York",
"Parochial",
"Steinberg v. Columbia Pictures Industries, Inc.",
"Moscow on the Hudson",
"cartography",
"The New Yorker",
"20th century",
"Columbia Pictures",
"Chicago Tribune",
"The Economist",
"9th Avenue",
"Saul Steinberg",
"copyright",
"Mad",
"John T. McCutcheon"
] |
|
15963_NT | View of the World from 9th Avenue | Focus on this artwork and analyze the abstract. | View of the World from 9th Avenue (sometimes A Parochial New Yorker's View of the World, A New Yorker's View of the World or simply View of the World) is a 1976 illustration by Saul Steinberg that served as the cover of the March 29, 1976, edition of The New Yorker. The work presents the view from Manhattan of the rest of the world showing Manhattan as the center of the world. The work of art is an artistic representation of distorted self-importance relative to one's true place in the world that is a form of perception-based cartography humor.
View of the World has been parodied by Columbia Pictures, The Economist, Mad, and The New Yorker itself, among others. The parodies all reassign the distorted self-importance to a new subject as a satire. The work has been imitated and printed without authorization in a variety of ways. The film poster for Moscow on the Hudson led to a ruling by the United States District Court for the Southern District of New York in Steinberg v. Columbia Pictures Industries, Inc. in favor of Steinberg because of copyright violations by Columbia Pictures.
The illustration was regarded in 2005 as one of the greatest magazine covers of the prior 40 years. Similarly-themed perception-based cartoons had preceded Steinberg, notably a pair by John T. McCutcheon were published on the front page of the Chicago Tribune in the early 20th century. The 1922 McCutcheon work is regarded as an inspiration for this work. | [
"New York",
"Manhattan",
"Chicago",
"United States District Court for the Southern District of New York",
"Parochial",
"Steinberg v. Columbia Pictures Industries, Inc.",
"Moscow on the Hudson",
"cartography",
"The New Yorker",
"20th century",
"Columbia Pictures",
"Chicago Tribune",
"The Economist",
"9th Avenue",
"Saul Steinberg",
"copyright",
"Mad",
"John T. McCutcheon"
] |
|
15964_T | View of the World from 9th Avenue | In View of the World from 9th Avenue, how is the Background discussed? | Saul Steinberg created 85 covers and 642 internal drawings and illustrations for The New Yorker, including its March 29, 1976, cover, titled "View of the World from 9th Avenue". This is regarded as his most famous work. It is considered an example of unintentional fame: Steinberg has noted that the type of fame that resulted from the work has diminished his significance to "the man who did that poster". The work is sometimes referred to as A Parochial New Yorker's View of the World or A New Yorker's View of the World because it depicts a map of the world as seen by self-absorbed New Yorkers. At one point The New Yorker applied for a copyright from the United States Copyright Office for the work. It assigned the copyright to Steinberg and subsequently reproduced posters of the painting. Among Steinberg's other works are precursors and derivatives of this work. | [
"New York",
"Parochial",
"Copyright",
"The New Yorker",
"9th Avenue",
"Saul Steinberg",
"copyright",
"self-absorbed",
"United States Copyright Office"
] |
|
15964_NT | View of the World from 9th Avenue | In this artwork, how is the Background discussed? | Saul Steinberg created 85 covers and 642 internal drawings and illustrations for The New Yorker, including its March 29, 1976, cover, titled "View of the World from 9th Avenue". This is regarded as his most famous work. It is considered an example of unintentional fame: Steinberg has noted that the type of fame that resulted from the work has diminished his significance to "the man who did that poster". The work is sometimes referred to as A Parochial New Yorker's View of the World or A New Yorker's View of the World because it depicts a map of the world as seen by self-absorbed New Yorkers. At one point The New Yorker applied for a copyright from the United States Copyright Office for the work. It assigned the copyright to Steinberg and subsequently reproduced posters of the painting. Among Steinberg's other works are precursors and derivatives of this work. | [
"New York",
"Parochial",
"Copyright",
"The New Yorker",
"9th Avenue",
"Saul Steinberg",
"copyright",
"self-absorbed",
"United States Copyright Office"
] |
|
15965_T | View of the World from 9th Avenue | Focus on View of the World from 9th Avenue and explore the Inspiration. | The New York Times geography editor, Tim Wallace, notes that perception-based map humor has existed since at least a January 16, 1908 Chicago Tribune front page cartoon by John T. McCutcheon, titled "Map of the United States as seen by the Finance Committee of the United States Senate". That cartoon depicts big eastern cities (Washington, DC, Philadelphia, New York City, Boston, and Albany, New York) as the main focus of bald, old, cigar-smoking white men in the United States Senate as they temporarily resolved the Panic of 1907 with the Aldrich-Vreeland Act until they could work out the Federal Reserve Act a few years later. It shows Chicago's location near a depiction of Lake Michigan as a "western village", which may be a midwestern dig at Congressional attention focused on the East Coast of the United States.Various authors state that McCutcheon presaged Steinberg with his July 27, 1922 Chicago Tribune front page cartoon titled "The New Yorker’s Map of the United States", The prototypical New Yorker is depicted dressed like Mr. Monopoly or British aristocracy in tweed clothing and a deerstalker hat. By playing host in the work, he invites the audience to observe from his viewpoint. In McCutcheon's work, the rest of America is New York City's backyard including Detroit (the home of the automobile industry) depicted as the garage and Chicago (with Union Stock Yards) as the food warehouses both situated correctly along the Great Lakes that are presented as a fish pond. New England is his schoolhouse and farmers are his “tenants”. Washington is depicted as an ancillary wing to the building that represents New York City, while livestock ranches symbolize the West, mines symbolize California and oil wells symbolize Texas, all showing that the rest of America exists for the benefit of New York, which likely inspired Daniel Wallingford. Of the various New Yorker satirizations, this map, with its sharp criticism, is perceived to have the most socio-political commentary."The New Yorker’s Map of the United States" is falsely titled in a digital edition of the Chicago Tribune article as “The New Yorker’s Idea of the United States,” which is a separate 1930s perception-based humor map by Wallingford. In Wallingford's parody, which he self-published in 1932, and which was professionally published by Columbia University Press in 1936, Minneapolis and Indianapolis are depicted as the Twin Cities. It depicts Manhattan and Brooklyn both on a scale larger than most states and portrays Wilmington, Delaware as if it is in the West. Wallingford's map, which makes a similar statement to Steinberg's, is presented in a style that evokes memories of early European exploration maps. Although originally a black-and-white work, it is now produced with colorization. It was republished several times with some sources showing 1937 and 1939 publication dates.In 2015, Bloomberg News presented another stereotypical self-centered view of New York City from 1970 that depicts Manhattan as 80% of the world and the other four boroughs as another 10%. The South is reduced to references to Texas, Miami and Washington DC. It eliminates the Midwest by melding New Jersey with the West Coast, and presents only trivial foreign depictions. The authorship of this rendition is anonymous.Steinberg most likely was inspired by McCutcheon's 1922 map although people commonly trace it back to Wallingford. Even someone expert enough to be a senior geography editor for The New York Times thought Wallingford was the inspiration until he stumbled upon McCutcheon. | [
"Indianapolis",
"Minneapolis",
"Twin Cities",
"East Coast of the United States",
"deerstalker",
"Boston",
"New York",
"Manhattan",
"tweed",
"Chicago",
"Union Stock Yards",
"Wilmington, Delaware",
"New England",
"New Jersey",
"United States Senate",
"Bloomberg News ",
"Brooklyn",
"Lake Michigan",
"The New Yorker",
"Chicago Tribune",
"Great Lakes",
"Aldrich-Vreeland Act",
"New York City",
"Washington, DC",
"socio-political",
"Albany, New York",
"Panic of 1907",
"Bloomberg News",
"Europe",
"Miami",
"Columbia University Press",
"1930s",
"Detroit",
"Texas",
"The New York Times",
"Mr. Monopoly",
"Philadelphia",
"black-and-white",
"Federal Reserve Act",
"John T. McCutcheon"
] |
|
15965_NT | View of the World from 9th Avenue | Focus on this artwork and explore the Inspiration. | The New York Times geography editor, Tim Wallace, notes that perception-based map humor has existed since at least a January 16, 1908 Chicago Tribune front page cartoon by John T. McCutcheon, titled "Map of the United States as seen by the Finance Committee of the United States Senate". That cartoon depicts big eastern cities (Washington, DC, Philadelphia, New York City, Boston, and Albany, New York) as the main focus of bald, old, cigar-smoking white men in the United States Senate as they temporarily resolved the Panic of 1907 with the Aldrich-Vreeland Act until they could work out the Federal Reserve Act a few years later. It shows Chicago's location near a depiction of Lake Michigan as a "western village", which may be a midwestern dig at Congressional attention focused on the East Coast of the United States.Various authors state that McCutcheon presaged Steinberg with his July 27, 1922 Chicago Tribune front page cartoon titled "The New Yorker’s Map of the United States", The prototypical New Yorker is depicted dressed like Mr. Monopoly or British aristocracy in tweed clothing and a deerstalker hat. By playing host in the work, he invites the audience to observe from his viewpoint. In McCutcheon's work, the rest of America is New York City's backyard including Detroit (the home of the automobile industry) depicted as the garage and Chicago (with Union Stock Yards) as the food warehouses both situated correctly along the Great Lakes that are presented as a fish pond. New England is his schoolhouse and farmers are his “tenants”. Washington is depicted as an ancillary wing to the building that represents New York City, while livestock ranches symbolize the West, mines symbolize California and oil wells symbolize Texas, all showing that the rest of America exists for the benefit of New York, which likely inspired Daniel Wallingford. Of the various New Yorker satirizations, this map, with its sharp criticism, is perceived to have the most socio-political commentary."The New Yorker’s Map of the United States" is falsely titled in a digital edition of the Chicago Tribune article as “The New Yorker’s Idea of the United States,” which is a separate 1930s perception-based humor map by Wallingford. In Wallingford's parody, which he self-published in 1932, and which was professionally published by Columbia University Press in 1936, Minneapolis and Indianapolis are depicted as the Twin Cities. It depicts Manhattan and Brooklyn both on a scale larger than most states and portrays Wilmington, Delaware as if it is in the West. Wallingford's map, which makes a similar statement to Steinberg's, is presented in a style that evokes memories of early European exploration maps. Although originally a black-and-white work, it is now produced with colorization. It was republished several times with some sources showing 1937 and 1939 publication dates.In 2015, Bloomberg News presented another stereotypical self-centered view of New York City from 1970 that depicts Manhattan as 80% of the world and the other four boroughs as another 10%. The South is reduced to references to Texas, Miami and Washington DC. It eliminates the Midwest by melding New Jersey with the West Coast, and presents only trivial foreign depictions. The authorship of this rendition is anonymous.Steinberg most likely was inspired by McCutcheon's 1922 map although people commonly trace it back to Wallingford. Even someone expert enough to be a senior geography editor for The New York Times thought Wallingford was the inspiration until he stumbled upon McCutcheon. | [
"Indianapolis",
"Minneapolis",
"Twin Cities",
"East Coast of the United States",
"deerstalker",
"Boston",
"New York",
"Manhattan",
"tweed",
"Chicago",
"Union Stock Yards",
"Wilmington, Delaware",
"New England",
"New Jersey",
"United States Senate",
"Bloomberg News ",
"Brooklyn",
"Lake Michigan",
"The New Yorker",
"Chicago Tribune",
"Great Lakes",
"Aldrich-Vreeland Act",
"New York City",
"Washington, DC",
"socio-political",
"Albany, New York",
"Panic of 1907",
"Bloomberg News",
"Europe",
"Miami",
"Columbia University Press",
"1930s",
"Detroit",
"Texas",
"The New York Times",
"Mr. Monopoly",
"Philadelphia",
"black-and-white",
"Federal Reserve Act",
"John T. McCutcheon"
] |
|
15966_T | View of the World from 9th Avenue | Focus on View of the World from 9th Avenue and explain the Parodies. | View of the World has been imitated without authorization in a variety of ways. The work has been imitated in postcard format by numerous municipalities, states and nations. Steinberg had stated that he could have retired on royalties from the many parodies made of the painting, had they been paid, a motivation for his eventual copyright lawsuit for the Moscow on the Hudson use. Fulford, writing in The National Post, noted that the metaphor of the world as a suburb of Manhattan was "understood and borrowed" by the whole world. Local artists, especially poster artists, presented similarly compelling depictions of their own provincial perceptions. Fulford demonstrated the prominence of this work by mentioning that a high school in suburban Ottawa made imitating View of the World an assignment in its graphic arts class. He also noted that the result of this assignment was a worldwide variety of global foci from which the students viewed the world.The illustration—humorously depicting New Yorkers' self-image of their place in the world, or perhaps outsiders' view of New Yorkers' self-image—inspired many similar works, including the poster for the 1984 film Moscow on the Hudson; that movie poster led to a lawsuit, Steinberg v. Columbia Pictures Industries, Inc., 663 F. Supp. 706 (S.D.N.Y. 1987), which held that Columbia Pictures violated the copyright Steinberg held on his work.
The cover was later satirized by Barry Blitt for the cover of The New Yorker on October 6, 2008. The cover featured Sarah Palin looking out of her window seeing only Alaska, with Russia in the far background.The March 21, 2009 The Economist included a story entitled "How China sees the World" that presents a parody that is also an homage to the original image, but depicting the viewpoint from Beijing's Chang'an Avenue instead of Manhattan. A caption above the illustration reads "Illustration by Jon Berkeley (with apologies to Steinberg and The New Yorker)". It accompanied an article that discussed the burgeoning Chinese economy at the time of the contemporary financial crisis.The October 1, 2012 cover of Mad Magazine satirized the problems with the September release of Apple Inc.'s iOS 6 mobile operating system which included Apple Maps, a replacement for Google Maps. The work presents what View of the World might look like if one had relied upon the September 2012 version of Apple Maps to locate various landmarks.Other parodies have depicted the view from Massachusetts Route 128 technological corridor, Princeton University, Tel Aviv, Jerusalem, various European cities, and various other locations worldwide.David Runciman has described Elon Musk as if this artwork depicts how his mind works claiming that Musk sees big Tesla, Inc. factories and only minor details between them and outer space. | [
"mobile operating system",
"New York",
"Massachusetts Route 128",
"Manhattan",
"Apple Maps",
"S.D.N.Y.",
"Mad Magazine",
"graphic arts",
"the contemporary financial crisis",
"Steinberg v. Columbia Pictures Industries, Inc.",
"Moscow on the Hudson",
"Google Maps",
"Sarah Palin",
"Apple Inc.",
"The New Yorker",
"Columbia Pictures",
"Tel Aviv",
"David Runciman",
"Jon Berkeley",
"iOS 6",
"Elon Musk",
"The Economist",
"Princeton University",
"Tesla, Inc.",
"Europe",
"Chang'an Avenue",
"1984 film",
"Ottawa",
"copyright",
"Mad",
"Jerusalem",
"National Post"
] |
|
15966_NT | View of the World from 9th Avenue | Focus on this artwork and explain the Parodies. | View of the World has been imitated without authorization in a variety of ways. The work has been imitated in postcard format by numerous municipalities, states and nations. Steinberg had stated that he could have retired on royalties from the many parodies made of the painting, had they been paid, a motivation for his eventual copyright lawsuit for the Moscow on the Hudson use. Fulford, writing in The National Post, noted that the metaphor of the world as a suburb of Manhattan was "understood and borrowed" by the whole world. Local artists, especially poster artists, presented similarly compelling depictions of their own provincial perceptions. Fulford demonstrated the prominence of this work by mentioning that a high school in suburban Ottawa made imitating View of the World an assignment in its graphic arts class. He also noted that the result of this assignment was a worldwide variety of global foci from which the students viewed the world.The illustration—humorously depicting New Yorkers' self-image of their place in the world, or perhaps outsiders' view of New Yorkers' self-image—inspired many similar works, including the poster for the 1984 film Moscow on the Hudson; that movie poster led to a lawsuit, Steinberg v. Columbia Pictures Industries, Inc., 663 F. Supp. 706 (S.D.N.Y. 1987), which held that Columbia Pictures violated the copyright Steinberg held on his work.
The cover was later satirized by Barry Blitt for the cover of The New Yorker on October 6, 2008. The cover featured Sarah Palin looking out of her window seeing only Alaska, with Russia in the far background.The March 21, 2009 The Economist included a story entitled "How China sees the World" that presents a parody that is also an homage to the original image, but depicting the viewpoint from Beijing's Chang'an Avenue instead of Manhattan. A caption above the illustration reads "Illustration by Jon Berkeley (with apologies to Steinberg and The New Yorker)". It accompanied an article that discussed the burgeoning Chinese economy at the time of the contemporary financial crisis.The October 1, 2012 cover of Mad Magazine satirized the problems with the September release of Apple Inc.'s iOS 6 mobile operating system which included Apple Maps, a replacement for Google Maps. The work presents what View of the World might look like if one had relied upon the September 2012 version of Apple Maps to locate various landmarks.Other parodies have depicted the view from Massachusetts Route 128 technological corridor, Princeton University, Tel Aviv, Jerusalem, various European cities, and various other locations worldwide.David Runciman has described Elon Musk as if this artwork depicts how his mind works claiming that Musk sees big Tesla, Inc. factories and only minor details between them and outer space. | [
"mobile operating system",
"New York",
"Massachusetts Route 128",
"Manhattan",
"Apple Maps",
"S.D.N.Y.",
"Mad Magazine",
"graphic arts",
"the contemporary financial crisis",
"Steinberg v. Columbia Pictures Industries, Inc.",
"Moscow on the Hudson",
"Google Maps",
"Sarah Palin",
"Apple Inc.",
"The New Yorker",
"Columbia Pictures",
"Tel Aviv",
"David Runciman",
"Jon Berkeley",
"iOS 6",
"Elon Musk",
"The Economist",
"Princeton University",
"Tesla, Inc.",
"Europe",
"Chang'an Avenue",
"1984 film",
"Ottawa",
"copyright",
"Mad",
"Jerusalem",
"National Post"
] |
|
15967_T | The Last Judgment (Klontzas) | Explore the Description of this artwork, The Last Judgment (Klontzas). | The painting is egg tempera and gold leaf on wood panel. The dimensions are 127 cm (36.2 in) × 50 cm (18.5 in), it was completed between 1580 and 1608. Around the vertical axis above the river of fire, which ends in Hell, Jesus appears as the judge, he arrives before mankind, to his left is John the Baptist, and the Virgin Mary is on his right. The apostles and a multitude of angels are also present. The Second Coming or Last Judgment has arrived. Under Jesus, there are angels on chariots. There are also symbols of the evangelists and people awaiting the hour of Judgment.To the right and left of the cross, a magnificent musical ensemble appears, and four open books are presented by the artist. The books represent the book of life. Both Michelangelo and Fra Angelico feature similar figures. The musical angels are close to the gateway. Adjacent to the lava is the Archangel Michael with a sword guiding the damned into purgatory. Under the scene is hell.Klontzas features demons and dragons in several of his works. His demons are painted in superlative detail. His dragons are the common green color. His paintings exhibit the 16th-century interpretation of the historic monsters.
A large figure of Daniel is sitting on a rock, he holds a tablet facing the sinners. Below Daniel lies another large figure. The large figure is Ezekiel. He is in the lower portion facing the resurrection of the dead. They hold plaques with inscriptions referring to Hell. To our bottom left, there is a group of figures, the Greek inscription above them reads monks and martyrs. They are facing Daniel and Ezekial. Above the group is another group. Their Greek inscription reads from left to right: woman and kings followed by bishops and patriarchs. The top group below the band to our left features kings patriarchs and figures from the old testament. Noah is present, he holds the Ark, standing next to Noah, Abraham is with Isaac, Isaac holds his sacrifice. Moses is also present, he holds a tablet. Jonah appears with the whale at his feet. | [
"Second Coming",
"Michelangelo",
"Fra Angelico",
"Daniel",
"Jonah",
"Ezekiel"
] |
|
15967_NT | The Last Judgment (Klontzas) | Explore the Description of this artwork. | The painting is egg tempera and gold leaf on wood panel. The dimensions are 127 cm (36.2 in) × 50 cm (18.5 in), it was completed between 1580 and 1608. Around the vertical axis above the river of fire, which ends in Hell, Jesus appears as the judge, he arrives before mankind, to his left is John the Baptist, and the Virgin Mary is on his right. The apostles and a multitude of angels are also present. The Second Coming or Last Judgment has arrived. Under Jesus, there are angels on chariots. There are also symbols of the evangelists and people awaiting the hour of Judgment.To the right and left of the cross, a magnificent musical ensemble appears, and four open books are presented by the artist. The books represent the book of life. Both Michelangelo and Fra Angelico feature similar figures. The musical angels are close to the gateway. Adjacent to the lava is the Archangel Michael with a sword guiding the damned into purgatory. Under the scene is hell.Klontzas features demons and dragons in several of his works. His demons are painted in superlative detail. His dragons are the common green color. His paintings exhibit the 16th-century interpretation of the historic monsters.
A large figure of Daniel is sitting on a rock, he holds a tablet facing the sinners. Below Daniel lies another large figure. The large figure is Ezekiel. He is in the lower portion facing the resurrection of the dead. They hold plaques with inscriptions referring to Hell. To our bottom left, there is a group of figures, the Greek inscription above them reads monks and martyrs. They are facing Daniel and Ezekial. Above the group is another group. Their Greek inscription reads from left to right: woman and kings followed by bishops and patriarchs. The top group below the band to our left features kings patriarchs and figures from the old testament. Noah is present, he holds the Ark, standing next to Noah, Abraham is with Isaac, Isaac holds his sacrifice. Moses is also present, he holds a tablet. Jonah appears with the whale at his feet. | [
"Second Coming",
"Michelangelo",
"Fra Angelico",
"Daniel",
"Jonah",
"Ezekiel"
] |
|
15968_T | Annunciation (Masolino) | Focus on Annunciation (Masolino) and discuss the abstract. | The Annunciation of Masolino is a tempera on panel painting dated to c. 1423–1424 or c. 1427–1429. It is in the collection of the National Gallery of Art in Washington, D.C. | [
"Annunciation",
"National Gallery of Art",
"tempera",
"Masolino",
"National Gallery"
] |
|
15968_NT | Annunciation (Masolino) | Focus on this artwork and discuss the abstract. | The Annunciation of Masolino is a tempera on panel painting dated to c. 1423–1424 or c. 1427–1429. It is in the collection of the National Gallery of Art in Washington, D.C. | [
"Annunciation",
"National Gallery of Art",
"tempera",
"Masolino",
"National Gallery"
] |
|
15969_T | Annunciation (Masolino) | How does Annunciation (Masolino) elucidate its History? | The artwork was painted for the altar of the Guardini chapel on the left wall of the Chiesa di San Niccolò Oltrarno in Florence. It is not known whether the work was painted before or after the Brancacci Chapel (where Masolino worked from 1424 to 1425). The date of the painting is tied to the question of Masolino's capacity for using perspective—he might have developed the technique either on his own or with the help of his collaborator on the Brancacci Chapel, Masaccio.In 1567, the panel was transferred to another chapel, and in 1576 it was placed in the church's sacristy, when it was substituted by a more modern Annunciation painted by Alessandro Fei. It remained in the church until around the beginning of the 19th century—its disappearance from the church was only mentioned in editorial comments from the 1832–1838 edition of Giorgio Vasari's Le Vite and unpublished c. 1800 notes by Tommaso Puccini. The painting was then sold and exported from Florence, perhaps by Francis Douglas, 8th Earl of Wemyss, to Gosford House in Scotland. It passed on in inheritance until it was found in London in 1915 by the antiquarian Robert Langton Douglas, who in 1916 gave it to Henry Goldman of New York. On April 26, 1937, it was bought by the A.W. Mellon Educational and Charitable Trust of Pittsburgh, which then donated it to the National Gallery in Washington, D.C. | [
"Giorgio Vasari",
"Annunciation",
"Masaccio",
"Robert Langton Douglas",
"Alessandro Fei",
"Masolino",
"Brancacci Chapel",
"Chiesa di San Niccolò Oltrarno",
"Gosford House",
"Le Vite",
"perspective",
"A.W. Mellon Educational and Charitable Trust",
"National Gallery",
"Tommaso Puccini",
"Francis Douglas, 8th Earl of Wemyss"
] |
|
15969_NT | Annunciation (Masolino) | How does this artwork elucidate its History? | The artwork was painted for the altar of the Guardini chapel on the left wall of the Chiesa di San Niccolò Oltrarno in Florence. It is not known whether the work was painted before or after the Brancacci Chapel (where Masolino worked from 1424 to 1425). The date of the painting is tied to the question of Masolino's capacity for using perspective—he might have developed the technique either on his own or with the help of his collaborator on the Brancacci Chapel, Masaccio.In 1567, the panel was transferred to another chapel, and in 1576 it was placed in the church's sacristy, when it was substituted by a more modern Annunciation painted by Alessandro Fei. It remained in the church until around the beginning of the 19th century—its disappearance from the church was only mentioned in editorial comments from the 1832–1838 edition of Giorgio Vasari's Le Vite and unpublished c. 1800 notes by Tommaso Puccini. The painting was then sold and exported from Florence, perhaps by Francis Douglas, 8th Earl of Wemyss, to Gosford House in Scotland. It passed on in inheritance until it was found in London in 1915 by the antiquarian Robert Langton Douglas, who in 1916 gave it to Henry Goldman of New York. On April 26, 1937, it was bought by the A.W. Mellon Educational and Charitable Trust of Pittsburgh, which then donated it to the National Gallery in Washington, D.C. | [
"Giorgio Vasari",
"Annunciation",
"Masaccio",
"Robert Langton Douglas",
"Alessandro Fei",
"Masolino",
"Brancacci Chapel",
"Chiesa di San Niccolò Oltrarno",
"Gosford House",
"Le Vite",
"perspective",
"A.W. Mellon Educational and Charitable Trust",
"National Gallery",
"Tommaso Puccini",
"Francis Douglas, 8th Earl of Wemyss"
] |
|
15970_T | Annunciation (Masolino) | Focus on Annunciation (Masolino) and analyze the Description and style. | Annunciation marks the passage from the Annunciation iconography of the 14th century (exemplified by the Annunciation with St. Margaret and St. Ansanus of Simone Martini) to that of the 15th century and the Renaissance. The artwork is a delicate, ornamental scene, with precise chromatic effect. Masolino sets the scene not on a gold background but in a furnished room. He evokes the traditional separation of panels with a central column that divides the scene in two.: 279 Thanks to the use of perspective, the play of the arches directs the viewer's gaze into the background of the painting toward the door. The effect, however, is more decorative than realistic and creates some uncertainty. For example, the connection of the columns to the ceiling: at their bases they seem to be in the foreground, but at their capitals they seem further back. The two protagonists don't seem to inhabit the space but simply appear juxtaposed against it.The angel is dressed sumptuously and holds his arms crossed in a sign of reverence to the Virgin. She is seated on a throne and holds in her hand her traditional attribute of a book, symbol of the scriptures that will come true. With an gesture, she seems to accept the commission entrusted to her by the Lord, while a divine light illuminates the ceiling above her.
His figure is of elegant aristocracy with a mantle that creates drapery of articulate, moving lines in the International Gothic style. The tapered fingers are typical of Masolino: they look both ethereal and unrealistic. | [
"Annunciation",
"Masolino",
"Simone Martini",
"gold background",
"perspective",
"International Gothic",
"Annunciation with St. Margaret and St. Ansanus"
] |
|
15970_NT | Annunciation (Masolino) | Focus on this artwork and analyze the Description and style. | Annunciation marks the passage from the Annunciation iconography of the 14th century (exemplified by the Annunciation with St. Margaret and St. Ansanus of Simone Martini) to that of the 15th century and the Renaissance. The artwork is a delicate, ornamental scene, with precise chromatic effect. Masolino sets the scene not on a gold background but in a furnished room. He evokes the traditional separation of panels with a central column that divides the scene in two.: 279 Thanks to the use of perspective, the play of the arches directs the viewer's gaze into the background of the painting toward the door. The effect, however, is more decorative than realistic and creates some uncertainty. For example, the connection of the columns to the ceiling: at their bases they seem to be in the foreground, but at their capitals they seem further back. The two protagonists don't seem to inhabit the space but simply appear juxtaposed against it.The angel is dressed sumptuously and holds his arms crossed in a sign of reverence to the Virgin. She is seated on a throne and holds in her hand her traditional attribute of a book, symbol of the scriptures that will come true. With an gesture, she seems to accept the commission entrusted to her by the Lord, while a divine light illuminates the ceiling above her.
His figure is of elegant aristocracy with a mantle that creates drapery of articulate, moving lines in the International Gothic style. The tapered fingers are typical of Masolino: they look both ethereal and unrealistic. | [
"Annunciation",
"Masolino",
"Simone Martini",
"gold background",
"perspective",
"International Gothic",
"Annunciation with St. Margaret and St. Ansanus"
] |
|
15971_T | Annunciation (Masolino) | In Annunciation (Masolino), how is the Similar works discussed? | Masolino made another Annunciation early in his career in Panicale and another fragmented Annunciation, composed of two panels with the angel and the Virgin and broken at an unknown time. Both are stored at the National Gallery in Washington. The second work shows the angel in profile and is dated to c. 1430.
These works by Masolino inspired Fra Angelico, who in the 15th century revolutionized the theme of the Annunciation with a series of three works that included his Annunciation now at the Prado. | [
"Annunciation",
"Masolino",
"Fra Angelico",
"National Gallery",
"Panicale"
] |
|
15971_NT | Annunciation (Masolino) | In this artwork, how is the Similar works discussed? | Masolino made another Annunciation early in his career in Panicale and another fragmented Annunciation, composed of two panels with the angel and the Virgin and broken at an unknown time. Both are stored at the National Gallery in Washington. The second work shows the angel in profile and is dated to c. 1430.
These works by Masolino inspired Fra Angelico, who in the 15th century revolutionized the theme of the Annunciation with a series of three works that included his Annunciation now at the Prado. | [
"Annunciation",
"Masolino",
"Fra Angelico",
"National Gallery",
"Panicale"
] |
|
15972_T | Lucretia (Artemisia Gentileschi, Potsdam) | Focus on Lucretia (Artemisia Gentileschi, Potsdam) and explore the abstract. | Tarquin and Lucretia is a 1620–1650 oil on canvas painting by Artemisia Gentileschi. It hangs in the Great Hall of the Neues Palais in Potsdam. It is one of three paintings that Gentileschi painted of Lucretia, the wife of Roman consul and general Tarquinus, at the moment of her suicide. The other two versions are in a private collection in Milan (painted a few years before the Getty version) and The Getty Museum in Los Angeles. | [
"Artemisia Gentileschi",
"Potsdam",
"Los Angeles",
"Neues Palais",
"The Getty Museum"
] |
|
15972_NT | Lucretia (Artemisia Gentileschi, Potsdam) | Focus on this artwork and explore the abstract. | Tarquin and Lucretia is a 1620–1650 oil on canvas painting by Artemisia Gentileschi. It hangs in the Great Hall of the Neues Palais in Potsdam. It is one of three paintings that Gentileschi painted of Lucretia, the wife of Roman consul and general Tarquinus, at the moment of her suicide. The other two versions are in a private collection in Milan (painted a few years before the Getty version) and The Getty Museum in Los Angeles. | [
"Artemisia Gentileschi",
"Potsdam",
"Los Angeles",
"Neues Palais",
"The Getty Museum"
] |
|
15973_T | Lucretia (Artemisia Gentileschi, Potsdam) | Focus on Lucretia (Artemisia Gentileschi, Potsdam) and explain the Subject matter. | Lucretia was an ancient Roman heroine, known for her beauty and modesty. According to legend as documented by Livy in his History of Rome, she was acclaimed as a highly virtuous woman by her husband Collatinus. She was raped by the Roman nobleman Sextus Tarquinius, a relative of her husband, who threatened her with murder and the public humiliation of her corpse if she resisted. Given the risk of defamation she gave in to his sexual demands, but afterwards reported the attack to her husband and father before taking her own life. In doing so, she retained her honor and virtue (according to Roman beliefs). Her suicide led to a rebellion that brought down the Etruscan monarchy and marked the beginning of the Roman Republic. | [
"Sextus Tarquinius",
"Collatinus",
"Livy",
"History of Rome",
"Roman Republic",
"Etruscan"
] |
|
15973_NT | Lucretia (Artemisia Gentileschi, Potsdam) | Focus on this artwork and explain the Subject matter. | Lucretia was an ancient Roman heroine, known for her beauty and modesty. According to legend as documented by Livy in his History of Rome, she was acclaimed as a highly virtuous woman by her husband Collatinus. She was raped by the Roman nobleman Sextus Tarquinius, a relative of her husband, who threatened her with murder and the public humiliation of her corpse if she resisted. Given the risk of defamation she gave in to his sexual demands, but afterwards reported the attack to her husband and father before taking her own life. In doing so, she retained her honor and virtue (according to Roman beliefs). Her suicide led to a rebellion that brought down the Etruscan monarchy and marked the beginning of the Roman Republic. | [
"Sextus Tarquinius",
"Collatinus",
"Livy",
"History of Rome",
"Roman Republic",
"Etruscan"
] |
|
15974_T | Lucretia (Artemisia Gentileschi, Potsdam) | Explore the Provenance of this artwork, Lucretia (Artemisia Gentileschi, Potsdam). | The painting is first recorded in the collection of the Palazzo del Giardino in Parma in 1671 and remained there until the 1730s, in the collection of the Farnese Dukes, beside two other paintings by Gentileschi, Bathsheba and Judith and her Maidservant. In the 1730s, the Carlo di Barbone, Duke of Parma, inherited the Farnese collection and shipped it to the newly-constructed Palazzo di Capodimonte in Naples. Two of the paintings - Tarquin and Lucretia and Bathsheba - were acquired for Frederick the Great for his Neues Palais in Potsdam in the 1750s. Judith was not shipped along with the others as it depicted a woman triumphing over a man, which did not fit the theme of the planned Obere Galerie in Potsdam. | [
"Farnese Dukes",
"Frederick the Great",
"Palazzo di Capodimonte",
"Potsdam",
"Naples",
"Neues Palais",
"Palazzo del Giardino",
"Carlo di Barbone",
"Parma"
] |
|
15974_NT | Lucretia (Artemisia Gentileschi, Potsdam) | Explore the Provenance of this artwork. | The painting is first recorded in the collection of the Palazzo del Giardino in Parma in 1671 and remained there until the 1730s, in the collection of the Farnese Dukes, beside two other paintings by Gentileschi, Bathsheba and Judith and her Maidservant. In the 1730s, the Carlo di Barbone, Duke of Parma, inherited the Farnese collection and shipped it to the newly-constructed Palazzo di Capodimonte in Naples. Two of the paintings - Tarquin and Lucretia and Bathsheba - were acquired for Frederick the Great for his Neues Palais in Potsdam in the 1750s. Judith was not shipped along with the others as it depicted a woman triumphing over a man, which did not fit the theme of the planned Obere Galerie in Potsdam. | [
"Farnese Dukes",
"Frederick the Great",
"Palazzo di Capodimonte",
"Potsdam",
"Naples",
"Neues Palais",
"Palazzo del Giardino",
"Carlo di Barbone",
"Parma"
] |
|
15975_T | Blood Cross | Focus on Blood Cross and discuss the abstract. | Blood Cross is one of American photographer Andres Serrano's early religious-themed postmodernist images, released in 1985, two years before the controversial Piss Christ was debuted. This image depicted a plexiglass cross filled with cow's blood; the cross leaked slightly making it appear as though it was bleeding. It was exhibited along with Milk, Blood as part of Serrano's Fluids series.In 1999 a print of Blood Cross fetched £17,825 at auction, considerably higher than the original estimate of £5,000–8,000. | [
"Piss Christ",
"postmodernist",
"Andres Serrano",
"plexiglass"
] |
|
15975_NT | Blood Cross | Focus on this artwork and discuss the abstract. | Blood Cross is one of American photographer Andres Serrano's early religious-themed postmodernist images, released in 1985, two years before the controversial Piss Christ was debuted. This image depicted a plexiglass cross filled with cow's blood; the cross leaked slightly making it appear as though it was bleeding. It was exhibited along with Milk, Blood as part of Serrano's Fluids series.In 1999 a print of Blood Cross fetched £17,825 at auction, considerably higher than the original estimate of £5,000–8,000. | [
"Piss Christ",
"postmodernist",
"Andres Serrano",
"plexiglass"
] |
|
15976_T | Equestrian statue of Simón Bolívar (Central Park) | How does Equestrian statue of Simón Bolívar (Central Park) elucidate its abstract? | An equestrian statue of Simón Bolívar, sometimes called the Simón Bolívar Monument, is installed in Manhattan's Central Park, in the U.S. state of New York. The memorial features a bronze sculpture by Sally James Farnham resting on a black granite pedestal designed by the firm Clarke and Rapuano. It was cast in 1919, dedicated on April 19, 1921, rededicated on April 19, 1951, and conserved by the Adopt-a-Monument Program in 1988.
The sculpture at its
original location. | [
"Sally James Farnham",
"bronze sculpture",
"equestrian statue",
"Simón Bolívar",
"New York",
"U.S. state",
"Manhattan",
"Central Park"
] |
|
15976_NT | Equestrian statue of Simón Bolívar (Central Park) | How does this artwork elucidate its abstract? | An equestrian statue of Simón Bolívar, sometimes called the Simón Bolívar Monument, is installed in Manhattan's Central Park, in the U.S. state of New York. The memorial features a bronze sculpture by Sally James Farnham resting on a black granite pedestal designed by the firm Clarke and Rapuano. It was cast in 1919, dedicated on April 19, 1921, rededicated on April 19, 1951, and conserved by the Adopt-a-Monument Program in 1988.
The sculpture at its
original location. | [
"Sally James Farnham",
"bronze sculpture",
"equestrian statue",
"Simón Bolívar",
"New York",
"U.S. state",
"Manhattan",
"Central Park"
] |
|
15977_T | The Feeler | Focus on The Feeler and analyze the abstract. | The Feeler (Turkish: Hisseden İnsan; previously Hisseden Adam) is an outdoor sculpture, located on the Üsküdar University campus in Üsküdar, Istanbul, Turkey. Installed in front of the Altunizade Central Campus, it was commissioned in 2011. Small sized versions of the sculpture are given by the University, as awards. | [
"Turkey",
"Istanbul",
"Üsküdar University",
"Üsküdar"
] |
|
15977_NT | The Feeler | Focus on this artwork and analyze the abstract. | The Feeler (Turkish: Hisseden İnsan; previously Hisseden Adam) is an outdoor sculpture, located on the Üsküdar University campus in Üsküdar, Istanbul, Turkey. Installed in front of the Altunizade Central Campus, it was commissioned in 2011. Small sized versions of the sculpture are given by the University, as awards. | [
"Turkey",
"Istanbul",
"Üsküdar University",
"Üsküdar"
] |
|
15978_T | The Feeler | In The Feeler, how is the Award discussed? | The University awards statuettes of the feeler to people who are recognized in their areas of expertise. | [] |
|
15978_NT | The Feeler | In this artwork, how is the Award discussed? | The University awards statuettes of the feeler to people who are recognized in their areas of expertise. | [] |
|
15979_T | The Feeler | In the context of The Feeler, explore the Recipients of the Award. | Bruce Lawrence
Andy Mabbett
Mustafa Somuncu
Ceyhun Yılmaz | [
"Bruce Lawrence",
"Ceyhun Yılmaz"
] |
|
15979_NT | The Feeler | In the context of this artwork, explore the Recipients of the Award. | Bruce Lawrence
Andy Mabbett
Mustafa Somuncu
Ceyhun Yılmaz | [
"Bruce Lawrence",
"Ceyhun Yılmaz"
] |
|
15980_T | The Feeler | Focus on The Feeler and explain the Name. | In March 2018, the statue's Turkish name was changed from Hisseden Adam ("Feeling Man") to Hisseden İnsan ("Feeling Person") to make it gender-neutral. | [] |
|
15980_NT | The Feeler | Focus on this artwork and explain the Name. | In March 2018, the statue's Turkish name was changed from Hisseden Adam ("Feeling Man") to Hisseden İnsan ("Feeling Person") to make it gender-neutral. | [] |
|
15981_T | Anglers on the Seine at Poissy | Explore the abstract of this artwork, Anglers on the Seine at Poissy. | Anglers on the Seine at Poissy (French: Pêcheurs dans la Seine à Poissy) is an 1882 painting by the French Impressionist Claude Monet. It was acquired in 1942 by the Kunsthistorisches Museum of Vienna but was later, as part of a reorganisation of their artwork, transferred to its current home in the Schloss Belvedere in the same city.
The work is one of only three images of Poissy, which lies some 25 km (16 mi) north-west of Paris, that Monet produced during the two years (December, 1881 to April, 1883) he lived there. With his companion Alice Hoschedé and their combined families, he occupied the capacious Villa Saint Louis overlooking his beloved River Seine, but nevertheless found the town offered him little of interest from an artistic point of view. | [
"Schloss Belvedere",
"Alice Hoschedé",
"Claude Monet",
"Kunsthistorisches Museum",
"Poissy",
"Vienna"
] |
|
15981_NT | Anglers on the Seine at Poissy | Explore the abstract of this artwork. | Anglers on the Seine at Poissy (French: Pêcheurs dans la Seine à Poissy) is an 1882 painting by the French Impressionist Claude Monet. It was acquired in 1942 by the Kunsthistorisches Museum of Vienna but was later, as part of a reorganisation of their artwork, transferred to its current home in the Schloss Belvedere in the same city.
The work is one of only three images of Poissy, which lies some 25 km (16 mi) north-west of Paris, that Monet produced during the two years (December, 1881 to April, 1883) he lived there. With his companion Alice Hoschedé and their combined families, he occupied the capacious Villa Saint Louis overlooking his beloved River Seine, but nevertheless found the town offered him little of interest from an artistic point of view. | [
"Schloss Belvedere",
"Alice Hoschedé",
"Claude Monet",
"Kunsthistorisches Museum",
"Poissy",
"Vienna"
] |
|
15982_T | The Death of Caesar (Gérôme) | Focus on The Death of Caesar (Gérôme) and discuss the Provenance. | M. J. Allard
John Taylor Johnston [date and mode of acquisition unknown]
John Taylor Johnston Sale, New York, 1876, no. 188
John Jacob Astor [date and mode of acquisition unknown]
Boussod Veladon et Cie [date and mode of acquisition unknown]
James B. Haggin et al. Sale, New York, April 5, 1917, no. 148
1917: purchased by Henry Walters, Baltimore
1931: bequeathed to Walters Art Museum by Henry Walters | [
"Walters Art Museum",
"Henry Walters",
"Baltimore"
] |
|
15982_NT | The Death of Caesar (Gérôme) | Focus on this artwork and discuss the Provenance. | M. J. Allard
John Taylor Johnston [date and mode of acquisition unknown]
John Taylor Johnston Sale, New York, 1876, no. 188
John Jacob Astor [date and mode of acquisition unknown]
Boussod Veladon et Cie [date and mode of acquisition unknown]
James B. Haggin et al. Sale, New York, April 5, 1917, no. 148
1917: purchased by Henry Walters, Baltimore
1931: bequeathed to Walters Art Museum by Henry Walters | [
"Walters Art Museum",
"Henry Walters",
"Baltimore"
] |
|
15983_T | Pair of Flintlock Pistols of Empress Catherine the Great (Metropolitan Museum of Art) | How does Pair of Flintlock Pistols of Empress Catherine the Great (Metropolitan Museum of Art) elucidate its abstract? | The Metropolitan Museum of Art holds a pair of late 18th century flintlock pistols belonging to Catherine the Great in its collection. Made from steel, brass and adorned with ivory and gold, the pistols are currently on display in Gallery 375. | [
"Metropolitan Museum of Art",
"Catherine the Great",
"flintlock",
"pistols"
] |
|
15983_NT | Pair of Flintlock Pistols of Empress Catherine the Great (Metropolitan Museum of Art) | How does this artwork elucidate its abstract? | The Metropolitan Museum of Art holds a pair of late 18th century flintlock pistols belonging to Catherine the Great in its collection. Made from steel, brass and adorned with ivory and gold, the pistols are currently on display in Gallery 375. | [
"Metropolitan Museum of Art",
"Catherine the Great",
"flintlock",
"pistols"
] |
|
15984_T | Pair of Flintlock Pistols of Empress Catherine the Great (Metropolitan Museum of Art) | Focus on Pair of Flintlock Pistols of Empress Catherine the Great (Metropolitan Museum of Art) and analyze the Description. | The flintlock pistols were made by Russian gunsmith Johan Adolph Grecke, who operated a workshop in the imperial capital of St. Petersburg. Grecke was employed by the imperial court to produce a number of ornately-decorated firearms, including the pair of pistols in question. Grecke notably continued to produce firearms with ivory stocks long after the style had fallen out of vogue in the rest of Europe. The pistols were originally part of a garniture that included a hunting rifle, a fowling piece (a shotgun), and said pair of pistols. This set was eventually split up; the hunting rifle was given to Stanislas Poniatowski and later lost, while the fowling piece is in the collection of the National Museum, Warsaw. The pair of pistols was gifted to Metropolitan Museum of Art in 1986 by American banker John M. Schiff in memory of his wife, Edith Baker Schiff.The pistols' barrels are made from gun-quality steel, and their stocks are made from carved ivory. The bodies of the firearms are decorated with brass gold, as are the grips. In addition, the escutcheons on the weapon's grips bear an E for Ekaterine, Catherine the Great's name in Russian. | [
"National Museum, Warsaw",
"escutcheons",
"Stanislas Poniatowski",
"garniture",
"fowling piece",
"Metropolitan Museum of Art",
"Catherine the Great",
"John M. Schiff",
"St. Petersburg",
"hunting rifle",
"flintlock",
"pistols",
"Johan Adolph Grecke"
] |
|
15984_NT | Pair of Flintlock Pistols of Empress Catherine the Great (Metropolitan Museum of Art) | Focus on this artwork and analyze the Description. | The flintlock pistols were made by Russian gunsmith Johan Adolph Grecke, who operated a workshop in the imperial capital of St. Petersburg. Grecke was employed by the imperial court to produce a number of ornately-decorated firearms, including the pair of pistols in question. Grecke notably continued to produce firearms with ivory stocks long after the style had fallen out of vogue in the rest of Europe. The pistols were originally part of a garniture that included a hunting rifle, a fowling piece (a shotgun), and said pair of pistols. This set was eventually split up; the hunting rifle was given to Stanislas Poniatowski and later lost, while the fowling piece is in the collection of the National Museum, Warsaw. The pair of pistols was gifted to Metropolitan Museum of Art in 1986 by American banker John M. Schiff in memory of his wife, Edith Baker Schiff.The pistols' barrels are made from gun-quality steel, and their stocks are made from carved ivory. The bodies of the firearms are decorated with brass gold, as are the grips. In addition, the escutcheons on the weapon's grips bear an E for Ekaterine, Catherine the Great's name in Russian. | [
"National Museum, Warsaw",
"escutcheons",
"Stanislas Poniatowski",
"garniture",
"fowling piece",
"Metropolitan Museum of Art",
"Catherine the Great",
"John M. Schiff",
"St. Petersburg",
"hunting rifle",
"flintlock",
"pistols",
"Johan Adolph Grecke"
] |
|
15985_T | The Heart of the Andes | In The Heart of the Andes, how is the abstract discussed? | The Heart of the Andes is a large oil-on-canvas landscape painting by the American artist Frederic Edwin Church (1826–1900). It depicts an idealized landscape in the South American Andes, where Church traveled on two occasions. Measuring more than five feet (1.5 meters) high and almost ten feet (3 meters) wide, its New York City exhibition in 1859 was a sensation, establishing Church as the foremost landscape painter in the United States.The painting was later exhibited by itself in other eastern U.S. cities. The exhibition rooms featured special lighting and decorative elements reminiscent of the depicted landscape, and the painting was supported by a floor-standing frame. The public was often enchanted by the amount of detail portrayed in it, willing to wait in line and pay a 25-cent entrance fee. Church synthesized numerous topographies of the Andes into his composition, from Mount Chimborazo to a plain and a jungle. In the details, there are numerous animals and indications of human settlement, including people visiting a cross in the left foreground.
The Heart of the Andes has been in the collection of New York's Metropolitan Museum of Art since 1909. Its first sale, to William Tilden Blodgett, broke a price record for a living American artist. It is among Church's most renowned works and an important 19th-century American painting. | [
"New York City",
"landscape",
"William Tilden Blodgett",
"Frederic Edwin Church",
"Mount Chimborazo",
"Chimborazo",
"New York",
"landscape painting",
"Andes",
"oil-on-canvas",
"Metropolitan Museum of Art"
] |
|
15985_NT | The Heart of the Andes | In this artwork, how is the abstract discussed? | The Heart of the Andes is a large oil-on-canvas landscape painting by the American artist Frederic Edwin Church (1826–1900). It depicts an idealized landscape in the South American Andes, where Church traveled on two occasions. Measuring more than five feet (1.5 meters) high and almost ten feet (3 meters) wide, its New York City exhibition in 1859 was a sensation, establishing Church as the foremost landscape painter in the United States.The painting was later exhibited by itself in other eastern U.S. cities. The exhibition rooms featured special lighting and decorative elements reminiscent of the depicted landscape, and the painting was supported by a floor-standing frame. The public was often enchanted by the amount of detail portrayed in it, willing to wait in line and pay a 25-cent entrance fee. Church synthesized numerous topographies of the Andes into his composition, from Mount Chimborazo to a plain and a jungle. In the details, there are numerous animals and indications of human settlement, including people visiting a cross in the left foreground.
The Heart of the Andes has been in the collection of New York's Metropolitan Museum of Art since 1909. Its first sale, to William Tilden Blodgett, broke a price record for a living American artist. It is among Church's most renowned works and an important 19th-century American painting. | [
"New York City",
"landscape",
"William Tilden Blodgett",
"Frederic Edwin Church",
"Mount Chimborazo",
"Chimborazo",
"New York",
"landscape painting",
"Andes",
"oil-on-canvas",
"Metropolitan Museum of Art"
] |
|
15986_T | The Heart of the Andes | Focus on The Heart of the Andes and explore the Background. | In 1853 and 1857, Church traveled in Ecuador and Colombia, financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian naturalist and explorer Alexander von Humboldt, and his 1845 treatise Kosmos. Humboldt was among the last of the great scientific generalists, and his fame became similar to that of Albert Einstein a century later. In the second volume of Kosmos, Humboldt described the influence of landscape painting on the study of the natural world—holding that art is among the highest expressions of the love of nature—and challenging artists to portray the "physiognomy" of the landscape. Church retraced Humboldt's travels in South America. | [
"landscape",
"Ecuador",
"Albert Einstein",
"naturalist",
"Colombia",
"landscape painting",
"Alexander von Humboldt",
"Cyrus West Field",
"Prussia",
"Kosmos"
] |
|
15986_NT | The Heart of the Andes | Focus on this artwork and explore the Background. | In 1853 and 1857, Church traveled in Ecuador and Colombia, financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian naturalist and explorer Alexander von Humboldt, and his 1845 treatise Kosmos. Humboldt was among the last of the great scientific generalists, and his fame became similar to that of Albert Einstein a century later. In the second volume of Kosmos, Humboldt described the influence of landscape painting on the study of the natural world—holding that art is among the highest expressions of the love of nature—and challenging artists to portray the "physiognomy" of the landscape. Church retraced Humboldt's travels in South America. | [
"landscape",
"Ecuador",
"Albert Einstein",
"naturalist",
"Colombia",
"landscape painting",
"Alexander von Humboldt",
"Cyrus West Field",
"Prussia",
"Kosmos"
] |
|
15987_T | The Heart of the Andes | Focus on The Heart of the Andes and explain the Description and influences. | The Heart of the Andes is a composite of the South American topography observed during his travels. At the center right of the landscape is a shimmering pool served by a waterfall. The snow-capped Mount Chimborazo of Ecuador appears in the distance; the viewer's eye is led to it by the darker, closer slopes that decline from right to left. The evidence of human presence is shown by the lightly worn path, a hamlet and church lying in the central plain, and closer to the foreground, two locals are seen before a cross. The church, a trademark detail in Church's paintings, is Catholic and Spanish-colonial, and seemingly inaccessible from the viewer's location. Church's signature appears cut into the bark of the highlighted foreground tree at left. The play of light on his signature has been interpreted as the artist's statement of man's ability to tame nature—yet the tree appears in poor health compared to the vivid jungle surrounding it.Church's landscape conformed to the aesthetic principles of the picturesque, as propounded by the British theorist William Gilpin, which began with a careful observation of nature enhanced by particular notions about composition and harmony. The juxtaposition of smooth and irregular forms was an important principle, and is represented in The Heart of the Andes by the rounded hills and pool of water on the one hand, and by the contrasting jagged mountains and rough trees on the other.The theory of British critic John Ruskin was also an important influence on Church. Ruskin's Modern Painters was a five-volume treatise on art that was, according to American artist Worthington Whittredge, "in every landscape painter's hand" by mid-century. Ruskin emphasized the close observation of nature, and he viewed art, morality, and the natural world as spiritually unified. Following this theme, the painting displays the landscape in detail at all scales, from the intricate foliage, birds, and butterflies in the foreground to the all-encompassing portrayal of the natural environments studied by Church. The presence of the cross suggests the peaceful coexistence of religion with the landscape. | [
"landscape",
"Ecuador",
"Worthington Whittredge",
"Modern Painters",
"Mount Chimborazo",
"John Ruskin",
"Chimborazo",
"William Gilpin",
"picturesque",
"Andes",
"topography"
] |
|
15987_NT | The Heart of the Andes | Focus on this artwork and explain the Description and influences. | The Heart of the Andes is a composite of the South American topography observed during his travels. At the center right of the landscape is a shimmering pool served by a waterfall. The snow-capped Mount Chimborazo of Ecuador appears in the distance; the viewer's eye is led to it by the darker, closer slopes that decline from right to left. The evidence of human presence is shown by the lightly worn path, a hamlet and church lying in the central plain, and closer to the foreground, two locals are seen before a cross. The church, a trademark detail in Church's paintings, is Catholic and Spanish-colonial, and seemingly inaccessible from the viewer's location. Church's signature appears cut into the bark of the highlighted foreground tree at left. The play of light on his signature has been interpreted as the artist's statement of man's ability to tame nature—yet the tree appears in poor health compared to the vivid jungle surrounding it.Church's landscape conformed to the aesthetic principles of the picturesque, as propounded by the British theorist William Gilpin, which began with a careful observation of nature enhanced by particular notions about composition and harmony. The juxtaposition of smooth and irregular forms was an important principle, and is represented in The Heart of the Andes by the rounded hills and pool of water on the one hand, and by the contrasting jagged mountains and rough trees on the other.The theory of British critic John Ruskin was also an important influence on Church. Ruskin's Modern Painters was a five-volume treatise on art that was, according to American artist Worthington Whittredge, "in every landscape painter's hand" by mid-century. Ruskin emphasized the close observation of nature, and he viewed art, morality, and the natural world as spiritually unified. Following this theme, the painting displays the landscape in detail at all scales, from the intricate foliage, birds, and butterflies in the foreground to the all-encompassing portrayal of the natural environments studied by Church. The presence of the cross suggests the peaceful coexistence of religion with the landscape. | [
"landscape",
"Ecuador",
"Worthington Whittredge",
"Modern Painters",
"Mount Chimborazo",
"John Ruskin",
"Chimborazo",
"William Gilpin",
"picturesque",
"Andes",
"topography"
] |
|
15988_T | The Heart of the Andes | Explore the Exhibition of this artwork, The Heart of the Andes. | The Heart of the Andes was first exhibited publicly between April 29 and May 23, 1859, at New York's Tenth Street Studio Building, the city's first studio building designed for artists. Church had exhibited single paintings previously, such as Niagara (1857), to much success. The event attracted an unprecedented turnout for a single-painting exhibition in the United States: more than 12,000 people paid an admission fee of twenty-five cents to view the painting. Even on the final day of the showing, patrons waited in line for hours to enter the Exhibition Room.There is no record of the appearance or arrangement of the Studio Building exhibit. It has been widely claimed, although probably falsely, that the room was decorated with palm fronds and that gaslights with silver reflectors were used to illuminate the painting. More certain is that the painting's casement-window–like "frame" had a breadth of fourteen feet and a height of almost thirteen, which further imposed the painting upon the viewer. It was likely made of brown chestnut, a departure from the prevailing gilt frame. The base of the edifice stood on the ground, ensuring that the landscape's horizon would be displayed at the viewer's eye level. Drawn curtains were fitted, creating the sense of a view out a window. A skylight directed at the canvas heightened the perception that the painting was illuminated from within, as did the dark fabrics draped on the studio walls to absorb light. Opera glasses were provided to patrons to allow examination of the landscape's details, and may have been necessary to satisfactorily view the painting at all, given the crowding in the exhibition room.Church's canvas had a strong effect on its viewers; a contemporary witness wrote: "women felt faint. Both men and women succumb[ed] to the dizzying combination of terror and vertigo that they recognize[d] as the sublime. Many of them will later describe a sensation of becoming immersed in, or absorbed by, this painting, whose dimensions, presentation, and subject matter speak of the divine power of nature."Accompanying the admission were two pamphlets about the painting: Theodore Winthrop's A Companion to The Heart of the Andes and the Reverend Louis Legrand Noble's Church's Picture, The Heart of the Andes. In the manner of travel guides, the booklets provided a tour of the painting's varied topography. An excerpt from Noble reads:Imagine yourself, late in the afternoon with the sun behind you, to be travelling up the valley along the bank of a river, at an elevation above the hot country of some five or six thousand feet. At the point to which you have ascended, heavily-wooded mountains close in on either hand, (not visible in the picture – only the foot of each jutting into view,) richly clothed with trees and all the appendage of the forest, with the river flowing between them. ... Conspicuous on the opposite side of the river is the road leading into the country above, a wild bridle-path in the brightest sunshine, winding up into, and losing itself in the thick shady woods. The foreground ... forms of itself a scene of unrivalled power and brilliancy, ...
Church wanted Humboldt, his intellectual mentor, to see his masterpiece. Close to the end of the first exhibition, on May 9, 1859, he wrote of this desire to American poet Bayard Taylor:The "Andes" will probably be on its way to Europe before your return to the City ... [The] principal motive in taking the picture to Berlin is to have the satisfaction of placing before Humboldt a transcript of the scenery which delighted his eyes sixty years ago—and which he had pronounced to be the finest in the world.
Humboldt, however, died on May 6 so the planned shipment to Europe did not occur. This disappointed Church, but he would soon meet his future wife Isabel at the New York exhibition. Later in 1859, the painting was exhibited in London (July 4 – c. August 14), where it met with similar popularity. Returning to New York City, it was exhibited again from October 10 to December 5. In the next few years, showings occurred in Boston, Philadelphia, Baltimore, Cincinnati, Chicago, and St. Louis. An 1864 exhibition at the Metropolitan Sanitary Fair at New York's Union Square is better documented than the original, with photographs extant. | [
"New York City",
"landscape",
"Bayard Taylor",
"Tenth Street Studio Building",
"Niagara",
"chestnut",
"Sanitary Fair",
"New York",
"gaslight",
"Union Square",
"sublime",
"Opera glasses",
"Theodore Winthrop",
"Andes",
"topography"
] |
|
15988_NT | The Heart of the Andes | Explore the Exhibition of this artwork. | The Heart of the Andes was first exhibited publicly between April 29 and May 23, 1859, at New York's Tenth Street Studio Building, the city's first studio building designed for artists. Church had exhibited single paintings previously, such as Niagara (1857), to much success. The event attracted an unprecedented turnout for a single-painting exhibition in the United States: more than 12,000 people paid an admission fee of twenty-five cents to view the painting. Even on the final day of the showing, patrons waited in line for hours to enter the Exhibition Room.There is no record of the appearance or arrangement of the Studio Building exhibit. It has been widely claimed, although probably falsely, that the room was decorated with palm fronds and that gaslights with silver reflectors were used to illuminate the painting. More certain is that the painting's casement-window–like "frame" had a breadth of fourteen feet and a height of almost thirteen, which further imposed the painting upon the viewer. It was likely made of brown chestnut, a departure from the prevailing gilt frame. The base of the edifice stood on the ground, ensuring that the landscape's horizon would be displayed at the viewer's eye level. Drawn curtains were fitted, creating the sense of a view out a window. A skylight directed at the canvas heightened the perception that the painting was illuminated from within, as did the dark fabrics draped on the studio walls to absorb light. Opera glasses were provided to patrons to allow examination of the landscape's details, and may have been necessary to satisfactorily view the painting at all, given the crowding in the exhibition room.Church's canvas had a strong effect on its viewers; a contemporary witness wrote: "women felt faint. Both men and women succumb[ed] to the dizzying combination of terror and vertigo that they recognize[d] as the sublime. Many of them will later describe a sensation of becoming immersed in, or absorbed by, this painting, whose dimensions, presentation, and subject matter speak of the divine power of nature."Accompanying the admission were two pamphlets about the painting: Theodore Winthrop's A Companion to The Heart of the Andes and the Reverend Louis Legrand Noble's Church's Picture, The Heart of the Andes. In the manner of travel guides, the booklets provided a tour of the painting's varied topography. An excerpt from Noble reads:Imagine yourself, late in the afternoon with the sun behind you, to be travelling up the valley along the bank of a river, at an elevation above the hot country of some five or six thousand feet. At the point to which you have ascended, heavily-wooded mountains close in on either hand, (not visible in the picture – only the foot of each jutting into view,) richly clothed with trees and all the appendage of the forest, with the river flowing between them. ... Conspicuous on the opposite side of the river is the road leading into the country above, a wild bridle-path in the brightest sunshine, winding up into, and losing itself in the thick shady woods. The foreground ... forms of itself a scene of unrivalled power and brilliancy, ...
Church wanted Humboldt, his intellectual mentor, to see his masterpiece. Close to the end of the first exhibition, on May 9, 1859, he wrote of this desire to American poet Bayard Taylor:The "Andes" will probably be on its way to Europe before your return to the City ... [The] principal motive in taking the picture to Berlin is to have the satisfaction of placing before Humboldt a transcript of the scenery which delighted his eyes sixty years ago—and which he had pronounced to be the finest in the world.
Humboldt, however, died on May 6 so the planned shipment to Europe did not occur. This disappointed Church, but he would soon meet his future wife Isabel at the New York exhibition. Later in 1859, the painting was exhibited in London (July 4 – c. August 14), where it met with similar popularity. Returning to New York City, it was exhibited again from October 10 to December 5. In the next few years, showings occurred in Boston, Philadelphia, Baltimore, Cincinnati, Chicago, and St. Louis. An 1864 exhibition at the Metropolitan Sanitary Fair at New York's Union Square is better documented than the original, with photographs extant. | [
"New York City",
"landscape",
"Bayard Taylor",
"Tenth Street Studio Building",
"Niagara",
"chestnut",
"Sanitary Fair",
"New York",
"gaslight",
"Union Square",
"sublime",
"Opera glasses",
"Theodore Winthrop",
"Andes",
"topography"
] |
|
15989_T | The Heart of the Andes | In the context of The Heart of the Andes, discuss the Reproduction of the Exhibition. | While the painting was in London, Church's agent arranged to have an engraving of it made by Charles Day & Son, which would allow for broad distribution of reproductions and hence more income. Sometime during this period a watercolor copy of The Heart of the Andes was made. It is not certain who painted the copy, but Church very likely is not the artist; the engraver Richard Woodman or one of his sons has been proposed. The watercolor is now presumed to have originated in Britain and been made for the use of the engraver, William Forrest of Edinburgh. The watercolor is now in the National Gallery of Art, Washington, D.C. | [
"National Gallery of Art",
"Richard Woodman",
"Andes"
] |
|
15989_NT | The Heart of the Andes | In the context of this artwork, discuss the Reproduction of the Exhibition. | While the painting was in London, Church's agent arranged to have an engraving of it made by Charles Day & Son, which would allow for broad distribution of reproductions and hence more income. Sometime during this period a watercolor copy of The Heart of the Andes was made. It is not certain who painted the copy, but Church very likely is not the artist; the engraver Richard Woodman or one of his sons has been proposed. The watercolor is now presumed to have originated in Britain and been made for the use of the engraver, William Forrest of Edinburgh. The watercolor is now in the National Gallery of Art, Washington, D.C. | [
"National Gallery of Art",
"Richard Woodman",
"Andes"
] |
|
15990_T | The Heart of the Andes | How does The Heart of the Andes elucidate its Reception and legacy? | The painting was widely acclaimed. Poetry was written in its honor, and a composer, George William Warren, dedicated a piece to it in 1863. Mark Twain described the painting to his brother Orion Clemens in a letter of 1860:
I have just returned from a visit to the most wonderfully beautiful painting which this city has ever seen—Church's 'Heart of the Andes' ... I have seen it several times, but it is always a new picture—totally new—you seem to see nothing the second time which you saw the first. We took the opera glass, and examined its beauties minutely, for the naked eye cannot discern the little wayside flowers, and soft shadows and patches of sunshine, and half-hidden bunches of grass and jets of water which form some of its most enchanting features. There is no slurring of perspective effect about it—the most distant—the minutest object in it has a marked and distinct personality—so that you may count the very leaves on the trees. When you first see the tame, ordinary-looking picture, your first impulse is to turn your back upon it, and say "Humbug"—but your third visit will find your brain gasping and straining with futile efforts to take all the wonder in—and appreciate it in its fulness and understand how such a miracle could have been conceived and executed by human brain and human hands. You will never get tired of looking at the picture, but your reflections—your efforts to grasp an intelligible Something—you hardly know what—will grow so painful that you will have to go away from the thing, in order to obtain relief. You may find relief, but you cannot banish the picture—it remains with you still. It is in my mind now—and the smallest feature could not be removed without my detecting it.
The New York Times described the painting's "harmony of design" and "chaos of chords or colors gradually rises upon the enchanted mind a rich and orderly creation, full of familiar objects, yet wholly new in its combinations and its significance."Church eventually sold the work to William Tilden Blodgett for $10,000—at that time the highest price paid for a work by a living American artist. Moreover, Church reserved the right to re-sell the painting should he receive an offer of at least $20,000. (American landscapist Albert Bierstadt surpassed both prices when he sold The Rocky Mountains, Lander's Peak for $25,000 in 1865.) Blodgett held the painting until his death in 1875. It was acquired by Margaret Worcester Dows, widow of grain merchant David Dows, and bequeathed to the Metropolitan Museum of Art upon her death in February 1909. In 1993, the museum held an exhibition that attempted to reproduce the conditions of the 1859 exhibit.
Recent descriptions place it within modern thematic discourse, including the tension between art and science, and American territorial expansion. The split between the humanities and the scientific worldview was nascent in 1859: Charles Darwin's On the Origin of Species was published later in the same year as Church's painting. | [
"On the Origin of Species",
"Mark Twain",
"William Tilden Blodgett",
"American territorial expansion",
"grain merchant",
"New York",
"Charles Darwin",
"Orion Clemens",
"The Rocky Mountains, Lander's Peak",
"Albert Bierstadt",
"Andes",
"Metropolitan Museum of Art"
] |
|
15990_NT | The Heart of the Andes | How does this artwork elucidate its Reception and legacy? | The painting was widely acclaimed. Poetry was written in its honor, and a composer, George William Warren, dedicated a piece to it in 1863. Mark Twain described the painting to his brother Orion Clemens in a letter of 1860:
I have just returned from a visit to the most wonderfully beautiful painting which this city has ever seen—Church's 'Heart of the Andes' ... I have seen it several times, but it is always a new picture—totally new—you seem to see nothing the second time which you saw the first. We took the opera glass, and examined its beauties minutely, for the naked eye cannot discern the little wayside flowers, and soft shadows and patches of sunshine, and half-hidden bunches of grass and jets of water which form some of its most enchanting features. There is no slurring of perspective effect about it—the most distant—the minutest object in it has a marked and distinct personality—so that you may count the very leaves on the trees. When you first see the tame, ordinary-looking picture, your first impulse is to turn your back upon it, and say "Humbug"—but your third visit will find your brain gasping and straining with futile efforts to take all the wonder in—and appreciate it in its fulness and understand how such a miracle could have been conceived and executed by human brain and human hands. You will never get tired of looking at the picture, but your reflections—your efforts to grasp an intelligible Something—you hardly know what—will grow so painful that you will have to go away from the thing, in order to obtain relief. You may find relief, but you cannot banish the picture—it remains with you still. It is in my mind now—and the smallest feature could not be removed without my detecting it.
The New York Times described the painting's "harmony of design" and "chaos of chords or colors gradually rises upon the enchanted mind a rich and orderly creation, full of familiar objects, yet wholly new in its combinations and its significance."Church eventually sold the work to William Tilden Blodgett for $10,000—at that time the highest price paid for a work by a living American artist. Moreover, Church reserved the right to re-sell the painting should he receive an offer of at least $20,000. (American landscapist Albert Bierstadt surpassed both prices when he sold The Rocky Mountains, Lander's Peak for $25,000 in 1865.) Blodgett held the painting until his death in 1875. It was acquired by Margaret Worcester Dows, widow of grain merchant David Dows, and bequeathed to the Metropolitan Museum of Art upon her death in February 1909. In 1993, the museum held an exhibition that attempted to reproduce the conditions of the 1859 exhibit.
Recent descriptions place it within modern thematic discourse, including the tension between art and science, and American territorial expansion. The split between the humanities and the scientific worldview was nascent in 1859: Charles Darwin's On the Origin of Species was published later in the same year as Church's painting. | [
"On the Origin of Species",
"Mark Twain",
"William Tilden Blodgett",
"American territorial expansion",
"grain merchant",
"New York",
"Charles Darwin",
"Orion Clemens",
"The Rocky Mountains, Lander's Peak",
"Albert Bierstadt",
"Andes",
"Metropolitan Museum of Art"
] |
|
15991_T | American Progress | Focus on American Progress and analyze the abstract. | American Progress is an 1872 painting by John Gast, a Prussian-born painter, printer, and lithographer who lived and worked most of his life during 1870s Brooklyn, New York. American Progress, an allegory of manifest destiny, was widely disseminated in chromolithographic prints. It is now held by the Autry Museum of the American West in Los Angeles, California. | [
"John Gast",
"1872",
"manifest destiny",
"chromolithographic prints",
"Brooklyn",
"Prussian",
"Los Angeles",
"Autry Museum of the American West",
"Prussia",
"lithographer"
] |
|
15991_NT | American Progress | Focus on this artwork and analyze the abstract. | American Progress is an 1872 painting by John Gast, a Prussian-born painter, printer, and lithographer who lived and worked most of his life during 1870s Brooklyn, New York. American Progress, an allegory of manifest destiny, was widely disseminated in chromolithographic prints. It is now held by the Autry Museum of the American West in Los Angeles, California. | [
"John Gast",
"1872",
"manifest destiny",
"chromolithographic prints",
"Brooklyn",
"Prussian",
"Los Angeles",
"Autry Museum of the American West",
"Prussia",
"lithographer"
] |
|
15992_T | American Progress | In American Progress, how is the Description discussed? | American Progress has become a seminal example of American Western art. The painting serves as an allegory for Manifest Destiny and American westward expansion. The 11.50 by 15.75 inches (29.2 cm × 40.0 cm) painting was commissioned in 1872 by George Crofutt, a publisher of American Western travel guides, and has since been frequently reproduced. The woman in the center is Columbia, the personification of the United States, and on her head is what Crofutt calls "The Star of the Empire". Columbia moves from the light-skied east to the dark and treacherous West, leading settlers who follow her either on foot or by stagecoach, horseback, Conestoga wagon, wagon train, or riding steam trains. She lays a telegraph wire with one hand and carries a school book in the other. On the right side of the painting, in the East, New York City can be seen in the background, while farmers who have already settled in the Midwest are featured in the foreground. As Columbia moves westward, indigenous people and a herd of buffalo flee from her and the settlers who follow. | [
"stagecoach",
"New York City",
"Columbia",
"1872",
"buffalo",
"Manifest Destiny",
"expansion",
"wagon train",
"telegraph",
"Conestoga wagon",
"westward expansion",
"steam train"
] |
|
15992_NT | American Progress | In this artwork, how is the Description discussed? | American Progress has become a seminal example of American Western art. The painting serves as an allegory for Manifest Destiny and American westward expansion. The 11.50 by 15.75 inches (29.2 cm × 40.0 cm) painting was commissioned in 1872 by George Crofutt, a publisher of American Western travel guides, and has since been frequently reproduced. The woman in the center is Columbia, the personification of the United States, and on her head is what Crofutt calls "The Star of the Empire". Columbia moves from the light-skied east to the dark and treacherous West, leading settlers who follow her either on foot or by stagecoach, horseback, Conestoga wagon, wagon train, or riding steam trains. She lays a telegraph wire with one hand and carries a school book in the other. On the right side of the painting, in the East, New York City can be seen in the background, while farmers who have already settled in the Midwest are featured in the foreground. As Columbia moves westward, indigenous people and a herd of buffalo flee from her and the settlers who follow. | [
"stagecoach",
"New York City",
"Columbia",
"1872",
"buffalo",
"Manifest Destiny",
"expansion",
"wagon train",
"telegraph",
"Conestoga wagon",
"westward expansion",
"steam train"
] |
|
15993_T | American Progress | Focus on American Progress and explore the On Westward Expansion. | This artwork is a common reference in conversation regarding the American sentiment of expansion in the 1800s. The depiction of Columbia leading settlers and bringing sunlight westward can be identified as a metaphor for expansion signifying positive new beginnings for early Americans. As sunlight and brightness are associated with God, the painting can serve as a metaphor for Americans considering expansion and exploration of the land beyond the states being a God-given right; Manifest Destiny was an often used justification for expansion.
As the railroads were considered a key example of successes in Westward Expansion, Columbia bringing railways and telegraph lines with her to the new West symbolized the cultural advantages to the expansion. Additionally, Columbia is carrying with her a "School Book", which may be interpreted as her bringing education and knowledge with expansion. As most indigenous peoples were illiterate at the beginning of the expansion period, this can be seen as a further justification of expansion as indigenous people began to attend government or church-operated schools in the late 1800s to gain literacy. It is, however, more apt to consider the education of native children at the time to be a cruelty as they were forced to attend boarding schools where they were forbidden to speak their native language. | [
"Columbia",
"railroads",
"Manifest Destiny",
"expansion",
"the American sentiment of expansion",
"early",
"telegraph"
] |
|
15993_NT | American Progress | Focus on this artwork and explore the On Westward Expansion. | This artwork is a common reference in conversation regarding the American sentiment of expansion in the 1800s. The depiction of Columbia leading settlers and bringing sunlight westward can be identified as a metaphor for expansion signifying positive new beginnings for early Americans. As sunlight and brightness are associated with God, the painting can serve as a metaphor for Americans considering expansion and exploration of the land beyond the states being a God-given right; Manifest Destiny was an often used justification for expansion.
As the railroads were considered a key example of successes in Westward Expansion, Columbia bringing railways and telegraph lines with her to the new West symbolized the cultural advantages to the expansion. Additionally, Columbia is carrying with her a "School Book", which may be interpreted as her bringing education and knowledge with expansion. As most indigenous peoples were illiterate at the beginning of the expansion period, this can be seen as a further justification of expansion as indigenous people began to attend government or church-operated schools in the late 1800s to gain literacy. It is, however, more apt to consider the education of native children at the time to be a cruelty as they were forced to attend boarding schools where they were forbidden to speak their native language. | [
"Columbia",
"railroads",
"Manifest Destiny",
"expansion",
"the American sentiment of expansion",
"early",
"telegraph"
] |
|
15994_T | American Progress | Focus on American Progress and explain the Significance. | John Gast uses this painting to convey the idea of Manifest Destiny that is widely known in America at this time. Much of the west was still occupied by Native Americans in 1872, but Gast portrays the idea that America was destined to expand to this area as part of Manifest Destiny. | [
"John Gast",
"1872",
"Manifest Destiny"
] |
|
15994_NT | American Progress | Focus on this artwork and explain the Significance. | John Gast uses this painting to convey the idea of Manifest Destiny that is widely known in America at this time. Much of the west was still occupied by Native Americans in 1872, but Gast portrays the idea that America was destined to expand to this area as part of Manifest Destiny. | [
"John Gast",
"1872",
"Manifest Destiny"
] |
|
15995_T | Bench Around the Lake | Explore the abstract of this artwork, Bench Around the Lake. | Bench Around the Lake is a public artwork by Danish artist Jeppe Hein, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, in Indianapolis, Indiana, United States. The artwork consists of fifteen individually designed yellow interactive bench installations strategically placed throughout the park location. Some of the benches consist of multiple components or sections within one site. | [
"Lake",
"Indianapolis",
"100 Acres: The Virginia B. Fairbanks Art and Nature Park",
"Indianapolis, Indiana",
"United States",
"Jeppe Hein",
"Indiana",
"interactive",
"yellow",
"bench",
"Danish"
] |
|
15995_NT | Bench Around the Lake | Explore the abstract of this artwork. | Bench Around the Lake is a public artwork by Danish artist Jeppe Hein, located in the 100 Acres: The Virginia B. Fairbanks Art and Nature Park, in Indianapolis, Indiana, United States. The artwork consists of fifteen individually designed yellow interactive bench installations strategically placed throughout the park location. Some of the benches consist of multiple components or sections within one site. | [
"Lake",
"Indianapolis",
"100 Acres: The Virginia B. Fairbanks Art and Nature Park",
"Indianapolis, Indiana",
"United States",
"Jeppe Hein",
"Indiana",
"interactive",
"yellow",
"bench",
"Danish"
] |
|
15996_T | Bench Around the Lake | Focus on Bench Around the Lake and discuss the Description. | The artwork consists of fifteen bright yellow benches of different shapes, sizes and designs made of powder coated galvanized steel. The benches are placed at specific sites, as decided by the artist, throughout the park which borders the bank of the White River. Hein describes the work as "one long bench that emerges from the ground and then twists, turns, and submerges again in several locations,". | [
"powder coated",
"White River",
"River",
"yellow",
"bench",
"galvanized steel"
] |
|
15996_NT | Bench Around the Lake | Focus on this artwork and discuss the Description. | The artwork consists of fifteen bright yellow benches of different shapes, sizes and designs made of powder coated galvanized steel. The benches are placed at specific sites, as decided by the artist, throughout the park which borders the bank of the White River. Hein describes the work as "one long bench that emerges from the ground and then twists, turns, and submerges again in several locations,". | [
"powder coated",
"White River",
"River",
"yellow",
"bench",
"galvanized steel"
] |
|
15997_T | Bench Around the Lake | How does Bench Around the Lake elucidate its Historical Information? | Bench Around the Lake is a re-interpretation of Hein's Modified Social Benches which manipulate the traditional concept of a park bench. With this artwork series Hein hopes to challenge the idea of a bench being a passive object used for sitting, as well as to promote visitors to interact with the artwork in different ways and to explore more secluded or less-used areas of the park. This series of benches also coincided with Hein's May 2010 temporary installation of Distance inside the museum. | [
"Distance",
"Lake",
"bench",
"Modified Social Benches"
] |
|
15997_NT | Bench Around the Lake | How does this artwork elucidate its Historical Information? | Bench Around the Lake is a re-interpretation of Hein's Modified Social Benches which manipulate the traditional concept of a park bench. With this artwork series Hein hopes to challenge the idea of a bench being a passive object used for sitting, as well as to promote visitors to interact with the artwork in different ways and to explore more secluded or less-used areas of the park. This series of benches also coincided with Hein's May 2010 temporary installation of Distance inside the museum. | [
"Distance",
"Lake",
"bench",
"Modified Social Benches"
] |
|
15998_T | Bench Around the Lake | In the context of Bench Around the Lake, analyze the Location History of the Historical Information. | Working with IMA staff and Indianapolis-based landscape architect Eric Fulford, Hein selected the locations for the benches which are placed throughout the 35-acre park. The benches appear along the beaches on the lake and river, a gully, by fallen trees, the park's Ruth Lilly Visitors Pavilion and other spots throughout the park's many pathways. The artwork was fabricated in Germany and shipped to Indianapolis and installed at the IMA by their Design and Installation crew. The artwork was fully installed by the park's opening in May 2010. | [
"Indianapolis",
"Ruth Lilly Visitors Pavilion",
"gully",
"landscape architect",
"Indiana",
"lake",
"bench",
"river",
"beach",
"tree"
] |
|
15998_NT | Bench Around the Lake | In the context of this artwork, analyze the Location History of the Historical Information. | Working with IMA staff and Indianapolis-based landscape architect Eric Fulford, Hein selected the locations for the benches which are placed throughout the 35-acre park. The benches appear along the beaches on the lake and river, a gully, by fallen trees, the park's Ruth Lilly Visitors Pavilion and other spots throughout the park's many pathways. The artwork was fabricated in Germany and shipped to Indianapolis and installed at the IMA by their Design and Installation crew. The artwork was fully installed by the park's opening in May 2010. | [
"Indianapolis",
"Ruth Lilly Visitors Pavilion",
"gully",
"landscape architect",
"Indiana",
"lake",
"bench",
"river",
"beach",
"tree"
] |
|
15999_T | Bench Around the Lake | In Bench Around the Lake, how is the Artist discussed? | On creating the artwork Hein states: "Once you start to experience them sequentially, you'll feel that connection between them," encouraging interaction with the artworks by visitors and the appearance of tunneling the benches have within the environment. "They are a tool for communication, and create a kind of social playroom," Hein states, referring to the functional aspects of each bench. He describes one bench as the "kissing bench" due to the sliding factor the bench has, bringing together those who sit upon it regardless of their desire to be close. | [
"bench"
] |
|
15999_NT | Bench Around the Lake | In this artwork, how is the Artist discussed? | On creating the artwork Hein states: "Once you start to experience them sequentially, you'll feel that connection between them," encouraging interaction with the artworks by visitors and the appearance of tunneling the benches have within the environment. "They are a tool for communication, and create a kind of social playroom," Hein states, referring to the functional aspects of each bench. He describes one bench as the "kissing bench" due to the sliding factor the bench has, bringing together those who sit upon it regardless of their desire to be close. | [
"bench"
] |
|
16000_T | Bench Around the Lake | Focus on Bench Around the Lake and explore the Condition. | Bench Around the Lake requires regular cleaning of its powder coated galvanized steel surface to discourage the buildup of potentially damaging materials. Instrumental analysis involving the artwork's color and gloss levels has also been recorded. | [
"Lake",
"powder coated",
"galvanized steel"
] |
|
16000_NT | Bench Around the Lake | Focus on this artwork and explore the Condition. | Bench Around the Lake requires regular cleaning of its powder coated galvanized steel surface to discourage the buildup of potentially damaging materials. Instrumental analysis involving the artwork's color and gloss levels has also been recorded. | [
"Lake",
"powder coated",
"galvanized steel"
] |
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