ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
sequence |
|---|---|---|---|---|---|
16051_T | The Cyclops (Redon) | How does The Cyclops (Redon) elucidate its The painting? | Galatea is shown asleep on the lower right, her naked body blending into the flowery hill slope. In the upper half of the painting, the head and shoulders of Polyphemus tower above a mountain ridge as he turns his one eye in the naiad's direction. It appears Polyphemus has hidden himself from the nymph behind the rocky terrain, too shy to directly confront her "helpless" form. Although the name given the painting refers to the figure of Classical myth, the subject may also carry overtones of the one-eyed giants that populate the folklore of the Aquitaine region where Redon grew up. | [
"naiad",
"Aquitaine",
"Polyphemus"
] |
|
16051_NT | The Cyclops (Redon) | How does this artwork elucidate its The painting? | Galatea is shown asleep on the lower right, her naked body blending into the flowery hill slope. In the upper half of the painting, the head and shoulders of Polyphemus tower above a mountain ridge as he turns his one eye in the naiad's direction. It appears Polyphemus has hidden himself from the nymph behind the rocky terrain, too shy to directly confront her "helpless" form. Although the name given the painting refers to the figure of Classical myth, the subject may also carry overtones of the one-eyed giants that populate the folklore of the Aquitaine region where Redon grew up. | [
"naiad",
"Aquitaine",
"Polyphemus"
] |
|
16052_T | The Chocolate Girl | Focus on The Chocolate Girl and analyze the abstract. | The Chocolate Girl (French: La Belle Chocolatière, German: Das Schokoladenmädchen) is one of the most prominent pastels of Genevan artist Jean-Étienne Liotard, showing a chocolate-serving maid. The girl carries a tray with a porcelain chocolate cup and a glass of water. Liotard's contemporaries classed The Chocolate Girl as his masterpiece.On 3 February 1745 Francesco Algarotti purchased the drawing directly from Liotard in Venice. In an unknown year (between 1747 and 1754?) the picture became part of the collection of August III of Poland. In a letter dated 13 February 1751 to his friend Pierre-Jean Mariette he wrote: I have bought a pastel picture about three feet high by the celebrated Liotard. It shows a young German chambermaid in profile, carrying a tray with a glass of water and a cup of chocolate. The picture is almost devoid of shadows, with a pale background, the light being furnished by two windows reflected in the glass. It is painted in half-tones with imperceptible graduations of light and with a perfect modelling...and although it is a European picture it could appeal to the Chinese who, as you know, are sworn enemies of shadows. With regard to the perfection of the work, it is a Holbein in pastel.
Since 1855 the picture with the serving maid from Vienna, who might have been a certain Nannerl Baldauf, has hung in the Gemäldegalerie Alte Meister, Dresden. Theories concerning the girl's headdress run from a cap cover to an echo of the colorful regional caps. The girl's apron features a small bodice. During World War II the Germans transported it to Königstein Fortress. The delicate pastel managed to survive the cold and damp there and was brought back to Dresden after the Germans retreated from advancing Soviet troops. After World War II, the painting was briefly in possession of the Soviet Union.
In 1862 the American Baker's Chocolate Company obtained the rights to use the pastel.Around 1900, La Belle Chocolatière served as inspiration for the commercial illustration of the "nurse" that appeared on Droste's cocoa tins. This was most probably a work of the commercial artist Jan (Johannes) Misset. According to Droste, "The illustration indicated the wholesome effect of chocolate milk and became inextricably bound with the name Droste." | [
"Dresden",
"Francesco Algarotti",
"Droste",
"Baker's Chocolate Company",
"Königstein Fortress",
"Gemäldegalerie Alte Meister",
"Soviet",
"Jan (Johannes) Misset",
"Holbein",
"Pierre-Jean Mariette",
"bodice",
"pastel",
"August III of Poland",
"Soviet Union",
"Jean-Étienne Liotard",
"Genevan",
"World War II"
] |
|
16052_NT | The Chocolate Girl | Focus on this artwork and analyze the abstract. | The Chocolate Girl (French: La Belle Chocolatière, German: Das Schokoladenmädchen) is one of the most prominent pastels of Genevan artist Jean-Étienne Liotard, showing a chocolate-serving maid. The girl carries a tray with a porcelain chocolate cup and a glass of water. Liotard's contemporaries classed The Chocolate Girl as his masterpiece.On 3 February 1745 Francesco Algarotti purchased the drawing directly from Liotard in Venice. In an unknown year (between 1747 and 1754?) the picture became part of the collection of August III of Poland. In a letter dated 13 February 1751 to his friend Pierre-Jean Mariette he wrote: I have bought a pastel picture about three feet high by the celebrated Liotard. It shows a young German chambermaid in profile, carrying a tray with a glass of water and a cup of chocolate. The picture is almost devoid of shadows, with a pale background, the light being furnished by two windows reflected in the glass. It is painted in half-tones with imperceptible graduations of light and with a perfect modelling...and although it is a European picture it could appeal to the Chinese who, as you know, are sworn enemies of shadows. With regard to the perfection of the work, it is a Holbein in pastel.
Since 1855 the picture with the serving maid from Vienna, who might have been a certain Nannerl Baldauf, has hung in the Gemäldegalerie Alte Meister, Dresden. Theories concerning the girl's headdress run from a cap cover to an echo of the colorful regional caps. The girl's apron features a small bodice. During World War II the Germans transported it to Königstein Fortress. The delicate pastel managed to survive the cold and damp there and was brought back to Dresden after the Germans retreated from advancing Soviet troops. After World War II, the painting was briefly in possession of the Soviet Union.
In 1862 the American Baker's Chocolate Company obtained the rights to use the pastel.Around 1900, La Belle Chocolatière served as inspiration for the commercial illustration of the "nurse" that appeared on Droste's cocoa tins. This was most probably a work of the commercial artist Jan (Johannes) Misset. According to Droste, "The illustration indicated the wholesome effect of chocolate milk and became inextricably bound with the name Droste." | [
"Dresden",
"Francesco Algarotti",
"Droste",
"Baker's Chocolate Company",
"Königstein Fortress",
"Gemäldegalerie Alte Meister",
"Soviet",
"Jan (Johannes) Misset",
"Holbein",
"Pierre-Jean Mariette",
"bodice",
"pastel",
"August III of Poland",
"Soviet Union",
"Jean-Étienne Liotard",
"Genevan",
"World War II"
] |
|
16053_T | Bronze Fonz | In Bronze Fonz, how is the abstract discussed? | The Bronze Fonz is a public artwork by American artist Gerald P. Sawyer, located on the Milwaukee Riverwalk in downtown Milwaukee, Wisconsin. The Bronze Fonz depicts Henry Winkler as "The Fonz," a character in the 1970s television series Happy Days, which was set in Milwaukee. | [
"Henry Winkler",
"American",
"Milwaukee Riverwalk",
"The Fonz",
"Happy Days",
"Gerald P. Sawyer",
"Wisconsin",
"Milwaukee",
"Bronze"
] |
|
16053_NT | Bronze Fonz | In this artwork, how is the abstract discussed? | The Bronze Fonz is a public artwork by American artist Gerald P. Sawyer, located on the Milwaukee Riverwalk in downtown Milwaukee, Wisconsin. The Bronze Fonz depicts Henry Winkler as "The Fonz," a character in the 1970s television series Happy Days, which was set in Milwaukee. | [
"Henry Winkler",
"American",
"Milwaukee Riverwalk",
"The Fonz",
"Happy Days",
"Gerald P. Sawyer",
"Wisconsin",
"Milwaukee",
"Bronze"
] |
|
16054_T | Bronze Fonz | Focus on Bronze Fonz and explore the Description. | The sculpture, made of bronze, depicts actor Henry Winkler as he appeared in his role as Arthur Fonzarelli (also known as "Fonzie" or "The Fonz"). Fonzarelli was an iconic character in the 1970s television show Happy Days, a sitcom about a family in 1950s–1960s Milwaukee. He stands in his usual attire, a leather jacket and jeans, and gives a two-handed thumbs up gesture, as he often did in Happy Days.
The statue is located on the Milwaukee Riverwalk, just south of Wells Street. It is accompanied by an inscription that lists donors who contributed to the Bronze Fonz project.The organization "Visit Milwaukee" raised $75,000 to commission the sculpture and since 2008 it has been on the Milwaukee Riverwalk. | [
"Henry Winkler",
"Milwaukee Riverwalk",
"bronze",
"sitcom",
"The Fonz",
"Happy Days",
"thumbs up",
"Milwaukee",
"Bronze",
"Arthur Fonzarelli",
"Fonzie"
] |
|
16054_NT | Bronze Fonz | Focus on this artwork and explore the Description. | The sculpture, made of bronze, depicts actor Henry Winkler as he appeared in his role as Arthur Fonzarelli (also known as "Fonzie" or "The Fonz"). Fonzarelli was an iconic character in the 1970s television show Happy Days, a sitcom about a family in 1950s–1960s Milwaukee. He stands in his usual attire, a leather jacket and jeans, and gives a two-handed thumbs up gesture, as he often did in Happy Days.
The statue is located on the Milwaukee Riverwalk, just south of Wells Street. It is accompanied by an inscription that lists donors who contributed to the Bronze Fonz project.The organization "Visit Milwaukee" raised $75,000 to commission the sculpture and since 2008 it has been on the Milwaukee Riverwalk. | [
"Henry Winkler",
"Milwaukee Riverwalk",
"bronze",
"sitcom",
"The Fonz",
"Happy Days",
"thumbs up",
"Milwaukee",
"Bronze",
"Arthur Fonzarelli",
"Fonzie"
] |
|
16055_T | Bronze Fonz | Explore the Acquisition about the History of this artwork, Bronze Fonz. | The Bronze Fonz was commissioned by Visit Milwaukee, a non-profit group with the purpose of promoting tourism and bringing new businesses to Milwaukee. Visit Milwaukee raised $85,000 to commission the statue. Over the decade prior to the statue's creation, other similar television character based bronze statues, commissioned by the cable television channel, TV Land, had been built in other cities and towns to portray such figures as Mary Tyler Moore (as Mary Richards from The Mary Tyler Moore Show) in Minneapolis, Andy Griffith and Ron Howard (as Andy and Opie Taylor from "The Andy Griffith Show") in Raleigh, and Jackie Gleason (as Ralph Kramden from The Honeymooners) outside the Port Authority Bus Terminal in Manhattan. However, TV Land scrapped its plans to build a Fonz statue after a change in their marketing strategy in 2007.The sculpture was unveiled on August 18, 2008. Most of the Happy Days cast, including Winkler, Marion Ross, Tom Bosley, Erin Moran, Don Most, and Anson Williams, attended the dedication ceremony. Winkler referred to the statue as "unbelievable." | [
"Don Most",
"TV Land",
"bronze",
"Port Authority Bus Terminal",
"Marion Ross",
"Happy Days",
"Tom Bosley",
"Ron Howard",
"Anson Williams",
"Jackie Gleason",
"Milwaukee",
"The Mary Tyler Moore Show",
"Bronze",
"Erin Moran",
"Andy Griffith",
"The Honeymooners",
"Mary Tyler Moore",
"The Andy Griffith Show"
] |
|
16055_NT | Bronze Fonz | Explore the Acquisition about the History of this artwork. | The Bronze Fonz was commissioned by Visit Milwaukee, a non-profit group with the purpose of promoting tourism and bringing new businesses to Milwaukee. Visit Milwaukee raised $85,000 to commission the statue. Over the decade prior to the statue's creation, other similar television character based bronze statues, commissioned by the cable television channel, TV Land, had been built in other cities and towns to portray such figures as Mary Tyler Moore (as Mary Richards from The Mary Tyler Moore Show) in Minneapolis, Andy Griffith and Ron Howard (as Andy and Opie Taylor from "The Andy Griffith Show") in Raleigh, and Jackie Gleason (as Ralph Kramden from The Honeymooners) outside the Port Authority Bus Terminal in Manhattan. However, TV Land scrapped its plans to build a Fonz statue after a change in their marketing strategy in 2007.The sculpture was unveiled on August 18, 2008. Most of the Happy Days cast, including Winkler, Marion Ross, Tom Bosley, Erin Moran, Don Most, and Anson Williams, attended the dedication ceremony. Winkler referred to the statue as "unbelievable." | [
"Don Most",
"TV Land",
"bronze",
"Port Authority Bus Terminal",
"Marion Ross",
"Happy Days",
"Tom Bosley",
"Ron Howard",
"Anson Williams",
"Jackie Gleason",
"Milwaukee",
"The Mary Tyler Moore Show",
"Bronze",
"Erin Moran",
"Andy Griffith",
"The Honeymooners",
"Mary Tyler Moore",
"The Andy Griffith Show"
] |
|
16056_T | Bronze Fonz | In the context of Bronze Fonz, discuss the Opposition of the History. | Mike Brenner, then a local gallery owner and executive director of Milwaukee Artist Resource Network (MARN), objected to the statue, which was originally planned to be located at the intersection of Wisconsin and Water Streets, a prominent downtown site. He threatened to close his gallery and resign his position in MARN if "that stupid Fonzie sculpture" was erected there. Brenner received death threats for speaking out against the Bronze Fonz, and reposted several on his web site. The CEO of the Milwaukee Art Museum, David Gordon, along with Milwaukee Journal Sentinel arts critic Mary-Louise Schumacher and other Milwaukee arts dignitaries, also opposed the statue, which ultimately was erected instead at the Riverwalk site. Brenner nevertheless closed his gallery in May 2008, and opened a Milwaukee microbrewery. | [
"microbrewery",
"Milwaukee Art Museum",
"Milwaukee Journal Sentinel",
"Wisconsin",
"Milwaukee",
"Bronze",
"Fonzie"
] |
|
16056_NT | Bronze Fonz | In the context of this artwork, discuss the Opposition of the History. | Mike Brenner, then a local gallery owner and executive director of Milwaukee Artist Resource Network (MARN), objected to the statue, which was originally planned to be located at the intersection of Wisconsin and Water Streets, a prominent downtown site. He threatened to close his gallery and resign his position in MARN if "that stupid Fonzie sculpture" was erected there. Brenner received death threats for speaking out against the Bronze Fonz, and reposted several on his web site. The CEO of the Milwaukee Art Museum, David Gordon, along with Milwaukee Journal Sentinel arts critic Mary-Louise Schumacher and other Milwaukee arts dignitaries, also opposed the statue, which ultimately was erected instead at the Riverwalk site. Brenner nevertheless closed his gallery in May 2008, and opened a Milwaukee microbrewery. | [
"microbrewery",
"Milwaukee Art Museum",
"Milwaukee Journal Sentinel",
"Wisconsin",
"Milwaukee",
"Bronze",
"Fonzie"
] |
|
16057_T | Bronze Fonz | How does Bronze Fonz elucidate its Maintenance? | The sculpture was removed for maintenance in February 2022. The sculpture has become shiny on the surfaces people have been touching. The weather has also damaged the finish on the sculpture. The bronze has begun to oxidize where salt has interacted with the metal. The sculpture encourages interaction and selfies: visitors have been climbing on it, leaving scratches. | [
"bronze",
"selfies"
] |
|
16057_NT | Bronze Fonz | How does this artwork elucidate its Maintenance? | The sculpture was removed for maintenance in February 2022. The sculpture has become shiny on the surfaces people have been touching. The weather has also damaged the finish on the sculpture. The bronze has begun to oxidize where salt has interacted with the metal. The sculpture encourages interaction and selfies: visitors have been climbing on it, leaving scratches. | [
"bronze",
"selfies"
] |
|
16058_T | Bronze Fonz | Focus on Bronze Fonz and analyze the In popular culture. | The statue is referenced in the lyrics of the 2014 song "Milwaukee" by The Both. The song, which recounted the local origin of the collaboration between the duo of Aimee Mann and Ted Leo, was the first single from their self-titled debut album.
In the 2015 novel In the Drink by Allyson K. Abbott, part of a cozy mystery series set in Milwaukee, the body of a murder victim is found underneath the Bronze Fonz statue. | [
"cozy mystery",
"Ted Leo",
"self-titled debut album",
"The Both",
"Milwaukee",
"Bronze",
"Aimee Mann"
] |
|
16058_NT | Bronze Fonz | Focus on this artwork and analyze the In popular culture. | The statue is referenced in the lyrics of the 2014 song "Milwaukee" by The Both. The song, which recounted the local origin of the collaboration between the duo of Aimee Mann and Ted Leo, was the first single from their self-titled debut album.
In the 2015 novel In the Drink by Allyson K. Abbott, part of a cozy mystery series set in Milwaukee, the body of a murder victim is found underneath the Bronze Fonz statue. | [
"cozy mystery",
"Ted Leo",
"self-titled debut album",
"The Both",
"Milwaukee",
"Bronze",
"Aimee Mann"
] |
|
16059_T | The Battle Between Love and Chastity | In The Battle Between Love and Chastity, how is the Other paintings of Isabella's Studiolo discussed? | Allegory of Isabella d'Este's Coronation by Mantegna
Reign of Comus by Lorenzo Costa
Triumph of the Virtues by Mantegna
Parnassus by Mantegna | [
"Triumph of the Virtues",
"Reign of Comus",
"Mantegna",
"Parnassus",
"Allegory of Isabella d'Este's Coronation",
"Isabella d'Este",
"Lorenzo Costa"
] |
|
16059_NT | The Battle Between Love and Chastity | In this artwork, how is the Other paintings of Isabella's Studiolo discussed? | Allegory of Isabella d'Este's Coronation by Mantegna
Reign of Comus by Lorenzo Costa
Triumph of the Virtues by Mantegna
Parnassus by Mantegna | [
"Triumph of the Virtues",
"Reign of Comus",
"Mantegna",
"Parnassus",
"Allegory of Isabella d'Este's Coronation",
"Isabella d'Este",
"Lorenzo Costa"
] |
|
16060_T | Footballer (Nolan) | Focus on Footballer (Nolan) and explore the abstract. | Footballer is a 1946 painting by Australian artist Sidney Nolan. It depicts an Australian rules footballer standing before a crowd of spectators at a football match. For many years the painting was thought to be a generic image of a footballer, however Nolan later revealed that the painting is based on Bill Mohr, a star player for the St Kilda Football Club during the 1930s.
In 2002, the painting was acquired by the National Gallery of Victoria, and has become one of the gallery's most popular works. According to journalist Geoff McClure, Footballer "has special significance because, together with Drysdale's The Cricketers, it represents virtually the entire sports-related work ever done by our masters." | [
"The Cricketers",
"1946",
"Cricket",
"Australia",
"St Kilda",
"Sidney Nolan",
"National Gallery of Victoria",
"St Kilda Football Club",
"Australian rules football",
"Bill Mohr",
"Geoff McClure",
"Drysdale"
] |
|
16060_NT | Footballer (Nolan) | Focus on this artwork and explore the abstract. | Footballer is a 1946 painting by Australian artist Sidney Nolan. It depicts an Australian rules footballer standing before a crowd of spectators at a football match. For many years the painting was thought to be a generic image of a footballer, however Nolan later revealed that the painting is based on Bill Mohr, a star player for the St Kilda Football Club during the 1930s.
In 2002, the painting was acquired by the National Gallery of Victoria, and has become one of the gallery's most popular works. According to journalist Geoff McClure, Footballer "has special significance because, together with Drysdale's The Cricketers, it represents virtually the entire sports-related work ever done by our masters." | [
"The Cricketers",
"1946",
"Cricket",
"Australia",
"St Kilda",
"Sidney Nolan",
"National Gallery of Victoria",
"St Kilda Football Club",
"Australian rules football",
"Bill Mohr",
"Geoff McClure",
"Drysdale"
] |
|
16061_T | Footballer (Nolan) | Focus on Footballer (Nolan) and explain the Background. | Born in the inner-Melbourne working class suburb of Carlton on 22 April 1917, Nolan grew up in bayside St Kilda, Melbourne's main leisure precinct. His childhood was spent playing in and around Luna Park, St Kilda Pier and along nearby beaches, jetties and sea baths; memories of this period played an inspirational role in the imagery of Nolan's early paintings, including the Bathers series which he started in 1942. Nolan also had many sporting interests growing up, in particular swimming, cycling, cricket and Australian rules football. He regularly went on weekend trips to the outer at the St Kilda Cricket Ground to barrack for his team, the St Kilda Football Club.In the mid-1940s, when Nolan was painting boyhood recollections of St Kilda and "heroic" figures such as bushranger Ned Kelly, he decided to paint Footballer, an "emblematic portrait of the sports-warrior". The work was painted in the dining room at Heide, the Templestowe home of art patrons John and Sunday Reed, on 24 August 1946. In his journal, Nolan writes: "Finished my painting of a footballer this morning and called Jim [the gardener at Heide] to have a look at it. He said it looked quite real, almost as if you were there, so it at least passed the critical eye of a specialist." Its completion date falls in the middle of Nolan's iconic first series of 27 Ned Kelly works, all but one painted in the Heide dining room. Together with the Kelly series, Footballer has been interpreted as a "veiled self-portrait"—both men, like the artist, stand outside society in a "space no longer governed by everyday rules."The painting was first exhibited at the Melbourne branch of the Contemporary Art Society in 1946, and later shown in retrospective exhibitions throughout the 1960s and 70s with the title Fullback, St Kilda, which led to speculation that the footballer is based on Test cricketer and St Kilda fullback Keith "Nugget" Miller, of whom Nolan was a great fan. Nolan later revealed in an interview that St Kilda's Bill Mohr is the subject, saying "I lived in St Kilda and I went to a lot of matches there and they had a fullback called Billy Mohr and in 1946, after coming out of the army and casting back for memories to paint, I decided to paint him." | [
"cricket",
"Keith \"Nugget\" Miller",
"Carlton",
"1946",
"Cricket",
"Australia",
"bushranger",
"St Kilda",
"St Kilda Cricket Ground",
"Ned Kelly",
"Melbourne",
"Luna Park",
"John",
"St Kilda Pier",
"St Kilda Football Club",
"Sunday Reed",
"Heide",
"Australian rules football",
"Bill Mohr",
"Templestowe"
] |
|
16061_NT | Footballer (Nolan) | Focus on this artwork and explain the Background. | Born in the inner-Melbourne working class suburb of Carlton on 22 April 1917, Nolan grew up in bayside St Kilda, Melbourne's main leisure precinct. His childhood was spent playing in and around Luna Park, St Kilda Pier and along nearby beaches, jetties and sea baths; memories of this period played an inspirational role in the imagery of Nolan's early paintings, including the Bathers series which he started in 1942. Nolan also had many sporting interests growing up, in particular swimming, cycling, cricket and Australian rules football. He regularly went on weekend trips to the outer at the St Kilda Cricket Ground to barrack for his team, the St Kilda Football Club.In the mid-1940s, when Nolan was painting boyhood recollections of St Kilda and "heroic" figures such as bushranger Ned Kelly, he decided to paint Footballer, an "emblematic portrait of the sports-warrior". The work was painted in the dining room at Heide, the Templestowe home of art patrons John and Sunday Reed, on 24 August 1946. In his journal, Nolan writes: "Finished my painting of a footballer this morning and called Jim [the gardener at Heide] to have a look at it. He said it looked quite real, almost as if you were there, so it at least passed the critical eye of a specialist." Its completion date falls in the middle of Nolan's iconic first series of 27 Ned Kelly works, all but one painted in the Heide dining room. Together with the Kelly series, Footballer has been interpreted as a "veiled self-portrait"—both men, like the artist, stand outside society in a "space no longer governed by everyday rules."The painting was first exhibited at the Melbourne branch of the Contemporary Art Society in 1946, and later shown in retrospective exhibitions throughout the 1960s and 70s with the title Fullback, St Kilda, which led to speculation that the footballer is based on Test cricketer and St Kilda fullback Keith "Nugget" Miller, of whom Nolan was a great fan. Nolan later revealed in an interview that St Kilda's Bill Mohr is the subject, saying "I lived in St Kilda and I went to a lot of matches there and they had a fullback called Billy Mohr and in 1946, after coming out of the army and casting back for memories to paint, I decided to paint him." | [
"cricket",
"Keith \"Nugget\" Miller",
"Carlton",
"1946",
"Cricket",
"Australia",
"bushranger",
"St Kilda",
"St Kilda Cricket Ground",
"Ned Kelly",
"Melbourne",
"Luna Park",
"John",
"St Kilda Pier",
"St Kilda Football Club",
"Sunday Reed",
"Heide",
"Australian rules football",
"Bill Mohr",
"Templestowe"
] |
|
16062_T | Footballer (Nolan) | Explore the Composition of this artwork, Footballer (Nolan). | The footballer's red, white, yellow and black colours reference those adopted by the Saints during World War I. His black shorts "share a singularity and intensity akin to Ned Kelly's helmet", while the broad-striped guernsey—bold against the amorphous backdrop of spectators' faces and vertical lines of the goalpost and boundary fence—prefigures the horizontal bars of escaped convict David Bracefell in Nolan's Eliza Fraser series. | [
"World War I",
"Ned Kelly",
"convict",
"Eliza Fraser"
] |
|
16062_NT | Footballer (Nolan) | Explore the Composition of this artwork. | The footballer's red, white, yellow and black colours reference those adopted by the Saints during World War I. His black shorts "share a singularity and intensity akin to Ned Kelly's helmet", while the broad-striped guernsey—bold against the amorphous backdrop of spectators' faces and vertical lines of the goalpost and boundary fence—prefigures the horizontal bars of escaped convict David Bracefell in Nolan's Eliza Fraser series. | [
"World War I",
"Ned Kelly",
"convict",
"Eliza Fraser"
] |
|
16063_T | Footballer (Nolan) | Focus on Footballer (Nolan) and discuss the National Gallery of Victoria purchase. | The painting, valued in 2002 at approximately $500,000, was on the National Gallery of Victoria's wish list for many years. The gallery acquired the painting in 2002 from a private collector based in England, with costs met jointly by the State Government of Victoria and Foster's Group. It was officially gifted to the gallery by Premier Steve Bracks on Channel Nine's The Footy Show, becoming the first painting to go on display at the newly built Ian Potter Centre, home of the National Gallery of Victoria's Australian art collection. | [
"Foster's Group",
"Ian Potter Centre",
"Steve Bracks",
"Australia",
"National Gallery of Victoria",
"Channel Nine",
"The Footy Show",
"State Government of Victoria",
"Premier"
] |
|
16063_NT | Footballer (Nolan) | Focus on this artwork and discuss the National Gallery of Victoria purchase. | The painting, valued in 2002 at approximately $500,000, was on the National Gallery of Victoria's wish list for many years. The gallery acquired the painting in 2002 from a private collector based in England, with costs met jointly by the State Government of Victoria and Foster's Group. It was officially gifted to the gallery by Premier Steve Bracks on Channel Nine's The Footy Show, becoming the first painting to go on display at the newly built Ian Potter Centre, home of the National Gallery of Victoria's Australian art collection. | [
"Foster's Group",
"Ian Potter Centre",
"Steve Bracks",
"Australia",
"National Gallery of Victoria",
"Channel Nine",
"The Footy Show",
"State Government of Victoria",
"Premier"
] |
|
16064_T | Footballer (Nolan) | How does Footballer (Nolan) elucidate its Legacy? | Footballer is used as the cover image for Volume II of David Williamson's 1986 publication Collected Plays, which contains his 1977 football play The Club.In 2011, the National Gallery of Victoria celebrated its 150th anniversary with a range of festivities including life-size renditions of the gallery's most loved works populated along St Kilda Road to the Ian Potter Centre. At Federation Square, high-flying circus performers played kick-to-kick as a tribute to Footballer, where a shearing display was also held in commemoration of Tom Roberts' 1890 painting Shearing the Rams.Australia Post issued a stamp in 2017 featuring Nolan's Footballer. | [
"Ian Potter Centre",
"St Kilda Road",
"Australia",
"Australia Post",
"St Kilda",
"David Williamson",
"Shearing the Rams",
"National Gallery of Victoria",
"Tom Roberts",
"Federation Square",
"kick-to-kick",
"The Club"
] |
|
16064_NT | Footballer (Nolan) | How does this artwork elucidate its Legacy? | Footballer is used as the cover image for Volume II of David Williamson's 1986 publication Collected Plays, which contains his 1977 football play The Club.In 2011, the National Gallery of Victoria celebrated its 150th anniversary with a range of festivities including life-size renditions of the gallery's most loved works populated along St Kilda Road to the Ian Potter Centre. At Federation Square, high-flying circus performers played kick-to-kick as a tribute to Footballer, where a shearing display was also held in commemoration of Tom Roberts' 1890 painting Shearing the Rams.Australia Post issued a stamp in 2017 featuring Nolan's Footballer. | [
"Ian Potter Centre",
"St Kilda Road",
"Australia",
"Australia Post",
"St Kilda",
"David Williamson",
"Shearing the Rams",
"National Gallery of Victoria",
"Tom Roberts",
"Federation Square",
"kick-to-kick",
"The Club"
] |
|
16065_T | Brigand and His Wife in Prayer | Focus on Brigand and His Wife in Prayer and analyze the abstract. | Brigand and His Wife in Prayer is an early 19th century painting by Léopold Robert. Done in oil paint on canvas, the work depicts a brigand and his wife in prayer before a cross in the mountains of central Italy. The painting is currently on display at the Metropolitan Museum of Art and is part of the museum's Whitney Collection, mostly French works from the 18th and 19th centuries collected and given by Wheelock Whitney III. | [
"Léopold Robert",
"Metropolitan Museum of Art",
"brigand",
"Wheelock Whitney III",
"central Italy"
] |
|
16065_NT | Brigand and His Wife in Prayer | Focus on this artwork and analyze the abstract. | Brigand and His Wife in Prayer is an early 19th century painting by Léopold Robert. Done in oil paint on canvas, the work depicts a brigand and his wife in prayer before a cross in the mountains of central Italy. The painting is currently on display at the Metropolitan Museum of Art and is part of the museum's Whitney Collection, mostly French works from the 18th and 19th centuries collected and given by Wheelock Whitney III. | [
"Léopold Robert",
"Metropolitan Museum of Art",
"brigand",
"Wheelock Whitney III",
"central Italy"
] |
|
16066_T | Brigand and His Wife in Prayer | In Brigand and His Wife in Prayer, how is the Description discussed? | Brigand and His Wife in Prayer was painted by Swiss painter Louis Léopold Robert in 1824. The work concerns a brigand and his wife, part of the brigante subculture of central Italy. The people and culture of the Brigante became a common subject of Robert's painting after he witnessed the mass arrest of brigands and their families by the government of the Papal States. The painting was originally intended to be entered to win the Prix de Rome, a prestigious art scholarship. However, due to Robert's nationality and the contentious nature of post-Napoleonic European politics, Robert instead painted the work for the Salon of 1824 in Paris. The painting was well received for its naturalistic depiction of people, though it was criticized for not subscribing to a particular genre of art.The painting itself portrays a brigand and his pregnant wife kneeling in prayer before a roadside shrine. The place of worship takes the form of a simple wooden cross located on a remote road, with vast mountains towering in the background. The couple are both dressed as people of their class and vocation would be. The husband is dressed in a frilled shirt and overcoat, and rests his musket at his shoulder. The wife is dressed in traditional peasant's garb and clutches a rosary in her right hand. They pray for the health and success of each-other, specifically for the success of the husband's criminal activities and for the health of the heavily pregnant wife. The sympathy-inspiring depictions of the frugality and piety of the couple reflect Robert's fascination with the culture of the Italian brigands, who the painter found to be a faithful people despite their criminality. | [
"Salon of 1824",
"Louis Léopold Robert",
"Léopold Robert",
"post-Napoleonic",
"genre",
"Papal States",
"Paris",
"brigand",
"Prix de Rome",
"central Italy"
] |
|
16066_NT | Brigand and His Wife in Prayer | In this artwork, how is the Description discussed? | Brigand and His Wife in Prayer was painted by Swiss painter Louis Léopold Robert in 1824. The work concerns a brigand and his wife, part of the brigante subculture of central Italy. The people and culture of the Brigante became a common subject of Robert's painting after he witnessed the mass arrest of brigands and their families by the government of the Papal States. The painting was originally intended to be entered to win the Prix de Rome, a prestigious art scholarship. However, due to Robert's nationality and the contentious nature of post-Napoleonic European politics, Robert instead painted the work for the Salon of 1824 in Paris. The painting was well received for its naturalistic depiction of people, though it was criticized for not subscribing to a particular genre of art.The painting itself portrays a brigand and his pregnant wife kneeling in prayer before a roadside shrine. The place of worship takes the form of a simple wooden cross located on a remote road, with vast mountains towering in the background. The couple are both dressed as people of their class and vocation would be. The husband is dressed in a frilled shirt and overcoat, and rests his musket at his shoulder. The wife is dressed in traditional peasant's garb and clutches a rosary in her right hand. They pray for the health and success of each-other, specifically for the success of the husband's criminal activities and for the health of the heavily pregnant wife. The sympathy-inspiring depictions of the frugality and piety of the couple reflect Robert's fascination with the culture of the Italian brigands, who the painter found to be a faithful people despite their criminality. | [
"Salon of 1824",
"Louis Léopold Robert",
"Léopold Robert",
"post-Napoleonic",
"genre",
"Papal States",
"Paris",
"brigand",
"Prix de Rome",
"central Italy"
] |
|
16067_T | Statue of William the Silent | Focus on Statue of William the Silent and explore the abstract. | A bronze statue of William the Silent (also known as Willie the Silent and Still Bill) was installed in 1928 on the Voorhees Mall section of Rutgers University's College Avenue Campus in New Brunswick, New Jersey. It is along Seminary Place, a street at the western end of the Voorhees Mall, and near several academic buildings, including the university's Graduate School of Education, Van Dyke Hall, and Milledoler Hall.
The statue is of William I, Prince of Orange (1533–1584), an early leader of the Dutch revolt against Habsburg Spain which led to the Netherlands' independence in 1648. It was donated by Dr. Fenton B. Turck to commemorate the university's Dutch heritage. Turck, with the assistance of railroad executive and Rutgers alumnus Leonor F. Loree, arranged the anonymous donation through the Holland Society of New York.
The statue has continued to be part of student life as the Voorhees Mall had been the site of student and community events, including graduation ceremonies, pep rallies, festivals, and protests. It has occasionally been a target of vandalism in the historical rivalry between students of Rutgers and Princeton University. It was restored in 2006 in an effort funded by alumni donations. | [
"Rutgers University",
"Habsburg Spain",
"Prince of Orange",
"New Jersey",
"Graduate School of Education",
"College Avenue Campus",
"Leonor F. Loree",
"William I, Prince of Orange",
"William I",
"New Brunswick, New Jersey",
"Princeton University",
"Voorhees Mall",
"vandalism",
"William the Silent",
"Holland Society of New York",
"Dutch revolt"
] |
|
16067_NT | Statue of William the Silent | Focus on this artwork and explore the abstract. | A bronze statue of William the Silent (also known as Willie the Silent and Still Bill) was installed in 1928 on the Voorhees Mall section of Rutgers University's College Avenue Campus in New Brunswick, New Jersey. It is along Seminary Place, a street at the western end of the Voorhees Mall, and near several academic buildings, including the university's Graduate School of Education, Van Dyke Hall, and Milledoler Hall.
The statue is of William I, Prince of Orange (1533–1584), an early leader of the Dutch revolt against Habsburg Spain which led to the Netherlands' independence in 1648. It was donated by Dr. Fenton B. Turck to commemorate the university's Dutch heritage. Turck, with the assistance of railroad executive and Rutgers alumnus Leonor F. Loree, arranged the anonymous donation through the Holland Society of New York.
The statue has continued to be part of student life as the Voorhees Mall had been the site of student and community events, including graduation ceremonies, pep rallies, festivals, and protests. It has occasionally been a target of vandalism in the historical rivalry between students of Rutgers and Princeton University. It was restored in 2006 in an effort funded by alumni donations. | [
"Rutgers University",
"Habsburg Spain",
"Prince of Orange",
"New Jersey",
"Graduate School of Education",
"College Avenue Campus",
"Leonor F. Loree",
"William I, Prince of Orange",
"William I",
"New Brunswick, New Jersey",
"Princeton University",
"Voorhees Mall",
"vandalism",
"William the Silent",
"Holland Society of New York",
"Dutch revolt"
] |
|
16068_T | Statue of William the Silent | Explore the Acquisition and installation about the History of this artwork, Statue of William the Silent. | While travelling in Europe after World War I, biologist and physician Dr. Fenton Benedict Turck (1857–1932) purchased a bronze statue of William I (1533–1584), Count of Nassau, Prince of Orange, and national hero of the Netherlands. William, known as "William the Silent" (Dutch: Willem de Zwijger) and "William of Orange" (Dutch: Willem van Oranje), was the main leader of the Dutch revolt against the Spanish that set off the Eighty Years' War and resulted in the formal independence of the United Provinces in 1648. For this reason, William is known as the "Father of the Fatherland" (Dutch: Vader des Vaderlands) of the Netherlands. The statue is a replica of a similar monument created in 1848 by Dutch sculptor Lodewyk Royer (1793–1868) that was installed in Het Plein, a city square in the Hague's Oude Centrum (trans. "Old Center"). The plaster mold for Royer's original statue was kept in Brussels during World War I and after the war, the Dutch government permitted one copy of the statue to be made by sculptor Toon Dupuis (1877–1937) at the Fonderie Nationale des Bronzes, a foundry in Brussels, before destroying the mold.A graduate of Chicago's Northwestern University Medical School, Turck was an internist, medical researcher in cell biology, inventor of cytost serum, and author of The Action of the Living Cell (1933) as well as many tracts on gastrointestinal diseases. Turck was a direct descendant of Dr. Paschasius Turck, a sixteenth-century Dutch physician who treated William the Silent after he received severe wounds in a 1581 assassination attempt. During his return voyage to the United States, Turck "began to feel guilty about the great cost of the statue" and decided to keep the purchase hidden from his wife by storing the statue in the basement of his New York City laboratory at 428 Lafayette Street in Lower Manhattan. It remained in Turck's possession, stored in the laboratory basement, for eight years (1920–1928).Turck had become a member of the Holland Society of New York in 1917 and was active in their events and affairs. As early as 1887, the Holland Society had sought to install a prominent monument in New York City to celebrate the city's Dutch heritage. The society agreed on William the Silent as the monument's subject in 1892 and was urged to install the monument in the city's Central Park. In the following years, the society considered commissioning the work from prominent American sculptors Augustus Saint-Gaudens (1848–1907) and Daniel Chester French (1850–1931). In 1913, Tunis Bergen, a physician chairing the Holland Society's committee investigating options for a monument, visited the Netherlands and enquired whether a copy of the Royer's statue in the Hague could be made and took measurements and photographs of the work. Subsequently, World War I delayed the society's plans. Throughout the 1920s, the Holland Society had proposed to install Turck's statue in several locations in New York City, in Albany, New York, and other locations along the Hudson Valley.: pp.128–130 In 1924, the Holland Society of New York renewed its efforts to install a monument in a prominent location in New York City's Central Park.: pp.128–130 The proposal was initially accepted by city Parks Commissioner Francis Dawson Gallatin (1870–1933), but opposed by the city's Art Commission. The Art Commission's assistant secretary H. R. Marshall recommended that the statue be donated to Rutgers College as they recently installed a new college president, John Martin Thomas, adding that it would be a "nice new and very visible gift, tying the university to its Dutch legacy at the height of the fashion for colonial revivals".: p.128 While Turck was having dinner with his close friend, railroad executive Leonor Fresnel Loree (1858–1940) discussed the Dutch roots of Rutgers University, his alma mater, and convinced Turck to donate the statue to the university. At the time, Loree was serving on the college's board of trustees. Rutgers, chartered in 1766 as Queen's College was the eighth of nine colleges established before the American Revolution and had been founded by Dutch Reformed clergymen from New York and New Jersey.: passim. After its founding, the college was affiliated with the church through the early nineteenth century, and graduated many students of Dutch ancestry.: passim. Turck desired to donate the statue anonymously, and with Loree's assistance, arranged for the Holland Society to transfer the statue to Rutgers. Bergen, now a Rutgers trustee in addition to continuing his efforts as chairman of the Holland Society's statue committee, said that it was "particularly fitting that the statue should stand on the grounds of the educational institution founded by descendants of the Netherlands.": p.107 The statue was delivered and installed at Rutgers at the western end of the Voorhees Mall. It was dedicated during a ceremony held on June 9, 1928. | [
"Lodewyk Royer",
"Oude Centrum",
"Rutgers University",
"Het Plein",
"Prince of Orange",
"New Jersey",
"Leonor Fresnel Loree",
"alma mater",
"Francis Dawson Gallatin",
"Northwestern University Medical School",
"eighth of nine colleges established before the American Revolution",
"a new college president",
"diseases",
"William I",
"John Martin Thomas",
"Brussels",
"Hudson Valley",
"Augustus Saint-Gaudens",
"city square",
"Daniel Chester French",
"Albany, New York",
"Father of the Fatherland",
"Lafayette Street",
"Central Park",
"board of trustees",
"Voorhees Mall",
"Count of Nassau",
"World War I",
"Toon Dupuis",
"Dutch Reformed clergymen",
"gastrointestinal",
"Parks Commissioner",
"Dutch ancestry",
"cell biology",
"United Provinces",
"Fonderie Nationale des Bronzes",
"the Hague",
"Lower Manhattan",
"Eighty Years' War",
"William the Silent",
"Holland Society of New York",
"Dutch revolt"
] |
|
16068_NT | Statue of William the Silent | Explore the Acquisition and installation about the History of this artwork. | While travelling in Europe after World War I, biologist and physician Dr. Fenton Benedict Turck (1857–1932) purchased a bronze statue of William I (1533–1584), Count of Nassau, Prince of Orange, and national hero of the Netherlands. William, known as "William the Silent" (Dutch: Willem de Zwijger) and "William of Orange" (Dutch: Willem van Oranje), was the main leader of the Dutch revolt against the Spanish that set off the Eighty Years' War and resulted in the formal independence of the United Provinces in 1648. For this reason, William is known as the "Father of the Fatherland" (Dutch: Vader des Vaderlands) of the Netherlands. The statue is a replica of a similar monument created in 1848 by Dutch sculptor Lodewyk Royer (1793–1868) that was installed in Het Plein, a city square in the Hague's Oude Centrum (trans. "Old Center"). The plaster mold for Royer's original statue was kept in Brussels during World War I and after the war, the Dutch government permitted one copy of the statue to be made by sculptor Toon Dupuis (1877–1937) at the Fonderie Nationale des Bronzes, a foundry in Brussels, before destroying the mold.A graduate of Chicago's Northwestern University Medical School, Turck was an internist, medical researcher in cell biology, inventor of cytost serum, and author of The Action of the Living Cell (1933) as well as many tracts on gastrointestinal diseases. Turck was a direct descendant of Dr. Paschasius Turck, a sixteenth-century Dutch physician who treated William the Silent after he received severe wounds in a 1581 assassination attempt. During his return voyage to the United States, Turck "began to feel guilty about the great cost of the statue" and decided to keep the purchase hidden from his wife by storing the statue in the basement of his New York City laboratory at 428 Lafayette Street in Lower Manhattan. It remained in Turck's possession, stored in the laboratory basement, for eight years (1920–1928).Turck had become a member of the Holland Society of New York in 1917 and was active in their events and affairs. As early as 1887, the Holland Society had sought to install a prominent monument in New York City to celebrate the city's Dutch heritage. The society agreed on William the Silent as the monument's subject in 1892 and was urged to install the monument in the city's Central Park. In the following years, the society considered commissioning the work from prominent American sculptors Augustus Saint-Gaudens (1848–1907) and Daniel Chester French (1850–1931). In 1913, Tunis Bergen, a physician chairing the Holland Society's committee investigating options for a monument, visited the Netherlands and enquired whether a copy of the Royer's statue in the Hague could be made and took measurements and photographs of the work. Subsequently, World War I delayed the society's plans. Throughout the 1920s, the Holland Society had proposed to install Turck's statue in several locations in New York City, in Albany, New York, and other locations along the Hudson Valley.: pp.128–130 In 1924, the Holland Society of New York renewed its efforts to install a monument in a prominent location in New York City's Central Park.: pp.128–130 The proposal was initially accepted by city Parks Commissioner Francis Dawson Gallatin (1870–1933), but opposed by the city's Art Commission. The Art Commission's assistant secretary H. R. Marshall recommended that the statue be donated to Rutgers College as they recently installed a new college president, John Martin Thomas, adding that it would be a "nice new and very visible gift, tying the university to its Dutch legacy at the height of the fashion for colonial revivals".: p.128 While Turck was having dinner with his close friend, railroad executive Leonor Fresnel Loree (1858–1940) discussed the Dutch roots of Rutgers University, his alma mater, and convinced Turck to donate the statue to the university. At the time, Loree was serving on the college's board of trustees. Rutgers, chartered in 1766 as Queen's College was the eighth of nine colleges established before the American Revolution and had been founded by Dutch Reformed clergymen from New York and New Jersey.: passim. After its founding, the college was affiliated with the church through the early nineteenth century, and graduated many students of Dutch ancestry.: passim. Turck desired to donate the statue anonymously, and with Loree's assistance, arranged for the Holland Society to transfer the statue to Rutgers. Bergen, now a Rutgers trustee in addition to continuing his efforts as chairman of the Holland Society's statue committee, said that it was "particularly fitting that the statue should stand on the grounds of the educational institution founded by descendants of the Netherlands.": p.107 The statue was delivered and installed at Rutgers at the western end of the Voorhees Mall. It was dedicated during a ceremony held on June 9, 1928. | [
"Lodewyk Royer",
"Oude Centrum",
"Rutgers University",
"Het Plein",
"Prince of Orange",
"New Jersey",
"Leonor Fresnel Loree",
"alma mater",
"Francis Dawson Gallatin",
"Northwestern University Medical School",
"eighth of nine colleges established before the American Revolution",
"a new college president",
"diseases",
"William I",
"John Martin Thomas",
"Brussels",
"Hudson Valley",
"Augustus Saint-Gaudens",
"city square",
"Daniel Chester French",
"Albany, New York",
"Father of the Fatherland",
"Lafayette Street",
"Central Park",
"board of trustees",
"Voorhees Mall",
"Count of Nassau",
"World War I",
"Toon Dupuis",
"Dutch Reformed clergymen",
"gastrointestinal",
"Parks Commissioner",
"Dutch ancestry",
"cell biology",
"United Provinces",
"Fonderie Nationale des Bronzes",
"the Hague",
"Lower Manhattan",
"Eighty Years' War",
"William the Silent",
"Holland Society of New York",
"Dutch revolt"
] |
|
16069_T | Statue of William the Silent | In the context of Statue of William the Silent, discuss the Involvement in campus life of the History. | Rutgers students affectionately call the statue "Willie the Silent" and "Still Bill." According to student tradition, the statue is expected to whistle should a virgin happen to walk by. However, Rutgers American studies professor and folklorist Angus Kress Gillespie remarked "But over the last 200 years, he hasn't yet whistled." Nevertheless, the statue has continued to be included in student life as the Voorhees Mall was used as the site of student and community events, graduation ceremonies (until 2007), pep rallies for the football team and other athletic teams, Dutch-American festivals, as well as protests including anti-war protests and strike rallies in the 1970s. On the afternoon of October 11, 1976, United States Senator Ted Kennedy of Massachusetts held a campaign rally at Rutgers during the presidential election of 1976. Kennedy addressed a crowd of approximately 1,000 students the Voorhees Mall in front of the statue of William the Silent. Before Kennedy began his speech he "had to quell boos and heckling by some students holding anti-Kennedy signs."Occasionally, the statue is a target of vandalism in ongoing historical rivalry between students of Rutgers and Princeton University. This rivalry which dates to the two schools playing the first intercollegiate football game in New Brunswick in 1869 and an escalating series of pranks and thefts "under the cover of night" including the theft of a cannon on the Princeton campus in 1875 that became known as the Rutgers–Princeton Cannon War.: pp.105, 107 Over the years, Princeton students have frequently doused the William the Silent statue with orange paint, usually in advance of athletic events. On October 11, 1947, before the annual football game between the two schools, "in the early hours of the morning a group of Tigers (i.e. Princeton students) infiltrated the Rutgers campus and painted the statue of William the Silent". In 2006, Rutgers police officers chased several vandals from the site, allegedly Princeton students, who had painted a large penis and the word "Princeton" several times on the statue.The statue was restored in 2006 with funds donated by the university's alumni from the Class of 1956. Approximately $150,000 in reunion campaign funds were used to restore the four historic gates on the university's historic Queens Campus and the William the Silent statue. It was cleaned to remove the effects of graffiti and transparent tape residue, and conservation efforts were needed to restore the statue's bronze casting and granite base. | [
"presidential election of 1976",
"United States Senator",
"Queens Campus",
"Ted Kennedy",
"first intercollegiate football game",
"Princeton University",
"folklorist",
"Rutgers police officers",
"Voorhees Mall",
"American studies",
"Rutgers–Princeton Cannon War",
"vandalism",
"penis",
"ongoing historical rivalry",
"William the Silent",
"Massachusetts"
] |
|
16069_NT | Statue of William the Silent | In the context of this artwork, discuss the Involvement in campus life of the History. | Rutgers students affectionately call the statue "Willie the Silent" and "Still Bill." According to student tradition, the statue is expected to whistle should a virgin happen to walk by. However, Rutgers American studies professor and folklorist Angus Kress Gillespie remarked "But over the last 200 years, he hasn't yet whistled." Nevertheless, the statue has continued to be included in student life as the Voorhees Mall was used as the site of student and community events, graduation ceremonies (until 2007), pep rallies for the football team and other athletic teams, Dutch-American festivals, as well as protests including anti-war protests and strike rallies in the 1970s. On the afternoon of October 11, 1976, United States Senator Ted Kennedy of Massachusetts held a campaign rally at Rutgers during the presidential election of 1976. Kennedy addressed a crowd of approximately 1,000 students the Voorhees Mall in front of the statue of William the Silent. Before Kennedy began his speech he "had to quell boos and heckling by some students holding anti-Kennedy signs."Occasionally, the statue is a target of vandalism in ongoing historical rivalry between students of Rutgers and Princeton University. This rivalry which dates to the two schools playing the first intercollegiate football game in New Brunswick in 1869 and an escalating series of pranks and thefts "under the cover of night" including the theft of a cannon on the Princeton campus in 1875 that became known as the Rutgers–Princeton Cannon War.: pp.105, 107 Over the years, Princeton students have frequently doused the William the Silent statue with orange paint, usually in advance of athletic events. On October 11, 1947, before the annual football game between the two schools, "in the early hours of the morning a group of Tigers (i.e. Princeton students) infiltrated the Rutgers campus and painted the statue of William the Silent". In 2006, Rutgers police officers chased several vandals from the site, allegedly Princeton students, who had painted a large penis and the word "Princeton" several times on the statue.The statue was restored in 2006 with funds donated by the university's alumni from the Class of 1956. Approximately $150,000 in reunion campaign funds were used to restore the four historic gates on the university's historic Queens Campus and the William the Silent statue. It was cleaned to remove the effects of graffiti and transparent tape residue, and conservation efforts were needed to restore the statue's bronze casting and granite base. | [
"presidential election of 1976",
"United States Senator",
"Queens Campus",
"Ted Kennedy",
"first intercollegiate football game",
"Princeton University",
"folklorist",
"Rutgers police officers",
"Voorhees Mall",
"American studies",
"Rutgers–Princeton Cannon War",
"vandalism",
"penis",
"ongoing historical rivalry",
"William the Silent",
"Massachusetts"
] |
|
16070_T | Statue of William the Silent | How does Statue of William the Silent elucidate its Description? | In 1928, the statue of William the Silent was installed at the western end of Voorhees Mall, a section of academic buildings on the College Avenue Campus in New Brunswick. It is located along Seminary Place, a city street that flanks the western side of the Mall, and separates the Rutgers campus from that of the New Brunswick Theological Seminary. The statue is placed near several academic buildings, including the university's Graduate School of Education, Van Dyke Hall, and Milledoler Hall.According to the Smithsonian Institution's Art Inventories Catalog, the bronze sculpture is approximately 15 feet in height and installed on a square stone base approximately 6 feet in height. It is recorded as weighing 2,000 pounds. The sculpture depicts William the Silent standing:"...with his proper right hand raised to his chest, pointing with his index finger. He holds an open scroll with his proper left hand. A small dog sits at his feet on his proper right. William the Silent wears the clothes of a civilian magistrate of the 16th century. He has a moustache and a beard, and he wears a ruffled collar, an open ankle-length coat, a buttoned vest, and bloomers. The sculpture is mounted on a square base."
Each of the four side of the statue's square base is inscribed with incised letters:
Front: (facing east): WILLIAM THE SILENT / COUNT OF NASSAU / PRINCE OF ORANGE / MDXXXIII MDLXXXIV
Back (facing west): THE HOLLAND SOCIETY / OF NEW YORK / TO RUTGERS UNIVERSITY / MCMXXVIII
Right (facing south): FATHER OF HIS FATHERLAND / FOUNDER OF THE UNITED / STATES OF THE NETHERLANDS
Left (facing north): AS LONG AS HE LIVED / HE WAS THE GUIDING STAR / OF A WHOLE BRAVE NATION / AND WHEN HE DIED THE / LITTLE CHILDREN CRIED
The sculpture bears two inscriptions, a signed Founder's mark, near its base: "ROYER – STATUAIRE" and "FONDERIE NATLE DES BRONZES". | [
"Graduate School of Education",
"College Avenue Campus",
"right",
"Smithsonian Institution",
"New Brunswick Theological Seminary",
"Voorhees Mall",
"William the Silent"
] |
|
16070_NT | Statue of William the Silent | How does this artwork elucidate its Description? | In 1928, the statue of William the Silent was installed at the western end of Voorhees Mall, a section of academic buildings on the College Avenue Campus in New Brunswick. It is located along Seminary Place, a city street that flanks the western side of the Mall, and separates the Rutgers campus from that of the New Brunswick Theological Seminary. The statue is placed near several academic buildings, including the university's Graduate School of Education, Van Dyke Hall, and Milledoler Hall.According to the Smithsonian Institution's Art Inventories Catalog, the bronze sculpture is approximately 15 feet in height and installed on a square stone base approximately 6 feet in height. It is recorded as weighing 2,000 pounds. The sculpture depicts William the Silent standing:"...with his proper right hand raised to his chest, pointing with his index finger. He holds an open scroll with his proper left hand. A small dog sits at his feet on his proper right. William the Silent wears the clothes of a civilian magistrate of the 16th century. He has a moustache and a beard, and he wears a ruffled collar, an open ankle-length coat, a buttoned vest, and bloomers. The sculpture is mounted on a square base."
Each of the four side of the statue's square base is inscribed with incised letters:
Front: (facing east): WILLIAM THE SILENT / COUNT OF NASSAU / PRINCE OF ORANGE / MDXXXIII MDLXXXIV
Back (facing west): THE HOLLAND SOCIETY / OF NEW YORK / TO RUTGERS UNIVERSITY / MCMXXVIII
Right (facing south): FATHER OF HIS FATHERLAND / FOUNDER OF THE UNITED / STATES OF THE NETHERLANDS
Left (facing north): AS LONG AS HE LIVED / HE WAS THE GUIDING STAR / OF A WHOLE BRAVE NATION / AND WHEN HE DIED THE / LITTLE CHILDREN CRIED
The sculpture bears two inscriptions, a signed Founder's mark, near its base: "ROYER – STATUAIRE" and "FONDERIE NATLE DES BRONZES". | [
"Graduate School of Education",
"College Avenue Campus",
"right",
"Smithsonian Institution",
"New Brunswick Theological Seminary",
"Voorhees Mall",
"William the Silent"
] |
|
16071_T | The Virgin and Child with a Cat | Focus on The Virgin and Child with a Cat and analyze the abstract. | The Virgin and Child with a Cat is an etching made in 1654 by the Dutch artist Rembrandt van Rijn (1606–1669). The Victoria and Albert Museum has in its collection one of the earliest impressions of this etching and the actual copper plate from which the image is taken.This print shows a homely scene of maternal affection but it is also a powerful piece of Christian symbolism. While the cat on the left is playing with the Virgin's hem, a snake can be seen slithering out from under her skirt. The Virgin is treading on the snake, symbolising her role as the new Eve, who will triumph over original sin. Joseph looks in from outside the window, symbolising his closeness to, but also his separation from, the Virgin and Child. The pattern of the window's glazing creates the impression of a halo around the Virgin's head. | [
"Joseph",
"original sin",
"Virgin",
"Rembrandt van Rijn",
"Rembrandt",
"left",
"Victoria and Albert Museum",
"etching"
] |
|
16071_NT | The Virgin and Child with a Cat | Focus on this artwork and analyze the abstract. | The Virgin and Child with a Cat is an etching made in 1654 by the Dutch artist Rembrandt van Rijn (1606–1669). The Victoria and Albert Museum has in its collection one of the earliest impressions of this etching and the actual copper plate from which the image is taken.This print shows a homely scene of maternal affection but it is also a powerful piece of Christian symbolism. While the cat on the left is playing with the Virgin's hem, a snake can be seen slithering out from under her skirt. The Virgin is treading on the snake, symbolising her role as the new Eve, who will triumph over original sin. Joseph looks in from outside the window, symbolising his closeness to, but also his separation from, the Virgin and Child. The pattern of the window's glazing creates the impression of a halo around the Virgin's head. | [
"Joseph",
"original sin",
"Virgin",
"Rembrandt van Rijn",
"Rembrandt",
"left",
"Victoria and Albert Museum",
"etching"
] |
|
16072_T | Statue of Thomas Jefferson (Hempstead, New York) | In Statue of Thomas Jefferson (Hempstead, New York), how is the abstract discussed? | A statue of Founding Father and United States president Thomas Jefferson is installed in Hempstead, New York. The memorial was relocated in June 2020 to the Hofstra University Museum. | [
"Founding Father",
"Hofstra University Museum",
"Thomas Jefferson",
"Hofstra University",
"Hempstead, New York"
] |
|
16072_NT | Statue of Thomas Jefferson (Hempstead, New York) | In this artwork, how is the abstract discussed? | A statue of Founding Father and United States president Thomas Jefferson is installed in Hempstead, New York. The memorial was relocated in June 2020 to the Hofstra University Museum. | [
"Founding Father",
"Hofstra University Museum",
"Thomas Jefferson",
"Hofstra University",
"Hempstead, New York"
] |
|
16073_T | The Judgement of Paris (Boucher) | Focus on The Judgement of Paris (Boucher) and explore the abstract. | The Judgement of Paris (French: Le Jugement de Pâris) is an oil-on-canvas mythological painting by the French artist François Boucher. It was painted c. 1763 and belongs to the Musée des Beaux-Arts of Mulhouse, France. Its inventory number is 61.1.16.The painting was bequeathed to the museum by Alfred Wallach (1882–1961). Its authenticity as a genuine Boucher had been disputed until the British specialist Alastair Laing established that it was indeed painted by the master himself. Two 1763 preparatory drawings have survived, one depicting Aphrodite with Eros (now in the Albertina in Vienna), and the other one depicting Athena (current location unknown).A similar work by Boucher on the same theme, dated 1754, is owned by the Wallace Collection in London. | [
"Eros",
"Mulhouse",
"French",
"Albertina",
"Athena",
"Wallace Collection",
"France",
"canvas",
"Aphrodite",
"mythological",
"Musée des Beaux-Arts",
"Alfred Wallach",
"François Boucher",
"Vienna",
"Judgement of Paris"
] |
|
16073_NT | The Judgement of Paris (Boucher) | Focus on this artwork and explore the abstract. | The Judgement of Paris (French: Le Jugement de Pâris) is an oil-on-canvas mythological painting by the French artist François Boucher. It was painted c. 1763 and belongs to the Musée des Beaux-Arts of Mulhouse, France. Its inventory number is 61.1.16.The painting was bequeathed to the museum by Alfred Wallach (1882–1961). Its authenticity as a genuine Boucher had been disputed until the British specialist Alastair Laing established that it was indeed painted by the master himself. Two 1763 preparatory drawings have survived, one depicting Aphrodite with Eros (now in the Albertina in Vienna), and the other one depicting Athena (current location unknown).A similar work by Boucher on the same theme, dated 1754, is owned by the Wallace Collection in London. | [
"Eros",
"Mulhouse",
"French",
"Albertina",
"Athena",
"Wallace Collection",
"France",
"canvas",
"Aphrodite",
"mythological",
"Musée des Beaux-Arts",
"Alfred Wallach",
"François Boucher",
"Vienna",
"Judgement of Paris"
] |
|
16074_T | Statue of Minerva (Madrid) | Focus on Statue of Minerva (Madrid) and explain the History and description. | In 1964, the project for the statue—intending to fulfill the vision of the original architect Antonio Palacios for the top of the building—was awarded by the Círculo de Bellas Artes to Juan Luis Vassallo.The sculptural ensemble, representing a standing figure of the goddess, features characteristic attributes associated to Pallas Athena, such as the helmet, shield, spear and owl. Cast in bronze in Arganda del Rey by Eduardo Capa, a disciple of Vassallo, it weighs 3 tonnes.Following a complicated effort to transport the extremely heavy statue up to the rooftop (involving the installation of a 8-metre high and 1-tonne iron girder in order to secure the structure of the building) codenamed "Operation Minerva", the statue was finally put on its pedestal on 24 January 1966. It stands at about 58 metres above street level, dominating over the intersection between the calle de Alcalá and the Gran Vía. | [
"owl",
"Minerva",
"Pallas Athena",
"bronze",
"Athena",
"tonne",
"Círculo de Bellas Artes",
"Juan Luis Vassallo",
"Arganda del Rey",
"Gran Vía",
"calle de Alcalá",
"Antonio Palacios"
] |
|
16074_NT | Statue of Minerva (Madrid) | Focus on this artwork and explain the History and description. | In 1964, the project for the statue—intending to fulfill the vision of the original architect Antonio Palacios for the top of the building—was awarded by the Círculo de Bellas Artes to Juan Luis Vassallo.The sculptural ensemble, representing a standing figure of the goddess, features characteristic attributes associated to Pallas Athena, such as the helmet, shield, spear and owl. Cast in bronze in Arganda del Rey by Eduardo Capa, a disciple of Vassallo, it weighs 3 tonnes.Following a complicated effort to transport the extremely heavy statue up to the rooftop (involving the installation of a 8-metre high and 1-tonne iron girder in order to secure the structure of the building) codenamed "Operation Minerva", the statue was finally put on its pedestal on 24 January 1966. It stands at about 58 metres above street level, dominating over the intersection between the calle de Alcalá and the Gran Vía. | [
"owl",
"Minerva",
"Pallas Athena",
"bronze",
"Athena",
"tonne",
"Círculo de Bellas Artes",
"Juan Luis Vassallo",
"Arganda del Rey",
"Gran Vía",
"calle de Alcalá",
"Antonio Palacios"
] |
|
16075_T | Annunciation (church of San Salvador) | Explore the abstract of this artwork, Annunciation (church of San Salvador). | The Annunciation is a painting by the Italian Renaissance master Titian, executed between 1559 and 1564. It remains in the church of San Salvador in Venice, for which it was commissioned.
Originally three paintings were commissioned by the D'Anna family for their chapels in the church of San Salvador in Venice, northern Italy. Only two out of the three remains in place in the church. The other pieces that were commissioned were a Transfiguration dated around 1560, as the altarpiece of the high altar, and a Crucifixion now in the Church of San Domenico, Ancona. The painting depicts the scene when the Virgin Mary being told that she is carrying the child of God, called the Annunciation of the Virgin. | [
"Annunciation",
"Ancona",
"Titian",
"San Salvador",
"Venice",
"Crucifixion"
] |
|
16075_NT | Annunciation (church of San Salvador) | Explore the abstract of this artwork. | The Annunciation is a painting by the Italian Renaissance master Titian, executed between 1559 and 1564. It remains in the church of San Salvador in Venice, for which it was commissioned.
Originally three paintings were commissioned by the D'Anna family for their chapels in the church of San Salvador in Venice, northern Italy. Only two out of the three remains in place in the church. The other pieces that were commissioned were a Transfiguration dated around 1560, as the altarpiece of the high altar, and a Crucifixion now in the Church of San Domenico, Ancona. The painting depicts the scene when the Virgin Mary being told that she is carrying the child of God, called the Annunciation of the Virgin. | [
"Annunciation",
"Ancona",
"Titian",
"San Salvador",
"Venice",
"Crucifixion"
] |
|
16076_T | Annunciation (church of San Salvador) | Focus on Annunciation (church of San Salvador) and discuss the Composition. | The lower figures are Mary (mother of Jesus) and Gabriel. Mary is in shown in a degree of shock but Titian using his colours brings out the sight of the angel. This is most evident in his handling of light. A heavenly light pours from an opening in the sky into the place of the Annunciation.There have been opinions on the different usage of colour in the painting from Giorgio Vasari to Charles Hope. Hope's opinion ”disliked use of the muddy colours, the physical types, the mannered pose of the Virgin or the badly drawn figure of
Gabriel and the inept use of gesture”. Hope's observation is an extension from Vasari's criticism. While Bohde explains that "muddy colours" and the physicality of the figures makes the composition of Titian's Annunciation so good.
Bohde says, "Titian’s painting ultimately deals with the transformation of the immaterial into the material, which is the core of the incarnation theme". The figures itself explains the main theme of incarnation of God within the Virgin. This theme comes thought with the dove in the back that pours out amounts of light from the clouds. The figures are different from other versions of the story annunciation in other Venetian works Titian does not connect to the myth of the city of Venice founded on the day of Annunziata. As Bohde states "Titian merely connects the place of the Annunciation with the interior of San Salvador through the red and white tiled floor and the row of columns. But these features mainly serve to unify the pictorial and the real space, and are not significantly Venetian."The overwhelming size of the angel compared to the Virgin and the brush strokes being more expressive shows the theme of incarnation. Titian's way of depicting the Virgin showing the flesh is more full in her bosom. Making the flesh of the virgin more evident, puts emphasis that Jesus was made from the Virgin's flesh. | [
"Annunziata",
"Giorgio Vasari",
"Annunciation",
"Titian",
"San Salvador",
"Venice",
"Gabriel",
"Mary (mother of Jesus)",
"Vasari",
"Venetian"
] |
|
16076_NT | Annunciation (church of San Salvador) | Focus on this artwork and discuss the Composition. | The lower figures are Mary (mother of Jesus) and Gabriel. Mary is in shown in a degree of shock but Titian using his colours brings out the sight of the angel. This is most evident in his handling of light. A heavenly light pours from an opening in the sky into the place of the Annunciation.There have been opinions on the different usage of colour in the painting from Giorgio Vasari to Charles Hope. Hope's opinion ”disliked use of the muddy colours, the physical types, the mannered pose of the Virgin or the badly drawn figure of
Gabriel and the inept use of gesture”. Hope's observation is an extension from Vasari's criticism. While Bohde explains that "muddy colours" and the physicality of the figures makes the composition of Titian's Annunciation so good.
Bohde says, "Titian’s painting ultimately deals with the transformation of the immaterial into the material, which is the core of the incarnation theme". The figures itself explains the main theme of incarnation of God within the Virgin. This theme comes thought with the dove in the back that pours out amounts of light from the clouds. The figures are different from other versions of the story annunciation in other Venetian works Titian does not connect to the myth of the city of Venice founded on the day of Annunziata. As Bohde states "Titian merely connects the place of the Annunciation with the interior of San Salvador through the red and white tiled floor and the row of columns. But these features mainly serve to unify the pictorial and the real space, and are not significantly Venetian."The overwhelming size of the angel compared to the Virgin and the brush strokes being more expressive shows the theme of incarnation. Titian's way of depicting the Virgin showing the flesh is more full in her bosom. Making the flesh of the virgin more evident, puts emphasis that Jesus was made from the Virgin's flesh. | [
"Annunziata",
"Giorgio Vasari",
"Annunciation",
"Titian",
"San Salvador",
"Venice",
"Gabriel",
"Mary (mother of Jesus)",
"Vasari",
"Venetian"
] |
|
16077_T | Bust of Sherman Minton | How does Bust of Sherman Minton elucidate its abstract? | The bust of Sherman Minton is a public artwork by American artist Robert Merrell Gage, located on the main floor of the Indiana Statehouse, which is in Indianapolis, Indiana, United States. Cast in bronze in 1956, it was commissioned to honor politician — a United States senator from Indiana and later an Associate Justice of the Supreme Court of the United States.— and Indiana native Sherman Minton. | [
"Robe",
"American",
"bronze",
"United States senator",
"Indianapolis",
"Cast",
"Supreme Court of the United States",
"Indiana Statehouse",
"United States",
"politician",
"Associate Justice of the Supreme Court of the United States",
"Indiana",
"Robert Merrell Gage",
"public art",
"bust",
"Sherman Minton",
"Associate Justice"
] |
|
16077_NT | Bust of Sherman Minton | How does this artwork elucidate its abstract? | The bust of Sherman Minton is a public artwork by American artist Robert Merrell Gage, located on the main floor of the Indiana Statehouse, which is in Indianapolis, Indiana, United States. Cast in bronze in 1956, it was commissioned to honor politician — a United States senator from Indiana and later an Associate Justice of the Supreme Court of the United States.— and Indiana native Sherman Minton. | [
"Robe",
"American",
"bronze",
"United States senator",
"Indianapolis",
"Cast",
"Supreme Court of the United States",
"Indiana Statehouse",
"United States",
"politician",
"Associate Justice of the Supreme Court of the United States",
"Indiana",
"Robert Merrell Gage",
"public art",
"bust",
"Sherman Minton",
"Associate Justice"
] |
|
16078_T | Bust of Sherman Minton | Focus on Bust of Sherman Minton and analyze the Description. | The bust is made from cast bronze and depicts the subject from the lower shoulders up, clad in a judicial robe. Minton is depicted as middle-aged, mustached, with a moderately receded hairline. His head is rotated slightly to the proper left. Slightly larger than life-size, the piece is 30.25 inches wide at the shoulders, 11.5 inches wide at the head, 24 inches high, and 11.75 inches deep. It is mounted on a stone block in a semi-cylindrical niche. Affixed to the front of the block is a bronze plaque which reads: | [
"bronze",
"middle-aged",
"bust",
"robe"
] |
|
16078_NT | Bust of Sherman Minton | Focus on this artwork and analyze the Description. | The bust is made from cast bronze and depicts the subject from the lower shoulders up, clad in a judicial robe. Minton is depicted as middle-aged, mustached, with a moderately receded hairline. His head is rotated slightly to the proper left. Slightly larger than life-size, the piece is 30.25 inches wide at the shoulders, 11.5 inches wide at the head, 24 inches high, and 11.75 inches deep. It is mounted on a stone block in a semi-cylindrical niche. Affixed to the front of the block is a bronze plaque which reads: | [
"bronze",
"middle-aged",
"bust",
"robe"
] |
|
16079_T | Bust of Sherman Minton | In Bust of Sherman Minton, how is the Subject discussed? | Sherman Minton (October 20, 1890 – April 9, 1965) was primarily noted for being a Democratic United States Senator representing Indiana and an Associate United States Supreme Court justice. The first U.S. Supreme Court justice from Indiana, he was a supporter of New Deal legislation as a senator and an advocate of judicial restraint as a court justice. He retired in 1956 due to poor health. | [
"New Deal",
"Democratic",
"judicial restraint",
"United States",
"United States Supreme Court",
"United States Senator",
"Indiana",
"Sherman Minton",
"retired"
] |
|
16079_NT | Bust of Sherman Minton | In this artwork, how is the Subject discussed? | Sherman Minton (October 20, 1890 – April 9, 1965) was primarily noted for being a Democratic United States Senator representing Indiana and an Associate United States Supreme Court justice. The first U.S. Supreme Court justice from Indiana, he was a supporter of New Deal legislation as a senator and an advocate of judicial restraint as a court justice. He retired in 1956 due to poor health. | [
"New Deal",
"Democratic",
"judicial restraint",
"United States",
"United States Supreme Court",
"United States Senator",
"Indiana",
"Sherman Minton",
"retired"
] |
|
16080_T | Bust of Sherman Minton | Focus on Bust of Sherman Minton and explore the Historical information. | The bust was commissioned shortly after Minton's retirement by then-governor of Indiana George N. Craig, paid for out of the governor's contingency fund. It was dedicated on December 21, 1956, at an unveiling ceremony which featured as speakers both Gov. Craig and William T. Fitzgerald, president of the Indiana State Bar Association at that time, in addition to Minton himself. | [
"contingency fund",
"governor",
"Indiana",
"bust",
"George N. Craig",
"Bar Association"
] |
|
16080_NT | Bust of Sherman Minton | Focus on this artwork and explore the Historical information. | The bust was commissioned shortly after Minton's retirement by then-governor of Indiana George N. Craig, paid for out of the governor's contingency fund. It was dedicated on December 21, 1956, at an unveiling ceremony which featured as speakers both Gov. Craig and William T. Fitzgerald, president of the Indiana State Bar Association at that time, in addition to Minton himself. | [
"contingency fund",
"governor",
"Indiana",
"bust",
"George N. Craig",
"Bar Association"
] |
|
16081_T | Bust of Sherman Minton | In the context of Bust of Sherman Minton, explain the Location history of the Historical information. | Cast in New York and transported to Indianapolis, the bust was originally housed in a prominent niche outside the governor's office at the statehouse rotunda, displacing a bust of George Washington, which was moved to an upper floor. A statement by the governor's private secretary at the time suggested that this was simply because the Washington bust was made of plaster and the Minton bust of bronze, and that the Minton bust would be a better aesthetic match for an adjoining bronze piece.
A 1976 catalog lists the bust's location at the statehouse as the southwest corner pier of the central rotunda, facing south. This continues to be its current location as of 2011. | [
"bronze",
"bust of George Washington",
"Indianapolis",
"Cast",
"governor",
"Indiana",
"bust",
"rotunda"
] |
|
16081_NT | Bust of Sherman Minton | In the context of this artwork, explain the Location history of the Historical information. | Cast in New York and transported to Indianapolis, the bust was originally housed in a prominent niche outside the governor's office at the statehouse rotunda, displacing a bust of George Washington, which was moved to an upper floor. A statement by the governor's private secretary at the time suggested that this was simply because the Washington bust was made of plaster and the Minton bust of bronze, and that the Minton bust would be a better aesthetic match for an adjoining bronze piece.
A 1976 catalog lists the bust's location at the statehouse as the southwest corner pier of the central rotunda, facing south. This continues to be its current location as of 2011. | [
"bronze",
"bust of George Washington",
"Indianapolis",
"Cast",
"governor",
"Indiana",
"bust",
"rotunda"
] |
|
16082_T | Ex Stasis (sculpture) | Explore the abstract of this artwork, Ex Stasis (sculpture). | Ex Stasis is a public art work created by American artist Richard Lippold and located on the campus of Marquette University in downtown Milwaukee, Wisconsin. The abstract sculpture is a series of angular metallic planes set on a concrete pedestal. It is located near Marquette's Haggerty Museum of Art, but used to be the centerpiece of the west courtyard of the Alumni Memorial Union. | [
"Milwaukee",
"Marquette University",
"American",
"Richard Lippold",
"Haggerty Museum of Art",
"Wisconsin",
"public art"
] |
|
16082_NT | Ex Stasis (sculpture) | Explore the abstract of this artwork. | Ex Stasis is a public art work created by American artist Richard Lippold and located on the campus of Marquette University in downtown Milwaukee, Wisconsin. The abstract sculpture is a series of angular metallic planes set on a concrete pedestal. It is located near Marquette's Haggerty Museum of Art, but used to be the centerpiece of the west courtyard of the Alumni Memorial Union. | [
"Milwaukee",
"Marquette University",
"American",
"Richard Lippold",
"Haggerty Museum of Art",
"Wisconsin",
"public art"
] |
|
16083_T | Avenue of Chestnut Trees at La Celle-Saint-Cloud | Focus on Avenue of Chestnut Trees at La Celle-Saint-Cloud and discuss the abstract. | Avenue of Chestnut Trees at La Celle-Saint-Cloud (French: Allée de châtaigniers à La Celle-Saint-Cloud) or Edge of the Fontainebleau Forest (French: Lisière de la forêt de Fontainebleau) is an 1865 pre-Impressionist painting by Alfred Sisley, produced in the woods at La Celle-Saint-Cloud. It was refused by the Paris Salon of 1867 and bought by Jean-Baptiste Faure in 1877. It was acquired in 1919 by Joseph Duveen, who in 1921 gave it to the Petit Palais, where it still hangs. | [
"La Celle-Saint-Cloud",
"Petit Palais",
"Impressionist",
"Alfred Sisley",
"Paris",
"Jean-Baptiste Faure",
"Paris Salon",
"Joseph Duveen"
] |
|
16083_NT | Avenue of Chestnut Trees at La Celle-Saint-Cloud | Focus on this artwork and discuss the abstract. | Avenue of Chestnut Trees at La Celle-Saint-Cloud (French: Allée de châtaigniers à La Celle-Saint-Cloud) or Edge of the Fontainebleau Forest (French: Lisière de la forêt de Fontainebleau) is an 1865 pre-Impressionist painting by Alfred Sisley, produced in the woods at La Celle-Saint-Cloud. It was refused by the Paris Salon of 1867 and bought by Jean-Baptiste Faure in 1877. It was acquired in 1919 by Joseph Duveen, who in 1921 gave it to the Petit Palais, where it still hangs. | [
"La Celle-Saint-Cloud",
"Petit Palais",
"Impressionist",
"Alfred Sisley",
"Paris",
"Jean-Baptiste Faure",
"Paris Salon",
"Joseph Duveen"
] |
|
16084_T | Seventh Regiment Memorial | How does Seventh Regiment Memorial elucidate its abstract? | Seventh Regiment Memorial is an outdoor bronze sculpture atop a granite base honoring those members of the regiment whose lives were lost during the Civil War. The sculptor John Quincy Adams Ward created the statue and the architect Richard Morris Hunt designed the base. Although the statue is dated 1869 the monument was not unveiled until June 22, 1874. | [
"bronze sculpture",
"John Quincy Adams Ward",
"Civil War",
"Richard Morris Hunt"
] |
|
16084_NT | Seventh Regiment Memorial | How does this artwork elucidate its abstract? | Seventh Regiment Memorial is an outdoor bronze sculpture atop a granite base honoring those members of the regiment whose lives were lost during the Civil War. The sculptor John Quincy Adams Ward created the statue and the architect Richard Morris Hunt designed the base. Although the statue is dated 1869 the monument was not unveiled until June 22, 1874. | [
"bronze sculpture",
"John Quincy Adams Ward",
"Civil War",
"Richard Morris Hunt"
] |
|
16085_T | Seventh Regiment Memorial | Focus on Seventh Regiment Memorial and analyze the Description and history. | Ward likely received the commission in 1867, with funds to be provided by the Seventh Regiment Monument Association. He finished a model by the spring of 1868. Initially, Hunt designed a much larger monument, one with at least five figures, part of his elaborate scheme for the "Warrior Gate" entrance to Central Park. However the park's architects, Olmsted to and Vaux, had already clashed with Hunt over matters of aesthetics with the result that Hunt's grand scheme of a series of showy Beaux-Arts entrances to the park was reduced to the Seventh Regiment Memorial.The art historian E. Wayne Craven considers the work "a failure", even though it is a work of art, stating,"neither the 'Shakespeare' nor the 'Seventh Regiment Soldier' were portrait statues in the usual sense, and therein lies the explanation for their failures. Ward often lacked the vision to create a successful imaginary portrait, and his images of men who could actually stand before him were, as a rule, much stronger as works of art." The soldier in the monument was modeled by actor, and veteran of the Regiment Steele MacKaye, who wore his own uniform to pose in. | [
"Beaux-Arts",
"Steele MacKaye",
"Vaux",
"Central Park",
"Olmsted",
"E. Wayne Craven"
] |
|
16085_NT | Seventh Regiment Memorial | Focus on this artwork and analyze the Description and history. | Ward likely received the commission in 1867, with funds to be provided by the Seventh Regiment Monument Association. He finished a model by the spring of 1868. Initially, Hunt designed a much larger monument, one with at least five figures, part of his elaborate scheme for the "Warrior Gate" entrance to Central Park. However the park's architects, Olmsted to and Vaux, had already clashed with Hunt over matters of aesthetics with the result that Hunt's grand scheme of a series of showy Beaux-Arts entrances to the park was reduced to the Seventh Regiment Memorial.The art historian E. Wayne Craven considers the work "a failure", even though it is a work of art, stating,"neither the 'Shakespeare' nor the 'Seventh Regiment Soldier' were portrait statues in the usual sense, and therein lies the explanation for their failures. Ward often lacked the vision to create a successful imaginary portrait, and his images of men who could actually stand before him were, as a rule, much stronger as works of art." The soldier in the monument was modeled by actor, and veteran of the Regiment Steele MacKaye, who wore his own uniform to pose in. | [
"Beaux-Arts",
"Steele MacKaye",
"Vaux",
"Central Park",
"Olmsted",
"E. Wayne Craven"
] |
|
16086_T | Adam (Rodin) | In Adam (Rodin), how is the abstract discussed? | Adam is an 1880-1881 statue of Adam by Auguste Rodin, first exhibited at the Paris Salon that year entitled The Creation of Man. | [
"Paris Salon",
"Adam",
"Auguste Rodin"
] |
|
16086_NT | Adam (Rodin) | In this artwork, how is the abstract discussed? | Adam is an 1880-1881 statue of Adam by Auguste Rodin, first exhibited at the Paris Salon that year entitled The Creation of Man. | [
"Paris Salon",
"Adam",
"Auguste Rodin"
] |
|
16087_T | Adam (Rodin) | Focus on Adam (Rodin) and explore the Development. | That year Rodin was also commissioned by France's Ministry of Fine Arts to produce two colossal figures of Adam and Eve, which he suggested using to flank his The Gates of Hell project, then ongoing. For the figure of Adam he reused The Creation of Man, whilst Eve was created separately. | [
"Adam",
"The Gates of Hell",
"Eve"
] |
|
16087_NT | Adam (Rodin) | Focus on this artwork and explore the Development. | That year Rodin was also commissioned by France's Ministry of Fine Arts to produce two colossal figures of Adam and Eve, which he suggested using to flank his The Gates of Hell project, then ongoing. For the figure of Adam he reused The Creation of Man, whilst Eve was created separately. | [
"Adam",
"The Gates of Hell",
"Eve"
] |
|
16088_T | Adam (Rodin) | Focus on Adam (Rodin) and explain the Casts. | The work was first cast in 1910 and bronze casts of it are now in the Art Institute of Chicago, the Musee Rodin and the Metropolitan Museum of Art among others. | [
"Art Institute of Chicago",
"Musee Rodin",
"Metropolitan Museum of Art"
] |
|
16088_NT | Adam (Rodin) | Focus on this artwork and explain the Casts. | The work was first cast in 1910 and bronze casts of it are now in the Art Institute of Chicago, the Musee Rodin and the Metropolitan Museum of Art among others. | [
"Art Institute of Chicago",
"Musee Rodin",
"Metropolitan Museum of Art"
] |
|
16089_T | Prisoners from the Front | Explore the Description of this artwork, Prisoners from the Front. | The work depicts a group of Confederate soldiers surrendering to a Union officer in the barren landscape. The Union officer, identified as General Francis Channing Barlow, is recognizable, but the Confederate soldiers remain anonymous. Departing from traditional confrontation scenes where the vanquished bow down in submission, Homer introduces alterations. The Confederate prisoners, although indicating surrender by placing their rifles down, refuse to bow and stand in pride. Homer shows a group of Confederate soldiers of different ages. The elderly man positioned in the center of the group presents the most submissive demeanor among them. The young prisoner to his left has his hand in his pocket, showing confident nonchalance. The work captures a poignant portrayal of the tensions following the Civil War and the efforts to reconstruct the South.: 218–220 | [
"Francis Channing Barlow",
"Confederate",
"Union"
] |
|
16089_NT | Prisoners from the Front | Explore the Description of this artwork. | The work depicts a group of Confederate soldiers surrendering to a Union officer in the barren landscape. The Union officer, identified as General Francis Channing Barlow, is recognizable, but the Confederate soldiers remain anonymous. Departing from traditional confrontation scenes where the vanquished bow down in submission, Homer introduces alterations. The Confederate prisoners, although indicating surrender by placing their rifles down, refuse to bow and stand in pride. Homer shows a group of Confederate soldiers of different ages. The elderly man positioned in the center of the group presents the most submissive demeanor among them. The young prisoner to his left has his hand in his pocket, showing confident nonchalance. The work captures a poignant portrayal of the tensions following the Civil War and the efforts to reconstruct the South.: 218–220 | [
"Francis Channing Barlow",
"Confederate",
"Union"
] |
|
16090_T | Prisoners from the Front | Focus on Prisoners from the Front and discuss the Interpretation. | The painting perplexed critics, who struggled to categorize it according to conventional genres. It defies easy classification, combining elements of both historical and genre painting.Many scholars see the work as a symbolic commentary on the entire American Civil War rather than a mere recording of a specific event. Frances Pohl argues that the painting, by minimizing the contrast between winner and loser, presents the war as "a renegotiation of terms" between North and South rather than a complete break between them.: 219 It illustrates a standoff that symbolizes the enduring animosity and bitterness harbored by the Confederates, as well as the Northerners' cluelessness as to the depths of that hostility. The painting suggests that the reconciliation between the North and South necessitates spiritual growth and maturity on both sides in the postwar era. Homer's focus on conveying the war's emotional impact sets this work apart, making it a significant piece of art in the context of Civil War representation.Homer's grim landscape captures the ravages of war on the physical and mental aspects of the actual landscape, nature, and humanity. Art historians note that Homer achieves the effect by skillfully integrating elements of history painting, landscape painting, and photography in his artwork. | [
"American Civil War",
"Confederate"
] |
|
16090_NT | Prisoners from the Front | Focus on this artwork and discuss the Interpretation. | The painting perplexed critics, who struggled to categorize it according to conventional genres. It defies easy classification, combining elements of both historical and genre painting.Many scholars see the work as a symbolic commentary on the entire American Civil War rather than a mere recording of a specific event. Frances Pohl argues that the painting, by minimizing the contrast between winner and loser, presents the war as "a renegotiation of terms" between North and South rather than a complete break between them.: 219 It illustrates a standoff that symbolizes the enduring animosity and bitterness harbored by the Confederates, as well as the Northerners' cluelessness as to the depths of that hostility. The painting suggests that the reconciliation between the North and South necessitates spiritual growth and maturity on both sides in the postwar era. Homer's focus on conveying the war's emotional impact sets this work apart, making it a significant piece of art in the context of Civil War representation.Homer's grim landscape captures the ravages of war on the physical and mental aspects of the actual landscape, nature, and humanity. Art historians note that Homer achieves the effect by skillfully integrating elements of history painting, landscape painting, and photography in his artwork. | [
"American Civil War",
"Confederate"
] |
|
16091_T | Prisoners from the Front | How does Prisoners from the Front elucidate its Influences? | Homer skillfully navigated the complexities of depicting the conflict in a historical context. The painting's meaning evolved over time, emphasizing themes of brotherly feeling and humanity, and erasing the strictly sectarian interpretation. Prisoners from the Front continues to be regarded as an example of historical art that thrives on ambiguity, conveying conflicting messages about the Civil War as a tragic, fratricidal event. | [] |
|
16091_NT | Prisoners from the Front | How does this artwork elucidate its Influences? | Homer skillfully navigated the complexities of depicting the conflict in a historical context. The painting's meaning evolved over time, emphasizing themes of brotherly feeling and humanity, and erasing the strictly sectarian interpretation. Prisoners from the Front continues to be regarded as an example of historical art that thrives on ambiguity, conveying conflicting messages about the Civil War as a tragic, fratricidal event. | [] |
|
16092_T | Howitzer Monument | Focus on Howitzer Monument and analyze the abstract. | The Howitzer Monument was installed in Richmond, Virginia, in the United States. It commemorated the Richmond Howitzers, a Confederate artillery unit. The statue was created by Caspar Buberl. It was located on Virginia Commonwealth University's Monroe Park campus. | [
"artillery",
"Virginia",
"Richmond, Virginia",
"Caspar Buberl",
"Virginia Commonwealth University",
"Virginia Commonwealth University's Monroe Park campus",
"Confederate"
] |
|
16092_NT | Howitzer Monument | Focus on this artwork and analyze the abstract. | The Howitzer Monument was installed in Richmond, Virginia, in the United States. It commemorated the Richmond Howitzers, a Confederate artillery unit. The statue was created by Caspar Buberl. It was located on Virginia Commonwealth University's Monroe Park campus. | [
"artillery",
"Virginia",
"Richmond, Virginia",
"Caspar Buberl",
"Virginia Commonwealth University",
"Virginia Commonwealth University's Monroe Park campus",
"Confederate"
] |
|
16093_T | Howitzer Monument | In Howitzer Monument, how is the History discussed? | The monument was erected in 1892. In 2020, rioters pulled down the statue.“The Richmond Howitzer Company of the 1st Regiment of Volunteers was founded on November 9, 1859, by George Wythe Randolph, a grandson of Thomas Jefferson. After electing Randolph its first captain, the company, which was recruited from elite Richmond circles, marched to Charles Town, Virginia (now West Virginia), to help provide security during Brown's trial and subsequent execution. Following the end of the Civil War “the Howitzers reorganized in 1871 and saw active duty during both World War I and World War II. It is now a unit in the Virginia National Guard. | [
"World War I",
"Virginia",
"George Wythe Randolph",
"Brown",
"Thomas Jefferson",
"World War II"
] |
|
16093_NT | Howitzer Monument | In this artwork, how is the History discussed? | The monument was erected in 1892. In 2020, rioters pulled down the statue.“The Richmond Howitzer Company of the 1st Regiment of Volunteers was founded on November 9, 1859, by George Wythe Randolph, a grandson of Thomas Jefferson. After electing Randolph its first captain, the company, which was recruited from elite Richmond circles, marched to Charles Town, Virginia (now West Virginia), to help provide security during Brown's trial and subsequent execution. Following the end of the Civil War “the Howitzers reorganized in 1871 and saw active duty during both World War I and World War II. It is now a unit in the Virginia National Guard. | [
"World War I",
"Virginia",
"George Wythe Randolph",
"Brown",
"Thomas Jefferson",
"World War II"
] |
|
16094_T | Time Transfixed | Focus on Time Transfixed and explore the abstract. | Time Transfixed (La Durée poignardée) is a 1938 oil on canvas painting by the Belgian surrealist René Magritte. It is part of the permanent collection of the Art Institute of Chicago and is usually on display in the museum's Modern Wing. It is currently available for viewing.
The painting was one of many done for surrealist patron and Magritte supporter Edward James. This was the second painting delivered to James for his London ballroom. The first was the portrait of James, Not to be Reproduced. Time Transfixed was purchased by the Art Institute from James in 1970 when he was raising capital to build his surrealist sculpture garden Las Pozas.The painting depicts an LMS Stanier 5MT Black 5 4-6-0 Locomotive jutting out of a fireplace, at full steam, in an empty room. Above the mantelpiece is a tall mirror. Only the clock and two candlesticks standing on the mantelpiece are reflected in the mirror. | [
"Art Institute of Chicago",
"Edward James",
"surrealist",
"Not to be Reproduced",
"René Magritte",
"mirror",
"oil on canvas",
"LMS",
"4-6-0 Locomotive",
"Chicago",
"Stanier 5MT Black 5",
"fireplace",
"Las Pozas",
"4-6-0"
] |
|
16094_NT | Time Transfixed | Focus on this artwork and explore the abstract. | Time Transfixed (La Durée poignardée) is a 1938 oil on canvas painting by the Belgian surrealist René Magritte. It is part of the permanent collection of the Art Institute of Chicago and is usually on display in the museum's Modern Wing. It is currently available for viewing.
The painting was one of many done for surrealist patron and Magritte supporter Edward James. This was the second painting delivered to James for his London ballroom. The first was the portrait of James, Not to be Reproduced. Time Transfixed was purchased by the Art Institute from James in 1970 when he was raising capital to build his surrealist sculpture garden Las Pozas.The painting depicts an LMS Stanier 5MT Black 5 4-6-0 Locomotive jutting out of a fireplace, at full steam, in an empty room. Above the mantelpiece is a tall mirror. Only the clock and two candlesticks standing on the mantelpiece are reflected in the mirror. | [
"Art Institute of Chicago",
"Edward James",
"surrealist",
"Not to be Reproduced",
"René Magritte",
"mirror",
"oil on canvas",
"LMS",
"4-6-0 Locomotive",
"Chicago",
"Stanier 5MT Black 5",
"fireplace",
"Las Pozas",
"4-6-0"
] |
|
16095_T | Time Transfixed | Focus on Time Transfixed and explain the The artist's perspective. | The title of the painting translates to English literally as Ongoing Time Stabbed by a Dagger, and Magritte was reportedly unhappy with the generally accepted translation of Time Transfixed. Magritte hoped that James would hang the painting at the base of his staircase so that the train would "stab" guests on their way up to the ballroom. James instead chose to hang the painting above his own fireplace.Magritte described his motivation for this painting:"I decided to paint the image of a locomotive... In order for its mystery to be evoked, another immediately familiar image without mystery—the image of a dining room fireplace—was joined." | [
"fireplace"
] |
|
16095_NT | Time Transfixed | Focus on this artwork and explain the The artist's perspective. | The title of the painting translates to English literally as Ongoing Time Stabbed by a Dagger, and Magritte was reportedly unhappy with the generally accepted translation of Time Transfixed. Magritte hoped that James would hang the painting at the base of his staircase so that the train would "stab" guests on their way up to the ballroom. James instead chose to hang the painting above his own fireplace.Magritte described his motivation for this painting:"I decided to paint the image of a locomotive... In order for its mystery to be evoked, another immediately familiar image without mystery—the image of a dining room fireplace—was joined." | [
"fireplace"
] |
|
16096_T | Musical Feast Given by the Cardinal de La Rochefoucauld for the Marriage of the Dauphin | Explore the abstract of this artwork, Musical Feast Given by the Cardinal de La Rochefoucauld for the Marriage of the Dauphin. | Musical Feast Given by the Cardinal de La Rochefoucauld for the Marriage of the Dauphin, with the full title of Musical Feast Given by Cardinal de La Rochefoucauld at the Argentina Theater in Rome in 1747 on the Occasion of the Marriage of the Dauphin, Son of Louis XV, is an oil-on-canvas painting by Italian artist Giovanni Paolo Panini, created in 1747. It is held at the Louvre Museum, in Paris, under inventory number INV 414. | [
"Louis XV",
"Rome",
"Louis",
"Cardinal de La Rochefoucauld",
"Giovanni Paolo Panini",
"Louvre",
"Paris",
"Louvre Museum"
] |
|
16096_NT | Musical Feast Given by the Cardinal de La Rochefoucauld for the Marriage of the Dauphin | Explore the abstract of this artwork. | Musical Feast Given by the Cardinal de La Rochefoucauld for the Marriage of the Dauphin, with the full title of Musical Feast Given by Cardinal de La Rochefoucauld at the Argentina Theater in Rome in 1747 on the Occasion of the Marriage of the Dauphin, Son of Louis XV, is an oil-on-canvas painting by Italian artist Giovanni Paolo Panini, created in 1747. It is held at the Louvre Museum, in Paris, under inventory number INV 414. | [
"Louis XV",
"Rome",
"Louis",
"Cardinal de La Rochefoucauld",
"Giovanni Paolo Panini",
"Louvre",
"Paris",
"Louvre Museum"
] |
|
16097_T | Musical Feast Given by the Cardinal de La Rochefoucauld for the Marriage of the Dauphin | Focus on Musical Feast Given by the Cardinal de La Rochefoucauld for the Marriage of the Dauphin and discuss the History and description. | This painting represents the musical feast given in at the Teatro Argentina, in Rome, by the Cardinal de La Rochefoucauld, the French Ambassador to the Holy See, on July 15, 1747, in honor of the marriage of the Dauphin Louis, son of Louis XV of France, with Maria Josepha of Saxony, Dauphine of France, who had been celebrated at Versailles, on February 9, 1747. France was then involved in the question of influencing the policy of the Holy See, which was more favorable to the House of Austria. This painting, commissioned by Cardinal de La Rochefoucauld, was acquired by the Louvre Museum before 1832 from the collection of king Louis Philippe.On stage, a painted decor of fantastic columns with caryatids stands before four rows of musicians half-hidden in a decor of clouds, while the four singers, playing the role of Olympian gods dressed like in the ancient times, are seated in the front row facing the spectators. Musicians are shown on either side playing their stringed instruments of which the cellos and double basses are the most visible. Two choirs are also visible on either side of the stage. The work being performed was the baroque opera La Contesa dei Numi by Leonardo Vinci (1690–1730), composed in 1729, specially for the birth of the Dauphin, to a libretto by Pietro Metastasio.The audience is made up of Roman cardinals, seated in the front row of the orchestra having in front of them huge carpets, with the abbots on the left. Behind them, other ecclesiastics and representatives of the Roman aristocracy are seated or standing. The ladies of Roman high society are seated in the boxes, hung with red damask, unable according to etiquette to stand in presence of the orchestra. They are accompanied by dignitaries and aristocrats. It is visible on the right in the triple box on the first floor, above the monogram of Louis XV, the presence of the exiled pretender James III of England, who is wearing the blue cord of the Order of the Garter, with his son, the Cardinal of York, at his right. At his side, seated on a red armchair with high back, is Cardinal de La Rochefoucauld himself, dressed in black, with the red collar of the Order of the Holy Spirit, followed by the Scottish James Murray, Earl of Dunbar, wearing the green cord of the Order of the Thistle. | [
"Louis XV",
"France",
"Order of the Thistle",
"Order of the Garter",
"Maria Josepha of Saxony, Dauphine of France",
"Rome",
"Louis",
"Cardinal de La Rochefoucauld",
"Teatro Argentina",
"Versailles",
"James III of England",
"Pietro Metastasio",
"Leonardo Vinci",
"Louvre",
"Louis Philippe",
"Order of the Holy Spirit",
"Louvre Museum",
"Cardinal of York"
] |
|
16097_NT | Musical Feast Given by the Cardinal de La Rochefoucauld for the Marriage of the Dauphin | Focus on this artwork and discuss the History and description. | This painting represents the musical feast given in at the Teatro Argentina, in Rome, by the Cardinal de La Rochefoucauld, the French Ambassador to the Holy See, on July 15, 1747, in honor of the marriage of the Dauphin Louis, son of Louis XV of France, with Maria Josepha of Saxony, Dauphine of France, who had been celebrated at Versailles, on February 9, 1747. France was then involved in the question of influencing the policy of the Holy See, which was more favorable to the House of Austria. This painting, commissioned by Cardinal de La Rochefoucauld, was acquired by the Louvre Museum before 1832 from the collection of king Louis Philippe.On stage, a painted decor of fantastic columns with caryatids stands before four rows of musicians half-hidden in a decor of clouds, while the four singers, playing the role of Olympian gods dressed like in the ancient times, are seated in the front row facing the spectators. Musicians are shown on either side playing their stringed instruments of which the cellos and double basses are the most visible. Two choirs are also visible on either side of the stage. The work being performed was the baroque opera La Contesa dei Numi by Leonardo Vinci (1690–1730), composed in 1729, specially for the birth of the Dauphin, to a libretto by Pietro Metastasio.The audience is made up of Roman cardinals, seated in the front row of the orchestra having in front of them huge carpets, with the abbots on the left. Behind them, other ecclesiastics and representatives of the Roman aristocracy are seated or standing. The ladies of Roman high society are seated in the boxes, hung with red damask, unable according to etiquette to stand in presence of the orchestra. They are accompanied by dignitaries and aristocrats. It is visible on the right in the triple box on the first floor, above the monogram of Louis XV, the presence of the exiled pretender James III of England, who is wearing the blue cord of the Order of the Garter, with his son, the Cardinal of York, at his right. At his side, seated on a red armchair with high back, is Cardinal de La Rochefoucauld himself, dressed in black, with the red collar of the Order of the Holy Spirit, followed by the Scottish James Murray, Earl of Dunbar, wearing the green cord of the Order of the Thistle. | [
"Louis XV",
"France",
"Order of the Thistle",
"Order of the Garter",
"Maria Josepha of Saxony, Dauphine of France",
"Rome",
"Louis",
"Cardinal de La Rochefoucauld",
"Teatro Argentina",
"Versailles",
"James III of England",
"Pietro Metastasio",
"Leonardo Vinci",
"Louvre",
"Louis Philippe",
"Order of the Holy Spirit",
"Louvre Museum",
"Cardinal of York"
] |
|
16098_T | Jeune Fille Endormie | How does Jeune Fille Endormie elucidate its abstract? | Jeune Fille Endormie is a 1935 oil on canvas painting by Spanish painter Pablo Picasso depicting his model and lover, Marie-Thérèse Walter, as she slept. It was sold at Christie's auction house in London in 2011 for nearly £13.5 million after being donated to the University of Sydney by an anonymous American donor. | [
"oil on canvas",
"Christie's",
"Marie-Thérèse Walter",
"University of Sydney",
"Pablo Picasso"
] |
|
16098_NT | Jeune Fille Endormie | How does this artwork elucidate its abstract? | Jeune Fille Endormie is a 1935 oil on canvas painting by Spanish painter Pablo Picasso depicting his model and lover, Marie-Thérèse Walter, as she slept. It was sold at Christie's auction house in London in 2011 for nearly £13.5 million after being donated to the University of Sydney by an anonymous American donor. | [
"oil on canvas",
"Christie's",
"Marie-Thérèse Walter",
"University of Sydney",
"Pablo Picasso"
] |
|
16099_T | Jeune Fille Endormie | Focus on Jeune Fille Endormie and analyze the Background. | Jeune Fille Endormie is rarely seen in public. The only time it has been previously available for viewing was in 1939 when owner Walter P. Chrysler Jr. lent it to the Museum of Modern Art in New York City for a retrospective of Picasso's work.It was donated to the University of Sydney by an anonymous American donor and was sent to be sold at Christie's auction house in London in June 2011. While it was expected to sell for up to £12 million, it actually sold for nearly £13.5 million, with the proceeds going toward a A$400m (£260m) research center. The donor had made his donation conditional upon the painting being immediately sold with proceeds going toward research; he delivered it personally, having flown from overseas with the painting in his hand-luggage. An additional ten paintings were also donated, along with items of jewelry. Tim Dolan, director of development for the university reported that as the donor handed over the painting, he said, "When you own a valuable painting like this, it sort of owns you back. For the first time in a long, long while, I finally feel free." | [
"Walter P. Chrysler Jr.",
"Christie's",
"University of Sydney",
"A$",
"Museum of Modern Art"
] |
|
16099_NT | Jeune Fille Endormie | Focus on this artwork and analyze the Background. | Jeune Fille Endormie is rarely seen in public. The only time it has been previously available for viewing was in 1939 when owner Walter P. Chrysler Jr. lent it to the Museum of Modern Art in New York City for a retrospective of Picasso's work.It was donated to the University of Sydney by an anonymous American donor and was sent to be sold at Christie's auction house in London in June 2011. While it was expected to sell for up to £12 million, it actually sold for nearly £13.5 million, with the proceeds going toward a A$400m (£260m) research center. The donor had made his donation conditional upon the painting being immediately sold with proceeds going toward research; he delivered it personally, having flown from overseas with the painting in his hand-luggage. An additional ten paintings were also donated, along with items of jewelry. Tim Dolan, director of development for the university reported that as the donor handed over the painting, he said, "When you own a valuable painting like this, it sort of owns you back. For the first time in a long, long while, I finally feel free." | [
"Walter P. Chrysler Jr.",
"Christie's",
"University of Sydney",
"A$",
"Museum of Modern Art"
] |
|
16100_T | Jeune Fille Endormie | In Jeune Fille Endormie, how is the Description discussed? | Jeune Fille Endormie is one of many paintings Picasso made of his lover, Marie-Thérèse Walter. It is tightly focused on the sleeping head of Marie-Thérèse, with her body painted in an incandescent array of colors. It was completed and signed by Picasso on 3 February 1935. The painting is signed by Picasso on the upper left and measures 46.3 cm x 55 cm. | [
"Marie-Thérèse Walter"
] |
|
16100_NT | Jeune Fille Endormie | In this artwork, how is the Description discussed? | Jeune Fille Endormie is one of many paintings Picasso made of his lover, Marie-Thérèse Walter. It is tightly focused on the sleeping head of Marie-Thérèse, with her body painted in an incandescent array of colors. It was completed and signed by Picasso on 3 February 1935. The painting is signed by Picasso on the upper left and measures 46.3 cm x 55 cm. | [
"Marie-Thérèse Walter"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.