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16151_T | Notre Dame Fieldhouse | How does Notre Dame Fieldhouse elucidate its History? | It was home to the University of Notre Dame Fighting Irish basketball team. It was no longer used for athletics after the Joyce Center opened in 1968. President Franklin D. Roosevelt addressed a special University convocation in the fieldhouse on December 9, 1935.The original Notre Dame Fieldhouse was built in April 1898 under the University's president, Rev. Andrew Morrissey. However, in 1899 the Fieldhouse burned down. Father Morrissey quickly ordered that the Fieldhouse be rebuilt and made fireproof. The Fieldhouse was used as the home of Notre Dame Athletics for seventy years. Not only was the Fieldhouse used for basketball, but also football practice, pep rallies, track and field, the Bengal Bouts boxing tournament, commencement and much more. After the Joyce Center was built in 1968, the Old Fieldhouse was no longer needed for athletics, and it was turned over to the art department to use for studio projects. The Old Fieldhouse was demolished in spring 1983. Rev. Theodore Hesburgh, the president of the university, decided that the space would be used as a pedestrian space to further beautify the campus. Where the Notre Dame Fieldhouse used to be there is now the Clarke Memorial Fountain (a memorial to honor those who gave their lives in World War II, the Korean Conflict and the Vietnam War -- it was built in 1986) and the marker in the corner of the quad. The space is known as the Fieldhouse Mall. | [
"Andrew Morrissey",
"Notre Dame Fighting Irish",
"Clarke Memorial Fountain",
"Bengal Bouts",
"Franklin D. Roosevelt",
"Theodore Hesburgh",
"University of Notre Dame",
"basketball",
"Joyce Center"
] |
|
16151_NT | Notre Dame Fieldhouse | How does this artwork elucidate its History? | It was home to the University of Notre Dame Fighting Irish basketball team. It was no longer used for athletics after the Joyce Center opened in 1968. President Franklin D. Roosevelt addressed a special University convocation in the fieldhouse on December 9, 1935.The original Notre Dame Fieldhouse was built in April 1898 under the University's president, Rev. Andrew Morrissey. However, in 1899 the Fieldhouse burned down. Father Morrissey quickly ordered that the Fieldhouse be rebuilt and made fireproof. The Fieldhouse was used as the home of Notre Dame Athletics for seventy years. Not only was the Fieldhouse used for basketball, but also football practice, pep rallies, track and field, the Bengal Bouts boxing tournament, commencement and much more. After the Joyce Center was built in 1968, the Old Fieldhouse was no longer needed for athletics, and it was turned over to the art department to use for studio projects. The Old Fieldhouse was demolished in spring 1983. Rev. Theodore Hesburgh, the president of the university, decided that the space would be used as a pedestrian space to further beautify the campus. Where the Notre Dame Fieldhouse used to be there is now the Clarke Memorial Fountain (a memorial to honor those who gave their lives in World War II, the Korean Conflict and the Vietnam War -- it was built in 1986) and the marker in the corner of the quad. The space is known as the Fieldhouse Mall. | [
"Andrew Morrissey",
"Notre Dame Fighting Irish",
"Clarke Memorial Fountain",
"Bengal Bouts",
"Franklin D. Roosevelt",
"Theodore Hesburgh",
"University of Notre Dame",
"basketball",
"Joyce Center"
] |
|
16152_T | Notre Dame Fieldhouse | Focus on Notre Dame Fieldhouse and analyze the Marker. | The Old Fieldhouse is memorialized by a historical marker standing in the southwest corner of the Fieldhouse Mall. The Notre Dame Fieldhouse was a multi-purpose arena used for various athletics but mainly used for basketball. The marker consists of the remnants of the southwest corner from the original Fieldhouse. The historical marker is made of yellow Notre Dame bricks left from the structure and the stone that states the year that the Notre Dame Fieldhouse was built (1898).The marker stands at 84 inches x 84 inches x 84 inches. The bottom base is made out of limestone, the middle and main portion consists of original Notre Dame brick, and the top of the marker is concrete. The Notre Dame Old Fieldhouse has plaques that commemorate specific events that took place inside the original Fieldhouse. One plaque honors a convocation given by President Roosevelt in the Fieldhouse on December 9, 1935. It reads, "Site of NOTRE DAME FIELDHOUSE where varsity and intramural athletes shook down the thunder for seventy year 1898-1968. PRESIDENT FRANKLIN D. ROOSEVELT addresses a special University convocation in the Fieldhouse December 9, 1935. The building was razed in 1983." The other plaque pays tribute to the Notre Dame Collegiate Jazz Festival that originated in the Fieldhouse on April 11, 1959. It reads, "THE OLD FIELDHOUSE birthplace of THE UNIVERSITY OF NOTRE DAME COLLEGIATE JAZZ FESTIVAL April 11, 1959. "The oldest, most prestigious and acclaimed event of its kind."" | [
"basketball",
"President Roosevelt",
"arena",
"Notre Dame Collegiate Jazz Festival"
] |
|
16152_NT | Notre Dame Fieldhouse | Focus on this artwork and analyze the Marker. | The Old Fieldhouse is memorialized by a historical marker standing in the southwest corner of the Fieldhouse Mall. The Notre Dame Fieldhouse was a multi-purpose arena used for various athletics but mainly used for basketball. The marker consists of the remnants of the southwest corner from the original Fieldhouse. The historical marker is made of yellow Notre Dame bricks left from the structure and the stone that states the year that the Notre Dame Fieldhouse was built (1898).The marker stands at 84 inches x 84 inches x 84 inches. The bottom base is made out of limestone, the middle and main portion consists of original Notre Dame brick, and the top of the marker is concrete. The Notre Dame Old Fieldhouse has plaques that commemorate specific events that took place inside the original Fieldhouse. One plaque honors a convocation given by President Roosevelt in the Fieldhouse on December 9, 1935. It reads, "Site of NOTRE DAME FIELDHOUSE where varsity and intramural athletes shook down the thunder for seventy year 1898-1968. PRESIDENT FRANKLIN D. ROOSEVELT addresses a special University convocation in the Fieldhouse December 9, 1935. The building was razed in 1983." The other plaque pays tribute to the Notre Dame Collegiate Jazz Festival that originated in the Fieldhouse on April 11, 1959. It reads, "THE OLD FIELDHOUSE birthplace of THE UNIVERSITY OF NOTRE DAME COLLEGIATE JAZZ FESTIVAL April 11, 1959. "The oldest, most prestigious and acclaimed event of its kind."" | [
"basketball",
"President Roosevelt",
"arena",
"Notre Dame Collegiate Jazz Festival"
] |
|
16153_T | Notre Dame Fieldhouse | Describe the characteristics of the Marker acquisition in Notre Dame Fieldhouse's Marker. | The monument was created when the Fieldhouse was torn down in 1983. The Southwest corner of the Fieldhouse was carefully preserved for this purpose while the building was being destroyed. Many of the other bricks that made up the rest of the fieldhouse were sold upon removal by the University. | [] |
|
16153_NT | Notre Dame Fieldhouse | Describe the characteristics of the Marker acquisition in this artwork's Marker. | The monument was created when the Fieldhouse was torn down in 1983. The Southwest corner of the Fieldhouse was carefully preserved for this purpose while the building was being destroyed. Many of the other bricks that made up the rest of the fieldhouse were sold upon removal by the University. | [] |
|
16154_T | Notre Dame Fieldhouse | In the context of Notre Dame Fieldhouse, explore the Condition of the Marker. | The old bricks are in frail shape and students at the university have carved initials and small phrases into the brick. The University of Notre Dame has tried to combat vandalism of the marker but ultimately can’t protect it at all times. The university also does not want to replace the bricks themselves as that would ruin the purpose the marker serves. | [
"University of Notre Dame"
] |
|
16154_NT | Notre Dame Fieldhouse | In the context of this artwork, explore the Condition of the Marker. | The old bricks are in frail shape and students at the university have carved initials and small phrases into the brick. The University of Notre Dame has tried to combat vandalism of the marker but ultimately can’t protect it at all times. The university also does not want to replace the bricks themselves as that would ruin the purpose the marker serves. | [
"University of Notre Dame"
] |
|
16155_T | Les Orangers | Focus on Les Orangers and explain the abstract. | Les Orangers (English title: The Orange Trees) is an oil painting by French impressionist Gustave Caillebotte. The canvas measures 155 by 117 centimetres (61 in × 46 in). It was acquired by Audrey Jones Beck and was part of a collection that was on a long-term loan to the Museum of Fine Arts, Houston, before the collection was donated to the museum in 1999. The painting now hangs in the museum building named for Beck. | [
"impressionist",
"canvas",
"Gustave Caillebotte",
"Audrey Jones Beck",
"Houston",
"oil painting",
"Museum of Fine Arts, Houston"
] |
|
16155_NT | Les Orangers | Focus on this artwork and explain the abstract. | Les Orangers (English title: The Orange Trees) is an oil painting by French impressionist Gustave Caillebotte. The canvas measures 155 by 117 centimetres (61 in × 46 in). It was acquired by Audrey Jones Beck and was part of a collection that was on a long-term loan to the Museum of Fine Arts, Houston, before the collection was donated to the museum in 1999. The painting now hangs in the museum building named for Beck. | [
"impressionist",
"canvas",
"Gustave Caillebotte",
"Audrey Jones Beck",
"Houston",
"oil painting",
"Museum of Fine Arts, Houston"
] |
|
16156_T | Les Orangers | Explore the Composition of this artwork, Les Orangers. | Caillebotte, in common with other impressionist painters of the time, had an affinity for horticulture and was one of the movement's most avid gardeners. While many of his contemporaries preferred more organic and wild settings, Caillebotte preferred manicured, formal arrangements. He trained his fruit trees with careful pruning to encourage compact growth. Critics have suggested that this may have been in keeping with his interest in perspective.
Caillebotte painted this canvas en plein air at the family's country estate in Yerres in 1878. Although impressionist painters were known for painting outdoors, large canvases such as this, painted with this technique, were uncommon due to the difficulties in creating such a large work quickly, before the light changed. Caillebotte obtained one such example, Le Déjeuner by Claude Monet in March of that year, and it is likely to have influenced this work.The image depicts a daytime scene. Caillebotte's brother Martial is reading while sitting in the shade of the orange trees with his back towards the viewer. He is dressed in the same way as Gustave himself in Renoir's Oarsmen at Chatou. Their cousin, Zoé Caillebotte, is standing at one of the Versailles tubs, then fashionable as garden planters, which contain the trees. The poses of Martial and Zoé suggest that they are each enjoying the afternoon quietly with their private thoughts. The lightweight painted sprung-steel garden chairs in the foreground appear in other works painted at Yerres, and can be seen in a contemporaneous photograph of the estate. In the background, the bright sunlight illuminates a circular flower bed surrounded by a curving gravel path, at the edge of which a dog appears to be sleeping.Caillebotte employs sharp contrast between the shady foreground in the lower part of the image and the bright background. The shadows are painted in muted greens and purples, while the lawn and flower beds are brilliant greens, reds and whites. The strong definition between the areas of sunlight and shadow is a departure from the dappled light that occurs in similar outdoor scenes by Impressionists Renoir and Monet. Art historian and critic Kirk Varnedoe suggests that this contrast contributes to a sense of afternoon heat. | [
"impressionist",
"pruning",
"Yerres",
"canvas",
"Oarsmen at Chatou",
"garden",
"dappled light",
"Martial",
"Versailles",
"en plein air",
"perspective",
"Renoir",
"contrast",
"Claude Monet",
"Kirk Varnedoe",
"Le Déjeuner"
] |
|
16156_NT | Les Orangers | Explore the Composition of this artwork. | Caillebotte, in common with other impressionist painters of the time, had an affinity for horticulture and was one of the movement's most avid gardeners. While many of his contemporaries preferred more organic and wild settings, Caillebotte preferred manicured, formal arrangements. He trained his fruit trees with careful pruning to encourage compact growth. Critics have suggested that this may have been in keeping with his interest in perspective.
Caillebotte painted this canvas en plein air at the family's country estate in Yerres in 1878. Although impressionist painters were known for painting outdoors, large canvases such as this, painted with this technique, were uncommon due to the difficulties in creating such a large work quickly, before the light changed. Caillebotte obtained one such example, Le Déjeuner by Claude Monet in March of that year, and it is likely to have influenced this work.The image depicts a daytime scene. Caillebotte's brother Martial is reading while sitting in the shade of the orange trees with his back towards the viewer. He is dressed in the same way as Gustave himself in Renoir's Oarsmen at Chatou. Their cousin, Zoé Caillebotte, is standing at one of the Versailles tubs, then fashionable as garden planters, which contain the trees. The poses of Martial and Zoé suggest that they are each enjoying the afternoon quietly with their private thoughts. The lightweight painted sprung-steel garden chairs in the foreground appear in other works painted at Yerres, and can be seen in a contemporaneous photograph of the estate. In the background, the bright sunlight illuminates a circular flower bed surrounded by a curving gravel path, at the edge of which a dog appears to be sleeping.Caillebotte employs sharp contrast between the shady foreground in the lower part of the image and the bright background. The shadows are painted in muted greens and purples, while the lawn and flower beds are brilliant greens, reds and whites. The strong definition between the areas of sunlight and shadow is a departure from the dappled light that occurs in similar outdoor scenes by Impressionists Renoir and Monet. Art historian and critic Kirk Varnedoe suggests that this contrast contributes to a sense of afternoon heat. | [
"impressionist",
"pruning",
"Yerres",
"canvas",
"Oarsmen at Chatou",
"garden",
"dappled light",
"Martial",
"Versailles",
"en plein air",
"perspective",
"Renoir",
"contrast",
"Claude Monet",
"Kirk Varnedoe",
"Le Déjeuner"
] |
|
16157_T | The Captive (painting) | Focus on The Captive (painting) and discuss the abstract. | The Captive, from Sterne is a painting by Joseph Wright of Derby completed in 1774 and now in the National Gallery of Canada. Sterne's Captive, first exhibited by the artist in 1778, is a similar painting by Wright in the Derby Museum and Art Gallery. The latter painting resulted in a rare engraving, as its purchaser commissioned a print run of only twenty copies before the copper printing plate was destroyed. In 2012, Derby Museum commissioned another Captive painting from Emma Tooth. | [
"Emma Tooth",
"Derby Museum and Art Gallery",
"Derby",
"Joseph Wright of Derby",
"National Gallery of Canada"
] |
|
16157_NT | The Captive (painting) | Focus on this artwork and discuss the abstract. | The Captive, from Sterne is a painting by Joseph Wright of Derby completed in 1774 and now in the National Gallery of Canada. Sterne's Captive, first exhibited by the artist in 1778, is a similar painting by Wright in the Derby Museum and Art Gallery. The latter painting resulted in a rare engraving, as its purchaser commissioned a print run of only twenty copies before the copper printing plate was destroyed. In 2012, Derby Museum commissioned another Captive painting from Emma Tooth. | [
"Emma Tooth",
"Derby Museum and Art Gallery",
"Derby",
"Joseph Wright of Derby",
"National Gallery of Canada"
] |
|
16158_T | The Captive (painting) | How does The Captive (painting) elucidate its Description? | Both paintings show the despair of a traveller who finds himself abandoned in a foreign jail. The Captive title is based on the section of the same name in Laurence Sterne's A Sentimental Journey Through France and Italy (1768). In the episode in question, the hero of the story, Yorick, imagines that he is imprisoned in the Bastille because he has lost his passport. Yorick is later released because his name is taken to indicate that he is an important person, because he is a court jester: Yorick is a jester in Shakespeare's play Hamlet. The journey takes place in 1762, when Britain was at war with France, and imprisonment was a real possibility for a traveller from a hostile country. | [
"Hamlet",
"at war with France",
"Laurence Sterne",
"Yorick",
"A Sentimental Journey Through France and Italy",
"Bastille"
] |
|
16158_NT | The Captive (painting) | How does this artwork elucidate its Description? | Both paintings show the despair of a traveller who finds himself abandoned in a foreign jail. The Captive title is based on the section of the same name in Laurence Sterne's A Sentimental Journey Through France and Italy (1768). In the episode in question, the hero of the story, Yorick, imagines that he is imprisoned in the Bastille because he has lost his passport. Yorick is later released because his name is taken to indicate that he is an important person, because he is a court jester: Yorick is a jester in Shakespeare's play Hamlet. The journey takes place in 1762, when Britain was at war with France, and imprisonment was a real possibility for a traveller from a hostile country. | [
"Hamlet",
"at war with France",
"Laurence Sterne",
"Yorick",
"A Sentimental Journey Through France and Italy",
"Bastille"
] |
|
16159_T | The Captive (painting) | Focus on The Captive (painting) and analyze the History. | The pose of the model in Wright's first painting is the same as that used by Michelangelo when painting The Creation of Adam on the ceiling of the Sistine Chapel. And the first captive painting was made by Wright while in Rome in 1774. After its completion he had to import it back into Britain; Llewellyn Jewitt records that he nearly imported it free of tax but a late objection obliged him to pay import tax. The debate focused on whether the sitter was Roman and it was argued that the sitter should have been better dressed.The first painting was made into a stipple engraving by Thomas Ryder in 1779 and it was published by John and Josiah Boydell in 1786. However an earlier mezzotint engraving by John Raphael Smith of the later 1778 painting had been commissioned by John Milnes after he bought the painting at a Royal Academy show. Milnes obtained a print of every Wright painting that he could, but the print that he commissioned of his own painting was limited to just twenty copies before the plate was destroyed. This engraving is now exceptionally rare and is only available in a small number of British institutions and none abroad. | [
"Sistine Chapel",
"John Raphael Smith",
"The Creation of Adam",
"Michelangelo",
"Royal Academy",
"John Milnes",
"Llewellyn Jewitt",
"Josiah Boydell",
"John",
"Thomas Ryder",
"mezzotint engraving",
"stipple engraving"
] |
|
16159_NT | The Captive (painting) | Focus on this artwork and analyze the History. | The pose of the model in Wright's first painting is the same as that used by Michelangelo when painting The Creation of Adam on the ceiling of the Sistine Chapel. And the first captive painting was made by Wright while in Rome in 1774. After its completion he had to import it back into Britain; Llewellyn Jewitt records that he nearly imported it free of tax but a late objection obliged him to pay import tax. The debate focused on whether the sitter was Roman and it was argued that the sitter should have been better dressed.The first painting was made into a stipple engraving by Thomas Ryder in 1779 and it was published by John and Josiah Boydell in 1786. However an earlier mezzotint engraving by John Raphael Smith of the later 1778 painting had been commissioned by John Milnes after he bought the painting at a Royal Academy show. Milnes obtained a print of every Wright painting that he could, but the print that he commissioned of his own painting was limited to just twenty copies before the plate was destroyed. This engraving is now exceptionally rare and is only available in a small number of British institutions and none abroad. | [
"Sistine Chapel",
"John Raphael Smith",
"The Creation of Adam",
"Michelangelo",
"Royal Academy",
"John Milnes",
"Llewellyn Jewitt",
"Josiah Boydell",
"John",
"Thomas Ryder",
"mezzotint engraving",
"stipple engraving"
] |
|
16160_T | The Captive (painting) | In The Captive (painting), how is the Inspired by discussed? | The Captive paintings were inspired by Laurence Sterne's novel, but Wright's paintings have inspired other works. In 2012, Derby Museum commissioned the British artist Emma Tooth to create a painting based on Wright's paintings. She chose to mimic the construction of The Captive. She took the classical pose of the captive in Wright's version and moved it to a modern man who has chosen to waste his time in front of the television. Tooth noted that the man in the painting (and the model) has "don’t count the days, make the days count" tattooed on his chest. | [
"Emma Tooth",
"Laurence Sterne",
"Derby"
] |
|
16160_NT | The Captive (painting) | In this artwork, how is the Inspired by discussed? | The Captive paintings were inspired by Laurence Sterne's novel, but Wright's paintings have inspired other works. In 2012, Derby Museum commissioned the British artist Emma Tooth to create a painting based on Wright's paintings. She chose to mimic the construction of The Captive. She took the classical pose of the captive in Wright's version and moved it to a modern man who has chosen to waste his time in front of the television. Tooth noted that the man in the painting (and the model) has "don’t count the days, make the days count" tattooed on his chest. | [
"Emma Tooth",
"Laurence Sterne",
"Derby"
] |
|
16161_T | The Vision of Constantine (Moskos) | Focus on The Vision of Constantine (Moskos) and explore the abstract. | The Vision of Constantine was an egg tempera painting created by Elias Moskos. Moskos was active during the 17th century. Fifty-two paintings are attributed to the artist. He was active on the Greek islands of Crete and Zakynthos. He is one of the few artists that belongs to the Cretan school and the Heptanese School. Constantine is one of the most important figures in the Christian religion. He was the first Roman emperor to accept the new faith. He has been depicted in art since the inception of the new religion. He is often depicted with his mother Helen. The Vision of Constantine was very popular in Greek and Italian art.Constantine and his army were at war with Roman Emperor Maxentius. Constantine was praying with his army. According to legend, a cross appeared in the sky, above the Sun. There was also an inscription: Ἐν τούτῳ νίκα (En to tow nika) the translation was by this sign, you will conquer. In Mosko's rendition, an angel appears relaying the message of the cross to Emperor Constantine. Constantine and his troops were astonished by the miracle. Constantine won the Battle of Milvian Bridge. After his victory, the new emperor entered Rome and stopped persecuting Christians.Numerous works were completed by Greek and Italian artists. A popular version was completed by Raphael’s assistants after his death called The Vision of the Cross. A notable statue of The Vision of Constantine was completed by Bernini eight years before Mosko's work. Moskos was influenced by Antonio Tempesta's engravings Orlando Furioso. He was a Florentine painter and engraver active during the 1500s. The work was completed in 1597. The engravings were a series of eight equestrian portraits of the subjects in Ariosto’s famous work Orlando Furioso. Mosko's Vision of Constantine influenced a notable version by Greek painter Stylianos Stavrakis. Mosko's work is currently part of the Dionysios Loverdos Collection at the Byzantine and Christian Museum. | [
"Heptanese School",
"Battle of Milvian Bridge",
"Orlando Furioso",
"Stavrakis",
"Byzantine and Christian Museum",
"Florentine painter",
"Elias Moskos",
"Maxentius",
"Emperor Constantine",
"Bernini",
" Vision of Constantine",
"Antonio Tempesta",
"The Vision of the Cross",
"Ariosto",
"Stylianos Stavrakis",
"The Vision of Constantine",
"Moskos",
"Constantine",
"Tempesta's"
] |
|
16161_NT | The Vision of Constantine (Moskos) | Focus on this artwork and explore the abstract. | The Vision of Constantine was an egg tempera painting created by Elias Moskos. Moskos was active during the 17th century. Fifty-two paintings are attributed to the artist. He was active on the Greek islands of Crete and Zakynthos. He is one of the few artists that belongs to the Cretan school and the Heptanese School. Constantine is one of the most important figures in the Christian religion. He was the first Roman emperor to accept the new faith. He has been depicted in art since the inception of the new religion. He is often depicted with his mother Helen. The Vision of Constantine was very popular in Greek and Italian art.Constantine and his army were at war with Roman Emperor Maxentius. Constantine was praying with his army. According to legend, a cross appeared in the sky, above the Sun. There was also an inscription: Ἐν τούτῳ νίκα (En to tow nika) the translation was by this sign, you will conquer. In Mosko's rendition, an angel appears relaying the message of the cross to Emperor Constantine. Constantine and his troops were astonished by the miracle. Constantine won the Battle of Milvian Bridge. After his victory, the new emperor entered Rome and stopped persecuting Christians.Numerous works were completed by Greek and Italian artists. A popular version was completed by Raphael’s assistants after his death called The Vision of the Cross. A notable statue of The Vision of Constantine was completed by Bernini eight years before Mosko's work. Moskos was influenced by Antonio Tempesta's engravings Orlando Furioso. He was a Florentine painter and engraver active during the 1500s. The work was completed in 1597. The engravings were a series of eight equestrian portraits of the subjects in Ariosto’s famous work Orlando Furioso. Mosko's Vision of Constantine influenced a notable version by Greek painter Stylianos Stavrakis. Mosko's work is currently part of the Dionysios Loverdos Collection at the Byzantine and Christian Museum. | [
"Heptanese School",
"Battle of Milvian Bridge",
"Orlando Furioso",
"Stavrakis",
"Byzantine and Christian Museum",
"Florentine painter",
"Elias Moskos",
"Maxentius",
"Emperor Constantine",
"Bernini",
" Vision of Constantine",
"Antonio Tempesta",
"The Vision of the Cross",
"Ariosto",
"Stylianos Stavrakis",
"The Vision of Constantine",
"Moskos",
"Constantine",
"Tempesta's"
] |
|
16162_T | The Vision of Constantine (Moskos) | Focus on The Vision of Constantine (Moskos) and explain the Description. | The painting is made of egg tempera and gold leaf on wood panel. The portable icon was completed in 1678. The height is 72 cm (51 in) and the width is 28.3 cm (20 in). The horse of Constantine displays a coloristic resemblance to the horses in Konstantinos Paleokapas Crucifixion. The artist implements a unique array of colors common to the Late Cretan School. The horse's pose is statuesque. Similarities exist between the engraving named Il Danese Paladino by Antonio Tempesta. Two of the engravings in the series named Orlando Furioso are similar to Mosko's work. The other one is called Marfisa Guerriera. Moskos mixes both engravings to create an elaborate blend of the Florentine-influenced masterpiece.The artists attempt to introduce elaborate early byzantine attire. A grotesque mask appears on Constantine’s shield. The Roman emperor's attire is elaborately decorated. He is greeted by two soldiers, both of the soldiers hold weapons, one holds a crescent moon spear. They are dressed in silk. The valley in the background and the orientation of figures creates an ambient space. The painter eloquently adds dimension to his work. There is a battle scene in the background. Constantine is shown a second time. The artist eloquently depicts the miniature scene in the background adding depth to his work. An epic battle is waged outside of a fortified city among the hilltops.Constantine’s hands are open while he accepts his vision the work slightly resembles Bernini's Constantine. Both works of art feature the artist gesturing his hands in a similar fashion. An angel appears in the clouds relaying the message to Constantine. The work is an excellent example of a Greek painter mixing the maniera greca with Italian mannerisms. Cretan and Ionian art was typically influenced by Venetian painting. In this rare case, the work was influenced by a Florentine painter. The work symbolizes a breaking point from the Cretan School and a transition to the more refined artistic style prevalent in the Heptanese School.The work is first described in 1902. It was at the church of Saint Basil in Apano, Zakinthos.
In 1933, the masterpiece was part of the Dionysios Loverdos Collection. The collection was transferred to the Byzantine and Christian Museum of Athens in 1979. The work of art has been maintained by the institution. | [
"Heptanese School",
"Orlando Furioso",
"Byzantine and Christian Museum",
"Florentine painter",
"Cretan School",
"Bernini",
"Antonio Tempesta",
"Venetian painting",
"Athens",
"Crucifixion",
"maniera greca",
"Konstantinos Paleokapas",
"Moskos",
"Constantine"
] |
|
16162_NT | The Vision of Constantine (Moskos) | Focus on this artwork and explain the Description. | The painting is made of egg tempera and gold leaf on wood panel. The portable icon was completed in 1678. The height is 72 cm (51 in) and the width is 28.3 cm (20 in). The horse of Constantine displays a coloristic resemblance to the horses in Konstantinos Paleokapas Crucifixion. The artist implements a unique array of colors common to the Late Cretan School. The horse's pose is statuesque. Similarities exist between the engraving named Il Danese Paladino by Antonio Tempesta. Two of the engravings in the series named Orlando Furioso are similar to Mosko's work. The other one is called Marfisa Guerriera. Moskos mixes both engravings to create an elaborate blend of the Florentine-influenced masterpiece.The artists attempt to introduce elaborate early byzantine attire. A grotesque mask appears on Constantine’s shield. The Roman emperor's attire is elaborately decorated. He is greeted by two soldiers, both of the soldiers hold weapons, one holds a crescent moon spear. They are dressed in silk. The valley in the background and the orientation of figures creates an ambient space. The painter eloquently adds dimension to his work. There is a battle scene in the background. Constantine is shown a second time. The artist eloquently depicts the miniature scene in the background adding depth to his work. An epic battle is waged outside of a fortified city among the hilltops.Constantine’s hands are open while he accepts his vision the work slightly resembles Bernini's Constantine. Both works of art feature the artist gesturing his hands in a similar fashion. An angel appears in the clouds relaying the message to Constantine. The work is an excellent example of a Greek painter mixing the maniera greca with Italian mannerisms. Cretan and Ionian art was typically influenced by Venetian painting. In this rare case, the work was influenced by a Florentine painter. The work symbolizes a breaking point from the Cretan School and a transition to the more refined artistic style prevalent in the Heptanese School.The work is first described in 1902. It was at the church of Saint Basil in Apano, Zakinthos.
In 1933, the masterpiece was part of the Dionysios Loverdos Collection. The collection was transferred to the Byzantine and Christian Museum of Athens in 1979. The work of art has been maintained by the institution. | [
"Heptanese School",
"Orlando Furioso",
"Byzantine and Christian Museum",
"Florentine painter",
"Cretan School",
"Bernini",
"Antonio Tempesta",
"Venetian painting",
"Athens",
"Crucifixion",
"maniera greca",
"Konstantinos Paleokapas",
"Moskos",
"Constantine"
] |
|
16163_T | Triptych, 1976 | Explore the abstract of this artwork, Triptych, 1976. | Triptych, 1976 is a large triptych painted by the British artist Francis Bacon in 1976. It comprises three oil and pastel paintings on canvas. It is the second most expensive Bacon ever sold, after Three Studies of Lucian Freud, being auctioned for US$86 million in 2008.The triptych is a large three panel painting (each panel measuring 78 x 58 in, 198 x 147.5 cm), with dense colors and abstract shapes. Bacon used his usual technique, starting on the left panel and working across. The piece draws on classical Greek iconography and mythology, and makes reference to Prometheus, as several interpretations claim. Bacon's friend, Peter Beard, was used as a model for one of the figures.In 2008 it was sold to the Russian businessman Roman Abramovich, in a Sotheby's auction on May 14, 2008 for $86 million, above the pre-sale estimate of $70 million. Prior to Abramovich, it was owned in a private European collection since its purchase from the Marlborough Gallery, London in 1977. | [
"Roman Abramovich",
"Peter Beard",
"large triptych",
"Sotheby's",
"Francis Bacon",
"Three Studies of Lucian Freud"
] |
|
16163_NT | Triptych, 1976 | Explore the abstract of this artwork. | Triptych, 1976 is a large triptych painted by the British artist Francis Bacon in 1976. It comprises three oil and pastel paintings on canvas. It is the second most expensive Bacon ever sold, after Three Studies of Lucian Freud, being auctioned for US$86 million in 2008.The triptych is a large three panel painting (each panel measuring 78 x 58 in, 198 x 147.5 cm), with dense colors and abstract shapes. Bacon used his usual technique, starting on the left panel and working across. The piece draws on classical Greek iconography and mythology, and makes reference to Prometheus, as several interpretations claim. Bacon's friend, Peter Beard, was used as a model for one of the figures.In 2008 it was sold to the Russian businessman Roman Abramovich, in a Sotheby's auction on May 14, 2008 for $86 million, above the pre-sale estimate of $70 million. Prior to Abramovich, it was owned in a private European collection since its purchase from the Marlborough Gallery, London in 1977. | [
"Roman Abramovich",
"Peter Beard",
"large triptych",
"Sotheby's",
"Francis Bacon",
"Three Studies of Lucian Freud"
] |
|
16164_T | Kwanusila | Focus on Kwanusila and discuss the abstract. | Kwanusila is a 12.2 meter (40 foot) tall totem pole carved from red cedar. It stands in Lincoln Park at Addison Street just east of Lake Shore Drive in the Lake View neighborhood of Chicago, Illinois. The colorfully painted totems include a grimacing sea monster at the bottom, a man riding a whale above it, and Kwanusila the Thunderbird on top. | [
"totem pole",
"Lincoln Park",
"Chicago, Illinois",
"Lake View",
"sea monster",
"Chicago",
"Lake Shore Drive",
"whale",
"Thunderbird",
"red cedar"
] |
|
16164_NT | Kwanusila | Focus on this artwork and discuss the abstract. | Kwanusila is a 12.2 meter (40 foot) tall totem pole carved from red cedar. It stands in Lincoln Park at Addison Street just east of Lake Shore Drive in the Lake View neighborhood of Chicago, Illinois. The colorfully painted totems include a grimacing sea monster at the bottom, a man riding a whale above it, and Kwanusila the Thunderbird on top. | [
"totem pole",
"Lincoln Park",
"Chicago, Illinois",
"Lake View",
"sea monster",
"Chicago",
"Lake Shore Drive",
"whale",
"Thunderbird",
"red cedar"
] |
|
16165_T | Kwanusila | How does Kwanusila elucidate its History? | Its sculptor was Tony Hunt, the chief of the Kwagu'ł tribe in British Columbia, as a 1986 replacement for the totem pole that stood at the site since 1929. That pole was carved in 1893 for the World's Columbian Exposition in Chicago by George Hunt (Tlingit), an ethnologist from Alaska who assisted Franz Boas at the fair and served also as a linguist and interpreter. He was Tony Hunt's direct ancestor.
The first Hunt totem pole was purchased after the fair by cheese baron James L. Kraft, the founder of Kraft Foods and later donated to the city of Chicago. It was placed in the park in 1929. It suffered from poor maintenance, weathering and vandalism over the years, and was sent to the Museum of Anthropology at the University of British Columbia in 1985 for study and conservation. | [
"totem pole",
"cheese",
"Museum of Anthropology",
"Tlingit",
"University of British Columbia",
"World's Columbian Exposition",
"baron",
"Kraft Foods",
"Tony Hunt",
"George Hunt",
"Chicago",
"Kwagu'ł",
"James L. Kraft",
"British Columbia"
] |
|
16165_NT | Kwanusila | How does this artwork elucidate its History? | Its sculptor was Tony Hunt, the chief of the Kwagu'ł tribe in British Columbia, as a 1986 replacement for the totem pole that stood at the site since 1929. That pole was carved in 1893 for the World's Columbian Exposition in Chicago by George Hunt (Tlingit), an ethnologist from Alaska who assisted Franz Boas at the fair and served also as a linguist and interpreter. He was Tony Hunt's direct ancestor.
The first Hunt totem pole was purchased after the fair by cheese baron James L. Kraft, the founder of Kraft Foods and later donated to the city of Chicago. It was placed in the park in 1929. It suffered from poor maintenance, weathering and vandalism over the years, and was sent to the Museum of Anthropology at the University of British Columbia in 1985 for study and conservation. | [
"totem pole",
"cheese",
"Museum of Anthropology",
"Tlingit",
"University of British Columbia",
"World's Columbian Exposition",
"baron",
"Kraft Foods",
"Tony Hunt",
"George Hunt",
"Chicago",
"Kwagu'ł",
"James L. Kraft",
"British Columbia"
] |
|
16166_T | Echo and Narcissus (Poussin) | Focus on Echo and Narcissus (Poussin) and analyze the abstract. | Echo and Narcissus is an oil painting of 1627 and 1628 by French artist Nicolas Poussin. It measures 74 by 100 cm (29 by 39 in) and is kept in the Louvre, Paris. | [
"Nicolas Poussin",
"Echo",
"Echo and Narcissus",
"oil painting",
"Narcissus",
"Louvre"
] |
|
16166_NT | Echo and Narcissus (Poussin) | Focus on this artwork and analyze the abstract. | Echo and Narcissus is an oil painting of 1627 and 1628 by French artist Nicolas Poussin. It measures 74 by 100 cm (29 by 39 in) and is kept in the Louvre, Paris. | [
"Nicolas Poussin",
"Echo",
"Echo and Narcissus",
"oil painting",
"Narcissus",
"Louvre"
] |
|
16167_T | Echo and Narcissus (Poussin) | In Echo and Narcissus (Poussin), how is the The myth discussed? | The work derives from Greek Mythology. According to Ovid's Metamorphoses, the nymph Echo fell in love with Narcissus, but he rejected her. Nemesis, the goddess of vengeance, punished Narcissus by making him fall in love with his own reflection.
At the place where he died grew the flower that bears his name: Narcissus. | [
"Ovid",
"Greek Mythology",
"nymph",
"Nemesis",
"Echo",
"Narcissus",
"Ovid's",
"Metamorphoses"
] |
|
16167_NT | Echo and Narcissus (Poussin) | In this artwork, how is the The myth discussed? | The work derives from Greek Mythology. According to Ovid's Metamorphoses, the nymph Echo fell in love with Narcissus, but he rejected her. Nemesis, the goddess of vengeance, punished Narcissus by making him fall in love with his own reflection.
At the place where he died grew the flower that bears his name: Narcissus. | [
"Ovid",
"Greek Mythology",
"nymph",
"Nemesis",
"Echo",
"Narcissus",
"Ovid's",
"Metamorphoses"
] |
|
16168_T | Echo and Narcissus (Poussin) | Focus on Echo and Narcissus (Poussin) and explore the The painting. | Poussin illustrates this myth by representing three characters in an idyllic landscape: in the foreground, Narcissus, lying down; behind him, on the right, Eros, god of love; and on the left, sitting on a rock, Echo. Around the hair of young Narcissus are already blooming flowers to which he gave his name. Echo, leaning on a rock, seems "an elegiac and immaterial apparition". | [
"Eros",
"Echo",
"Narcissus"
] |
|
16168_NT | Echo and Narcissus (Poussin) | Focus on this artwork and explore the The painting. | Poussin illustrates this myth by representing three characters in an idyllic landscape: in the foreground, Narcissus, lying down; behind him, on the right, Eros, god of love; and on the left, sitting on a rock, Echo. Around the hair of young Narcissus are already blooming flowers to which he gave his name. Echo, leaning on a rock, seems "an elegiac and immaterial apparition". | [
"Eros",
"Echo",
"Narcissus"
] |
|
16169_T | Actaea, the Nymph of the Shore | Focus on Actaea, the Nymph of the Shore and explain the History. | In 1868, Leighton was elected Royal Academician, and the Academy had six contributions from his prolific palette which fixed his reputation as the creator of ideal form. His style bore the unmistakable influence of his recent visits to Greece, and projected new visions of themes which had attracted him in childhood. Among the mythological subjects exhibited in 1868 was Actaea, the Nymph of the Shore. | [
"Royal Academician"
] |
|
16169_NT | Actaea, the Nymph of the Shore | Focus on this artwork and explain the History. | In 1868, Leighton was elected Royal Academician, and the Academy had six contributions from his prolific palette which fixed his reputation as the creator of ideal form. His style bore the unmistakable influence of his recent visits to Greece, and projected new visions of themes which had attracted him in childhood. Among the mythological subjects exhibited in 1868 was Actaea, the Nymph of the Shore. | [
"Royal Academician"
] |
|
16170_T | Actaea, the Nymph of the Shore | Explore the Subject of this artwork, Actaea, the Nymph of the Shore. | Actaea was one of the Nereids of Greek mythology: the fifty daughters of the sea-god Nereus who lived in the Aegean Sea. The seashore depicted in the painting was familiar to Leighton from his visit to Rhodes in 1867. | [
"Aegean Sea",
"Rhodes",
"Nereus",
"Nereids"
] |
|
16170_NT | Actaea, the Nymph of the Shore | Explore the Subject of this artwork. | Actaea was one of the Nereids of Greek mythology: the fifty daughters of the sea-god Nereus who lived in the Aegean Sea. The seashore depicted in the painting was familiar to Leighton from his visit to Rhodes in 1867. | [
"Aegean Sea",
"Rhodes",
"Nereus",
"Nereids"
] |
|
16171_T | Actaea, the Nymph of the Shore | Focus on Actaea, the Nymph of the Shore and discuss the Description. | The picture represents a small, full-length figure, partially nude, in white drapery, lying on the seashore. The landscape with the sea is a vision of one of the islands of the Greek seas. According to Edgcumbe Staley, "It is a beautiful work, full of ideal grace and refinement." | [
"Edgcumbe Staley"
] |
|
16171_NT | Actaea, the Nymph of the Shore | Focus on this artwork and discuss the Description. | The picture represents a small, full-length figure, partially nude, in white drapery, lying on the seashore. The landscape with the sea is a vision of one of the islands of the Greek seas. According to Edgcumbe Staley, "It is a beautiful work, full of ideal grace and refinement." | [
"Edgcumbe Staley"
] |
|
16172_T | Agüeybaná El Bravo (statue) | How does Agüeybaná El Bravo (statue) elucidate its abstract? | Agüeybaná El Bravo is a stone statue to the memory of Agüeybaná II, is 1 Taíno cacique in Puerto Rico, for his bravery in fighting the Spanish invaders during the sixteenth century. It is located at Plaza Agüeybaná El Bravo in Barrio Playa, at the southeast corner of the intersection of PR-2/Ponce Bypass and Avenida Hostos, just south of sector Caracoles in Ponce, Puerto Rico. | [
"PR",
"PR-2",
"Ponce, Puerto Rico",
"Barrio Playa",
"stone",
"Ponce",
"fighting the Spanish invaders",
"Puerto Rico",
"cacique",
"Avenida Hostos",
"Taíno",
"Agüeybaná II",
"Plaza Agüeybaná El Bravo"
] |
|
16172_NT | Agüeybaná El Bravo (statue) | How does this artwork elucidate its abstract? | Agüeybaná El Bravo is a stone statue to the memory of Agüeybaná II, is 1 Taíno cacique in Puerto Rico, for his bravery in fighting the Spanish invaders during the sixteenth century. It is located at Plaza Agüeybaná El Bravo in Barrio Playa, at the southeast corner of the intersection of PR-2/Ponce Bypass and Avenida Hostos, just south of sector Caracoles in Ponce, Puerto Rico. | [
"PR",
"PR-2",
"Ponce, Puerto Rico",
"Barrio Playa",
"stone",
"Ponce",
"fighting the Spanish invaders",
"Puerto Rico",
"cacique",
"Avenida Hostos",
"Taíno",
"Agüeybaná II",
"Plaza Agüeybaná El Bravo"
] |
|
16173_T | Agüeybaná El Bravo (statue) | Focus on Agüeybaná El Bravo (statue) and analyze the Background. | Agüeybaná El Bravo (English: Agüeybaná The Brave) [c. 1470 – 1511], also known as Agüeybaná II, was one of the two principal and most powerful caciques of the Taíno people in "Borikén" when the Spaniards first arrived in Puerto Rico on 19 November 1493. Agüeybaná II led the Taínos of Puerto Rico in the Battle of Yagüecas, also known as the "Taíno rebellion of 1511" against Juan Ponce de León and the Spanish Conquistadors. It was the last Taíno rebellion against the Spanish Conquistadores, and Agüeybaná II was killed during the battle. In a show of solidarity with the Taino cacique Agueybana, every November during the day when others are celebrating Columbus Day, supporters of Agueybana and the Taino tradition gather near the statue for Taino songs, music, dances, food and presentations. | [
"Taíno people",
"Juan Ponce de León",
"Conquistadores",
"Columbus Day",
"Taíno rebellion of 1511",
"Borikén",
"Ponce",
"Spaniards",
"Puerto Rico",
"cacique",
"Taíno",
"Agüeybaná II",
"Conquistador",
"presentations"
] |
|
16173_NT | Agüeybaná El Bravo (statue) | Focus on this artwork and analyze the Background. | Agüeybaná El Bravo (English: Agüeybaná The Brave) [c. 1470 – 1511], also known as Agüeybaná II, was one of the two principal and most powerful caciques of the Taíno people in "Borikén" when the Spaniards first arrived in Puerto Rico on 19 November 1493. Agüeybaná II led the Taínos of Puerto Rico in the Battle of Yagüecas, also known as the "Taíno rebellion of 1511" against Juan Ponce de León and the Spanish Conquistadors. It was the last Taíno rebellion against the Spanish Conquistadores, and Agüeybaná II was killed during the battle. In a show of solidarity with the Taino cacique Agueybana, every November during the day when others are celebrating Columbus Day, supporters of Agueybana and the Taino tradition gather near the statue for Taino songs, music, dances, food and presentations. | [
"Taíno people",
"Juan Ponce de León",
"Conquistadores",
"Columbus Day",
"Taíno rebellion of 1511",
"Borikén",
"Ponce",
"Spaniards",
"Puerto Rico",
"cacique",
"Taíno",
"Agüeybaná II",
"Conquistador",
"presentations"
] |
|
16174_T | Agüeybaná El Bravo (statue) | In Agüeybaná El Bravo (statue), how is the Description discussed? | The statue is located in Barrio Playa, across the "Caracoles" sector of Barrio San Anton, in Ponce, Puerto Rico, at a small park also named after him. According to historian Jalil Sued Badillo, the location where the statue currently stands was the home of the former grand cacique. The statue was installed during the administration of Mayor Francisco Zayas Seijo. The statue was created in Mexico by order of former Ponce Mayor Rafael Cordero Santiago, but remained unveiled until October 2008. In a show of solidarity with the Taíno cacique Agüeybaná El Bravo, every November on the day when others are celebrating Columbus Day, supporters of Agueybana and the Taino tradition gather near the statue for Taino songs, music, dances, food and presentations. | [
"Rafael Cordero Santiago",
"Francisco Zayas Seijo",
"Ponce, Puerto Rico",
"Barrio Playa",
"Columbus Day",
"Ponce",
"Puerto Rico",
"cacique",
"Taíno",
"Barrio San Anton",
"presentations"
] |
|
16174_NT | Agüeybaná El Bravo (statue) | In this artwork, how is the Description discussed? | The statue is located in Barrio Playa, across the "Caracoles" sector of Barrio San Anton, in Ponce, Puerto Rico, at a small park also named after him. According to historian Jalil Sued Badillo, the location where the statue currently stands was the home of the former grand cacique. The statue was installed during the administration of Mayor Francisco Zayas Seijo. The statue was created in Mexico by order of former Ponce Mayor Rafael Cordero Santiago, but remained unveiled until October 2008. In a show of solidarity with the Taíno cacique Agüeybaná El Bravo, every November on the day when others are celebrating Columbus Day, supporters of Agueybana and the Taino tradition gather near the statue for Taino songs, music, dances, food and presentations. | [
"Rafael Cordero Santiago",
"Francisco Zayas Seijo",
"Ponce, Puerto Rico",
"Barrio Playa",
"Columbus Day",
"Ponce",
"Puerto Rico",
"cacique",
"Taíno",
"Barrio San Anton",
"presentations"
] |
|
16175_T | Mary Villiers, Lady Herbert of Shurland | Focus on Mary Villiers, Lady Herbert of Shurland and explore the abstract. | Mary Villiers, Lady Herbert of Shurland is a c. 1636 oil painting on canvas by Anthony van Dyck. It is a portrait of Mary Stewart, Duchess of Richmond as a young widow (pointing to her mourning brooch), before she married for the second time to the Duke of Richmond. | [
"Anthony van Dyck",
"Mary Stewart, Duchess of Richmond"
] |
|
16175_NT | Mary Villiers, Lady Herbert of Shurland | Focus on this artwork and explore the abstract. | Mary Villiers, Lady Herbert of Shurland is a c. 1636 oil painting on canvas by Anthony van Dyck. It is a portrait of Mary Stewart, Duchess of Richmond as a young widow (pointing to her mourning brooch), before she married for the second time to the Duke of Richmond. | [
"Anthony van Dyck",
"Mary Stewart, Duchess of Richmond"
] |
|
16176_T | Portrait of Guidobaldo da Montefeltro | Focus on Portrait of Guidobaldo da Montefeltro and explain the abstract. | The Portrait of Guidobaldo da Montefeltro is a picture by the Italian Renaissance artist Raphael, dating from around 1506 and housed in the Uffizi Gallery, Florence. It portrays Guidobaldo da Montefeltro, duke of Urbino. | [
"Florence",
"Guidobaldo",
"Raphael",
"Uffizi",
"duke of Urbino",
"Renaissance",
"Urbino",
"Italian",
"Uffizi Gallery",
"Guidobaldo da Montefeltro"
] |
|
16176_NT | Portrait of Guidobaldo da Montefeltro | Focus on this artwork and explain the abstract. | The Portrait of Guidobaldo da Montefeltro is a picture by the Italian Renaissance artist Raphael, dating from around 1506 and housed in the Uffizi Gallery, Florence. It portrays Guidobaldo da Montefeltro, duke of Urbino. | [
"Florence",
"Guidobaldo",
"Raphael",
"Uffizi",
"duke of Urbino",
"Renaissance",
"Urbino",
"Italian",
"Uffizi Gallery",
"Guidobaldo da Montefeltro"
] |
|
16177_T | Portrait of Guidobaldo da Montefeltro | Explore the History of this artwork, Portrait of Guidobaldo da Montefeltro. | The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1623 in an inventory of the Ducal Palace of Pesaro.
It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia and Cesare Tamaroccio. | [
"Florence",
"Raphael",
"Ducal collection",
"Urbino",
"Vittoria della Rovere",
"Francesco Francia",
"Pesaro"
] |
|
16177_NT | Portrait of Guidobaldo da Montefeltro | Explore the History of this artwork. | The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1623 in an inventory of the Ducal Palace of Pesaro.
It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia and Cesare Tamaroccio. | [
"Florence",
"Raphael",
"Ducal collection",
"Urbino",
"Vittoria della Rovere",
"Francesco Francia",
"Pesaro"
] |
|
16178_T | Balzac in the Robe of a Dominican Monk | Focus on Balzac in the Robe of a Dominican Monk and discuss the abstract. | Balzac in the Robe of a Dominican Monk is a bronze sculpture by French artist Auguste Rodin, one of the studies made in preparation to the Monument to Balzac, a tribute to novelist Honoré de Balzac commissioned by the Society of Men of Letters of France in 1891. | [
"French",
"bronze",
"France",
"Auguste Rodin",
"Society of Men of Letters of France",
"Honoré de Balzac",
"Monument to Balzac"
] |
|
16178_NT | Balzac in the Robe of a Dominican Monk | Focus on this artwork and discuss the abstract. | Balzac in the Robe of a Dominican Monk is a bronze sculpture by French artist Auguste Rodin, one of the studies made in preparation to the Monument to Balzac, a tribute to novelist Honoré de Balzac commissioned by the Society of Men of Letters of France in 1891. | [
"French",
"bronze",
"France",
"Auguste Rodin",
"Society of Men of Letters of France",
"Honoré de Balzac",
"Monument to Balzac"
] |
|
16179_T | Balzac in the Robe of a Dominican Monk | How does Balzac in the Robe of a Dominican Monk elucidate its Development? | This sculpture was a particular challenge to the artist due to his preference to portray his subjects in great detail, and the fact that Balzac was already dead. Rodin then started to research about the life and times of his subject, only to find, according to Kenneth Clark, that he had been a short, fat and unremarkable-looking man. | [] |
|
16179_NT | Balzac in the Robe of a Dominican Monk | How does this artwork elucidate its Development? | This sculpture was a particular challenge to the artist due to his preference to portray his subjects in great detail, and the fact that Balzac was already dead. Rodin then started to research about the life and times of his subject, only to find, according to Kenneth Clark, that he had been a short, fat and unremarkable-looking man. | [] |
|
16180_T | Balzac in the Robe of a Dominican Monk | Focus on Balzac in the Robe of a Dominican Monk and analyze the Realisation. | With this difficulty, Rodin aimed instead to represent Balzac's persona rather than his physical likeness. Instead of the agreed-upon eighteen months, Rodin spent seven years making different studies, both nude and non-nude, only to present his final plaster in 1898 at a Salon in Champ de Mars with great disapproval by the Societè. Disillusioned with this result, Rodin decided to install the plaster at his house in Meudon. Only in 1939 was a full-size cast put at the crossroads of boulevard Raspail and boulevard du Montparnasse, also known as carrefour Vavin, in the 6th arrondissement of Paris. | [
"boulevard Raspail",
"6th arrondissement",
"Champ de Mars",
"Meudon",
"6th arrondissement of Paris",
"Salon",
"boulevard du Montparnasse"
] |
|
16180_NT | Balzac in the Robe of a Dominican Monk | Focus on this artwork and analyze the Realisation. | With this difficulty, Rodin aimed instead to represent Balzac's persona rather than his physical likeness. Instead of the agreed-upon eighteen months, Rodin spent seven years making different studies, both nude and non-nude, only to present his final plaster in 1898 at a Salon in Champ de Mars with great disapproval by the Societè. Disillusioned with this result, Rodin decided to install the plaster at his house in Meudon. Only in 1939 was a full-size cast put at the crossroads of boulevard Raspail and boulevard du Montparnasse, also known as carrefour Vavin, in the 6th arrondissement of Paris. | [
"boulevard Raspail",
"6th arrondissement",
"Champ de Mars",
"Meudon",
"6th arrondissement of Paris",
"Salon",
"boulevard du Montparnasse"
] |
|
16181_T | Balzac in the Robe of a Dominican Monk | In Balzac in the Robe of a Dominican Monk, how is the Description discussed? | Unlike other studies and the final version of the monument, Balzac in the Robe of a Dominican Monk shows the author fully clothed with the traditional habit of the Dominican order—a simple cloak with a belt— standing in a rock-like structure and with both hands explicitly shown. | [
"Dominican order",
"habit"
] |
|
16181_NT | Balzac in the Robe of a Dominican Monk | In this artwork, how is the Description discussed? | Unlike other studies and the final version of the monument, Balzac in the Robe of a Dominican Monk shows the author fully clothed with the traditional habit of the Dominican order—a simple cloak with a belt— standing in a rock-like structure and with both hands explicitly shown. | [
"Dominican order",
"habit"
] |
|
16182_T | Balzac in the Robe of a Dominican Monk | Focus on Balzac in the Robe of a Dominican Monk and explore the Evaluation. | It is considered by some later critics as one of the best sculptures made by the French artist. Rodin himself has been quoted about this piece, considering that "the fruit and summing-up of my entire life and the pivot of my personal aesthetic". | [
"French"
] |
|
16182_NT | Balzac in the Robe of a Dominican Monk | Focus on this artwork and explore the Evaluation. | It is considered by some later critics as one of the best sculptures made by the French artist. Rodin himself has been quoted about this piece, considering that "the fruit and summing-up of my entire life and the pivot of my personal aesthetic". | [
"French"
] |
|
16183_T | Pietà or Revolution by Night | Focus on Pietà or Revolution by Night and explain the abstract. | Pietà or Revolution by Night (Pietà ou La révolution la nuit) (1923) is a painting by German surrealist and Dadaist Max Ernst. Since 1981 it has been part of the collection of the Tate Gallery in London.
The painting is interpreted as symbolic of the turbulent relationship between the artist and his father, as an amateur painter and staunch Catholic. In the painting, Ernst replaces the classic image of the Virgin Mary holding the crucified body of Jesus (pietà) with his father as Mary and the artist himself as Jesus. The expressions on both faces are blank as though in a state of sleepwalking.In the background drawn on a wall is a man with a bandaged head ascending a flight of stairs. A profile on the work in the British newspaper The Guardian indicates the figure could represent either Sigmund Freud or the French poet Guillaume Apollinaire, who suffered a head wound during World War I.Pietà or Revolution by Night is an example of the early period of the surrealist movement. Its title reflects the revolutionary sentiments of the movement, and in particular of its founder, André Breton. This image is notable for its combination of heavily textured surfaces and sharp, hand-drawn outlines. | [
"André Breton",
"World War I",
"Max Ernst",
"Jesus",
"Dadaist",
"sleepwalking",
"surrealist",
"Tate",
"Tate Gallery",
"Catholic",
"The Guardian",
"British",
"Sigmund Freud",
"Guillaume Apollinaire",
"German",
"Dada",
"Virgin Mary",
"London"
] |
|
16183_NT | Pietà or Revolution by Night | Focus on this artwork and explain the abstract. | Pietà or Revolution by Night (Pietà ou La révolution la nuit) (1923) is a painting by German surrealist and Dadaist Max Ernst. Since 1981 it has been part of the collection of the Tate Gallery in London.
The painting is interpreted as symbolic of the turbulent relationship between the artist and his father, as an amateur painter and staunch Catholic. In the painting, Ernst replaces the classic image of the Virgin Mary holding the crucified body of Jesus (pietà) with his father as Mary and the artist himself as Jesus. The expressions on both faces are blank as though in a state of sleepwalking.In the background drawn on a wall is a man with a bandaged head ascending a flight of stairs. A profile on the work in the British newspaper The Guardian indicates the figure could represent either Sigmund Freud or the French poet Guillaume Apollinaire, who suffered a head wound during World War I.Pietà or Revolution by Night is an example of the early period of the surrealist movement. Its title reflects the revolutionary sentiments of the movement, and in particular of its founder, André Breton. This image is notable for its combination of heavily textured surfaces and sharp, hand-drawn outlines. | [
"André Breton",
"World War I",
"Max Ernst",
"Jesus",
"Dadaist",
"sleepwalking",
"surrealist",
"Tate",
"Tate Gallery",
"Catholic",
"The Guardian",
"British",
"Sigmund Freud",
"Guillaume Apollinaire",
"German",
"Dada",
"Virgin Mary",
"London"
] |
|
16184_T | Taste in High Life | Explore the abstract of this artwork, Taste in High Life. | Taste in High Life is an oil-on-canvas painting (engraving seen on the right) from around 1742, by William Hogarth. The version seen on the right was engraved by Samuel Phillips in 1798, under commission from John Boydell for a posthumous edition of Hogarth's works, but Phillips's final, third state was not published until 1808. | [
"engraving",
"John Boydell",
"William Hogarth",
"oil-on-canvas"
] |
|
16184_NT | Taste in High Life | Explore the abstract of this artwork. | Taste in High Life is an oil-on-canvas painting (engraving seen on the right) from around 1742, by William Hogarth. The version seen on the right was engraved by Samuel Phillips in 1798, under commission from John Boydell for a posthumous edition of Hogarth's works, but Phillips's final, third state was not published until 1808. | [
"engraving",
"John Boydell",
"William Hogarth",
"oil-on-canvas"
] |
|
16185_T | Taste in High Life | Focus on Taste in High Life and discuss the Analysis. | The work, a forerunner of Marriage à-la-mode, was intended to satirise and poke fun at the types of dress and garbs that were in fashion at the time, and the superficiality of the tastes and nature of the aristocracy in general. Several figures are seen in the painting, all of whom are dressed in heavily caricatured renditions of the fashion that reigned in the 1740s. Most prominently exhibited is an elderly woman wearing a sacque covered with satirically overblown roses expanded by a large hoop. Standing near her is an opulently dressed man, thought to be "Beau" Colyear, 2nd Earl of Portmore (the dress he wears is said to be the very same he wore to his birthday in the year of the painting's creation) The two huddle together in admiration over the minute porcelain cup held by the lady and saucer held by the lord. Also part of the company is another woman clutching the chin of a black page boy wearing a turban – thought to be designed after Ignatius Sancho, an actor and writer, in his youth – both of whom are also dressed as exquisitely as the first two. The black page, holding a type of Chinese porcelain figure, is a servant, and was painted in as an element of irony in the work; as a slave, he mocks his masters, who themselves bowed before fashions and the latest frivolities of upper-class life. Even the monkey standing in the centre foreground wears a flowing, cuffed robe as he examines the list of purchases made by one of the four – it is not known whom – at a recent auction. In the painting on the wall, the transitory nature of fashion is represented by the cupids at left, who use a bellows to blow up a fire of discarded petticoats and wigs; at right, the classical form of the female sculpture is contrasted with the cutaway rear view of her enormous hoop underskirt stiffened with whalebone, "the mode 1742" as the painting's legend has it. The fashionable hoops make the seated lady's dress rise up ridiculously behind her, and in a vignette on the fire-screen at right, a lady is shown trapped in a sedan chair that is filled by her hoops—this woman appears again in the background of Hogarth's Beer Street in 1752. | [
"Beer Street",
"Ignatius Sancho",
"Marriage à-la-mode",
"monkey",
"sedan chair",
"auction",
"\"Beau\" Colyear, 2nd Earl of Portmore",
"turban"
] |
|
16185_NT | Taste in High Life | Focus on this artwork and discuss the Analysis. | The work, a forerunner of Marriage à-la-mode, was intended to satirise and poke fun at the types of dress and garbs that were in fashion at the time, and the superficiality of the tastes and nature of the aristocracy in general. Several figures are seen in the painting, all of whom are dressed in heavily caricatured renditions of the fashion that reigned in the 1740s. Most prominently exhibited is an elderly woman wearing a sacque covered with satirically overblown roses expanded by a large hoop. Standing near her is an opulently dressed man, thought to be "Beau" Colyear, 2nd Earl of Portmore (the dress he wears is said to be the very same he wore to his birthday in the year of the painting's creation) The two huddle together in admiration over the minute porcelain cup held by the lady and saucer held by the lord. Also part of the company is another woman clutching the chin of a black page boy wearing a turban – thought to be designed after Ignatius Sancho, an actor and writer, in his youth – both of whom are also dressed as exquisitely as the first two. The black page, holding a type of Chinese porcelain figure, is a servant, and was painted in as an element of irony in the work; as a slave, he mocks his masters, who themselves bowed before fashions and the latest frivolities of upper-class life. Even the monkey standing in the centre foreground wears a flowing, cuffed robe as he examines the list of purchases made by one of the four – it is not known whom – at a recent auction. In the painting on the wall, the transitory nature of fashion is represented by the cupids at left, who use a bellows to blow up a fire of discarded petticoats and wigs; at right, the classical form of the female sculpture is contrasted with the cutaway rear view of her enormous hoop underskirt stiffened with whalebone, "the mode 1742" as the painting's legend has it. The fashionable hoops make the seated lady's dress rise up ridiculously behind her, and in a vignette on the fire-screen at right, a lady is shown trapped in a sedan chair that is filled by her hoops—this woman appears again in the background of Hogarth's Beer Street in 1752. | [
"Beer Street",
"Ignatius Sancho",
"Marriage à-la-mode",
"monkey",
"sedan chair",
"auction",
"\"Beau\" Colyear, 2nd Earl of Portmore",
"turban"
] |
|
16186_T | Taste in High Life | How does Taste in High Life elucidate its Commissioning? | The work was commissioned by Mary Edwards of Kensington, a consistent patron of Hogarth's. Miss Edwards, who had inherited a sum of more than £50,000 a year at the age of twenty-four, was considered eccentric, having common lawed married a son of the fourth Duke of Hamilton, Lord Anne Hamilton whom she discarded when he turned out to be profligate. On this occasion she engaged the services of Hogarth with the specific intent of commissioning a painting that would humorously mock what she considered to be the ridiculous fashions and indulgences of the upper class of the time, and "female adornment". It is reported that she did this as an act of vengeance, as she had been ridiculed by the type of people scoffed at in the painting. For a price of sixty guineas, Hogarth agreed to fulfil her request, but it is known that he was not particularly fond of his work; Hogarth often felt less enthusiastic about productions for which a specific commission was made, that were executed to order. | [
"guinea",
"Lord Anne Hamilton",
"Mary Edwards",
"profligate",
"vengeance"
] |
|
16186_NT | Taste in High Life | How does this artwork elucidate its Commissioning? | The work was commissioned by Mary Edwards of Kensington, a consistent patron of Hogarth's. Miss Edwards, who had inherited a sum of more than £50,000 a year at the age of twenty-four, was considered eccentric, having common lawed married a son of the fourth Duke of Hamilton, Lord Anne Hamilton whom she discarded when he turned out to be profligate. On this occasion she engaged the services of Hogarth with the specific intent of commissioning a painting that would humorously mock what she considered to be the ridiculous fashions and indulgences of the upper class of the time, and "female adornment". It is reported that she did this as an act of vengeance, as she had been ridiculed by the type of people scoffed at in the painting. For a price of sixty guineas, Hogarth agreed to fulfil her request, but it is known that he was not particularly fond of his work; Hogarth often felt less enthusiastic about productions for which a specific commission was made, that were executed to order. | [
"guinea",
"Lord Anne Hamilton",
"Mary Edwards",
"profligate",
"vengeance"
] |
|
16187_T | Dance in the City | Focus on Dance in the City and analyze the abstract. | Dance in the City is a painting created by the French artist Pierre-Auguste Renoir. Completed in 1883, the artwork is currently housed in the collection of the Musée d'Orsay. The dancers depicted in the painting are Suzanne Valadon, a model and artist, and Paul Auguste Lhôte, a friend of Renoir.This particular artwork, along with its companion pieces Dance in the Country and Dance at Bougival, was commissioned by the art dealer Paul Durand-Ruel. All three paintings were executed in 1883 and feature two individuals dancing in different settings. While Aline Charigot, who later became Renoir's wife, modeled for the woman in Dance in the Country, Suzanne Valadon is the model for Dance in the City. | [
"Musée d'Orsay",
"Paul Durand-Ruel",
"Suzanne Valadon",
"Aline Charigot",
"Pierre-Auguste Renoir",
"Dance in the Country",
"Dance at Bougival"
] |
|
16187_NT | Dance in the City | Focus on this artwork and analyze the abstract. | Dance in the City is a painting created by the French artist Pierre-Auguste Renoir. Completed in 1883, the artwork is currently housed in the collection of the Musée d'Orsay. The dancers depicted in the painting are Suzanne Valadon, a model and artist, and Paul Auguste Lhôte, a friend of Renoir.This particular artwork, along with its companion pieces Dance in the Country and Dance at Bougival, was commissioned by the art dealer Paul Durand-Ruel. All three paintings were executed in 1883 and feature two individuals dancing in different settings. While Aline Charigot, who later became Renoir's wife, modeled for the woman in Dance in the Country, Suzanne Valadon is the model for Dance in the City. | [
"Musée d'Orsay",
"Paul Durand-Ruel",
"Suzanne Valadon",
"Aline Charigot",
"Pierre-Auguste Renoir",
"Dance in the Country",
"Dance at Bougival"
] |
|
16188_T | The Engineer's Lover | In The Engineer's Lover, how is the abstract discussed? | The Engineer's Lover (Italian: 'L'amante dell'ingegnere) is a painting by Italian painter Carlo Carrà. It was finished during the metaphysical phase of the artist (1921).
It portrays an enigmatic head of a maiden on a brown table, flanked by a green panel with a triangle and a compasses (symbols of rationalism). The black background contributes to underline the timeless atmosphere of the scene.
The painting belongs to Gianni Mattioli's collection. | [
"Italian",
"metaphysical",
"Gianni Mattioli",
"Carlo Carrà"
] |
|
16188_NT | The Engineer's Lover | In this artwork, how is the abstract discussed? | The Engineer's Lover (Italian: 'L'amante dell'ingegnere) is a painting by Italian painter Carlo Carrà. It was finished during the metaphysical phase of the artist (1921).
It portrays an enigmatic head of a maiden on a brown table, flanked by a green panel with a triangle and a compasses (symbols of rationalism). The black background contributes to underline the timeless atmosphere of the scene.
The painting belongs to Gianni Mattioli's collection. | [
"Italian",
"metaphysical",
"Gianni Mattioli",
"Carlo Carrà"
] |
|
16189_T | La Montagne Sainte-Victoire vue du bosquet du Château Noir | Focus on La Montagne Sainte-Victoire vue du bosquet du Château Noir and explore the abstract. | La Montagne Sainte-Victoire vue du bosquet du Château Noir is a 1904 oil on canvas landscape painting by the French artist Paul Cézanne. The ostensible subject is the painter's familiar Montagne Sainte-Victoire and it is part of a series the artist did of the promontory between 1904 and 1906. In 2014 the work was sold by the Edsel and Eleanor Ford House in Grosse Pointe Shores, Michigan for $100 million dollars $US in a private sale to the State of Qatar. | [
"Grosse Pointe Shores",
"Qatar",
"oil on canvas",
"Grosse Pointe Shores, Michigan",
"series",
"Edsel and Eleanor Ford House",
"Paul Cézanne",
"landscape painting",
"Montagne Sainte-Victoire",
"Michigan"
] |
|
16189_NT | La Montagne Sainte-Victoire vue du bosquet du Château Noir | Focus on this artwork and explore the abstract. | La Montagne Sainte-Victoire vue du bosquet du Château Noir is a 1904 oil on canvas landscape painting by the French artist Paul Cézanne. The ostensible subject is the painter's familiar Montagne Sainte-Victoire and it is part of a series the artist did of the promontory between 1904 and 1906. In 2014 the work was sold by the Edsel and Eleanor Ford House in Grosse Pointe Shores, Michigan for $100 million dollars $US in a private sale to the State of Qatar. | [
"Grosse Pointe Shores",
"Qatar",
"oil on canvas",
"Grosse Pointe Shores, Michigan",
"series",
"Edsel and Eleanor Ford House",
"Paul Cézanne",
"landscape painting",
"Montagne Sainte-Victoire",
"Michigan"
] |
|
16190_T | Light of Freedom | Focus on Light of Freedom and explain the abstract. | Light of Freedom is a sculpture installation by American artist Abigail DeVille created in 2020. DeVille has said the sculpture celebrates "people that hooked each other arm-in-arm, and protested ... to fight for whatever this nation actually pretends that it was founded or based on." | [
"Abigail DeVille"
] |
|
16190_NT | Light of Freedom | Focus on this artwork and explain the abstract. | Light of Freedom is a sculpture installation by American artist Abigail DeVille created in 2020. DeVille has said the sculpture celebrates "people that hooked each other arm-in-arm, and protested ... to fight for whatever this nation actually pretends that it was founded or based on." | [
"Abigail DeVille"
] |
|
16191_T | Light of Freedom | Explore the Artwork of this artwork, Light of Freedom. | Light of Freedom is a sculptural reimagining of the torch from Frédéric Auguste Bartholdi's Statue of Liberty (Liberty Enlightening the World) in New York Harbor. Specifically, DeVille was inspired by a photo of the torch from 1876 when it was being exhibited, separately from the rest of the statue, in Madison Square Park.The work consists of steel welded to form a hollow cage in the shape of a torch with a flame. At the top of the torch handle, inside the welded steel, is a reclaimed rusted metal school bell that cannot be rung. The flame is filled with outstretched mannequin arms painted blue. The torch is surrounded by metal scaffolding painted gold with metal cables attached to keep the torch aloft within the scaffolding. Three wooden planks are positioned at different angles on the scaffolding platforms, surrounding the torch. The entire structure sits on top of four small concrete pedestals. | [
"New York Harbor",
"Frédéric Auguste Bartholdi",
"Madison Square Park",
"Statue of Liberty"
] |
|
16191_NT | Light of Freedom | Explore the Artwork of this artwork. | Light of Freedom is a sculptural reimagining of the torch from Frédéric Auguste Bartholdi's Statue of Liberty (Liberty Enlightening the World) in New York Harbor. Specifically, DeVille was inspired by a photo of the torch from 1876 when it was being exhibited, separately from the rest of the statue, in Madison Square Park.The work consists of steel welded to form a hollow cage in the shape of a torch with a flame. At the top of the torch handle, inside the welded steel, is a reclaimed rusted metal school bell that cannot be rung. The flame is filled with outstretched mannequin arms painted blue. The torch is surrounded by metal scaffolding painted gold with metal cables attached to keep the torch aloft within the scaffolding. Three wooden planks are positioned at different angles on the scaffolding platforms, surrounding the torch. The entire structure sits on top of four small concrete pedestals. | [
"New York Harbor",
"Frédéric Auguste Bartholdi",
"Madison Square Park",
"Statue of Liberty"
] |
|
16192_T | Light of Freedom | Focus on Light of Freedom and discuss the Reception. | Light of Freedom was widely acclaimed after its unveiling. Writing in the Observer, journalist Helen Holmes said that DeVille's use of the torch motif was "challenging us to look hard at the flimsiness of the lies we’ve been told about who has been allowed to be truly free." Curator and critic Lilly Wei described the work as "much more accessible than most monuments, able to be seen almost at eye level, transforming it from a lofty ideal to something more mundane: liberty and justice as an ordinary right within reach of all" in Studio International. | [
"Studio International",
"Observer"
] |
|
16192_NT | Light of Freedom | Focus on this artwork and discuss the Reception. | Light of Freedom was widely acclaimed after its unveiling. Writing in the Observer, journalist Helen Holmes said that DeVille's use of the torch motif was "challenging us to look hard at the flimsiness of the lies we’ve been told about who has been allowed to be truly free." Curator and critic Lilly Wei described the work as "much more accessible than most monuments, able to be seen almost at eye level, transforming it from a lofty ideal to something more mundane: liberty and justice as an ordinary right within reach of all" in Studio International. | [
"Studio International",
"Observer"
] |
|
16193_T | San Zaccaria Altarpiece | How does San Zaccaria Altarpiece elucidate its abstract? | The San Zaccaria Altarpiece (also called Madonna Enthroned with Child and Saints) is a painting by the Italian Renaissance painter Giovanni Bellini, executed in 1505 and located in the church of San Zaccaria, Venice. | [
"Giovanni Bellini",
"San Zaccaria",
"San Zaccaria, Venice",
"Venice"
] |
|
16193_NT | San Zaccaria Altarpiece | How does this artwork elucidate its abstract? | The San Zaccaria Altarpiece (also called Madonna Enthroned with Child and Saints) is a painting by the Italian Renaissance painter Giovanni Bellini, executed in 1505 and located in the church of San Zaccaria, Venice. | [
"Giovanni Bellini",
"San Zaccaria",
"San Zaccaria, Venice",
"Venice"
] |
|
16194_T | San Zaccaria Altarpiece | Focus on San Zaccaria Altarpiece and analyze the Patron and date. | The Benedictine nuns of the Church of San Zaccaria commissioned the San Zaccaria (Saint Zachary) Altarpiece Giovanni Bellini. It is Bellini's first work in which the influence of Giorgione is undeniable, starting the last phase in the artist's career, a tonalist one. The Altarpiece has stayed in site (in situ) in the church since it was completed in 1505. The work was mentioned in 1648 by writer and painter Carlo Ridolfi as a large panel commissioned in memory of Venetian politician and diplomat Pietro Cappello; he described it as "one of the most beautiful and delicate by the artist".A later story has now been intertwined with the work and repeated in many sources: in 1648, the writer and painter Carlo Ridolfi remarked that the work had been commissioned in memory of Pietro Capello (Cappello), a Venetian politician and diplomat, describing it as "one of the most beautiful and delicate by the artist". However, Pietro Capello died in 1523, long after Giovanni Bellini's completion of the altarpiece in 1505. Pietro Capello is interred in the Church of San Zaccaria and above his tomb was adorned with a painting made around 1500 that was created in the workshop of Giovanni Bellini, but it showed the Presentation in the Temple (titled the Circumcision and now in the National Gallery of Art, London), not the Virgin and Child enthroned.To the left of the music-playing angel is a small plague, known as a cartellino, where Bellini signed and dated the work: "IOANNES BELLIVUS / MCCCCCV" (Giovanni Bellini, 1505).The work is set in a large niche, depicting a sacred conversation within an established scheme: the Madonna and Child enthroned, a musician angel on a step and four saints placed symmetrically at the sides. They are St. Peter the Apostle, St. Catherine of Alexandria, St. Lucy and St. Jerome.While the general ensemble is not different from previous works, such as the San Giobbe Altarpiece (which shares the apse with mosaics, for example), Bellini introduced some novelties, such as the side openings with landscape, inspired by Alvise Vivarini Battutii Altarpiece, once in Belluno (now lost). The colors and light show the new adherence of Bellini to Giorgione's color and mood style.The egg above Mary's head is a symbol of the creation, perhaps a citation of Piero della Francesca's Brera Altarpiece. The lucerne below recalls Andrea Mantegna's San Zeno Altarpiece. | [
"Giovanni Bellini",
"apse",
"cartellino",
"Brera Altarpiece",
"Alvise Vivarini",
"San Zaccaria",
"San Zeno Altarpiece",
"Piero della Francesca",
"sacred conversation",
"Andrea Mantegna",
"Jerome",
"Catherine of Alexandria",
"Presentation in the Temple",
"Carlo Ridolfi",
"Giorgione",
"lucerne",
"San Giobbe Altarpiece"
] |
|
16194_NT | San Zaccaria Altarpiece | Focus on this artwork and analyze the Patron and date. | The Benedictine nuns of the Church of San Zaccaria commissioned the San Zaccaria (Saint Zachary) Altarpiece Giovanni Bellini. It is Bellini's first work in which the influence of Giorgione is undeniable, starting the last phase in the artist's career, a tonalist one. The Altarpiece has stayed in site (in situ) in the church since it was completed in 1505. The work was mentioned in 1648 by writer and painter Carlo Ridolfi as a large panel commissioned in memory of Venetian politician and diplomat Pietro Cappello; he described it as "one of the most beautiful and delicate by the artist".A later story has now been intertwined with the work and repeated in many sources: in 1648, the writer and painter Carlo Ridolfi remarked that the work had been commissioned in memory of Pietro Capello (Cappello), a Venetian politician and diplomat, describing it as "one of the most beautiful and delicate by the artist". However, Pietro Capello died in 1523, long after Giovanni Bellini's completion of the altarpiece in 1505. Pietro Capello is interred in the Church of San Zaccaria and above his tomb was adorned with a painting made around 1500 that was created in the workshop of Giovanni Bellini, but it showed the Presentation in the Temple (titled the Circumcision and now in the National Gallery of Art, London), not the Virgin and Child enthroned.To the left of the music-playing angel is a small plague, known as a cartellino, where Bellini signed and dated the work: "IOANNES BELLIVUS / MCCCCCV" (Giovanni Bellini, 1505).The work is set in a large niche, depicting a sacred conversation within an established scheme: the Madonna and Child enthroned, a musician angel on a step and four saints placed symmetrically at the sides. They are St. Peter the Apostle, St. Catherine of Alexandria, St. Lucy and St. Jerome.While the general ensemble is not different from previous works, such as the San Giobbe Altarpiece (which shares the apse with mosaics, for example), Bellini introduced some novelties, such as the side openings with landscape, inspired by Alvise Vivarini Battutii Altarpiece, once in Belluno (now lost). The colors and light show the new adherence of Bellini to Giorgione's color and mood style.The egg above Mary's head is a symbol of the creation, perhaps a citation of Piero della Francesca's Brera Altarpiece. The lucerne below recalls Andrea Mantegna's San Zeno Altarpiece. | [
"Giovanni Bellini",
"apse",
"cartellino",
"Brera Altarpiece",
"Alvise Vivarini",
"San Zaccaria",
"San Zeno Altarpiece",
"Piero della Francesca",
"sacred conversation",
"Andrea Mantegna",
"Jerome",
"Catherine of Alexandria",
"Presentation in the Temple",
"Carlo Ridolfi",
"Giorgione",
"lucerne",
"San Giobbe Altarpiece"
] |
|
16195_T | San Zaccaria Altarpiece | In San Zaccaria Altarpiece, how is the Materials discussed? | The altarpiece was painted using tempera and oil on wood. Tempera is an egg based painting substance that dries quickly making it easy to use and layer over, a popular choice among artists during the period. Bellini also used some oil paints to create more definition with depth, soft edges, tone transitions, and better color pigments.Part of the top is truncated: just below the arch still shows the damaged that was incurred during the removal by the French under Napoleon (see below: Theft and return). While in France, the painting underwent a major physical transformation: the painting surface was lifted off the supporting wood panel and then it was applied with glue to canvas. Today, the canvas painting has been installed in the church, but over a different altar of the church than the original one, therefore it is not considered in situ. The painting was also cut on the bottom so that it would fit this space. It would be easy to think this was the original altar, since the carved stone columns and their capitals practically mirror those painted in Bellini's altarpiece. | [
"tempera",
"Tempera"
] |
|
16195_NT | San Zaccaria Altarpiece | In this artwork, how is the Materials discussed? | The altarpiece was painted using tempera and oil on wood. Tempera is an egg based painting substance that dries quickly making it easy to use and layer over, a popular choice among artists during the period. Bellini also used some oil paints to create more definition with depth, soft edges, tone transitions, and better color pigments.Part of the top is truncated: just below the arch still shows the damaged that was incurred during the removal by the French under Napoleon (see below: Theft and return). While in France, the painting underwent a major physical transformation: the painting surface was lifted off the supporting wood panel and then it was applied with glue to canvas. Today, the canvas painting has been installed in the church, but over a different altar of the church than the original one, therefore it is not considered in situ. The painting was also cut on the bottom so that it would fit this space. It would be easy to think this was the original altar, since the carved stone columns and their capitals practically mirror those painted in Bellini's altarpiece. | [
"tempera",
"Tempera"
] |
|
16196_T | San Zaccaria Altarpiece | Focus on San Zaccaria Altarpiece and explore the Subject. | The altarpiece is set in a large semi-circular niche, known as an apse, and depicts in a pyramidal (triangular) composition of the Virgin and Child enthroned, surrounded by four saints and an angel. The dome with mosaics on the top of the altarpiece create a sense of depth in the room and an addition of space behind the throne and subjects.Giovanni Bellini was repeatedly commissioned to paint the subject of the Virgin and Child because of its religious popularity during this century in Italy, especially in Venice. Most of these devotional paintings, while exhibiting variations in their iconographic details, show a deep influence of Byzantine art and stylistic principles. In this manner, the San Zaccaria Altarpiece was made in relation to the two other Venetian altarpieces by Giovanni Bellini, including the San Giobbe Altarpiece (1487) and the Frari Triptych (1488). There are two common stylistics denominator among these three altarpieces by Bellini: first, is the inclusion of the mosaic apse, and thereby serves as a visual link to the mosaics located in the apse and domes of St. Mark's Basilica in Venice. The second common element is that the enthroned Virgin and Child is an allusion to the Byzantine representation of the Virgin Hodegetria. One noteworthy difference between Bellini's 1505 San Zaccaria Altarpiece and the earlier altarpieces, San Giobbe Altarpiece and the Frari Triptych is that the architectural setting opens up to a landscape filled with rolling green hills, wispy trees, puffy-white clouds set a light-blue sky. This feature may have been inspired by the now-lost work of Alvise Vivarini, an altarpiece made for Santa Maria dei Battuti, Belluno (formerly Kaiser-Friedrich Museum, Berlin, destroyed in 1945). | [
"Giovanni Bellini",
"apse",
"Alvise Vivarini",
"San Zaccaria",
"Hodegetria",
"St. Mark's Basilica",
"Frari Triptych",
"Virgin Hodegetria",
"composition",
"Venice",
"San Giobbe Altarpiece"
] |
|
16196_NT | San Zaccaria Altarpiece | Focus on this artwork and explore the Subject. | The altarpiece is set in a large semi-circular niche, known as an apse, and depicts in a pyramidal (triangular) composition of the Virgin and Child enthroned, surrounded by four saints and an angel. The dome with mosaics on the top of the altarpiece create a sense of depth in the room and an addition of space behind the throne and subjects.Giovanni Bellini was repeatedly commissioned to paint the subject of the Virgin and Child because of its religious popularity during this century in Italy, especially in Venice. Most of these devotional paintings, while exhibiting variations in their iconographic details, show a deep influence of Byzantine art and stylistic principles. In this manner, the San Zaccaria Altarpiece was made in relation to the two other Venetian altarpieces by Giovanni Bellini, including the San Giobbe Altarpiece (1487) and the Frari Triptych (1488). There are two common stylistics denominator among these three altarpieces by Bellini: first, is the inclusion of the mosaic apse, and thereby serves as a visual link to the mosaics located in the apse and domes of St. Mark's Basilica in Venice. The second common element is that the enthroned Virgin and Child is an allusion to the Byzantine representation of the Virgin Hodegetria. One noteworthy difference between Bellini's 1505 San Zaccaria Altarpiece and the earlier altarpieces, San Giobbe Altarpiece and the Frari Triptych is that the architectural setting opens up to a landscape filled with rolling green hills, wispy trees, puffy-white clouds set a light-blue sky. This feature may have been inspired by the now-lost work of Alvise Vivarini, an altarpiece made for Santa Maria dei Battuti, Belluno (formerly Kaiser-Friedrich Museum, Berlin, destroyed in 1945). | [
"Giovanni Bellini",
"apse",
"Alvise Vivarini",
"San Zaccaria",
"Hodegetria",
"St. Mark's Basilica",
"Frari Triptych",
"Virgin Hodegetria",
"composition",
"Venice",
"San Giobbe Altarpiece"
] |
|
16197_T | San Zaccaria Altarpiece | In the context of San Zaccaria Altarpiece, explain the Virgin and Child of the Subject. | Virgin Mary and Christ-child are at the top of the pyramid scheme of the altarpiece, making them the main focus as a result of linear perspective. Mary is seen without a crown to portray her as a simple, young mother; someone the viewer can feel comfortable with and possibly relate to. The Christ-child has his right hand raised to bless the worshipper/viewer before the altar. Both the Virgin Mary and Christ-child look downward, to acknowledge any viewers kneeling in prayer before the altar. Additionally, Mary is dressed in a rich blue robe, which was made using ultramarine, a luxury pigment during this time period. The use of this pigment not only acknowledged the church as a place of wealth and power, but showed that Bellini was a respected artist. | [] |
|
16197_NT | San Zaccaria Altarpiece | In the context of this artwork, explain the Virgin and Child of the Subject. | Virgin Mary and Christ-child are at the top of the pyramid scheme of the altarpiece, making them the main focus as a result of linear perspective. Mary is seen without a crown to portray her as a simple, young mother; someone the viewer can feel comfortable with and possibly relate to. The Christ-child has his right hand raised to bless the worshipper/viewer before the altar. Both the Virgin Mary and Christ-child look downward, to acknowledge any viewers kneeling in prayer before the altar. Additionally, Mary is dressed in a rich blue robe, which was made using ultramarine, a luxury pigment during this time period. The use of this pigment not only acknowledged the church as a place of wealth and power, but showed that Bellini was a respected artist. | [] |
|
16198_T | San Zaccaria Altarpiece | Explore the Saints and Angel about the Virgin and Child of the Subject in this artwork, San Zaccaria Altarpiece. | Saints and Angel In the painting, four saints are shown: two sets of paired male and female saints. Furthest to the left of the composition is Saint Peter (pictured carrying the bible and the keys of heaven). Saint Peter is also seen with a yellow-orange mantle, which was finished with an arsenic sulfide mineral pigment. To the right is Saint Catherine of Alexandria who is seen holding the palm of martyrdom while leaning on a breaking wheel, a symbol of God's protection. Saint Catherine is dresses in dark green colors that were a combination of lead-tin yellow, lead white, and verdigris pigments; it was finished with a deep, dark green glaze for vibrance. These pigments demonstrated the wealth of the church but also the skill of Bellini to create such beautiful colors with his paints.On the other side of Mary stands Saint Lucy, the saint of light, also holding a palm of martyrdom and a glass lamp in her other hand. The palm for both is intended to represent the suffering the two went through when they chose their faith over body. In addition, the glass lamp that Saint Lucy holds reflects the fact that Lucy would often give food to the poor at night, using a lamp for light.Lastly, on the far right is Saint Jerome portrayed in a red, reading a book that could represent the Vulgate, or Latin translation of the Bible which Saint Jerome translated himself. Saint Jerome's robe was painted using red lake and vermilion pigments.The billowing robes on Saint Peter and Saint Jerome were painted with volume and shadow to enhance their size and male figure, contrasting the female saints. The bilaterally symmetrical arrangement of the saints is further enhanced by the fact that the two female saints are show in profile and closest to the Madonna, while the two male saints, located on the outer edges of the composition are show facing frontal while their gazes are cast down.Finally, in the center, an angel sits on the bottom step of the marble throne playing the lira de braccio, a violin-like instrument. The instrument is shown with seven strings instead of the typical nine strings on other instruments which is meant to represent the seven other planets. The music-making angel is pictured with its lira de braccio to allow the audience to imagine its peaceful tune in the tranquil environment and to offer comfort. The angel wears a combination of cool green and warm pinks, colors and tones that are observed throughout the painting: in the mosaic above, the nearby landscape, and the surrounding architecture. Each figure in the painting serves it own purpose but the angel is the only figure clearly looking out at the viewer, adding a tone of inclusion. | [
"Vulgate",
"breaking wheel",
"palm of martyrdom",
"Saint Lucy",
"keys of heaven",
"Jerome",
"Catherine of Alexandria",
"composition",
"Saint Catherine of Alexandria",
"Saint Peter",
"Saint Jerome"
] |
|
16198_NT | San Zaccaria Altarpiece | Explore the Saints and Angel about the Virgin and Child of the Subject in this artwork. | Saints and Angel In the painting, four saints are shown: two sets of paired male and female saints. Furthest to the left of the composition is Saint Peter (pictured carrying the bible and the keys of heaven). Saint Peter is also seen with a yellow-orange mantle, which was finished with an arsenic sulfide mineral pigment. To the right is Saint Catherine of Alexandria who is seen holding the palm of martyrdom while leaning on a breaking wheel, a symbol of God's protection. Saint Catherine is dresses in dark green colors that were a combination of lead-tin yellow, lead white, and verdigris pigments; it was finished with a deep, dark green glaze for vibrance. These pigments demonstrated the wealth of the church but also the skill of Bellini to create such beautiful colors with his paints.On the other side of Mary stands Saint Lucy, the saint of light, also holding a palm of martyrdom and a glass lamp in her other hand. The palm for both is intended to represent the suffering the two went through when they chose their faith over body. In addition, the glass lamp that Saint Lucy holds reflects the fact that Lucy would often give food to the poor at night, using a lamp for light.Lastly, on the far right is Saint Jerome portrayed in a red, reading a book that could represent the Vulgate, or Latin translation of the Bible which Saint Jerome translated himself. Saint Jerome's robe was painted using red lake and vermilion pigments.The billowing robes on Saint Peter and Saint Jerome were painted with volume and shadow to enhance their size and male figure, contrasting the female saints. The bilaterally symmetrical arrangement of the saints is further enhanced by the fact that the two female saints are show in profile and closest to the Madonna, while the two male saints, located on the outer edges of the composition are show facing frontal while their gazes are cast down.Finally, in the center, an angel sits on the bottom step of the marble throne playing the lira de braccio, a violin-like instrument. The instrument is shown with seven strings instead of the typical nine strings on other instruments which is meant to represent the seven other planets. The music-making angel is pictured with its lira de braccio to allow the audience to imagine its peaceful tune in the tranquil environment and to offer comfort. The angel wears a combination of cool green and warm pinks, colors and tones that are observed throughout the painting: in the mosaic above, the nearby landscape, and the surrounding architecture. Each figure in the painting serves it own purpose but the angel is the only figure clearly looking out at the viewer, adding a tone of inclusion. | [
"Vulgate",
"breaking wheel",
"palm of martyrdom",
"Saint Lucy",
"keys of heaven",
"Jerome",
"Catherine of Alexandria",
"composition",
"Saint Catherine of Alexandria",
"Saint Peter",
"Saint Jerome"
] |
|
16199_T | San Zaccaria Altarpiece | In the context of San Zaccaria Altarpiece, discuss the Sacra conversazione of the Subject. | The sacra conversazione (sacred conversation), which was originally developed in Florence and the popularized in Venice, is a genre of religious devotional works that shows the Virgin Mary with the Christ child upon a throne, surrounded by saints and angels which united them all into one space of harmony. The sacra conversazione is marked by the bright, vibrant colors in the San Zaccaria altarpiece, and was painted with an intent to create a beautiful space of worship. Each figure represented is in a different time and space; the altarpiece was a mutual meeting for all. Moreover, the figures of the altarpiece are shown in a calm, meditative state; all motion has stopped, calling the viewer to pause for prayer or reflection. The unity of the altarpiece brings a kind of silent communication; the angels signify transcendence and the trumpets represent harmony. Bellini was also known for painting different renditions of the sacra conversazione , the San Zaccaria Altarpiece was the last work in which he used this genre. | [
"Sacra conversazione",
"San Zaccaria",
"sacred conversation",
"sacra conversazione",
"Venice"
] |
|
16199_NT | San Zaccaria Altarpiece | In the context of this artwork, discuss the Sacra conversazione of the Subject. | The sacra conversazione (sacred conversation), which was originally developed in Florence and the popularized in Venice, is a genre of religious devotional works that shows the Virgin Mary with the Christ child upon a throne, surrounded by saints and angels which united them all into one space of harmony. The sacra conversazione is marked by the bright, vibrant colors in the San Zaccaria altarpiece, and was painted with an intent to create a beautiful space of worship. Each figure represented is in a different time and space; the altarpiece was a mutual meeting for all. Moreover, the figures of the altarpiece are shown in a calm, meditative state; all motion has stopped, calling the viewer to pause for prayer or reflection. The unity of the altarpiece brings a kind of silent communication; the angels signify transcendence and the trumpets represent harmony. Bellini was also known for painting different renditions of the sacra conversazione , the San Zaccaria Altarpiece was the last work in which he used this genre. | [
"Sacra conversazione",
"San Zaccaria",
"sacred conversation",
"sacra conversazione",
"Venice"
] |
|
16200_T | San Zaccaria Altarpiece | In San Zaccaria Altarpiece, how is the Symbolism of the Subject elucidated? | At the top of the dome of the altarpiece, there is a carved head of Salomon that represents the divine wisdom. Behind Salomon is a leafy mask that is displayed directly above the Virgin Mary's throne. The leafage mask is a hallmark trait of the Renaissance, which also adds a descriptive and elegant vocabulary to the altarpiece. The mask is framed with a crown and a halo-like appearance of pomegranate leaves printed on a woven brocade cloth, as an honorary tribute to God. It also works to frame the symbolism of Salomon quite well. The symbolism of God above the throne acts as a safety net over the throne, the altar, and over the sacra conversazione.Also featured at the very top of the central arch is a crystal lamp suspended from a hanging ostrich egg, both symbolizing the Virgin Birth. Ostrich eggs were typically hung over altars that were dedicated to the Virgin Mary and can be found in earlier Italian Renaissance paintings, including Andrea Mantegna's San Zeno Altarpiece (c. 1456–1459) and Pierro della Francesca's Brera Madonna (1472). The ostrich egg could also be a symbol of the Resurrection, regarding Christ and the divine life. The ostrich egg could also serve as a symbol of wealth for the church, as ostrich eggs were not commonly represented in society.Along the left border of the altarpiece is a fig tree and along the right border is an acacia tree; both represent the passion and redemption that comes with the journey of life. The decoration of the gold mosaic includes acanthus foliage, along with partridges to symbolize the knowledge of Christ. | [
"brocade",
"Virgin Birth",
"San Zeno Altarpiece",
"partridge",
"Pierro della Francesca",
"sacra conversazione",
"Andrea Mantegna",
"Brera Madonna"
] |
|
16200_NT | San Zaccaria Altarpiece | In this artwork, how is the Symbolism of the Subject elucidated? | At the top of the dome of the altarpiece, there is a carved head of Salomon that represents the divine wisdom. Behind Salomon is a leafy mask that is displayed directly above the Virgin Mary's throne. The leafage mask is a hallmark trait of the Renaissance, which also adds a descriptive and elegant vocabulary to the altarpiece. The mask is framed with a crown and a halo-like appearance of pomegranate leaves printed on a woven brocade cloth, as an honorary tribute to God. It also works to frame the symbolism of Salomon quite well. The symbolism of God above the throne acts as a safety net over the throne, the altar, and over the sacra conversazione.Also featured at the very top of the central arch is a crystal lamp suspended from a hanging ostrich egg, both symbolizing the Virgin Birth. Ostrich eggs were typically hung over altars that were dedicated to the Virgin Mary and can be found in earlier Italian Renaissance paintings, including Andrea Mantegna's San Zeno Altarpiece (c. 1456–1459) and Pierro della Francesca's Brera Madonna (1472). The ostrich egg could also be a symbol of the Resurrection, regarding Christ and the divine life. The ostrich egg could also serve as a symbol of wealth for the church, as ostrich eggs were not commonly represented in society.Along the left border of the altarpiece is a fig tree and along the right border is an acacia tree; both represent the passion and redemption that comes with the journey of life. The decoration of the gold mosaic includes acanthus foliage, along with partridges to symbolize the knowledge of Christ. | [
"brocade",
"Virgin Birth",
"San Zeno Altarpiece",
"partridge",
"Pierro della Francesca",
"sacra conversazione",
"Andrea Mantegna",
"Brera Madonna"
] |
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