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16001_T | Texas World War II Memorial | Focus on Texas World War II Memorial and explain the abstract. | The Texas World War II Memorial is an outdoor monument commemorating the more than 20,000 Texans who died in service during World War II, installed on the Texas State Capitol grounds in Austin, Texas, United States. | [
"Texas State Capitol",
"World War II Memorial",
"World War II",
"Austin, Texas"
] |
|
16001_NT | Texas World War II Memorial | Focus on this artwork and explain the abstract. | The Texas World War II Memorial is an outdoor monument commemorating the more than 20,000 Texans who died in service during World War II, installed on the Texas State Capitol grounds in Austin, Texas, United States. | [
"Texas State Capitol",
"World War II Memorial",
"World War II",
"Austin, Texas"
] |
|
16002_T | Texas World War II Memorial | Explore the Description and history of this artwork, Texas World War II Memorial. | The memorial, a replica of the state's pillar at the National World War II Memorial in Washington, D.C., was by designed by an unknown artist and erected by the Texas World War II Memorial Committee and Texas State Preservation Board in 2007. It features a 17-foot (5.2 m) granite column with a bronze oak and wheat wreath. | [
"Washington, D.C.",
"Texas State Preservation Board",
"bronze",
"World War II Memorial",
"World War II",
"National World War II Memorial"
] |
|
16002_NT | Texas World War II Memorial | Explore the Description and history of this artwork. | The memorial, a replica of the state's pillar at the National World War II Memorial in Washington, D.C., was by designed by an unknown artist and erected by the Texas World War II Memorial Committee and Texas State Preservation Board in 2007. It features a 17-foot (5.2 m) granite column with a bronze oak and wheat wreath. | [
"Washington, D.C.",
"Texas State Preservation Board",
"bronze",
"World War II Memorial",
"World War II",
"National World War II Memorial"
] |
|
16003_T | Famous Views of the Sixty-odd Provinces | Focus on Famous Views of the Sixty-odd Provinces and discuss the abstract. | Famous Views of the Sixty-odd Provinces (in Japanese 六十余州名所図会 Rokujūyoshū Meisho Zue) is a series of ukiyo-e prints by the Japanese artist Hiroshige (1797–1858). The series consists of a print of a famous view from each of the 68 provinces of Japan plus a print of Edo, the capital, and a contents page for a total of 70 prints. The prints were first published in serialized form by Koshimuraya Heisuke in 1853–56. | [
"Edo",
"Hiroshige",
"68 provinces of Japan",
"ukiyo-e"
] |
|
16003_NT | Famous Views of the Sixty-odd Provinces | Focus on this artwork and discuss the abstract. | Famous Views of the Sixty-odd Provinces (in Japanese 六十余州名所図会 Rokujūyoshū Meisho Zue) is a series of ukiyo-e prints by the Japanese artist Hiroshige (1797–1858). The series consists of a print of a famous view from each of the 68 provinces of Japan plus a print of Edo, the capital, and a contents page for a total of 70 prints. The prints were first published in serialized form by Koshimuraya Heisuke in 1853–56. | [
"Edo",
"Hiroshige",
"68 provinces of Japan",
"ukiyo-e"
] |
|
16004_T | Famous Views of the Sixty-odd Provinces | How does Famous Views of the Sixty-odd Provinces elucidate its History? | Hiroshige started the series in the seventh month of Kaei 6 (Sept 1853) and completed it in the third month of Ansei 3 (May 1856).
The first 42 prints were completed and published in 1853. Thereafter, Hiroshige slowed down the pace of publishing: Buzen Province, listed as the 61st print, was issued in 1854; another seventeen were published in the 9th month of 1855; and the final nine prints in the third to fifth months of 1856.
A contents page was also published in 1856 after the final prints; The ordering of the prints on the contents page differs slightly from the actual print publication ordering. The new ordering on the contents page grouped the prints according to the 8 travel routes in Old Japan.
Hiroshige based many of his designs on old Japanese guidebooks called meishō zue. In particular, at least 26 of the designs are believed to have been based on drawings from the 8 volume series of guidebooks called Sansui Kikan (Exceptional Mountain and Water Landscapes) written and illustrated by Fuchigami Kyokkō (淵上旭江) (1753–1816) published by Yanagihara Kihei from 1800–1802. As well as several from drawings in the early volumes of the Hokusai Manga (北斎漫画, "Hokusai's Sketches") series.A deluxe edition featuring bokashi—additional overprinting to enrich the design—was produced as an initial run to publicize the series. Subsequent print runs tended to limit or eliminate the overprinting which was relatively costly to produce. | [
"Kaei",
"Ansei",
"Hiroshige",
"Hokusai Manga",
"meishō zue",
"Sansui Kikan",
"bokashi"
] |
|
16004_NT | Famous Views of the Sixty-odd Provinces | How does this artwork elucidate its History? | Hiroshige started the series in the seventh month of Kaei 6 (Sept 1853) and completed it in the third month of Ansei 3 (May 1856).
The first 42 prints were completed and published in 1853. Thereafter, Hiroshige slowed down the pace of publishing: Buzen Province, listed as the 61st print, was issued in 1854; another seventeen were published in the 9th month of 1855; and the final nine prints in the third to fifth months of 1856.
A contents page was also published in 1856 after the final prints; The ordering of the prints on the contents page differs slightly from the actual print publication ordering. The new ordering on the contents page grouped the prints according to the 8 travel routes in Old Japan.
Hiroshige based many of his designs on old Japanese guidebooks called meishō zue. In particular, at least 26 of the designs are believed to have been based on drawings from the 8 volume series of guidebooks called Sansui Kikan (Exceptional Mountain and Water Landscapes) written and illustrated by Fuchigami Kyokkō (淵上旭江) (1753–1816) published by Yanagihara Kihei from 1800–1802. As well as several from drawings in the early volumes of the Hokusai Manga (北斎漫画, "Hokusai's Sketches") series.A deluxe edition featuring bokashi—additional overprinting to enrich the design—was produced as an initial run to publicize the series. Subsequent print runs tended to limit or eliminate the overprinting which was relatively costly to produce. | [
"Kaei",
"Ansei",
"Hiroshige",
"Hokusai Manga",
"meishō zue",
"Sansui Kikan",
"bokashi"
] |
|
16005_T | Famous Views of the Sixty-odd Provinces | Focus on Famous Views of the Sixty-odd Provinces and analyze the Format and Design. | The series uses a vertical (立て絵, tate-e) layout for each of the prints. The size was the vertical ôban: 35.6 x 24.8 cm (14 x 9 3/4 in.)
This was the first time such a format had been used in a major Japanese landscape print series. A likely reason for Hiroshige's choice was that rather than travel to the actual locations, he based many of his designs on Meisho Zue guidebooks which used a vertical, rather than horizontal, format. It is also speculated by scholars that a vertical format would have been a strong marketing ploy at the time and a better binding of such a large number of prints.The topics for the designs were famous places seen from the vantage point of a local. There is one print for each of the 68 provinces that existed at the time of the series. The print designs document a world that was about to change: A few months after the first prints were published the Black Ships that contributed to the opening of Japan arrived and just over a decade after the completion of the series, in 1872, the Meiji Restoration would rewrite the provincial boundaries that had existed since 824AD.
In addition to the prints of the provinces, there is a single print of Asakusa Fair in Edo, the capital of Japan at the time. This print would be a harbinger of Hiroshige's One Hundred Famous Views of Edo the start of which overlapped with the final prints of this series. | [
"Edo",
"Hiroshige",
"Black Ships",
"Meiji Restoration",
"One Hundred Famous Views of Edo"
] |
|
16005_NT | Famous Views of the Sixty-odd Provinces | Focus on this artwork and analyze the Format and Design. | The series uses a vertical (立て絵, tate-e) layout for each of the prints. The size was the vertical ôban: 35.6 x 24.8 cm (14 x 9 3/4 in.)
This was the first time such a format had been used in a major Japanese landscape print series. A likely reason for Hiroshige's choice was that rather than travel to the actual locations, he based many of his designs on Meisho Zue guidebooks which used a vertical, rather than horizontal, format. It is also speculated by scholars that a vertical format would have been a strong marketing ploy at the time and a better binding of such a large number of prints.The topics for the designs were famous places seen from the vantage point of a local. There is one print for each of the 68 provinces that existed at the time of the series. The print designs document a world that was about to change: A few months after the first prints were published the Black Ships that contributed to the opening of Japan arrived and just over a decade after the completion of the series, in 1872, the Meiji Restoration would rewrite the provincial boundaries that had existed since 824AD.
In addition to the prints of the provinces, there is a single print of Asakusa Fair in Edo, the capital of Japan at the time. This print would be a harbinger of Hiroshige's One Hundred Famous Views of Edo the start of which overlapped with the final prints of this series. | [
"Edo",
"Hiroshige",
"Black Ships",
"Meiji Restoration",
"One Hundred Famous Views of Edo"
] |
|
16006_T | Famous Views of the Sixty-odd Provinces | In Famous Views of the Sixty-odd Provinces, how is the Key discussed? | No.: number of the print
Title: as it appears on the print together with English translation and Japanese reading
Depicted: major landmarks that appear in the print listed in order of increasing distance from the viewer
Date: publication year and month (in the pre-1873 Japanese lunisolar calendar) according to the date seal; intercalary months are preceded with "i"
Location: place and coordinates of the viewpoint. The coordinates are approximate—typically the coordinates of a picture element as a proxy for the viewpoint.
Image: a picture of the print | [
"Japanese lunisolar calendar",
"intercalary"
] |
|
16006_NT | Famous Views of the Sixty-odd Provinces | In this artwork, how is the Key discussed? | No.: number of the print
Title: as it appears on the print together with English translation and Japanese reading
Depicted: major landmarks that appear in the print listed in order of increasing distance from the viewer
Date: publication year and month (in the pre-1873 Japanese lunisolar calendar) according to the date seal; intercalary months are preceded with "i"
Location: place and coordinates of the viewpoint. The coordinates are approximate—typically the coordinates of a picture element as a proxy for the viewpoint.
Image: a picture of the print | [
"Japanese lunisolar calendar",
"intercalary"
] |
|
16007_T | May/September | In the context of May/September, explain the Acquisition of the Historical information. | May/September was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. | [] |
|
16007_NT | May/September | In the context of this artwork, explain the Acquisition of the Historical information. | May/September was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. | [] |
|
16008_T | May/September | Explore the Location about the Historical information of this artwork, May/September. | May/September is located on the south exterior wall of the Parking Garage located on the Sidney & Lois Eskenazi Hospital campus in Indianapolis, Indiana. | [
"Indiana",
"Indianapolis",
"Indianapolis, Indiana"
] |
|
16008_NT | May/September | Explore the Location about the Historical information of this artwork. | May/September is located on the south exterior wall of the Parking Garage located on the Sidney & Lois Eskenazi Hospital campus in Indianapolis, Indiana. | [
"Indiana",
"Indianapolis",
"Indianapolis, Indiana"
] |
|
16009_T | May/September | In the context of May/September, discuss the Awards of the Historical information. | May/September is a 2015 Public Art Network (PAN) Year in Review award recipient, the highest recognition for public art in the United States. Along with 30 other award recipients, May/September was chosen from more than 300 nationwide entries and was honored at the Americans for the Arts’ 2015 Annual Convention in Chicago. | [
"Americans for the Arts",
"United States"
] |
|
16009_NT | May/September | In the context of this artwork, discuss the Awards of the Historical information. | May/September is a 2015 Public Art Network (PAN) Year in Review award recipient, the highest recognition for public art in the United States. Along with 30 other award recipients, May/September was chosen from more than 300 nationwide entries and was honored at the Americans for the Arts’ 2015 Annual Convention in Chicago. | [
"Americans for the Arts",
"United States"
] |
|
16010_T | May/September | How does May/September elucidate its Artist? | Rob Ley attended University of Illinois at Urbana/Champaign, where he received his B.Arch, and earned his M.Arch. from the University of California, Los Angeles. Before founding Urbana Studio in 2002, he worked for public artist Cliff Garten, as a designer for Randall Stout Architects, and with Chicago’s MAK Architecture. Ley teaches fabrication and digital technologies undergraduate and graduate studios and seminars at the University of Southern California. He lives in Los Angeles. | [
"Los Angeles",
"Randall Stout",
"Rob Ley",
"University of California, Los Angeles",
"University of Southern California"
] |
|
16010_NT | May/September | How does this artwork elucidate its Artist? | Rob Ley attended University of Illinois at Urbana/Champaign, where he received his B.Arch, and earned his M.Arch. from the University of California, Los Angeles. Before founding Urbana Studio in 2002, he worked for public artist Cliff Garten, as a designer for Randall Stout Architects, and with Chicago’s MAK Architecture. Ley teaches fabrication and digital technologies undergraduate and graduate studios and seminars at the University of Southern California. He lives in Los Angeles. | [
"Los Angeles",
"Randall Stout",
"Rob Ley",
"University of California, Los Angeles",
"University of Southern California"
] |
|
16011_T | TV Man or Five Piece Cube with Strange Hole | Focus on TV Man or Five Piece Cube with Strange Hole and analyze the abstract. | TV Man or Five Piece Cube with Strange Hole is a 1993 mountain rose colored granite and steel sculpture by David Bakalar, installed on the Massachusetts Institute of Technology (MIT) campus, in Cambridge, Massachusetts, United States. The five abstract, organic elements of the sculpture reflect the influences of Constructivism and Surrealism on the artist's style. The geometric forms use negative space to help compose an anthropomorphic ensemble. | [
"granite",
"anthropomorphic",
"Massachusetts Institute of Technology",
"Surrealism",
"David Bakalar",
"negative space",
"Constructivism",
"Cambridge, Massachusetts"
] |
|
16011_NT | TV Man or Five Piece Cube with Strange Hole | Focus on this artwork and analyze the abstract. | TV Man or Five Piece Cube with Strange Hole is a 1993 mountain rose colored granite and steel sculpture by David Bakalar, installed on the Massachusetts Institute of Technology (MIT) campus, in Cambridge, Massachusetts, United States. The five abstract, organic elements of the sculpture reflect the influences of Constructivism and Surrealism on the artist's style. The geometric forms use negative space to help compose an anthropomorphic ensemble. | [
"granite",
"anthropomorphic",
"Massachusetts Institute of Technology",
"Surrealism",
"David Bakalar",
"negative space",
"Constructivism",
"Cambridge, Massachusetts"
] |
|
16012_T | Composition for "Jazz" | In Composition for "Jazz", how is the abstract discussed? | Composition for "Jazz", or Composition (For "Jazz"), is a 1915 painting by the French artist, theorist and writer Albert Gleizes. This Cubist work was reproduced in a photograph of Gleizes working on the painting in the Xeic York Herald, then published in The Literary Digest, 27 November 1915 (p. 1225). Composition for "Jazz" was purchased in 1938 by Solomon R. Guggenheim from Feragil Gallery, New York and forms part of the Solomon R. Guggenheim Founding Collection. The painting is in the permanent collection of the Solomon R. Guggenheim Museum in New York City. | [
"New York City",
"Solomon R. Guggenheim",
"Cubist",
"The Literary Digest",
"New York",
"Solomon R. Guggenheim Founding Collection",
"Albert Gleizes",
"Solomon R. Guggenheim Museum"
] |
|
16012_NT | Composition for "Jazz" | In this artwork, how is the abstract discussed? | Composition for "Jazz", or Composition (For "Jazz"), is a 1915 painting by the French artist, theorist and writer Albert Gleizes. This Cubist work was reproduced in a photograph of Gleizes working on the painting in the Xeic York Herald, then published in The Literary Digest, 27 November 1915 (p. 1225). Composition for "Jazz" was purchased in 1938 by Solomon R. Guggenheim from Feragil Gallery, New York and forms part of the Solomon R. Guggenheim Founding Collection. The painting is in the permanent collection of the Solomon R. Guggenheim Museum in New York City. | [
"New York City",
"Solomon R. Guggenheim",
"Cubist",
"The Literary Digest",
"New York",
"Solomon R. Guggenheim Founding Collection",
"Albert Gleizes",
"Solomon R. Guggenheim Museum"
] |
|
16013_T | Composition for "Jazz" | Focus on Composition for "Jazz" and explore the Description. | Composition for "Jazz" is a gouache on cardboard, mounted on Masonite measuring 73 × 73 cm (28 3/4 by 28 3/4 inches), inscribed to the lower right 'Albert Gleizes / 15, N.Y.'
A precursor to Crystal Cubism, Composition for "Jazz" consists of broad, overlapping planes of black, white and two primary colors, yellow and red, dynamically intersecting diagonal lines coupled with circular movements. Despite its highly abstract nature, two figures emerge, one in the 'foreground' and one towards the upper center of the composition. The principal figure, to the left, appears to be playing a banjo. The treatment of the paint is erratic, brushstrokes rapidly applied, almost expressionistic in placement. The composition is dynamic, not in time, but in spatial elements. Details such as the banjo strings and the hand strumming them are delicately yet nervously rendered. Facial features are reduced to mere lines crossing an arc-shaped head. The head of the musician on the left is poised vertiginously on top of a man's body, as if disconnected, balanced somehow in unstable equilibrium. The lines, arcs, colors, and brushstrokes are together juxtaposed seemingly at random, as if the entire composition was an improvised memory of a jazz performance. | [
"Crystal Cubism",
"Cubism",
"banjo",
"Albert Gleizes",
"abstract",
"gouache"
] |
|
16013_NT | Composition for "Jazz" | Focus on this artwork and explore the Description. | Composition for "Jazz" is a gouache on cardboard, mounted on Masonite measuring 73 × 73 cm (28 3/4 by 28 3/4 inches), inscribed to the lower right 'Albert Gleizes / 15, N.Y.'
A precursor to Crystal Cubism, Composition for "Jazz" consists of broad, overlapping planes of black, white and two primary colors, yellow and red, dynamically intersecting diagonal lines coupled with circular movements. Despite its highly abstract nature, two figures emerge, one in the 'foreground' and one towards the upper center of the composition. The principal figure, to the left, appears to be playing a banjo. The treatment of the paint is erratic, brushstrokes rapidly applied, almost expressionistic in placement. The composition is dynamic, not in time, but in spatial elements. Details such as the banjo strings and the hand strumming them are delicately yet nervously rendered. Facial features are reduced to mere lines crossing an arc-shaped head. The head of the musician on the left is poised vertiginously on top of a man's body, as if disconnected, balanced somehow in unstable equilibrium. The lines, arcs, colors, and brushstrokes are together juxtaposed seemingly at random, as if the entire composition was an improvised memory of a jazz performance. | [
"Crystal Cubism",
"Cubism",
"banjo",
"Albert Gleizes",
"abstract",
"gouache"
] |
|
16014_T | Composition for "Jazz" | Focus on Composition for "Jazz" and explain the Exhibitions. | New York City, Solomon R. Guggenheim Museum SRGM, 164-T, Albert Gleizes, no. 78, repr. p. 68; New York, 196; 202, p. 53, repr.
Portland, Origon, Solomon R. Guggenheim Museum (SRGM) 19-T (no cat.); New York, no. 78
Toronto, SRGM 85-T, no. 16
New York, SRGM 87; 89 (no cat.); 95, 129, 144
San Francisco Museum of Art, September 17–November 1, 1964, cat. no. 78
Champaigne, IL. Krannert Art Museum
The Columbus Gallery of Fine Art
City Art Museum of ST. Louis, IL.
Ottawa, Ontario, National Gallery of Canada
Buffalo, New York, Albright–Knox Art Gallery
Chicago, IL. Arts Club of Chicago | [
"Krannert Art Museum",
"New York City",
"City Art Museum of ST. Louis",
"Solomon R. Guggenheim",
"San Francisco Museum of Art",
"New York",
"Arts Club of Chicago",
"Albright–Knox Art Gallery",
"Albert Gleizes",
"Columbus Gallery of Fine Art",
"National Gallery of Canada",
"Solomon R. Guggenheim Museum"
] |
|
16014_NT | Composition for "Jazz" | Focus on this artwork and explain the Exhibitions. | New York City, Solomon R. Guggenheim Museum SRGM, 164-T, Albert Gleizes, no. 78, repr. p. 68; New York, 196; 202, p. 53, repr.
Portland, Origon, Solomon R. Guggenheim Museum (SRGM) 19-T (no cat.); New York, no. 78
Toronto, SRGM 85-T, no. 16
New York, SRGM 87; 89 (no cat.); 95, 129, 144
San Francisco Museum of Art, September 17–November 1, 1964, cat. no. 78
Champaigne, IL. Krannert Art Museum
The Columbus Gallery of Fine Art
City Art Museum of ST. Louis, IL.
Ottawa, Ontario, National Gallery of Canada
Buffalo, New York, Albright–Knox Art Gallery
Chicago, IL. Arts Club of Chicago | [
"Krannert Art Museum",
"New York City",
"City Art Museum of ST. Louis",
"Solomon R. Guggenheim",
"San Francisco Museum of Art",
"New York",
"Arts Club of Chicago",
"Albright–Knox Art Gallery",
"Albert Gleizes",
"Columbus Gallery of Fine Art",
"National Gallery of Canada",
"Solomon R. Guggenheim Museum"
] |
|
16015_T | Warlugulong | Focus on Warlugulong and discuss the abstract. | Warlugulong is a 1977 acrylic on canvas painting by Indigenous Australian artist Clifford Possum Tjapaltjarri. Owned for many years by the Commonwealth Bank of Australia, the work was sold by art dealer Hank Ebes on 24 July 2007, setting a record price for a contemporary Indigenous Australian art work bought at auction when it was purchased by the National Gallery of Australia for A$2.4 million. The painting illustrates the story of an ancestral being called Lungkata, together with eight other dreamings associated with localities about which Clifford Possum had traditional knowledge. It exemplifies a distinctive painting style developed by Papunya Tula artists in the 1970s, and blends representation of landscape with ceremonial iconography. Art critic Benjamin Genocchio describes it as "a work of real national significance [and] one of the most important 20th-century Australian paintings". | [
"Papunya",
"Benjamin Genocchio",
"dreamings",
"Clifford Possum Tjapaltjarri",
"Papunya Tula",
"iconography",
"Indigenous Australian",
"Commonwealth Bank",
"traditional knowledge",
"National Gallery of Australia",
"Indigenous",
"contemporary Indigenous Australian art",
"Commonwealth Bank of Australia",
"acrylic"
] |
|
16015_NT | Warlugulong | Focus on this artwork and discuss the abstract. | Warlugulong is a 1977 acrylic on canvas painting by Indigenous Australian artist Clifford Possum Tjapaltjarri. Owned for many years by the Commonwealth Bank of Australia, the work was sold by art dealer Hank Ebes on 24 July 2007, setting a record price for a contemporary Indigenous Australian art work bought at auction when it was purchased by the National Gallery of Australia for A$2.4 million. The painting illustrates the story of an ancestral being called Lungkata, together with eight other dreamings associated with localities about which Clifford Possum had traditional knowledge. It exemplifies a distinctive painting style developed by Papunya Tula artists in the 1970s, and blends representation of landscape with ceremonial iconography. Art critic Benjamin Genocchio describes it as "a work of real national significance [and] one of the most important 20th-century Australian paintings". | [
"Papunya",
"Benjamin Genocchio",
"dreamings",
"Clifford Possum Tjapaltjarri",
"Papunya Tula",
"iconography",
"Indigenous Australian",
"Commonwealth Bank",
"traditional knowledge",
"National Gallery of Australia",
"Indigenous",
"contemporary Indigenous Australian art",
"Commonwealth Bank of Australia",
"acrylic"
] |
|
16016_T | Warlugulong | How does Warlugulong elucidate its Background? | Contemporary Indigenous Australian art originated with the Indigenous men of Papunya, located around 240 kilometres (150 mi) northwest of Alice Springs in Australia's Western Desert, who began painting in 1971. The youngest was Clifford Possum Tjapaltjarri, encouraged by his older brother Tim Leura Tjapaltjarri. A number of the men developed a distinctive style of narrative painting that, beginning around 1976, resulted in the production of several "monumental" works that included representations of both their traditional lands and of ceremonial iconography. Clifford Possum was the first to make this transition commencing with a related painting, also titled Warlugulong (1976), now held by the Art Gallery of New South Wales. The two images are amongst five that the artist created between 1976 and 1979 that linked the iconography of sacred stories to geographic representation of his country – the land to which he belonged and about which he had traditional knowledge. The artist's images of this period are visually complex, and contain a wide variety of patterns, unified by strong background motifs and structure. | [
"Papunya",
"Clifford Possum Tjapaltjarri",
"Art Gallery of New South Wales",
"sacred stories",
"Contemporary Indigenous Australian art",
"iconography",
"Indigenous Australian",
"traditional knowledge",
"Indigenous",
"Alice Springs",
"Western Desert",
"traditional lands",
"Tim Leura Tjapaltjarri"
] |
|
16016_NT | Warlugulong | How does this artwork elucidate its Background? | Contemporary Indigenous Australian art originated with the Indigenous men of Papunya, located around 240 kilometres (150 mi) northwest of Alice Springs in Australia's Western Desert, who began painting in 1971. The youngest was Clifford Possum Tjapaltjarri, encouraged by his older brother Tim Leura Tjapaltjarri. A number of the men developed a distinctive style of narrative painting that, beginning around 1976, resulted in the production of several "monumental" works that included representations of both their traditional lands and of ceremonial iconography. Clifford Possum was the first to make this transition commencing with a related painting, also titled Warlugulong (1976), now held by the Art Gallery of New South Wales. The two images are amongst five that the artist created between 1976 and 1979 that linked the iconography of sacred stories to geographic representation of his country – the land to which he belonged and about which he had traditional knowledge. The artist's images of this period are visually complex, and contain a wide variety of patterns, unified by strong background motifs and structure. | [
"Papunya",
"Clifford Possum Tjapaltjarri",
"Art Gallery of New South Wales",
"sacred stories",
"Contemporary Indigenous Australian art",
"iconography",
"Indigenous Australian",
"traditional knowledge",
"Indigenous",
"Alice Springs",
"Western Desert",
"traditional lands",
"Tim Leura Tjapaltjarri"
] |
|
16017_T | Warlugulong | Focus on Warlugulong and analyze the The painting. | Created in synthetic polymer paint on canvas, and a substantial 2 by 3.3 metres (6.6 ft × 10.8 ft) in size, the work's title is taken from a location roughly 300 kilometres (190 mi) "northwest of Alice Springs associated with a powerful desert dreaming". Clifford Possum would often collaborate with other artists, particularly his brother Tim Leura, and the brothers together created the 1976 work of the same name. Art critic Benjamin Genocchio has referred to the 1977 work as also being by the brothers; however, the National Gallery of Australia credits it solely to Clifford Possum. Like the other four works of the period that are symbolic maps of the artist's country, the painting is accompanied by annotated diagrams of the images and notes that explain the dreamings that they include.
While the painting has been described as showing the story of an ancestral being called Lungkata starting the first bushfire, it portrays elements of nine distinct dreamings, of which Lungkata's tale is the central motif. Lungkata was the Bluetongue Lizard Man, an ancestral figure responsible for creating bushfire. The painting portrays the results of a fire, caused by Lungkata to punish his two sons who did not share with their father the kangaroo they had caught. The sons' skeletons are on the right hand side of the image, shown against a background representing smoke and ashes.Around this central motif are arranged elements of eight other stories, all of them represented at least in part by sets of footprints. Human footprints include a set left by dancing women from a place called Aileron; another shows a family group travelling to a place called Ngama, and a third trail is that of a Tjungurrayi man, which lead to his skeleton, representing his death after committing the crime of trying to steal sacred items. Animal representations include tracks of a cluster of emus from a place called Napperby, on the artist's country, as well as those left by the rock wallaby, or Mala, men journeying north from Port Augusta in South Australia, as well as, on the left hand edge of the picture, those of two groups of dingoes going to a place called Warrabri. A little closer to the centre of the painting are marks representing a dreaming called the Chase of the Goanna Men. Throughout the work, Upambura the Possum Man's footsteps follow the wandering lines that give the painting its overall structure.This work excludes elements of several dreamings associated with country further south, which had been included in the painting created by Clifford Possum and his brother a year earlier. The omission led scholar Vivien Johnson to conclude that Warlugulong (1977) portrays a narrower geographic area than the preceding work. The artist also modified some of the iconography, and limited the explanations of the painting, omitting secret-sacred dimensions of the stories to avoid offending other Indigenous men, and in recognition that most of the audience for the work would be uninitiated non-Indigenous people.Johnson's analysis of the painting emphasises the relationship between the representation of geographical sites in the Yuendumu region and the dreaming stories associated with those sites. She concludes that there is "a topographic rationale for the order in which the Dreamings appear from left to right (that is, east to west) across the painting [as well as for] the transverse Dreaming trails". However, beyond this general principle, she argues that the layout of symbols and images is influenced by the desire to present a symmetrical work. There is greater visual symmetry in this painting than in its 1976 predecessor; symmetry is a strong influence in the works of many of the early Western Desert artists, including Clifford Possum, Billy Stockman Tjapaltjarri and Kaapa Tjampitjinpa.Warlugulong (1977) is acclaimed as a landmark Indigenous painting; a great work by one of the country's foremost artists. Described as "epic" and "sprawling", Genocchio said of it that is "a work of real national significance [and] one of the most important 20th-century Australian paintings". The authors of the National Gallery of Australia's book, Collection Highlights, characterises the painting as the artist's most significant. Artist and curator Brenda L Croft agreed, considering it "an epic painting, encyclopaedic in both content and ambition" and "the artist's most significant work". The work and the price it achieved at auction in 2007 are cited as evidence of both the importance of Clifford Possum as an artist, and of the maturation and growth of the Australian Indigenous art market. | [
"Benjamin Genocchio",
"Bluetongue Lizard",
"dreamings",
"emu",
"iconography",
"Yuendumu",
"rock wallaby",
"National Gallery of Australia",
"Brenda L Croft",
"kangaroo",
"Warrabri",
"Indigenous",
"Alice Springs",
"Western Desert",
"synthetic polymer paint",
"Billy Stockman Tjapaltjarri",
"Vivien Johnson",
"bushfire",
"Port Augusta",
"dingo",
"Kaapa Tjampitjinpa"
] |
|
16017_NT | Warlugulong | Focus on this artwork and analyze the The painting. | Created in synthetic polymer paint on canvas, and a substantial 2 by 3.3 metres (6.6 ft × 10.8 ft) in size, the work's title is taken from a location roughly 300 kilometres (190 mi) "northwest of Alice Springs associated with a powerful desert dreaming". Clifford Possum would often collaborate with other artists, particularly his brother Tim Leura, and the brothers together created the 1976 work of the same name. Art critic Benjamin Genocchio has referred to the 1977 work as also being by the brothers; however, the National Gallery of Australia credits it solely to Clifford Possum. Like the other four works of the period that are symbolic maps of the artist's country, the painting is accompanied by annotated diagrams of the images and notes that explain the dreamings that they include.
While the painting has been described as showing the story of an ancestral being called Lungkata starting the first bushfire, it portrays elements of nine distinct dreamings, of which Lungkata's tale is the central motif. Lungkata was the Bluetongue Lizard Man, an ancestral figure responsible for creating bushfire. The painting portrays the results of a fire, caused by Lungkata to punish his two sons who did not share with their father the kangaroo they had caught. The sons' skeletons are on the right hand side of the image, shown against a background representing smoke and ashes.Around this central motif are arranged elements of eight other stories, all of them represented at least in part by sets of footprints. Human footprints include a set left by dancing women from a place called Aileron; another shows a family group travelling to a place called Ngama, and a third trail is that of a Tjungurrayi man, which lead to his skeleton, representing his death after committing the crime of trying to steal sacred items. Animal representations include tracks of a cluster of emus from a place called Napperby, on the artist's country, as well as those left by the rock wallaby, or Mala, men journeying north from Port Augusta in South Australia, as well as, on the left hand edge of the picture, those of two groups of dingoes going to a place called Warrabri. A little closer to the centre of the painting are marks representing a dreaming called the Chase of the Goanna Men. Throughout the work, Upambura the Possum Man's footsteps follow the wandering lines that give the painting its overall structure.This work excludes elements of several dreamings associated with country further south, which had been included in the painting created by Clifford Possum and his brother a year earlier. The omission led scholar Vivien Johnson to conclude that Warlugulong (1977) portrays a narrower geographic area than the preceding work. The artist also modified some of the iconography, and limited the explanations of the painting, omitting secret-sacred dimensions of the stories to avoid offending other Indigenous men, and in recognition that most of the audience for the work would be uninitiated non-Indigenous people.Johnson's analysis of the painting emphasises the relationship between the representation of geographical sites in the Yuendumu region and the dreaming stories associated with those sites. She concludes that there is "a topographic rationale for the order in which the Dreamings appear from left to right (that is, east to west) across the painting [as well as for] the transverse Dreaming trails". However, beyond this general principle, she argues that the layout of symbols and images is influenced by the desire to present a symmetrical work. There is greater visual symmetry in this painting than in its 1976 predecessor; symmetry is a strong influence in the works of many of the early Western Desert artists, including Clifford Possum, Billy Stockman Tjapaltjarri and Kaapa Tjampitjinpa.Warlugulong (1977) is acclaimed as a landmark Indigenous painting; a great work by one of the country's foremost artists. Described as "epic" and "sprawling", Genocchio said of it that is "a work of real national significance [and] one of the most important 20th-century Australian paintings". The authors of the National Gallery of Australia's book, Collection Highlights, characterises the painting as the artist's most significant. Artist and curator Brenda L Croft agreed, considering it "an epic painting, encyclopaedic in both content and ambition" and "the artist's most significant work". The work and the price it achieved at auction in 2007 are cited as evidence of both the importance of Clifford Possum as an artist, and of the maturation and growth of the Australian Indigenous art market. | [
"Benjamin Genocchio",
"Bluetongue Lizard",
"dreamings",
"emu",
"iconography",
"Yuendumu",
"rock wallaby",
"National Gallery of Australia",
"Brenda L Croft",
"kangaroo",
"Warrabri",
"Indigenous",
"Alice Springs",
"Western Desert",
"synthetic polymer paint",
"Billy Stockman Tjapaltjarri",
"Vivien Johnson",
"bushfire",
"Port Augusta",
"dingo",
"Kaapa Tjampitjinpa"
] |
|
16018_T | Warlugulong | In Warlugulong, how is the Sale history discussed? | Warlugulong was first exhibited at a show in Alice Springs, where it attracted crowds of interested viewers, but failed to sell. Realities Gallery in Melbourne then included the work in a major exhibition of Papunya Tula artworks. It was purchased for A$1,200 by the Commonwealth Bank, which hung it in a bank training centre cafeteria on the Mornington Peninsula. The bank sold it by auction in 1996. The auction house trading the work expected it to fetch around $5,000 and did not make a feature of it in the catalogue, but dealers including Hank Ebes, the successful bidder, recognised the painting's significance and it sold for $36,000 plus commission. After hanging in Ebes's living room for eleven years, it was auctioned in Melbourne by Sotheby's on 24 July 2007. It sold for $2.4 million, thoroughly eclipsing the previous record for an Indigenous Australian painting, set when Emily Kngwarreye's Earth's Creation was bought in May of the same year for just over $1 million. Warlugulong's buyer was the National Gallery of Australia, which purchased the work as part of its 25th Anniversary Gifts Program. The Gallery considers the painting to be possibly the most important in its collection of Indigenous Australian art. As of 2016, the work is on display in the National Gallery.When the Australian government in 2009 introduced a resale royalty scheme, the sale history of Warlugulong was frequently used to argue in favour of the scheme, designed to ensure that artists and their families continued to benefit from the appreciating value of old works. | [
"Papunya",
"resale royalty",
"Mornington Peninsula",
"Realities Gallery",
"Papunya Tula",
"Emily Kngwarreye",
"Indigenous Australian",
"Commonwealth Bank",
"National Gallery of Australia",
"Melbourne",
"Indigenous",
"Earth's Creation",
"Alice Springs",
"Sotheby's"
] |
|
16018_NT | Warlugulong | In this artwork, how is the Sale history discussed? | Warlugulong was first exhibited at a show in Alice Springs, where it attracted crowds of interested viewers, but failed to sell. Realities Gallery in Melbourne then included the work in a major exhibition of Papunya Tula artworks. It was purchased for A$1,200 by the Commonwealth Bank, which hung it in a bank training centre cafeteria on the Mornington Peninsula. The bank sold it by auction in 1996. The auction house trading the work expected it to fetch around $5,000 and did not make a feature of it in the catalogue, but dealers including Hank Ebes, the successful bidder, recognised the painting's significance and it sold for $36,000 plus commission. After hanging in Ebes's living room for eleven years, it was auctioned in Melbourne by Sotheby's on 24 July 2007. It sold for $2.4 million, thoroughly eclipsing the previous record for an Indigenous Australian painting, set when Emily Kngwarreye's Earth's Creation was bought in May of the same year for just over $1 million. Warlugulong's buyer was the National Gallery of Australia, which purchased the work as part of its 25th Anniversary Gifts Program. The Gallery considers the painting to be possibly the most important in its collection of Indigenous Australian art. As of 2016, the work is on display in the National Gallery.When the Australian government in 2009 introduced a resale royalty scheme, the sale history of Warlugulong was frequently used to argue in favour of the scheme, designed to ensure that artists and their families continued to benefit from the appreciating value of old works. | [
"Papunya",
"resale royalty",
"Mornington Peninsula",
"Realities Gallery",
"Papunya Tula",
"Emily Kngwarreye",
"Indigenous Australian",
"Commonwealth Bank",
"National Gallery of Australia",
"Melbourne",
"Indigenous",
"Earth's Creation",
"Alice Springs",
"Sotheby's"
] |
|
16019_T | Last Supper (Tintoretto) | Focus on Last Supper (Tintoretto) and explore the abstract. | The Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto. An oil painting on canvas executed in 1592–1594, it is housed in the Basilica di San Giorgio Maggiore in Venice, Italy. | [
"Last Supper",
"Jacopo Tintoretto",
"Basilica di San Giorgio Maggiore",
"Tintoretto",
"Italy",
"Venice"
] |
|
16019_NT | Last Supper (Tintoretto) | Focus on this artwork and explore the abstract. | The Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto. An oil painting on canvas executed in 1592–1594, it is housed in the Basilica di San Giorgio Maggiore in Venice, Italy. | [
"Last Supper",
"Jacopo Tintoretto",
"Basilica di San Giorgio Maggiore",
"Tintoretto",
"Italy",
"Venice"
] |
|
16020_T | Last Supper (Tintoretto) | Focus on Last Supper (Tintoretto) and explain the Overview. | Tintoretto depicted the Last Supper several times during his artistic career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) depict the scene from a frontal perspective, with the figures seated at a table placed parallel to the picture plane. This follows a convention observed in most paintings of the Last Supper, of which Leonardo da Vinci's late 1490s mural painting in Milan, Italy, is probably the best-known example.
Tintoretto's painting of 1592–1594, a work of his final years, departs drastically from this compositional formula. The centre of the scene is occupied not by the apostles but instead by secondary characters, such as a woman carrying a dish and the servants taking the dishes from the table. The table at which the apostles sit recedes into space on a steep diagonal. Furthermore, Tintoretto's painting features a more personal use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus' aureola. A host of angels hover above the scene.
Tintoretto's Last Supper makes use of Mannerist devices in its complex and radically asymmetrical composition. In its dynamism and emphasis on the quotidian—the setting is similar to a Venetian inn—the painting points the way to the Baroque. "The ability of this dramatic scene to engage viewers was well in keeping with Counter-Reformation ideals and the Catholic Church's belief in the didactic nature of religious art." | [
"Last Supper",
"Milan",
"Tintoretto",
"Baroque",
"Mannerist",
"Italy",
"angels",
"Leonardo da Vinci's late 1490s mural painting",
"aureola",
"Counter-Reformation"
] |
|
16020_NT | Last Supper (Tintoretto) | Focus on this artwork and explain the Overview. | Tintoretto depicted the Last Supper several times during his artistic career. His earlier paintings for the Chiesa di San Marcuola (1547) and for the Chiesa di San Felice (1559) depict the scene from a frontal perspective, with the figures seated at a table placed parallel to the picture plane. This follows a convention observed in most paintings of the Last Supper, of which Leonardo da Vinci's late 1490s mural painting in Milan, Italy, is probably the best-known example.
Tintoretto's painting of 1592–1594, a work of his final years, departs drastically from this compositional formula. The centre of the scene is occupied not by the apostles but instead by secondary characters, such as a woman carrying a dish and the servants taking the dishes from the table. The table at which the apostles sit recedes into space on a steep diagonal. Furthermore, Tintoretto's painting features a more personal use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus' aureola. A host of angels hover above the scene.
Tintoretto's Last Supper makes use of Mannerist devices in its complex and radically asymmetrical composition. In its dynamism and emphasis on the quotidian—the setting is similar to a Venetian inn—the painting points the way to the Baroque. "The ability of this dramatic scene to engage viewers was well in keeping with Counter-Reformation ideals and the Catholic Church's belief in the didactic nature of religious art." | [
"Last Supper",
"Milan",
"Tintoretto",
"Baroque",
"Mannerist",
"Italy",
"angels",
"Leonardo da Vinci's late 1490s mural painting",
"aureola",
"Counter-Reformation"
] |
|
16021_T | The Calling (di Suvero) | Explore the abstract of this artwork, The Calling (di Suvero). | The Calling is a public artwork by American artist Mark di Suvero located in O'Donnell Park, which is on the lakefront in Milwaukee, Wisconsin, United States. The artwork was made in 1981-82 from steel I-beams painted an orange-red color. It measures 40 feet in height, and it sits at the end of Wisconsin Avenue in front of the footbridge that leads to the Milwaukee Art Museum. | [
"American",
"Milwaukee Art Museum",
"steel",
"United States",
"Mark di Suvero",
"Wisconsin",
"Milwaukee",
"I-beam"
] |
|
16021_NT | The Calling (di Suvero) | Explore the abstract of this artwork. | The Calling is a public artwork by American artist Mark di Suvero located in O'Donnell Park, which is on the lakefront in Milwaukee, Wisconsin, United States. The artwork was made in 1981-82 from steel I-beams painted an orange-red color. It measures 40 feet in height, and it sits at the end of Wisconsin Avenue in front of the footbridge that leads to the Milwaukee Art Museum. | [
"American",
"Milwaukee Art Museum",
"steel",
"United States",
"Mark di Suvero",
"Wisconsin",
"Milwaukee",
"I-beam"
] |
|
16022_T | The Calling (di Suvero) | Focus on The Calling (di Suvero) and discuss the Description. | di Suvero's artwork was commissioned by an anonymous donor. It stands tall at 40 feet and is made from steel I-beams, which the artist painted an orange-red color. The sculpture resembles a rising sun, and is colloquially called the Sunburst. It currently sits in O'Donnell Park, next to the Milwaukee County War Memorial building and in front of the Milwaukee Art Museum. When the piece was first commissioned, the Milwaukee Art Museum did not extend to its present location. The sculpture's backdrop consisted of the bluff and Lake Michigan. With the rising sun behind it, The Calling truly captured di Suvero's intent. | [
"Milwaukee County War Memorial",
"Milwaukee Art Museum",
"steel",
"Lake Michigan",
"Milwaukee",
"I-beam"
] |
|
16022_NT | The Calling (di Suvero) | Focus on this artwork and discuss the Description. | di Suvero's artwork was commissioned by an anonymous donor. It stands tall at 40 feet and is made from steel I-beams, which the artist painted an orange-red color. The sculpture resembles a rising sun, and is colloquially called the Sunburst. It currently sits in O'Donnell Park, next to the Milwaukee County War Memorial building and in front of the Milwaukee Art Museum. When the piece was first commissioned, the Milwaukee Art Museum did not extend to its present location. The sculpture's backdrop consisted of the bluff and Lake Michigan. With the rising sun behind it, The Calling truly captured di Suvero's intent. | [
"Milwaukee County War Memorial",
"Milwaukee Art Museum",
"steel",
"Lake Michigan",
"Milwaukee",
"I-beam"
] |
|
16023_T | The Calling (di Suvero) | How does The Calling (di Suvero) elucidate its Information? | Milwaukee's downtown lakefront had been a transportation hub since the 19th century. In 1968 the lakefront's railroad passenger depot was torn down. The site was developed into a parking lot and an urban park. In 1980 the Milwaukee Department of City Development decided to place a sculpture in this new urban park, and asked the Milwaukee Art Museum to select an artist to make the piece. The Milwaukee Art Museum chose Mark di Suvero, while an anonymous donor offered to fund the sculpture. Di Suvero's design for The Calling dated back to 1975 when he did some drawings for Emily and Joseph Pulitzer, Jr. The sculpture was never built, but when the artist came to Milwaukee and visited the proposed site for his work, he knew that the strong verticals of The Calling were needed to complement the scale of the bluff and the lake.
Since its proposal, The Calling has been fraught with controversy. Community members and politicians have had a problem with the cost, the use of industrial materials, the abstract design, the placement, and the donor's anonymity. Local politicians delayed the building of the sculpture while they debated the sculpture's design, even though the museum owned it. "Gerald Norland, Director of the Art Museum, led the fight for approval throughout most of 1981, presenting its case to eleven separate hearings. Finally, the museum received a favorable vote in the Common Council in January 1982." Di Suvero proceeded to create the sculpture in his New York City studio. Once it was complete, he disassembled The Calling, shipped it to Milwaukee, and directed the reassembly of the piece. It was dedicated in April 1982.
A new controversy arose when the Milwaukee Art Museum's Santiago Calatrava-designed new wing opened in 2001. Dissenters advocated that The Calling be moved as it blocked their view of the new art museum. Di Suvero refused to move the sculpture, stating "If you don't want it, take it apart and ship it to me." When questioned whether the sculpture should be moved, Calatrava deferred to di Suvero. He told Milwaukee architecture columnist Whitney Gould several times that he had designed the museum addition to relate to the placement of "The Calling." The sculpture and its placement continue to be a point of contention between art critics and community members alike. | [
"New York City",
"Joseph Pulitzer, Jr.",
"Milwaukee Art Museum",
"Santiago Calatrava",
"Mark di Suvero",
"Milwaukee"
] |
|
16023_NT | The Calling (di Suvero) | How does this artwork elucidate its Information? | Milwaukee's downtown lakefront had been a transportation hub since the 19th century. In 1968 the lakefront's railroad passenger depot was torn down. The site was developed into a parking lot and an urban park. In 1980 the Milwaukee Department of City Development decided to place a sculpture in this new urban park, and asked the Milwaukee Art Museum to select an artist to make the piece. The Milwaukee Art Museum chose Mark di Suvero, while an anonymous donor offered to fund the sculpture. Di Suvero's design for The Calling dated back to 1975 when he did some drawings for Emily and Joseph Pulitzer, Jr. The sculpture was never built, but when the artist came to Milwaukee and visited the proposed site for his work, he knew that the strong verticals of The Calling were needed to complement the scale of the bluff and the lake.
Since its proposal, The Calling has been fraught with controversy. Community members and politicians have had a problem with the cost, the use of industrial materials, the abstract design, the placement, and the donor's anonymity. Local politicians delayed the building of the sculpture while they debated the sculpture's design, even though the museum owned it. "Gerald Norland, Director of the Art Museum, led the fight for approval throughout most of 1981, presenting its case to eleven separate hearings. Finally, the museum received a favorable vote in the Common Council in January 1982." Di Suvero proceeded to create the sculpture in his New York City studio. Once it was complete, he disassembled The Calling, shipped it to Milwaukee, and directed the reassembly of the piece. It was dedicated in April 1982.
A new controversy arose when the Milwaukee Art Museum's Santiago Calatrava-designed new wing opened in 2001. Dissenters advocated that The Calling be moved as it blocked their view of the new art museum. Di Suvero refused to move the sculpture, stating "If you don't want it, take it apart and ship it to me." When questioned whether the sculpture should be moved, Calatrava deferred to di Suvero. He told Milwaukee architecture columnist Whitney Gould several times that he had designed the museum addition to relate to the placement of "The Calling." The sculpture and its placement continue to be a point of contention between art critics and community members alike. | [
"New York City",
"Joseph Pulitzer, Jr.",
"Milwaukee Art Museum",
"Santiago Calatrava",
"Mark di Suvero",
"Milwaukee"
] |
|
16024_T | The Calling (di Suvero) | Focus on The Calling (di Suvero) and analyze the Other works. | John Raymond Henry, Clement Meadmore, Charles Ginnever, Lyman Kipp, Kenneth Snelson
Snowplow, 1968, Indianapolis Museum of Art, Indianapolis
Ulalu, 2001, Bayfront Arts and Science Park, Corpus Christi
Proverb, Morton H. Meyerson Symphony Hall, Dallas
Ad Astra, 2005, Northpark Center Mall, Dallas
Eviva Amore, 2001, Nasher Sculpture Center, Dallas
For F.B. Yeats, 1987, Nasher Sculpture Center, Dallas
In the Bushes, 1975, Nasher Sculpture Center, Dallas
Ave, 1973, Dallas Museum of Art, Dallas
Bygones, 1976, Menil Collection, Houston
Clock Knot, 2008, University of Texas, Austin | [
"Clement Meadmore",
"Charles Ginnever",
"Clock Knot",
"Lyman Kipp",
"Snowplow",
"Indianapolis Museum of Art",
"Kenneth Snelson",
"John Raymond Henry"
] |
|
16024_NT | The Calling (di Suvero) | Focus on this artwork and analyze the Other works. | John Raymond Henry, Clement Meadmore, Charles Ginnever, Lyman Kipp, Kenneth Snelson
Snowplow, 1968, Indianapolis Museum of Art, Indianapolis
Ulalu, 2001, Bayfront Arts and Science Park, Corpus Christi
Proverb, Morton H. Meyerson Symphony Hall, Dallas
Ad Astra, 2005, Northpark Center Mall, Dallas
Eviva Amore, 2001, Nasher Sculpture Center, Dallas
For F.B. Yeats, 1987, Nasher Sculpture Center, Dallas
In the Bushes, 1975, Nasher Sculpture Center, Dallas
Ave, 1973, Dallas Museum of Art, Dallas
Bygones, 1976, Menil Collection, Houston
Clock Knot, 2008, University of Texas, Austin | [
"Clement Meadmore",
"Charles Ginnever",
"Clock Knot",
"Lyman Kipp",
"Snowplow",
"Indianapolis Museum of Art",
"Kenneth Snelson",
"John Raymond Henry"
] |
|
16025_T | Statue of Oscar De La Hoya | In Statue of Oscar De La Hoya, how is the abstract discussed? | A statue of Oscar De La Hoya by Erik Blome is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The bronze sculpture was unveiled in 2008. De La Hoya was born in East Los Angeles and was known as "The Golden Boy of boxing". | [
"bronze sculpture",
"Oscar De La Hoya",
"East Los Angeles",
"Los Angeles",
"Crypto.com Arena"
] |
|
16025_NT | Statue of Oscar De La Hoya | In this artwork, how is the abstract discussed? | A statue of Oscar De La Hoya by Erik Blome is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The bronze sculpture was unveiled in 2008. De La Hoya was born in East Los Angeles and was known as "The Golden Boy of boxing". | [
"bronze sculpture",
"Oscar De La Hoya",
"East Los Angeles",
"Los Angeles",
"Crypto.com Arena"
] |
|
16026_T | Mr and Mrs William Hallett | Focus on Mr and Mrs William Hallett and explore the Background. | Gainsborough painted the work in the summer of 1785, when the subjects, William Hallett (1764–1842) and Elizabeth Stephen (1763/4-1833) were both aged 21, shortly before their wedding at the church of St Lawrence in Little Stanmore on 30 July 1785. Gainsborough was commissioned by Hallett, and paid 120 guineas (£126).
Hallett was the grandson of a successful cabinetmaker, also named William Hallett, and inherited his estate at Canons Park in Middlesex. Stephen was an heiress, inheriting nearly £20,000 from her father, a surgeon, who had died before the marriage. The couple never lived at Canons Park: by 1788, Hallett had let Canons and had bought the estate of Little Wittenham in Berkshire, but they resided at Faringdon House in Oxfordshire for almost 20 years. Hallett was a gambler, lost money in business transactions, and worked his way through his fortune by 1830, although the marriage was reportedly a happy one. They were married for almost 48 years, with two sons and four daughters. Hallett remarried after Elizabeth's death in 1833.
After his death in 1842, William was buried next to Elizabeth in the churchyard of the church where they had been married decades before. | [
"Faringdon House",
"church of St Lawrence",
"Little Stanmore",
"Little Wittenham",
"Canons Park"
] |
|
16026_NT | Mr and Mrs William Hallett | Focus on this artwork and explore the Background. | Gainsborough painted the work in the summer of 1785, when the subjects, William Hallett (1764–1842) and Elizabeth Stephen (1763/4-1833) were both aged 21, shortly before their wedding at the church of St Lawrence in Little Stanmore on 30 July 1785. Gainsborough was commissioned by Hallett, and paid 120 guineas (£126).
Hallett was the grandson of a successful cabinetmaker, also named William Hallett, and inherited his estate at Canons Park in Middlesex. Stephen was an heiress, inheriting nearly £20,000 from her father, a surgeon, who had died before the marriage. The couple never lived at Canons Park: by 1788, Hallett had let Canons and had bought the estate of Little Wittenham in Berkshire, but they resided at Faringdon House in Oxfordshire for almost 20 years. Hallett was a gambler, lost money in business transactions, and worked his way through his fortune by 1830, although the marriage was reportedly a happy one. They were married for almost 48 years, with two sons and four daughters. Hallett remarried after Elizabeth's death in 1833.
After his death in 1842, William was buried next to Elizabeth in the churchyard of the church where they had been married decades before. | [
"Faringdon House",
"church of St Lawrence",
"Little Stanmore",
"Little Wittenham",
"Canons Park"
] |
|
16027_T | Mr and Mrs William Hallett | Focus on Mr and Mrs William Hallett and explain the Description. | The couple are captured with the typical feathery brushwork of Gainsborough's late career, walking arm in arm along a path through some woods, accompanied by a Pomeranian sheepdog (then commonly known from its head shape as a "fox dog", more closely related to the German Spitz or the Samoyed dog than the much smaller modern Pomeranian dog) . The couple may be wearing their wedding clothes, with Elizabeth in a gown of billowing ivory silk with lace cuffs, gathered at the waist with black silk, with a green ribbon tied at the breast echoed by the large green bow tied around a wide-brimmed black hat topped by ostrich plumes. William is wearing a black velvet frock coat, with large gold buttons and a green and yellow waistcoat; black breeches, white stockings, and buckled shoes; and carrying a plain black hat. | [
"German Spitz",
"Pomeranian dog",
"frock coat",
"Samoyed dog"
] |
|
16027_NT | Mr and Mrs William Hallett | Focus on this artwork and explain the Description. | The couple are captured with the typical feathery brushwork of Gainsborough's late career, walking arm in arm along a path through some woods, accompanied by a Pomeranian sheepdog (then commonly known from its head shape as a "fox dog", more closely related to the German Spitz or the Samoyed dog than the much smaller modern Pomeranian dog) . The couple may be wearing their wedding clothes, with Elizabeth in a gown of billowing ivory silk with lace cuffs, gathered at the waist with black silk, with a green ribbon tied at the breast echoed by the large green bow tied around a wide-brimmed black hat topped by ostrich plumes. William is wearing a black velvet frock coat, with large gold buttons and a green and yellow waistcoat; black breeches, white stockings, and buckled shoes; and carrying a plain black hat. | [
"German Spitz",
"Pomeranian dog",
"frock coat",
"Samoyed dog"
] |
|
16028_T | Mr and Mrs William Hallett | Explore the Influence of this artwork, Mr and Mrs William Hallett. | Gainsborough's composition was the inspiration for George Romney's portrait of Sir Christopher and Lady Sykes, known as The Evening Walk, still at the Sykes family's house, Sledmere House. | [
"Sir Christopher",
"Sledmere House",
"George Romney"
] |
|
16028_NT | Mr and Mrs William Hallett | Explore the Influence of this artwork. | Gainsborough's composition was the inspiration for George Romney's portrait of Sir Christopher and Lady Sykes, known as The Evening Walk, still at the Sykes family's house, Sledmere House. | [
"Sir Christopher",
"Sledmere House",
"George Romney"
] |
|
16029_T | The Kitchen Maid (Rembrandt) | Focus on The Kitchen Maid (Rembrandt) and discuss the abstract. | The Kitchen Maid (1651) is an oil-on-canvas painting by the Dutch painter Rembrandt. It is an example of Dutch Golden Age painting and is now in the collection of the Nationalmuseum in Stockholm, Sweden.This painting was documented by Hofstede de Groot in 1915, who wrote:330. A YOUNG GIRL AT A WINDOW, IN FULL FACE. Sm. 506.; Bode 365; Dut. 315; Wb. 440; B.-HdG. 397. She leans her right arm on the window-sill and rests her head on her left hand. She wears a dull red jacket. Her dark hair is combed back into a small golden-yellow cap. The loose chemisette is slightly open at the throat, showing a string of pearls and a little black ribbon hanging down on the bosom. Dark background; the figure is lighted from above to the left. Half-length, life size. Formerly known as "La Crasseuse." Signed in the centre at foot, "Rembrandt f. 1651"; canvas, 31 inches by 25 inches. Etched by L. Loewenstam. Mentioned by Bode, pp. 504, 606; by Dutuit, p. 40; by Michel, pp. 394, 568 [304-5,442]; by Roger de Piles, 1715 edition, p. 423; by Granberg, Inventaire Génerale, iii. No. 297. In the collection of Roger de Piles, Paris. In the collection of Duvivier, Paris. In the collection of the Comte d'Hoym, Paris. In the collection of De Morville, Paris. Sales. Angran de Fonspertuis, Paris, March 4, 1748, No. 435 (2001 francs, with 203, "Flora," Blondel de Gagny). Blondel de Gagny, Paris, December 10, 1776, No. 70 (6000 francs); it was then rounded at top and measured only 32 inches in height. Duc de Lavalliere, Paris, February 21, 1781 (5500 francs, with pendant, 467/7); see C. Blanc, ii. 43. In the collection of Gustavus III., King of Sweden. In the Stockholm National Museum, 1900 catalogue, No. 584.
Other "Kitchen Maid" paintings by Rembrandt or his school are: | [
"Stockholm",
"Roger de Piles",
"Hofstede de Groot",
"Dutch",
"Bode",
"oil",
"Nationalmuseum",
"Michel",
"Rembrandt",
"Dutch Golden Age painting",
"Dutuit",
"Blondel de Gagny",
"Gustavus III., King of Sweden",
"Sm. 506.",
"Wb. 440"
] |
|
16029_NT | The Kitchen Maid (Rembrandt) | Focus on this artwork and discuss the abstract. | The Kitchen Maid (1651) is an oil-on-canvas painting by the Dutch painter Rembrandt. It is an example of Dutch Golden Age painting and is now in the collection of the Nationalmuseum in Stockholm, Sweden.This painting was documented by Hofstede de Groot in 1915, who wrote:330. A YOUNG GIRL AT A WINDOW, IN FULL FACE. Sm. 506.; Bode 365; Dut. 315; Wb. 440; B.-HdG. 397. She leans her right arm on the window-sill and rests her head on her left hand. She wears a dull red jacket. Her dark hair is combed back into a small golden-yellow cap. The loose chemisette is slightly open at the throat, showing a string of pearls and a little black ribbon hanging down on the bosom. Dark background; the figure is lighted from above to the left. Half-length, life size. Formerly known as "La Crasseuse." Signed in the centre at foot, "Rembrandt f. 1651"; canvas, 31 inches by 25 inches. Etched by L. Loewenstam. Mentioned by Bode, pp. 504, 606; by Dutuit, p. 40; by Michel, pp. 394, 568 [304-5,442]; by Roger de Piles, 1715 edition, p. 423; by Granberg, Inventaire Génerale, iii. No. 297. In the collection of Roger de Piles, Paris. In the collection of Duvivier, Paris. In the collection of the Comte d'Hoym, Paris. In the collection of De Morville, Paris. Sales. Angran de Fonspertuis, Paris, March 4, 1748, No. 435 (2001 francs, with 203, "Flora," Blondel de Gagny). Blondel de Gagny, Paris, December 10, 1776, No. 70 (6000 francs); it was then rounded at top and measured only 32 inches in height. Duc de Lavalliere, Paris, February 21, 1781 (5500 francs, with pendant, 467/7); see C. Blanc, ii. 43. In the collection of Gustavus III., King of Sweden. In the Stockholm National Museum, 1900 catalogue, No. 584.
Other "Kitchen Maid" paintings by Rembrandt or his school are: | [
"Stockholm",
"Roger de Piles",
"Hofstede de Groot",
"Dutch",
"Bode",
"oil",
"Nationalmuseum",
"Michel",
"Rembrandt",
"Dutch Golden Age painting",
"Dutuit",
"Blondel de Gagny",
"Gustavus III., King of Sweden",
"Sm. 506.",
"Wb. 440"
] |
|
16030_T | Last Supper (Perugino) | How does Last Supper (Perugino) elucidate its abstract? | The Last Supper (1493–1496) is a fresco by the Italian Renaissance painter Pietro Perugino, located in the refectory, now museum, of the former Convent of Fuligno located on Via Faenza #42 in Florence, region of Tuscany, Italy.The fresco depicts Jesus and the Apostles during the Last Supper, with Judas sitting separately on the near side of the table, as is common in depictions of the Last Supper in Christian art. It is considered one of Perugino's best works. As in some other cases, Perugino reused the details of the delicate figures here in other works, drawing later complaints from Giorgio Vasari.The convent of Fuligno originally had housed Clarissan nuns since 1419. Later it became a convent for noble Florentine girls, and received the patronage of Lorenzo de' Medici and the Lapaccini family. Pietro Perugino, who by 1493 had settled mainly in Florence started to paint there. The fresco was "discovered" and open to the public in the 19th century. It was originally attributed to Raphael, who was a pupil of Perugino later, and whose early style is very similar to his, but it was eventually realized that it was a work by Perugino. | [
"Last Supper in Christian art",
"Giorgio Vasari",
"Last Supper",
"Pietro Perugino",
"Florence",
"Perugino",
"Raphael",
"Tuscany",
"fresco",
"Lorenzo de' Medici",
"Italian Renaissance"
] |
|
16030_NT | Last Supper (Perugino) | How does this artwork elucidate its abstract? | The Last Supper (1493–1496) is a fresco by the Italian Renaissance painter Pietro Perugino, located in the refectory, now museum, of the former Convent of Fuligno located on Via Faenza #42 in Florence, region of Tuscany, Italy.The fresco depicts Jesus and the Apostles during the Last Supper, with Judas sitting separately on the near side of the table, as is common in depictions of the Last Supper in Christian art. It is considered one of Perugino's best works. As in some other cases, Perugino reused the details of the delicate figures here in other works, drawing later complaints from Giorgio Vasari.The convent of Fuligno originally had housed Clarissan nuns since 1419. Later it became a convent for noble Florentine girls, and received the patronage of Lorenzo de' Medici and the Lapaccini family. Pietro Perugino, who by 1493 had settled mainly in Florence started to paint there. The fresco was "discovered" and open to the public in the 19th century. It was originally attributed to Raphael, who was a pupil of Perugino later, and whose early style is very similar to his, but it was eventually realized that it was a work by Perugino. | [
"Last Supper in Christian art",
"Giorgio Vasari",
"Last Supper",
"Pietro Perugino",
"Florence",
"Perugino",
"Raphael",
"Tuscany",
"fresco",
"Lorenzo de' Medici",
"Italian Renaissance"
] |
|
16031_T | Electrum (sculpture) | Focus on Electrum (sculpture) and analyze the abstract. | Electrum or Electrum (for Len Lye) (Len Lye being a New Zealand artist), is a 1998 sculpture by Eric Orr and Greg Leyh built around the world's largest Tesla coil. The coil stands 11.5 meters (37 feet) in height, operates at power levels up to 130,000 watts, and produces 3 million volts on its spherical top terminal. The sculpture is currently installed in a private area at Gibbs Farm in Kaukapakapa in New Zealand, a sculpture park art collection of businessman Alan Gibbs. The top, spherical electrode of the sculpture is large enough to hold a human. The piece was the subject of a 2000 documentary, "Electrum: Science as Art" and the 2011 documentary Lightning Dreams, by Alberta Chu. | [
"Alan Gibbs",
"Eric Orr",
"Gibbs Farm",
"New Zealand",
"Len Lye",
"Tesla coil"
] |
|
16031_NT | Electrum (sculpture) | Focus on this artwork and analyze the abstract. | Electrum or Electrum (for Len Lye) (Len Lye being a New Zealand artist), is a 1998 sculpture by Eric Orr and Greg Leyh built around the world's largest Tesla coil. The coil stands 11.5 meters (37 feet) in height, operates at power levels up to 130,000 watts, and produces 3 million volts on its spherical top terminal. The sculpture is currently installed in a private area at Gibbs Farm in Kaukapakapa in New Zealand, a sculpture park art collection of businessman Alan Gibbs. The top, spherical electrode of the sculpture is large enough to hold a human. The piece was the subject of a 2000 documentary, "Electrum: Science as Art" and the 2011 documentary Lightning Dreams, by Alberta Chu. | [
"Alan Gibbs",
"Eric Orr",
"Gibbs Farm",
"New Zealand",
"Len Lye",
"Tesla coil"
] |
|
16032_T | Haniwa Terracotta Dancers | In Haniwa Terracotta Dancers, how is the abstract discussed? | The Haniwa Terracotta Dancers (埴輪 踊る人々, haniwa odoru hitobito, haniwa dancing people) are a pair of human-shaped terracotta burial figures - haniwa - one smaller than the other, in the collection of the Tokyo National Museum. Their gestures with their arms have led them to be given the epithet of 'Dancers'. | [
"haniwa",
"Haniwa",
"Tokyo National Museum"
] |
|
16032_NT | Haniwa Terracotta Dancers | In this artwork, how is the abstract discussed? | The Haniwa Terracotta Dancers (埴輪 踊る人々, haniwa odoru hitobito, haniwa dancing people) are a pair of human-shaped terracotta burial figures - haniwa - one smaller than the other, in the collection of the Tokyo National Museum. Their gestures with their arms have led them to be given the epithet of 'Dancers'. | [
"haniwa",
"Haniwa",
"Tokyo National Museum"
] |
|
16033_T | Haniwa Terracotta Dancers | Focus on Haniwa Terracotta Dancers and explore the Overview. | The Haniwa Terracotta Dancers were excavated on March 21, 1930, from the Nohara Tumulus. The tumulus is located in the Nohara Burial Mounds (野原古墳群, nohara kofun-gun) of Ohara Village, Ōsato County in the Saitama Prefecture. (Ohara Village was renamed to Kōnan Town and is now known as Ōaza Nohara Aza Miyawaki, Kumagaya City).The sculptures are well known among the haniwa from the Kofun-period (250-538 CE) for their simplistic design, unique facial expressions and implied dancing gestures. However, in recent scholarly discussions, the theory that they are not dancing figures but horse keepers holding a rein and pulling a horse has become more prevalent. | [
"haniwa",
"Kofun-period",
"Tumulus",
"Haniwa"
] |
|
16033_NT | Haniwa Terracotta Dancers | Focus on this artwork and explore the Overview. | The Haniwa Terracotta Dancers were excavated on March 21, 1930, from the Nohara Tumulus. The tumulus is located in the Nohara Burial Mounds (野原古墳群, nohara kofun-gun) of Ohara Village, Ōsato County in the Saitama Prefecture. (Ohara Village was renamed to Kōnan Town and is now known as Ōaza Nohara Aza Miyawaki, Kumagaya City).The sculptures are well known among the haniwa from the Kofun-period (250-538 CE) for their simplistic design, unique facial expressions and implied dancing gestures. However, in recent scholarly discussions, the theory that they are not dancing figures but horse keepers holding a rein and pulling a horse has become more prevalent. | [
"haniwa",
"Kofun-period",
"Tumulus",
"Haniwa"
] |
|
16034_T | Haniwa Terracotta Dancers | Focus on Haniwa Terracotta Dancers and explain the Recent re-interpretation. | Archaeologist Shuichi Goto identified these two figures as dancing people in 1931. In his paper “The Significance of Haniwa”, Goto classified haniwa according to their clothing, equipment, and posture and analyzed the occupational characteristics of each haniwa. Goto discovered a group of music-playing haniwa exemplified by “A Boy Playing the Koto” and “A Boy Playing the Taiko Drum” excavated from the Kamitakeshi (Gōshi) Tenjinyama Tumulus in Isezaki City, Gunma Prefecture. The two figures excavated from the Nohara burial mound were cited as examples of the corresponding dancing figures and thus were designated as the “Dancing Man and Woman.”However, since the 1990s, doubts have been raised about the validity of these classification methods. For example, in the case of Dancing Haniwa, Goto regarded the act of raising one arm as dancing in comparison with other haniwa playing instruments, but this is made without concrete evidence. Yoshimichi Tsukada claims that it is more reasonable to consider the Dancing Haniwa to be horse herders because their characteristic attributes such as “raising one arm,” “equipped with a sickle on the waist band,” “represented only from waist and above,” and “having a hairstyle apportioned on both sides of the head” are elements widely shared with horse keeper haniwa, which depict horse pulling with one arm raised and holding a rein. Furthermore, haniwa often depict breasts to distinguish women, which the larger figure of the Dancing Haniwa does not have. Therefore, Tsukada argues that both figures should be considered to be male herders, rejecting the earlier interpretation of these haniwa as dancers. | [
"haniwa",
"Isezaki",
"Tumulus",
"Haniwa"
] |
|
16034_NT | Haniwa Terracotta Dancers | Focus on this artwork and explain the Recent re-interpretation. | Archaeologist Shuichi Goto identified these two figures as dancing people in 1931. In his paper “The Significance of Haniwa”, Goto classified haniwa according to their clothing, equipment, and posture and analyzed the occupational characteristics of each haniwa. Goto discovered a group of music-playing haniwa exemplified by “A Boy Playing the Koto” and “A Boy Playing the Taiko Drum” excavated from the Kamitakeshi (Gōshi) Tenjinyama Tumulus in Isezaki City, Gunma Prefecture. The two figures excavated from the Nohara burial mound were cited as examples of the corresponding dancing figures and thus were designated as the “Dancing Man and Woman.”However, since the 1990s, doubts have been raised about the validity of these classification methods. For example, in the case of Dancing Haniwa, Goto regarded the act of raising one arm as dancing in comparison with other haniwa playing instruments, but this is made without concrete evidence. Yoshimichi Tsukada claims that it is more reasonable to consider the Dancing Haniwa to be horse herders because their characteristic attributes such as “raising one arm,” “equipped with a sickle on the waist band,” “represented only from waist and above,” and “having a hairstyle apportioned on both sides of the head” are elements widely shared with horse keeper haniwa, which depict horse pulling with one arm raised and holding a rein. Furthermore, haniwa often depict breasts to distinguish women, which the larger figure of the Dancing Haniwa does not have. Therefore, Tsukada argues that both figures should be considered to be male herders, rejecting the earlier interpretation of these haniwa as dancers. | [
"haniwa",
"Isezaki",
"Tumulus",
"Haniwa"
] |
|
16035_T | The Balcony Room | Explore the abstract of this artwork, The Balcony Room. | The Balcony Room is an oil-on-canvas painting by the German artist Adolph Menzel, executed in 1845. It is one of the main works of his early period and one of his most famous paintings. It has belonged to the collection of the Alte Nationalgalerie in Berlin, since 1903. | [
"Adolph Menzel",
"Alte Nationalgalerie",
"Berlin"
] |
|
16035_NT | The Balcony Room | Explore the abstract of this artwork. | The Balcony Room is an oil-on-canvas painting by the German artist Adolph Menzel, executed in 1845. It is one of the main works of his early period and one of his most famous paintings. It has belonged to the collection of the Alte Nationalgalerie in Berlin, since 1903. | [
"Adolph Menzel",
"Alte Nationalgalerie",
"Berlin"
] |
|
16036_T | The Balcony Room | Focus on The Balcony Room and discuss the History. | Menzel painted numerous paintings of interior views until 1848. This room belonged to the Menzel family's apartment on Schöneberger Strasse, at the time on the south-eastern outskirts of Berlin, where the artist lived with his mother and siblings. During this time he also made the illustrations for the multi-volume history of Frederick the Great by Franz Theodor Kugler (until 1842), which marked his artistic breakthrough. In Kugler's work, Menzel had already used the motif of a door letting light through in chapter 42. It is a woodcut of the round library in Sanssouci Palace, which shows the windows that reach down to the floor flooded with light. In addition to the picture from this apartment, Menzel made other pictures of the apartments in Ritterstrasse and Marienstraße. | [
"Franz Theodor Kugler",
"Frederick the Great",
"Berlin"
] |
|
16036_NT | The Balcony Room | Focus on this artwork and discuss the History. | Menzel painted numerous paintings of interior views until 1848. This room belonged to the Menzel family's apartment on Schöneberger Strasse, at the time on the south-eastern outskirts of Berlin, where the artist lived with his mother and siblings. During this time he also made the illustrations for the multi-volume history of Frederick the Great by Franz Theodor Kugler (until 1842), which marked his artistic breakthrough. In Kugler's work, Menzel had already used the motif of a door letting light through in chapter 42. It is a woodcut of the round library in Sanssouci Palace, which shows the windows that reach down to the floor flooded with light. In addition to the picture from this apartment, Menzel made other pictures of the apartments in Ritterstrasse and Marienstraße. | [
"Franz Theodor Kugler",
"Frederick the Great",
"Berlin"
] |
|
16037_T | The Balcony Room | How does The Balcony Room elucidate its Description? | The painting has the dimensions 58 by 47 cm and is executed using the painting technique of oil on canvas. Menzel's signature is on the lower right: AM / 45. The art dealer R. Wagner bought it from the artist in Berlin. In January 1903, two years before Menzel's death, Hugo von Tschudi acquired the picture as director of the Nationalgalerie. Since then it has had the inventory number AI 744.
The picture creates the atmosphere of a bourgeois apartment on a summer afternoon. The cool comfort of the room contrasts with the heat outside. The room is noticeably sparsely furnished or cleared out and is flooded with sunlight that penetrates through a white curtain. The curtain is slightly puffed, which suggests a weak gust of wind. In its emptiness, the room looks almost dull. It has just a few everyday pieces of furniture: a mirror, two arbitrarily placed chairs facing each other, a modest carpet and a dimly indicated sofa on the left edge of the painting, which appears more clearly in the mirror, are there. The room appears uncomfortable completely in contrast to the usual room paintings of the Biedermeier period that convey comfort, prosperity and a sense of style. It is deserted, carelessly furnished and unspectacularly usual. Nothing is staged or told here. In Menzel's representationally empty picture, the restrained colors alone appear independent, atmospherically fresh and lively. In particular, the incidence of light through the open balcony door gives the picture its enigmatic charm. The light illuminates the polished wooden floor and the wall mirror, which half reflects an indefinable gold-framed picture in the invisible area of the room above the sofa.
The wall, which takes up the entire left half of the picture, has a surface in a lighter color scheme with a recognizable structure of the paint application. Viewers asked themselves whether the picture was possibly unfinished there, whether it is a reflection of light or whether a new coat of paint on the wall has been interrupted. However, according to the art historian Claude Keisch, the composition of the left half of the picture with its shadowy sofa does not allow any “plasticity”. | [
"Biedermeier",
"Berlin"
] |
|
16037_NT | The Balcony Room | How does this artwork elucidate its Description? | The painting has the dimensions 58 by 47 cm and is executed using the painting technique of oil on canvas. Menzel's signature is on the lower right: AM / 45. The art dealer R. Wagner bought it from the artist in Berlin. In January 1903, two years before Menzel's death, Hugo von Tschudi acquired the picture as director of the Nationalgalerie. Since then it has had the inventory number AI 744.
The picture creates the atmosphere of a bourgeois apartment on a summer afternoon. The cool comfort of the room contrasts with the heat outside. The room is noticeably sparsely furnished or cleared out and is flooded with sunlight that penetrates through a white curtain. The curtain is slightly puffed, which suggests a weak gust of wind. In its emptiness, the room looks almost dull. It has just a few everyday pieces of furniture: a mirror, two arbitrarily placed chairs facing each other, a modest carpet and a dimly indicated sofa on the left edge of the painting, which appears more clearly in the mirror, are there. The room appears uncomfortable completely in contrast to the usual room paintings of the Biedermeier period that convey comfort, prosperity and a sense of style. It is deserted, carelessly furnished and unspectacularly usual. Nothing is staged or told here. In Menzel's representationally empty picture, the restrained colors alone appear independent, atmospherically fresh and lively. In particular, the incidence of light through the open balcony door gives the picture its enigmatic charm. The light illuminates the polished wooden floor and the wall mirror, which half reflects an indefinable gold-framed picture in the invisible area of the room above the sofa.
The wall, which takes up the entire left half of the picture, has a surface in a lighter color scheme with a recognizable structure of the paint application. Viewers asked themselves whether the picture was possibly unfinished there, whether it is a reflection of light or whether a new coat of paint on the wall has been interrupted. However, according to the art historian Claude Keisch, the composition of the left half of the picture with its shadowy sofa does not allow any “plasticity”. | [
"Biedermeier",
"Berlin"
] |
|
16038_T | The Balcony Room | Focus on The Balcony Room and analyze the Reception. | Art historian Lucius Grisebach believes the painting is unfinished, even though it is signed, and believes it is one of his private studies that were not intended for the public. The painting is to be understood as a kind of exercise in the use of light for his later official paintings, such as Frederick the Great Playing the Flute at Sanssouci (1852). These studies only became known in the last years of Menzel's life. Menzel's private painting aimed to capture an attractive situation with painterly means. In the private sphere, he anticipated what the French Impressionists but also Max Liebermann, only later publicly represented.
On 14 June 2012 the painting was issued for the stamp series “German Painting” as a 260 cents postage stamp named "Adolph Menzel-The Balcony Room". | [
"Max Liebermann",
"Frederick the Great Playing the Flute at Sanssouci",
"Adolph Menzel",
"Frederick the Great"
] |
|
16038_NT | The Balcony Room | Focus on this artwork and analyze the Reception. | Art historian Lucius Grisebach believes the painting is unfinished, even though it is signed, and believes it is one of his private studies that were not intended for the public. The painting is to be understood as a kind of exercise in the use of light for his later official paintings, such as Frederick the Great Playing the Flute at Sanssouci (1852). These studies only became known in the last years of Menzel's life. Menzel's private painting aimed to capture an attractive situation with painterly means. In the private sphere, he anticipated what the French Impressionists but also Max Liebermann, only later publicly represented.
On 14 June 2012 the painting was issued for the stamp series “German Painting” as a 260 cents postage stamp named "Adolph Menzel-The Balcony Room". | [
"Max Liebermann",
"Frederick the Great Playing the Flute at Sanssouci",
"Adolph Menzel",
"Frederick the Great"
] |
|
16039_T | Gray Tree | In Gray Tree, how is the abstract discussed? | Gray Tree is an 1911 oil painting by Piet Mondrian. This painting was made in 1911 on canvas on a board measuring 78.5 × 107.5 cm. It is exhibited at Gemeentemuseum Den Haag, The Hague.The work came at a time when Mondrian was beginning to experiment with Cubism: its foreground and background elements seem to intermingle, and the palette is very restricted. The tree is subtly oval in form, following another Cubist practice seen in works by Pablo Picasso and Georges Braque. Mondrian's oval became explicit, framing the work, in paintings that followed over the next three or four years. Apple Tree in Flower, also from 1912, is a similarly sized composition. Though the outline of the "apple tree" recalls that of Gray Tree, the work is significantly more faceted and abstract. | [
"canvas",
"Piet Mondrian",
"oval",
"oil painting",
"Gemeentemuseum Den Haag",
"Cubism",
"The Hague",
"Georges Braque",
"Pablo Picasso"
] |
|
16039_NT | Gray Tree | In this artwork, how is the abstract discussed? | Gray Tree is an 1911 oil painting by Piet Mondrian. This painting was made in 1911 on canvas on a board measuring 78.5 × 107.5 cm. It is exhibited at Gemeentemuseum Den Haag, The Hague.The work came at a time when Mondrian was beginning to experiment with Cubism: its foreground and background elements seem to intermingle, and the palette is very restricted. The tree is subtly oval in form, following another Cubist practice seen in works by Pablo Picasso and Georges Braque. Mondrian's oval became explicit, framing the work, in paintings that followed over the next three or four years. Apple Tree in Flower, also from 1912, is a similarly sized composition. Though the outline of the "apple tree" recalls that of Gray Tree, the work is significantly more faceted and abstract. | [
"canvas",
"Piet Mondrian",
"oval",
"oil painting",
"Gemeentemuseum Den Haag",
"Cubism",
"The Hague",
"Georges Braque",
"Pablo Picasso"
] |
|
16040_T | Market of Goa | Focus on Market of Goa and explore the Background information. | Jan Huygen van Linschoten's Itinerario, originally published in Amsterdam in 1595–1596 by Cornelis Claesz, recounts the journey of van Linschoten to the Portuguese governed city of Goa. Itinerario includes text of descriptions of thirty-six engravings, as well as maps that shown ship routes that were used by merchants. In Linschoten's words, the book is “a collection of the most memorable and worthiest things.” Linschoten lived in Goa from September 21, 1583, to 1588. While there, he kept a detailed diary on his observations of the land, people and politics. If there was one thing that was evident to readers of Itinerario, it was "Portuguese imperial rule was slowly rotting." He also made sketches and likely collected sketches from others he encountered on his journeys. Itinerario is based on the sketches and observations he made. The book was translated into multiple languages, including English, French, German, and Latin by the 17th century.Upon returning to the Netherlands, Linschoten worked with the Dutch engraver Johannes von Doetecum to create thirty-six plates that would accompany the text of Itinerario. The novelty of the Itinerario plates alone became an interest to potential buyers. Because of this, Claez published a new set of thirty of the original thirty-six engravings. Published in 1604, the new publication was titled Icones, habitus gestusque Indorum as Lustianorum per Indian viventium etc., or Icones for short. Alongside the images were much more detailed descriptions of Linschoten's journey. The new captions were acquired from the Latin translation of Itinerario. | [
"plate",
"engraving",
"Goa",
"Johannes von Doetecum"
] |
|
16040_NT | Market of Goa | Focus on this artwork and explore the Background information. | Jan Huygen van Linschoten's Itinerario, originally published in Amsterdam in 1595–1596 by Cornelis Claesz, recounts the journey of van Linschoten to the Portuguese governed city of Goa. Itinerario includes text of descriptions of thirty-six engravings, as well as maps that shown ship routes that were used by merchants. In Linschoten's words, the book is “a collection of the most memorable and worthiest things.” Linschoten lived in Goa from September 21, 1583, to 1588. While there, he kept a detailed diary on his observations of the land, people and politics. If there was one thing that was evident to readers of Itinerario, it was "Portuguese imperial rule was slowly rotting." He also made sketches and likely collected sketches from others he encountered on his journeys. Itinerario is based on the sketches and observations he made. The book was translated into multiple languages, including English, French, German, and Latin by the 17th century.Upon returning to the Netherlands, Linschoten worked with the Dutch engraver Johannes von Doetecum to create thirty-six plates that would accompany the text of Itinerario. The novelty of the Itinerario plates alone became an interest to potential buyers. Because of this, Claez published a new set of thirty of the original thirty-six engravings. Published in 1604, the new publication was titled Icones, habitus gestusque Indorum as Lustianorum per Indian viventium etc., or Icones for short. Alongside the images were much more detailed descriptions of Linschoten's journey. The new captions were acquired from the Latin translation of Itinerario. | [
"plate",
"engraving",
"Goa",
"Johannes von Doetecum"
] |
|
16041_T | Market of Goa | Focus on Market of Goa and explain the Visual analysis. | Plate 5, Market of Goa, depicts the market in Goa, a region on the southwestern coast of India that was the center of maritime trade in Portuguese Asia. The Market of Goa depicts the bustling city of Goa, the center of maritime trade in Asia. Inscribed in Portuguese in the top left of the print is a description of the image. The Portuguese rua direita most accurately translates to "main street".The plate is set up like a stage and represents a "theatre of social order and morality." The inequalities between slaves, merchants, and noblemen are evident based on their clothing (or lack thereof) and accessories. Italian, German, and Portuguese merchants gather in crowds to sell their goods. Captives, imported from Mozambique, are shackled to their owners or carry them in palanquins.The print likely depicts the marketplace at morning. Trading was only allowed between the hours of seven and nine in the morning. The afternoon heat was too unbearable to work. Many figures can be seen taking shade under parasols to shield themselves from the scorching sun. Noblewoman can be seen being carried by slaves in palanquins.
Enslaved people were frequently sold in Goa. The average Goan household had about 30 slaves. Slaveowners made a hefty profit on the sale because slaves were given very little attention in regards to their health. Additionally, female slaves were sometimes forced to worked as prostitutes. Masters kept the profit these women made.
The minimal time to trade made for a crowded square. The market was set up like an auction. The bare-chested woman, arguably the focal point of the image, points at the child held by the wet nurse to her right. Just off the center of the image, a group of Portuguese men, one a money exchanger, can be seen sitting around a table, protected by parasols, and listening to a crier auctioning off what appears to be a cloak. In the lower left of the image, two men, Indian porters, carry a jug of water from the countryside. To the right of the porters, a crier auctions off a small dark-skinned child and a naked woman to a gathering of Portuguese men. Moving to the right of the image is a man riding a horse. Other various animals running amuck, adding to the chaos of the street. In the far right, a Portuguese nobleman on horseback and a Portuguese noblewoman in palanquin are seen leaving the market. The noblewoman's litter is carried by Asian or African slaves. As they exit, they will walk by a hospital—a structure that crudely divides the foreground from the background. In the far left background, a group of women sit in a semi-circle selling goods out of their baskets.
The mayhem and pandemonium are evident, but not representative in this plate is the way that the market was organized. Trades of similar classification were grouped together on the streets. Precious gems, golds, and silvers would be tabled near each other. Other goods included: Portuguese wines, fruits and vegetables, baked goods, herbs, medicines, textiles, embroidery, and wood carvings.It is important to note that these images are "drawn from life" and are considered "counterfeits from life". It is important to keep in mind that the plates are based on the entries and sketches of Linschoten's observations, and not those of the engravers, so it cannot be said for certain that the engravers did not take artistic liberties.
Linschoten's observations were considered to have "high empirical content" and are an example of the mapping impulse common by the Dutch. The mapping impulse was a compulsion to document everything in an almost scientific manner. | [
"plate",
"wet nurse",
"porters",
"Portuguese Asia",
"prostitute",
"Mozambique",
"palanquin",
"Goa",
"marketplace",
"Enslaved people",
"parasol"
] |
|
16041_NT | Market of Goa | Focus on this artwork and explain the Visual analysis. | Plate 5, Market of Goa, depicts the market in Goa, a region on the southwestern coast of India that was the center of maritime trade in Portuguese Asia. The Market of Goa depicts the bustling city of Goa, the center of maritime trade in Asia. Inscribed in Portuguese in the top left of the print is a description of the image. The Portuguese rua direita most accurately translates to "main street".The plate is set up like a stage and represents a "theatre of social order and morality." The inequalities between slaves, merchants, and noblemen are evident based on their clothing (or lack thereof) and accessories. Italian, German, and Portuguese merchants gather in crowds to sell their goods. Captives, imported from Mozambique, are shackled to their owners or carry them in palanquins.The print likely depicts the marketplace at morning. Trading was only allowed between the hours of seven and nine in the morning. The afternoon heat was too unbearable to work. Many figures can be seen taking shade under parasols to shield themselves from the scorching sun. Noblewoman can be seen being carried by slaves in palanquins.
Enslaved people were frequently sold in Goa. The average Goan household had about 30 slaves. Slaveowners made a hefty profit on the sale because slaves were given very little attention in regards to their health. Additionally, female slaves were sometimes forced to worked as prostitutes. Masters kept the profit these women made.
The minimal time to trade made for a crowded square. The market was set up like an auction. The bare-chested woman, arguably the focal point of the image, points at the child held by the wet nurse to her right. Just off the center of the image, a group of Portuguese men, one a money exchanger, can be seen sitting around a table, protected by parasols, and listening to a crier auctioning off what appears to be a cloak. In the lower left of the image, two men, Indian porters, carry a jug of water from the countryside. To the right of the porters, a crier auctions off a small dark-skinned child and a naked woman to a gathering of Portuguese men. Moving to the right of the image is a man riding a horse. Other various animals running amuck, adding to the chaos of the street. In the far right, a Portuguese nobleman on horseback and a Portuguese noblewoman in palanquin are seen leaving the market. The noblewoman's litter is carried by Asian or African slaves. As they exit, they will walk by a hospital—a structure that crudely divides the foreground from the background. In the far left background, a group of women sit in a semi-circle selling goods out of their baskets.
The mayhem and pandemonium are evident, but not representative in this plate is the way that the market was organized. Trades of similar classification were grouped together on the streets. Precious gems, golds, and silvers would be tabled near each other. Other goods included: Portuguese wines, fruits and vegetables, baked goods, herbs, medicines, textiles, embroidery, and wood carvings.It is important to note that these images are "drawn from life" and are considered "counterfeits from life". It is important to keep in mind that the plates are based on the entries and sketches of Linschoten's observations, and not those of the engravers, so it cannot be said for certain that the engravers did not take artistic liberties.
Linschoten's observations were considered to have "high empirical content" and are an example of the mapping impulse common by the Dutch. The mapping impulse was a compulsion to document everything in an almost scientific manner. | [
"plate",
"wet nurse",
"porters",
"Portuguese Asia",
"prostitute",
"Mozambique",
"palanquin",
"Goa",
"marketplace",
"Enslaved people",
"parasol"
] |
|
16042_T | Market of Goa | Explore the Credibility of this artwork, Market of Goa. | Based on the ethnic clientele of Goa, it is plausible that Linschoten could have seen all the figures, fauna, and flora that appear in the plates. However, based on the diaries of Linschoten and the text accompanying the plates, it appears he did not visit all the locations of the objects in the prints. The captions of Itinerario makes it seem like Linschoten saw more of Asia than he really did. He may have spent time conversing with the diverse folk at the market and not only traded for goods but also knowledge of the geography and ethnography around Goa. There are also stereotypical elements that appear in the prints. For example, the plate that depicts the king of Cochin on an elephant appears to be Linschoten/Doetecum's play on common compositions used to depict Indian individuals in the art of 16th century Northwestern Europe.The composition of the plates calls into question their accuracy and credibility. It is unlikely, based on his lack of formal art training, that Linschoten could create a sketch with a composition so balanced. Additionally, the Market of Goa, the huts in the background do not resemble traditional Asian huts. Figures and structures were likely added by Doetecum to construct a composition that was consistent with 16th century Dutch landscape art; Doetecum did collaborate with printer Hieronymus Cock on landscape backgrounds. | [
"plate",
"Goa",
"Hieronymus Cock"
] |
|
16042_NT | Market of Goa | Explore the Credibility of this artwork. | Based on the ethnic clientele of Goa, it is plausible that Linschoten could have seen all the figures, fauna, and flora that appear in the plates. However, based on the diaries of Linschoten and the text accompanying the plates, it appears he did not visit all the locations of the objects in the prints. The captions of Itinerario makes it seem like Linschoten saw more of Asia than he really did. He may have spent time conversing with the diverse folk at the market and not only traded for goods but also knowledge of the geography and ethnography around Goa. There are also stereotypical elements that appear in the prints. For example, the plate that depicts the king of Cochin on an elephant appears to be Linschoten/Doetecum's play on common compositions used to depict Indian individuals in the art of 16th century Northwestern Europe.The composition of the plates calls into question their accuracy and credibility. It is unlikely, based on his lack of formal art training, that Linschoten could create a sketch with a composition so balanced. Additionally, the Market of Goa, the huts in the background do not resemble traditional Asian huts. Figures and structures were likely added by Doetecum to construct a composition that was consistent with 16th century Dutch landscape art; Doetecum did collaborate with printer Hieronymus Cock on landscape backgrounds. | [
"plate",
"Goa",
"Hieronymus Cock"
] |
|
16043_T | Statue of Liberty (Seattle) | Focus on Statue of Liberty (Seattle) and discuss the abstract. | The Statue of Liberty, or Lady Liberty, is a replica of the Statue of Liberty (Liberty Enlightening the World) installed at Seattle's Alki Beach Park, in the U.S. state of Washington. It was installed in 1952 by the Boy Scouts of America and underwent a significant restoration in 2007 after repeated vandalism had damaged the sculpture. | [
"Boy Scouts of America",
"Seattle",
"Washington",
"U.S. state",
"Alki Beach Park",
"Statue of Liberty"
] |
|
16043_NT | Statue of Liberty (Seattle) | Focus on this artwork and discuss the abstract. | The Statue of Liberty, or Lady Liberty, is a replica of the Statue of Liberty (Liberty Enlightening the World) installed at Seattle's Alki Beach Park, in the U.S. state of Washington. It was installed in 1952 by the Boy Scouts of America and underwent a significant restoration in 2007 after repeated vandalism had damaged the sculpture. | [
"Boy Scouts of America",
"Seattle",
"Washington",
"U.S. state",
"Alki Beach Park",
"Statue of Liberty"
] |
|
16044_T | The Circumcision (Parmigianino) | How does The Circumcision (Parmigianino) elucidate its abstract? | The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States. | [
"Detroit Institute of Arts",
"Parmigianino",
"Mannerist",
"circumcision of Jesus",
"Michigan"
] |
|
16044_NT | The Circumcision (Parmigianino) | How does this artwork elucidate its abstract? | The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States. | [
"Detroit Institute of Arts",
"Parmigianino",
"Mannerist",
"circumcision of Jesus",
"Michigan"
] |
|
16045_T | The Circumcision (Parmigianino) | Focus on The Circumcision (Parmigianino) and analyze the History. | Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.The painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.
The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins (inv. 6390) of the Louvre museum. | [
"Stockholm",
"Giorgio Vasari",
"Parmigianino",
"Nordiska Kompaniet",
"Russian imperial collection",
"Louvre",
"Cabinet des Dessins"
] |
|
16045_NT | The Circumcision (Parmigianino) | Focus on this artwork and analyze the History. | Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.The painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.
The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins (inv. 6390) of the Louvre museum. | [
"Stockholm",
"Giorgio Vasari",
"Parmigianino",
"Nordiska Kompaniet",
"Russian imperial collection",
"Louvre",
"Cabinet des Dessins"
] |
|
16046_T | The Circumcision (Parmigianino) | In The Circumcision (Parmigianino), how is the Description discussed? | The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.
At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma. | [
"Parmigianino",
"left",
"Museo del Prado",
"circumcision of Jesus",
"Gospel of Luke",
"Christ child",
"San Giovanni Evangelista",
"Parma"
] |
|
16046_NT | The Circumcision (Parmigianino) | In this artwork, how is the Description discussed? | The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.
At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma. | [
"Parmigianino",
"left",
"Museo del Prado",
"circumcision of Jesus",
"Gospel of Luke",
"Christ child",
"San Giovanni Evangelista",
"Parma"
] |
|
16047_T | Portrait of Benedetto Varchi | Focus on Portrait of Benedetto Varchi and explore the abstract. | Portrait of Benedetto Varchi, also called Portrait of a Man, is an oil painting by Titian. It was painted in around 1540, and hangs today in the Kunsthistorisches Museum in Vienna. | [
"Benedetto Varchi",
"Kunsthistorisches Museum",
"Titian"
] |
|
16047_NT | Portrait of Benedetto Varchi | Focus on this artwork and explore the abstract. | Portrait of Benedetto Varchi, also called Portrait of a Man, is an oil painting by Titian. It was painted in around 1540, and hangs today in the Kunsthistorisches Museum in Vienna. | [
"Benedetto Varchi",
"Kunsthistorisches Museum",
"Titian"
] |
|
16048_T | Portrait of Benedetto Varchi | Focus on Portrait of Benedetto Varchi and explain the Analysis. | According to Walter Gronau, the indication that the person here represented is Benedetto Varchi, the Florentine historian and humanist scholar, seems in no way proved. It is signed "Titianus F.", with some repainting. Though restored, Gronau thinks it a genuine work by Titian. From the style, he thinks that this portrait must have been painted about 1550, possibly somewhat later. The Kunsthistorisches Museum, however, identifies the sitter as Benedetto Varchi without any qualification, and states that it was probably painted during his stay in Venice in 1536–1540. | [
"F",
"Benedetto Varchi",
"Kunsthistorisches Museum",
"Titian",
"Walter Gronau",
"humanist",
"Venice"
] |
|
16048_NT | Portrait of Benedetto Varchi | Focus on this artwork and explain the Analysis. | According to Walter Gronau, the indication that the person here represented is Benedetto Varchi, the Florentine historian and humanist scholar, seems in no way proved. It is signed "Titianus F.", with some repainting. Though restored, Gronau thinks it a genuine work by Titian. From the style, he thinks that this portrait must have been painted about 1550, possibly somewhat later. The Kunsthistorisches Museum, however, identifies the sitter as Benedetto Varchi without any qualification, and states that it was probably painted during his stay in Venice in 1536–1540. | [
"F",
"Benedetto Varchi",
"Kunsthistorisches Museum",
"Titian",
"Walter Gronau",
"humanist",
"Venice"
] |
|
16049_T | Portrait of Benedetto Varchi | Explore the Provenance of this artwork, Portrait of Benedetto Varchi. | 1636—Collection of Bartolomeo della Nave, Venice;
1638–1649—Collection of the Duke of Hamilton;
1659 —Collection of Archduke Leopold Wilhelm, Vienna. | [
"Bartolomeo della Nave",
"Duke of Hamilton",
"Archduke Leopold Wilhelm",
"Venice"
] |
|
16049_NT | Portrait of Benedetto Varchi | Explore the Provenance of this artwork. | 1636—Collection of Bartolomeo della Nave, Venice;
1638–1649—Collection of the Duke of Hamilton;
1659 —Collection of Archduke Leopold Wilhelm, Vienna. | [
"Bartolomeo della Nave",
"Duke of Hamilton",
"Archduke Leopold Wilhelm",
"Venice"
] |
|
16050_T | The Cyclops (Redon) | Focus on The Cyclops (Redon) and discuss the abstract. | The Cyclops (Le Cyclope in French) is a painting by Odilon Redon that depicts the myth of the love of Polyphemus for the naiad Galatea. It was painted in oils on board, then mounted on wood, and is now in the Kröller-Müller Museum in the Netherlands. The painting has been variously dated between 1898 and 1914. | [
"naiad",
"Odilon Redon",
"Kröller-Müller Museum",
"Polyphemus"
] |
|
16050_NT | The Cyclops (Redon) | Focus on this artwork and discuss the abstract. | The Cyclops (Le Cyclope in French) is a painting by Odilon Redon that depicts the myth of the love of Polyphemus for the naiad Galatea. It was painted in oils on board, then mounted on wood, and is now in the Kröller-Müller Museum in the Netherlands. The painting has been variously dated between 1898 and 1914. | [
"naiad",
"Odilon Redon",
"Kröller-Müller Museum",
"Polyphemus"
] |
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