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16201_T | San Zaccaria Altarpiece | Focus on San Zaccaria Altarpiece and analyze the Style. | The San Zaccaria Altarpiece is considered one of his most famous altarpieces, which he completed at the age of seventy-four. Even at this advanced age for this project, Bellini's impressive painterly and observational skills do not seem to have not been diminished. Moreover, the San Zaccaria Altarpiece is acknowledged as Bellini's prime example of his life-long exploration into the effects of light and color and impressive realism that is set against classically-inspired architectural components, reflecting a culmination of his style. Although Bellini uses bright, intense colors, the mood of the San Zaccaria Altarpiece reflects a quiet, restrained and sacrosanct tone. This altarpiece in particular has been described as poetic because of the work's sacred atmosphere invites the viewer into a contemplative space.The artist Giorgione was one of Bellini's pupils. During the time that Bellini was working on the San Zaccaria Altarpiece, Giorgione was completing the Castelfranco Madonna around 1504. While it remains unclear who inspired whom, since both artists were working contemporaneously, the works by each demonstrate a similar approach to the figures: both artists reduced the number of figures in the composition, placing them further back in the middle- and foregrounds, while also casting down the figures' gazes or casting shadows on their faces, slightly concealing them. | [
"San Zaccaria",
"Castelfranco Madonna",
"composition",
"Giorgione"
] |
|
16201_NT | San Zaccaria Altarpiece | Focus on this artwork and analyze the Style. | The San Zaccaria Altarpiece is considered one of his most famous altarpieces, which he completed at the age of seventy-four. Even at this advanced age for this project, Bellini's impressive painterly and observational skills do not seem to have not been diminished. Moreover, the San Zaccaria Altarpiece is acknowledged as Bellini's prime example of his life-long exploration into the effects of light and color and impressive realism that is set against classically-inspired architectural components, reflecting a culmination of his style. Although Bellini uses bright, intense colors, the mood of the San Zaccaria Altarpiece reflects a quiet, restrained and sacrosanct tone. This altarpiece in particular has been described as poetic because of the work's sacred atmosphere invites the viewer into a contemplative space.The artist Giorgione was one of Bellini's pupils. During the time that Bellini was working on the San Zaccaria Altarpiece, Giorgione was completing the Castelfranco Madonna around 1504. While it remains unclear who inspired whom, since both artists were working contemporaneously, the works by each demonstrate a similar approach to the figures: both artists reduced the number of figures in the composition, placing them further back in the middle- and foregrounds, while also casting down the figures' gazes or casting shadows on their faces, slightly concealing them. | [
"San Zaccaria",
"Castelfranco Madonna",
"composition",
"Giorgione"
] |
|
16202_T | San Zaccaria Altarpiece | Describe the characteristics of the Architectural setting in San Zaccaria Altarpiece's Style. | One of the intriguing aspects about this altarpiece in particular is the architecture around it. The altarpiece and surrounding architecture was designed to make the work look as if it was a part of the building itself, having the architecture and art work together. The depth of the artwork created by linear perspective and the carved pillars surrounding the altarpiece make the frame appear as an entrance into the image itself. Bellini made sure to add ornamental delicacy, vibrant colors, and luxurious materials as a tribute to the church's architect, Mauro Codussi. Additionally, this coincides with Bellini's tendency to create soft and deep indoor settings. | [] |
|
16202_NT | San Zaccaria Altarpiece | Describe the characteristics of the Architectural setting in this artwork's Style. | One of the intriguing aspects about this altarpiece in particular is the architecture around it. The altarpiece and surrounding architecture was designed to make the work look as if it was a part of the building itself, having the architecture and art work together. The depth of the artwork created by linear perspective and the carved pillars surrounding the altarpiece make the frame appear as an entrance into the image itself. Bellini made sure to add ornamental delicacy, vibrant colors, and luxurious materials as a tribute to the church's architect, Mauro Codussi. Additionally, this coincides with Bellini's tendency to create soft and deep indoor settings. | [] |
|
16203_T | San Zaccaria Altarpiece | In the context of San Zaccaria Altarpiece, explore the Light and illusionism of the Style. | Bellini adds scenes of nature on either side of the work itself. This was his first altarpiece that uses natural lighting inside an architectural setting. The addition of sunlight amplifies the brilliance of the colorful work, and the shadows cast behind the subjects adds to the three-dimensionality of the piece. However, the addition of the outdoors to both sides of the altarpiece takes away from the illusionistic continuation of the piece inside the church architecture. Lastly, the positioning of the subjects adds to the depth. The way the saints are lined up, almost creates an aisle to the center of the image which is the Virgin Mary holding the child of Christ.Bellini also used metallic outlines and enamel to highlight certain aspects of his art. The outlines of the figures and objects are blurred in light and in shadows, yet each figure stays solidified and crisp. The altarpiece is similar to Frari Triptych because both indoor and outdoor perspectives were used in the piece; this is a common technique for Bellini. | [
"Frari Triptych"
] |
|
16203_NT | San Zaccaria Altarpiece | In the context of this artwork, explore the Light and illusionism of the Style. | Bellini adds scenes of nature on either side of the work itself. This was his first altarpiece that uses natural lighting inside an architectural setting. The addition of sunlight amplifies the brilliance of the colorful work, and the shadows cast behind the subjects adds to the three-dimensionality of the piece. However, the addition of the outdoors to both sides of the altarpiece takes away from the illusionistic continuation of the piece inside the church architecture. Lastly, the positioning of the subjects adds to the depth. The way the saints are lined up, almost creates an aisle to the center of the image which is the Virgin Mary holding the child of Christ.Bellini also used metallic outlines and enamel to highlight certain aspects of his art. The outlines of the figures and objects are blurred in light and in shadows, yet each figure stays solidified and crisp. The altarpiece is similar to Frari Triptych because both indoor and outdoor perspectives were used in the piece; this is a common technique for Bellini. | [
"Frari Triptych"
] |
|
16204_T | San Zaccaria Altarpiece | Focus on San Zaccaria Altarpiece and explain the Theft and return. | In 1787, Napoleon when sacked the city of Venice, he cut the San Zaccaria Altarpiece out of its frame, stealing it and taking it back to France with him; it was later returned to the Church of San Zaccaria. | [
"San Zaccaria",
"Venice"
] |
|
16204_NT | San Zaccaria Altarpiece | Focus on this artwork and explain the Theft and return. | In 1787, Napoleon when sacked the city of Venice, he cut the San Zaccaria Altarpiece out of its frame, stealing it and taking it back to France with him; it was later returned to the Church of San Zaccaria. | [
"San Zaccaria",
"Venice"
] |
|
16205_T | Don Juan Mateos | Explore the abstract of this artwork, Don Juan Mateos. | Don Juan Mateos is an oil on canvas painting widely attributed to Diego Velázquez created circa 1632–3. | [
"Juan Mateos",
"Diego Velázquez"
] |
|
16205_NT | Don Juan Mateos | Explore the abstract of this artwork. | Don Juan Mateos is an oil on canvas painting widely attributed to Diego Velázquez created circa 1632–3. | [
"Juan Mateos",
"Diego Velázquez"
] |
|
16206_T | Don Juan Mateos | Focus on Don Juan Mateos and discuss the Background. | This work is widely attributed to Diego Velázquez and has been dated to 1632 or 1633. The portrait is referenced in 1685 among the assets of Cesare Ignazio of Modena as "ritratto di Monsu Velasco [...] quale figura que ha le mani solo abbozzate" or "portrait of Signor Velasco ... hands but roughly sketched". Sold as the work of Rubens in 1746 to Augustus III of Poland, it passed from his collection into the Gemäldegalerie Alte Meister in Dresden, where for some time it was considered the work of Titian.The portrait, cut below the waist, wears black with golden highlights and a white collar. The hands, only outlined, rest the right on the hilt of a pistol the left on the sword. The figure is cut out on a reddish-gray background, brighter in front of the figure. The head, intensely illuminated and slightly turned, looks at the viewer with a penetrating gaze. Signs of ageing include the wrinkles on his nose and his neck.The model is believed to be Juan Mateos, Philip IV's horseman and main crossbowman. Art historian Carl Justi compared the Velázquez portrait with the small portrait of the author and hunter engraved by Pedro Perete that appears on the front of his work, Origen y dignidad de la caza (Origin and Dignity of Hunting). Jonathan Brown suggests that the portrait could have been acquired on the death of Mateos by Ippolito Camillo Guidi, ambassador of the Duke of Modena in Madrid from 1641 to 1643, commissioned by the Duke, after a visit to the Madrid court, to purchase works of art to hedge against the constant devaluation of the billon currency used in his remuneration. The inventory of the goods left at his death by Mateos included, in fact, together with a small number of religious paintings, two portraits, one his and another of his wife, María Marquart, now deceased, but they were cited as full-length portraits and were jointly valued at just 100 reales, with no indication of the painter's name. | [
"Dresden",
"Philip IV",
"Pedro Perete",
"Carl Justi",
"Duke of Modena",
"Augustus III of Poland",
"Gemäldegalerie Alte Meister",
"Rubens",
"Titian",
"Juan Mateos",
"billon",
"hedge",
"Jonathan Brown",
"Diego Velázquez",
"Cesare Ignazio of Modena",
"Velasco",
"reales"
] |
|
16206_NT | Don Juan Mateos | Focus on this artwork and discuss the Background. | This work is widely attributed to Diego Velázquez and has been dated to 1632 or 1633. The portrait is referenced in 1685 among the assets of Cesare Ignazio of Modena as "ritratto di Monsu Velasco [...] quale figura que ha le mani solo abbozzate" or "portrait of Signor Velasco ... hands but roughly sketched". Sold as the work of Rubens in 1746 to Augustus III of Poland, it passed from his collection into the Gemäldegalerie Alte Meister in Dresden, where for some time it was considered the work of Titian.The portrait, cut below the waist, wears black with golden highlights and a white collar. The hands, only outlined, rest the right on the hilt of a pistol the left on the sword. The figure is cut out on a reddish-gray background, brighter in front of the figure. The head, intensely illuminated and slightly turned, looks at the viewer with a penetrating gaze. Signs of ageing include the wrinkles on his nose and his neck.The model is believed to be Juan Mateos, Philip IV's horseman and main crossbowman. Art historian Carl Justi compared the Velázquez portrait with the small portrait of the author and hunter engraved by Pedro Perete that appears on the front of his work, Origen y dignidad de la caza (Origin and Dignity of Hunting). Jonathan Brown suggests that the portrait could have been acquired on the death of Mateos by Ippolito Camillo Guidi, ambassador of the Duke of Modena in Madrid from 1641 to 1643, commissioned by the Duke, after a visit to the Madrid court, to purchase works of art to hedge against the constant devaluation of the billon currency used in his remuneration. The inventory of the goods left at his death by Mateos included, in fact, together with a small number of religious paintings, two portraits, one his and another of his wife, María Marquart, now deceased, but they were cited as full-length portraits and were jointly valued at just 100 reales, with no indication of the painter's name. | [
"Dresden",
"Philip IV",
"Pedro Perete",
"Carl Justi",
"Duke of Modena",
"Augustus III of Poland",
"Gemäldegalerie Alte Meister",
"Rubens",
"Titian",
"Juan Mateos",
"billon",
"hedge",
"Jonathan Brown",
"Diego Velázquez",
"Cesare Ignazio of Modena",
"Velasco",
"reales"
] |
|
16207_T | Lion Attacking a Dromedary | How does Lion Attacking a Dromedary elucidate its Creation and early exhibitions? | Lion Attacking a Dromedary was created by French taxidermist Édouard Verreaux. Édouard was part of Maison Verreaux, a French taxidermy studio, with his brother Jules Verreaux. Verreaux created the work with the remains of a human, two barbary lions, and dromedary that were collected in Africa. The location from which the skins and bones were sourced and the date on which they were collected are unknown. The positioning of the human and lions in the diorama was based on Arab Horseman Killing a Boar and The Tiger Hunt by French sculptor Antoine-Louis Barye.Lion Attacking a Dromedary was first displayed at the Paris Exposition of 1867 where it won a gold medal. After the death of Verreaux in 1867, Lion Attacking a Dromedary was sold to the American Museum of Natural History and shown at the 1876 Centennial Exposition. | [
"taxidermy",
"diorama",
"Dromedary",
"dromedary",
"Jules Verreaux",
"Édouard Verreaux",
"Antoine-Louis Barye",
"American Museum of Natural History",
"Centennial Exposition",
"Paris Exposition of 1867"
] |
|
16207_NT | Lion Attacking a Dromedary | How does this artwork elucidate its Creation and early exhibitions? | Lion Attacking a Dromedary was created by French taxidermist Édouard Verreaux. Édouard was part of Maison Verreaux, a French taxidermy studio, with his brother Jules Verreaux. Verreaux created the work with the remains of a human, two barbary lions, and dromedary that were collected in Africa. The location from which the skins and bones were sourced and the date on which they were collected are unknown. The positioning of the human and lions in the diorama was based on Arab Horseman Killing a Boar and The Tiger Hunt by French sculptor Antoine-Louis Barye.Lion Attacking a Dromedary was first displayed at the Paris Exposition of 1867 where it won a gold medal. After the death of Verreaux in 1867, Lion Attacking a Dromedary was sold to the American Museum of Natural History and shown at the 1876 Centennial Exposition. | [
"taxidermy",
"diorama",
"Dromedary",
"dromedary",
"Jules Verreaux",
"Édouard Verreaux",
"Antoine-Louis Barye",
"American Museum of Natural History",
"Centennial Exposition",
"Paris Exposition of 1867"
] |
|
16208_T | Lion Attacking a Dromedary | Focus on Lion Attacking a Dromedary and analyze the Exhibition in Pittsburgh. | In 1898, Lion Attacking a Dromedary was sold to the Carnegie Museum of Natural History for $50 (equivalent to $1,759 in 2022) and cost $45 (equivalent to $1,583 in 2022) to be shipped to Pittsburgh due to the diorama's size. The work was considered to be "too theatrical" to be displayed at the American Museum of Natural History. The next year, Frederick Webster restored the diorama. During Webster's restoration, the museum made several changes. Due to a crack in the camel's neck, the position of the male figure was changed to be off of the saddle as is seen today. The museum purchased an Arabian flintlock long gun from an antiques dealer in Pittsburgh and added it to the piece at this time.After the restoration, the piece went on display. From 1899 until 2016, Lion Attacking a Dromedary was shown at the Carnegie Museum of Natural History in five different locations around the museum. Early labels for the piece showed the dramatic stories that could be written about it instead of the educational value. In the 1980s, it was moved to the Hall of African Wildlife where it was shown with traditional natural dioramas. In 2009, the museum made a snow globe depicting the group. Instead of the traditional snow, the museum had gold leaf pieces to make it look like the figures were in a sandstorm. | [
"sandstorm",
"Carnegie Museum of Natural History",
"diorama",
"Dromedary",
"gold leaf",
"American Museum of Natural History",
"flintlock",
"snow globe"
] |
|
16208_NT | Lion Attacking a Dromedary | Focus on this artwork and analyze the Exhibition in Pittsburgh. | In 1898, Lion Attacking a Dromedary was sold to the Carnegie Museum of Natural History for $50 (equivalent to $1,759 in 2022) and cost $45 (equivalent to $1,583 in 2022) to be shipped to Pittsburgh due to the diorama's size. The work was considered to be "too theatrical" to be displayed at the American Museum of Natural History. The next year, Frederick Webster restored the diorama. During Webster's restoration, the museum made several changes. Due to a crack in the camel's neck, the position of the male figure was changed to be off of the saddle as is seen today. The museum purchased an Arabian flintlock long gun from an antiques dealer in Pittsburgh and added it to the piece at this time.After the restoration, the piece went on display. From 1899 until 2016, Lion Attacking a Dromedary was shown at the Carnegie Museum of Natural History in five different locations around the museum. Early labels for the piece showed the dramatic stories that could be written about it instead of the educational value. In the 1980s, it was moved to the Hall of African Wildlife where it was shown with traditional natural dioramas. In 2009, the museum made a snow globe depicting the group. Instead of the traditional snow, the museum had gold leaf pieces to make it look like the figures were in a sandstorm. | [
"sandstorm",
"Carnegie Museum of Natural History",
"diorama",
"Dromedary",
"gold leaf",
"American Museum of Natural History",
"flintlock",
"snow globe"
] |
|
16209_T | Lion Attacking a Dromedary | Describe the characteristics of the Second restoration in Lion Attacking a Dromedary's Exhibition in Pittsburgh. | In 2016, Lion Attacking a Dromedary was restored by the museum for a second time. As part of the restoration, the museum conducted tests on the animals using X-rays and DNA analysis techniques of the taxidermied animals to determine if they were genuine. Verreaux was known to fake records to inflate the selling price of his dioramas. The human figure was determined to be mostly synthetic, but, to the surprise of the museum, the head contained a human skull. It is unknown to whom the skull belongs or from where Verreaux collected the skull. Previously, it was thought that the human figure was only made of plaster, but there was some speculation that there could be human remains in the diorama. When asked about the chances of there being human remains in the male figure in 2009, the museum denied it was a possibility stating that "European sensibilities would not have embraced an exhibit that used human parts, even in 1867".In January 2017, the diorama went back on display in the foyer of the museum, after the museum rejected a proposal to move the diorama to the Carnegie Museum of Art and show it with other orientalist art. While the piece was moved, the name was changed from Arab Courier Attacked by Lions to Lion Attacking a Dromedary to better contextualize the piece. As a part of the unveiling, the Carnegie Museum of Natural History hosted a symposium about the restoration, the diorama, and its misrepresentation of North Africa. | [
"Carnegie Museum of Natural History",
"diorama",
"taxidermied",
"Dromedary",
"DNA analysis techniques",
"symposium",
"orientalist",
"Carnegie Museum of Art"
] |
|
16209_NT | Lion Attacking a Dromedary | Describe the characteristics of the Second restoration in this artwork's Exhibition in Pittsburgh. | In 2016, Lion Attacking a Dromedary was restored by the museum for a second time. As part of the restoration, the museum conducted tests on the animals using X-rays and DNA analysis techniques of the taxidermied animals to determine if they were genuine. Verreaux was known to fake records to inflate the selling price of his dioramas. The human figure was determined to be mostly synthetic, but, to the surprise of the museum, the head contained a human skull. It is unknown to whom the skull belongs or from where Verreaux collected the skull. Previously, it was thought that the human figure was only made of plaster, but there was some speculation that there could be human remains in the diorama. When asked about the chances of there being human remains in the male figure in 2009, the museum denied it was a possibility stating that "European sensibilities would not have embraced an exhibit that used human parts, even in 1867".In January 2017, the diorama went back on display in the foyer of the museum, after the museum rejected a proposal to move the diorama to the Carnegie Museum of Art and show it with other orientalist art. While the piece was moved, the name was changed from Arab Courier Attacked by Lions to Lion Attacking a Dromedary to better contextualize the piece. As a part of the unveiling, the Carnegie Museum of Natural History hosted a symposium about the restoration, the diorama, and its misrepresentation of North Africa. | [
"Carnegie Museum of Natural History",
"diorama",
"taxidermied",
"Dromedary",
"DNA analysis techniques",
"symposium",
"orientalist",
"Carnegie Museum of Art"
] |
|
16210_T | Lion Attacking a Dromedary | In the context of Lion Attacking a Dromedary, explore the Recontextualization and removal of the Exhibition in Pittsburgh. | In July 2020, the Carnegie Museum of Natural History removed Lion Attacking a Dromedary from view citing the Black Lives Matter movement and the lack of accuracy. Patrons were given a choice to view the diorama behind a curtain starting in September 2020 and the museum considered moving the diorama to a part of the museum where it could be avoided. That remained the status quo until July 2021 when Lion Attacking a Dromedary was returned to public view with additional context. The decision to do so was made because, according to the museum's director "I think the curtains were more harmful than not having them up at all". In October 2023 the museum adopted a new policy regarding the display of human remains. Because the diorama has a human skull in it the museum was removed the exhibit from public display. There are efforts being made to determine the origin of the skull and repatriate the remains. | [
"Carnegie Museum of Natural History",
"diorama",
"Dromedary",
"Black Lives Matter"
] |
|
16210_NT | Lion Attacking a Dromedary | In the context of this artwork, explore the Recontextualization and removal of the Exhibition in Pittsburgh. | In July 2020, the Carnegie Museum of Natural History removed Lion Attacking a Dromedary from view citing the Black Lives Matter movement and the lack of accuracy. Patrons were given a choice to view the diorama behind a curtain starting in September 2020 and the museum considered moving the diorama to a part of the museum where it could be avoided. That remained the status quo until July 2021 when Lion Attacking a Dromedary was returned to public view with additional context. The decision to do so was made because, according to the museum's director "I think the curtains were more harmful than not having them up at all". In October 2023 the museum adopted a new policy regarding the display of human remains. Because the diorama has a human skull in it the museum was removed the exhibit from public display. There are efforts being made to determine the origin of the skull and repatriate the remains. | [
"Carnegie Museum of Natural History",
"diorama",
"Dromedary",
"Black Lives Matter"
] |
|
16211_T | Lion Attacking a Dromedary | Focus on Lion Attacking a Dromedary and explain the Composition. | Lion Attacking a Dromedary is a taxidermied diorama. It appears, to the viewer, as a frozen moment in time that could be reanimated momentarily. It depicts an imagined violent scene, a North African courier on a dromedary struggling for his life. The camel is bellowing in pain as a male Barbary lion is trying to climb up it to reach the courier who is attempting to stab the lion with his knife. The body of a female lion lies in front of the camel, dead from the courier's single shot; his long gun lies across the lioness. The male figure, referred to as an Arab by Verreaux, is a fictional pastiche of five North African cultures and is based on what Verreaux thought an Arab looked like. | [
"Barbary lion",
"diorama",
"taxidermied",
"Dromedary",
"dromedary"
] |
|
16211_NT | Lion Attacking a Dromedary | Focus on this artwork and explain the Composition. | Lion Attacking a Dromedary is a taxidermied diorama. It appears, to the viewer, as a frozen moment in time that could be reanimated momentarily. It depicts an imagined violent scene, a North African courier on a dromedary struggling for his life. The camel is bellowing in pain as a male Barbary lion is trying to climb up it to reach the courier who is attempting to stab the lion with his knife. The body of a female lion lies in front of the camel, dead from the courier's single shot; his long gun lies across the lioness. The male figure, referred to as an Arab by Verreaux, is a fictional pastiche of five North African cultures and is based on what Verreaux thought an Arab looked like. | [
"Barbary lion",
"diorama",
"taxidermied",
"Dromedary",
"dromedary"
] |
|
16212_T | Lion Attacking a Dromedary | Explore the Reception of this artwork, Lion Attacking a Dromedary. | Lion Attacking a Dromedary was created to celebrate the French colonial empire and uses orientalist tropes. The diorama is inaccurate both scientifically and anthropologically and is considered to be a work of fiction. Anthropologists, zoologists, and museum studies commentators have been critical of the piece since the 1890s. The Smithsonian Institution questioned the propriety of showing such a sensationalist diorama in 1892. Lion Attacking a Dromedary was removed from the American Museum of Natural History in 1898 and they considered destroying it because the museum felt that the diorama was "too emotional and distracting for educational purposes." Frederic Augustus Lucas defended Lion Attacking a Dromedary in 1914 from criticism of being overly theatrical by pointing out that by being theatrical the piece was interesting and drew the attention of museum patrons. By 2002, the diorama was seen as an example of "danger, excitement, and exoticism" of the other in orientalist works and was compared to a "sideshow attraction." Lion Attacking a Dromedary is considered to be Verreaux's masterpiece by journalist Miquel Molina in an article in Pula: Botswana Journal of African Studies. | [
"French colonial empire",
"the other",
"diorama",
"museum studies",
"Dromedary",
"Smithsonian Institution",
"Pula: Botswana Journal of African Studies",
"Frederic Augustus Lucas",
"orientalist",
"American Museum of Natural History"
] |
|
16212_NT | Lion Attacking a Dromedary | Explore the Reception of this artwork. | Lion Attacking a Dromedary was created to celebrate the French colonial empire and uses orientalist tropes. The diorama is inaccurate both scientifically and anthropologically and is considered to be a work of fiction. Anthropologists, zoologists, and museum studies commentators have been critical of the piece since the 1890s. The Smithsonian Institution questioned the propriety of showing such a sensationalist diorama in 1892. Lion Attacking a Dromedary was removed from the American Museum of Natural History in 1898 and they considered destroying it because the museum felt that the diorama was "too emotional and distracting for educational purposes." Frederic Augustus Lucas defended Lion Attacking a Dromedary in 1914 from criticism of being overly theatrical by pointing out that by being theatrical the piece was interesting and drew the attention of museum patrons. By 2002, the diorama was seen as an example of "danger, excitement, and exoticism" of the other in orientalist works and was compared to a "sideshow attraction." Lion Attacking a Dromedary is considered to be Verreaux's masterpiece by journalist Miquel Molina in an article in Pula: Botswana Journal of African Studies. | [
"French colonial empire",
"the other",
"diorama",
"museum studies",
"Dromedary",
"Smithsonian Institution",
"Pula: Botswana Journal of African Studies",
"Frederic Augustus Lucas",
"orientalist",
"American Museum of Natural History"
] |
|
16213_T | Madonna of the Pomegranate | Focus on Madonna of the Pomegranate and discuss the abstract. | The Madonna of the Pomegranate was painted in circa 1487 with tempera on a wood panel by Sandro Botticelli. It is now in the Uffizi in Florence. Sandro Botticelli was a leading Italian Renaissance artist from Florence, Italy. The Madonna (art) uses the circular format, better known as a tondo, which focuses the attention on the main characters, the Virgin Mary and baby Jesus, who are surrounded symmetrically by angels on each side. Botticelli's use of tempera grassa give the characters a real look, better known as a "naturalistic" style, which is common during the Renaissance. The Virgin Mary is holding baby Jesus gently in her arms while holding a pomegranate in her left hand.
The pomegranate being displayed has a few different interpretations of its meaning in the religious piece. There are many replicas of the Madonna of the Pomegranate due to artists during the Renaissance would copy other established artists' artwork to master their own skills. The painting is currently on display at the Uffizi Gallery in Florence, Italy.
A painting by Fra Angelico often given the same title is in the Prado Museum. | [
"Madonna",
"Madonna (art)",
"Prado Museum",
"Florence",
"Jesus",
"Italian Renaissance",
"Uffizi",
"tempera",
"Pomegranate",
"Angel",
"Sandro Botticelli",
"pomegranate",
"tondo",
"Uffizi Gallery",
"Fra Angelico",
"Florence, Italy",
"angels",
"wood panel",
"Virgin Mary",
"baby Jesus",
"tempera grassa"
] |
|
16213_NT | Madonna of the Pomegranate | Focus on this artwork and discuss the abstract. | The Madonna of the Pomegranate was painted in circa 1487 with tempera on a wood panel by Sandro Botticelli. It is now in the Uffizi in Florence. Sandro Botticelli was a leading Italian Renaissance artist from Florence, Italy. The Madonna (art) uses the circular format, better known as a tondo, which focuses the attention on the main characters, the Virgin Mary and baby Jesus, who are surrounded symmetrically by angels on each side. Botticelli's use of tempera grassa give the characters a real look, better known as a "naturalistic" style, which is common during the Renaissance. The Virgin Mary is holding baby Jesus gently in her arms while holding a pomegranate in her left hand.
The pomegranate being displayed has a few different interpretations of its meaning in the religious piece. There are many replicas of the Madonna of the Pomegranate due to artists during the Renaissance would copy other established artists' artwork to master their own skills. The painting is currently on display at the Uffizi Gallery in Florence, Italy.
A painting by Fra Angelico often given the same title is in the Prado Museum. | [
"Madonna",
"Madonna (art)",
"Prado Museum",
"Florence",
"Jesus",
"Italian Renaissance",
"Uffizi",
"tempera",
"Pomegranate",
"Angel",
"Sandro Botticelli",
"pomegranate",
"tondo",
"Uffizi Gallery",
"Fra Angelico",
"Florence, Italy",
"angels",
"wood panel",
"Virgin Mary",
"baby Jesus",
"tempera grassa"
] |
|
16214_T | Madonna of the Pomegranate | How does Madonna of the Pomegranate elucidate its History? | The Madonna of the Pomegranate is a painting by the Italian Renaissance artist, Alessandro di Mariano di Vanni dei Filipepi (1445–1510), better known as Sandro Botticelli. Botticelli was born and raised in Florence, where he spent a majority of his life as one of the most admired artists of the Florentine Renaissance. In Botticelli's early teenage years, he withdrew from his studies to begin training as an artist. Botticelli began his training under one of the most influential painters in Florence, Fra Filippo Lippi (1406-1469). Lippi was well protected in Florence by the well known, powerful Medici family; he also created works for convents and churches. Lippi was well known for his line clarity and the use of female figures, which is significant because it had a great influence on Botticelli's style. Madonna of the Pomegranateis one of many paintings produced from Botticelli out of his Florence studio. Botticelli was already an established artist during the time of the creation of the Madonna of the Pomegranate, with many other well known paintings. It is unknown if the painting was commissioned and by whom. | [
"Madonna",
"Florence",
"Italian Renaissance",
"Pomegranate",
"Sandro Botticelli",
"Medici",
"Fra Filippo Lippi",
"Florentine Renaissance",
"Filippo Lippi"
] |
|
16214_NT | Madonna of the Pomegranate | How does this artwork elucidate its History? | The Madonna of the Pomegranate is a painting by the Italian Renaissance artist, Alessandro di Mariano di Vanni dei Filipepi (1445–1510), better known as Sandro Botticelli. Botticelli was born and raised in Florence, where he spent a majority of his life as one of the most admired artists of the Florentine Renaissance. In Botticelli's early teenage years, he withdrew from his studies to begin training as an artist. Botticelli began his training under one of the most influential painters in Florence, Fra Filippo Lippi (1406-1469). Lippi was well protected in Florence by the well known, powerful Medici family; he also created works for convents and churches. Lippi was well known for his line clarity and the use of female figures, which is significant because it had a great influence on Botticelli's style. Madonna of the Pomegranateis one of many paintings produced from Botticelli out of his Florence studio. Botticelli was already an established artist during the time of the creation of the Madonna of the Pomegranate, with many other well known paintings. It is unknown if the painting was commissioned and by whom. | [
"Madonna",
"Florence",
"Italian Renaissance",
"Pomegranate",
"Sandro Botticelli",
"Medici",
"Fra Filippo Lippi",
"Florentine Renaissance",
"Filippo Lippi"
] |
|
16215_T | Madonna of the Pomegranate | Focus on Madonna of the Pomegranate and analyze the Description. | In the painting, Madonna of the Pomegranate, Sandro Botticelli made it very easy to identify the figures being displayed. In the middle of the painting, Madonna, better known as the Virgin Mary, is surrounded symmetrically by angels with three on each side of her. The angels that are surrounding the Virgin Mary are worshipping her with lilies and garlands of roses. Jesus Christ is lying gently in the Virgin Mary's arms with one hand from both on them on a pomegranate. Both the Virgin Mary and baby Jesus are displaying a sad face. The expression from the Virgin Mary and the baby Jesus is intended to remind the viewer of the pain and torture that the Child of God will endure in the future. | [
"Madonna",
"Jesus",
"Jesus Christ",
"Pomegranate",
"Sandro Botticelli",
"pomegranate",
"angels",
"Virgin Mary",
"baby Jesus"
] |
|
16215_NT | Madonna of the Pomegranate | Focus on this artwork and analyze the Description. | In the painting, Madonna of the Pomegranate, Sandro Botticelli made it very easy to identify the figures being displayed. In the middle of the painting, Madonna, better known as the Virgin Mary, is surrounded symmetrically by angels with three on each side of her. The angels that are surrounding the Virgin Mary are worshipping her with lilies and garlands of roses. Jesus Christ is lying gently in the Virgin Mary's arms with one hand from both on them on a pomegranate. Both the Virgin Mary and baby Jesus are displaying a sad face. The expression from the Virgin Mary and the baby Jesus is intended to remind the viewer of the pain and torture that the Child of God will endure in the future. | [
"Madonna",
"Jesus",
"Jesus Christ",
"Pomegranate",
"Sandro Botticelli",
"pomegranate",
"angels",
"Virgin Mary",
"baby Jesus"
] |
|
16216_T | Madonna of the Pomegranate | In Madonna of the Pomegranate, how is the Style discussed? | Sandro Botticelli was a highly skilled and frequently employed artist throughout his career. In the painting, Madonna of the Pomegranate, Botticelli displays his skills as an Italian Renaissance artist. The style of this painting is "naturalistic", meaning "life-like", which is commonly seen in Renaissance art. Botticelli draws the viewers attention to the Virgin Mary, Jesus and the pomegranate by the use of vertical lines, portraying a shining heavenly light. The use of a circular format of the painting, known as a tondo, assists to focus the attention on these characters. Botticelli displays the use of symmetry by having an equal amount of angels surrounding the Virgin Mary and Jesus on each side. Botticelli began by establishing figures in a careful, freehand, underdrawing in charcoal on the tempera panel. Botticelli was often willing to adopt recent innovations. The most significant innovation in this work was the use of tempera grassa, a type of paint in which egg yolk was modified with adding oil. This made the paint more transparent, as seen in the Madonna of the Pomegranate. Sandro Botticelli is well known for his brush stroke techniques while painting flesh tones and the pigments he used. Botticelli would often apply pigments in a very thin opaque coat, which are better known as scumbles to artists. Botticelli uses semi-transparent layers of whites, ochres, cinnabars and red lakes which are layered over one another, as seen in the painting. The faces of the women he paints are pale, porcelain-like with vague pink brushes over areas of the cheek, nose and mouth. Botticelli paints infants, such as the Child of God with more intense colors such as cinnabar glazes and accents of red lake. The pigments Botticelli uses have a very cool tone but also has a variety of rich colors mixed. Botticelli enhanced the Virgin Mary and Jesus by the use of brighter colors on their skin tones and clothing while the angels carry a much darker tone. | [
"Madonna",
"Jesus",
"pigments",
"Italian Renaissance",
"tempera",
"Pomegranate",
"Sandro Botticelli",
"pomegranate",
"tondo",
"porcelain",
"angels",
"charcoal",
"Virgin Mary",
"tempera grassa"
] |
|
16216_NT | Madonna of the Pomegranate | In this artwork, how is the Style discussed? | Sandro Botticelli was a highly skilled and frequently employed artist throughout his career. In the painting, Madonna of the Pomegranate, Botticelli displays his skills as an Italian Renaissance artist. The style of this painting is "naturalistic", meaning "life-like", which is commonly seen in Renaissance art. Botticelli draws the viewers attention to the Virgin Mary, Jesus and the pomegranate by the use of vertical lines, portraying a shining heavenly light. The use of a circular format of the painting, known as a tondo, assists to focus the attention on these characters. Botticelli displays the use of symmetry by having an equal amount of angels surrounding the Virgin Mary and Jesus on each side. Botticelli began by establishing figures in a careful, freehand, underdrawing in charcoal on the tempera panel. Botticelli was often willing to adopt recent innovations. The most significant innovation in this work was the use of tempera grassa, a type of paint in which egg yolk was modified with adding oil. This made the paint more transparent, as seen in the Madonna of the Pomegranate. Sandro Botticelli is well known for his brush stroke techniques while painting flesh tones and the pigments he used. Botticelli would often apply pigments in a very thin opaque coat, which are better known as scumbles to artists. Botticelli uses semi-transparent layers of whites, ochres, cinnabars and red lakes which are layered over one another, as seen in the painting. The faces of the women he paints are pale, porcelain-like with vague pink brushes over areas of the cheek, nose and mouth. Botticelli paints infants, such as the Child of God with more intense colors such as cinnabar glazes and accents of red lake. The pigments Botticelli uses have a very cool tone but also has a variety of rich colors mixed. Botticelli enhanced the Virgin Mary and Jesus by the use of brighter colors on their skin tones and clothing while the angels carry a much darker tone. | [
"Madonna",
"Jesus",
"pigments",
"Italian Renaissance",
"tempera",
"Pomegranate",
"Sandro Botticelli",
"pomegranate",
"tondo",
"porcelain",
"angels",
"charcoal",
"Virgin Mary",
"tempera grassa"
] |
|
16217_T | Madonna of the Pomegranate | Focus on Madonna of the Pomegranate and explore the Copies. | During the Renaissance period, it was not uncommon for artists to imitate other artists artwork. The practice of copying an established artist artwork was important to artistic training. With that being said, there are many replicas of the painting, Madonna of the Pomegranate. After years of removing yellow garnish and after being considered an inferior copy of Sandro Botticelli's work, Rachel Turnbull, a senior collections conservator from the English Heritage, discovered the piece laying in her workshop was in fact an original copy from Sandro Botticelli's Florence studio. After years of working tirelessly with her team, Rachel Turnbull removed paint which had been painted over the original copy to make it look more up to date and was able to discover the original brushstrokes and paint. After expert examination, they were able to run tests of the paint, which led back to the Renaissance time period. The experts from English Heritage in London were also able determine from the style of painting and brush strokes used, that the painting in their workshop was indeed an original of Sandro Botticelli's Florence studio. | [
"Madonna",
"Florence",
"Pomegranate",
"Sandro Botticelli",
"English Heritage",
"London"
] |
|
16217_NT | Madonna of the Pomegranate | Focus on this artwork and explore the Copies. | During the Renaissance period, it was not uncommon for artists to imitate other artists artwork. The practice of copying an established artist artwork was important to artistic training. With that being said, there are many replicas of the painting, Madonna of the Pomegranate. After years of removing yellow garnish and after being considered an inferior copy of Sandro Botticelli's work, Rachel Turnbull, a senior collections conservator from the English Heritage, discovered the piece laying in her workshop was in fact an original copy from Sandro Botticelli's Florence studio. After years of working tirelessly with her team, Rachel Turnbull removed paint which had been painted over the original copy to make it look more up to date and was able to discover the original brushstrokes and paint. After expert examination, they were able to run tests of the paint, which led back to the Renaissance time period. The experts from English Heritage in London were also able determine from the style of painting and brush strokes used, that the painting in their workshop was indeed an original of Sandro Botticelli's Florence studio. | [
"Madonna",
"Florence",
"Pomegranate",
"Sandro Botticelli",
"English Heritage",
"London"
] |
|
16218_T | Whistlestop for an Organ Teacher | Focus on Whistlestop for an Organ Teacher and explain the abstract. | Whistlestop for an Organ Teacher is an outdoor 2009 stainless steel sculpture by American artist Cris Bruch, located in Portland, Oregon. | [
"Portland, Oregon",
"stainless steel",
"Cris Bruch"
] |
|
16218_NT | Whistlestop for an Organ Teacher | Focus on this artwork and explain the abstract. | Whistlestop for an Organ Teacher is an outdoor 2009 stainless steel sculpture by American artist Cris Bruch, located in Portland, Oregon. | [
"Portland, Oregon",
"stainless steel",
"Cris Bruch"
] |
|
16219_T | Whistlestop for an Organ Teacher | Explore the Description and history of this artwork, Whistlestop for an Organ Teacher. | Whistlestop was designed by Cris Bruch and completed in 2009. It is located at the intersection of Southwest 5th Avenue and Southwest Morrison Street in the Portland Transit Mall. The stainless steel sculpture depicts pipe organ components, specifically a windchest and three "fanciful" pipes. It measures 127 inches (3.2 m) x 72 inches (1.8 m) x 37 inches (0.94 m) and weighs 1,200 pounds. According to Bruch, it is intended to "evoke sound and provide a quiet moment in an urban streetscape, and the softly reflective surface picks up changes in light and color." One contributor to Blog Down to Washington, a website curated by the University of Washington Alumni Association, described the sculpture as "curved and fluted pipes rising from a low box, also mitered and angled to appear sharp and otherworldly".The sculpture was commissioned by TriMet and was fabricated by the Seattle-based company Fabrication Specialties, Ltd. It is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.Whistlestop has been included in at least one published walking tour of Portland. | [
"Regional Arts & Culture Council",
"TriMet",
"University of Washington",
"pipe organ",
"stainless steel",
"Cris Bruch",
"Portland Transit Mall"
] |
|
16219_NT | Whistlestop for an Organ Teacher | Explore the Description and history of this artwork. | Whistlestop was designed by Cris Bruch and completed in 2009. It is located at the intersection of Southwest 5th Avenue and Southwest Morrison Street in the Portland Transit Mall. The stainless steel sculpture depicts pipe organ components, specifically a windchest and three "fanciful" pipes. It measures 127 inches (3.2 m) x 72 inches (1.8 m) x 37 inches (0.94 m) and weighs 1,200 pounds. According to Bruch, it is intended to "evoke sound and provide a quiet moment in an urban streetscape, and the softly reflective surface picks up changes in light and color." One contributor to Blog Down to Washington, a website curated by the University of Washington Alumni Association, described the sculpture as "curved and fluted pipes rising from a low box, also mitered and angled to appear sharp and otherworldly".The sculpture was commissioned by TriMet and was fabricated by the Seattle-based company Fabrication Specialties, Ltd. It is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.Whistlestop has been included in at least one published walking tour of Portland. | [
"Regional Arts & Culture Council",
"TriMet",
"University of Washington",
"pipe organ",
"stainless steel",
"Cris Bruch",
"Portland Transit Mall"
] |
|
16220_T | Croatian Apoxyomenos | Focus on Croatian Apoxyomenos and discuss the abstract. | The Croatian Apoxyomenos (Croatian: Hrvatski Apoksiomen) is an Ancient Greek statue cast in bronze in the 2nd or 1st century BC; it was discovered in 1996 on the bottom of the sea near the Croatian islet of Vele Orjule, southeast of the island of Lošinj. It represents an athlete – Apoxyomenos ('the Scraper') – in the act of scraping sweat and dust from his body with the small curved instrument called a strigil.
After the Croatian Apoxyomenos was raised from the sea in 1999, it was extensively restored. It was not publicly displayed until 2006. It is the most complete and best preserved among eight known Apoxyomenos statues. | [
"Lošinj",
"bronze",
"Ancient Greek",
"Vele Orjule",
"Croatian",
"athlete",
"strigil",
"Apoxyomenos"
] |
|
16220_NT | Croatian Apoxyomenos | Focus on this artwork and discuss the abstract. | The Croatian Apoxyomenos (Croatian: Hrvatski Apoksiomen) is an Ancient Greek statue cast in bronze in the 2nd or 1st century BC; it was discovered in 1996 on the bottom of the sea near the Croatian islet of Vele Orjule, southeast of the island of Lošinj. It represents an athlete – Apoxyomenos ('the Scraper') – in the act of scraping sweat and dust from his body with the small curved instrument called a strigil.
After the Croatian Apoxyomenos was raised from the sea in 1999, it was extensively restored. It was not publicly displayed until 2006. It is the most complete and best preserved among eight known Apoxyomenos statues. | [
"Lošinj",
"bronze",
"Ancient Greek",
"Vele Orjule",
"Croatian",
"athlete",
"strigil",
"Apoxyomenos"
] |
|
16221_T | Croatian Apoxyomenos | How does Croatian Apoxyomenos elucidate its Discovery? | Apoxyomenos was found in 1996 by Belgian tourist René Wouters in the sea near the islet of Vele Orjule, on the sandy bottom between two rocks at a depth of about 45 metres (148 ft). Wouters, an avid sports diver and amateur photographer who had been visiting Croatia and the island of Lošinj for several years, discovered the statue by chance during one of his dives. Wouters reported the finding to the Croatian Ministry of Culture in 1998. He was present when a team of divers from the Ministry of Culture and Archaeological Museum in Zadar, the Special Police, and the Submar d.o.o., raised the statue from the sea on 27 April 1999. | [
"Lošinj",
"Ministry of Culture",
"Croatian Ministry of Culture",
"Vele Orjule",
"Croatian",
"Apoxyomenos",
"Zadar"
] |
|
16221_NT | Croatian Apoxyomenos | How does this artwork elucidate its Discovery? | Apoxyomenos was found in 1996 by Belgian tourist René Wouters in the sea near the islet of Vele Orjule, on the sandy bottom between two rocks at a depth of about 45 metres (148 ft). Wouters, an avid sports diver and amateur photographer who had been visiting Croatia and the island of Lošinj for several years, discovered the statue by chance during one of his dives. Wouters reported the finding to the Croatian Ministry of Culture in 1998. He was present when a team of divers from the Ministry of Culture and Archaeological Museum in Zadar, the Special Police, and the Submar d.o.o., raised the statue from the sea on 27 April 1999. | [
"Lošinj",
"Ministry of Culture",
"Croatian Ministry of Culture",
"Vele Orjule",
"Croatian",
"Apoxyomenos",
"Zadar"
] |
|
16222_T | Croatian Apoxyomenos | Focus on Croatian Apoxyomenos and analyze the Restoration. | When brought from the sea, Apoxyomenos was covered with marine organisms which had adhered to it. Scientists did not use chemical agents to remove them: instead, only mechanical precision hand tools (and the occasional machine) were used in the conservation process, which was the first of its kind in Croatia. Cracks and breaks were repaired, and a specially designed construction that supported the whole figure from the inside was made. | [
"Apoxyomenos"
] |
|
16222_NT | Croatian Apoxyomenos | Focus on this artwork and analyze the Restoration. | When brought from the sea, Apoxyomenos was covered with marine organisms which had adhered to it. Scientists did not use chemical agents to remove them: instead, only mechanical precision hand tools (and the occasional machine) were used in the conservation process, which was the first of its kind in Croatia. Cracks and breaks were repaired, and a specially designed construction that supported the whole figure from the inside was made. | [
"Apoxyomenos"
] |
|
16223_T | Croatian Apoxyomenos | In Croatian Apoxyomenos, how is the Appearance and typology discussed? | Croatian Apoxyomenos is 6 feet 3.5 inches (1.92 m) high, and stands on a 10-centimetre (3.9 in) high original bronze base which is decorated with alternating square and swastika ornamentation. The alternating square-and-swastika is repeated three times on the sides of the base, four times on the front, while the back side of the base is undecorated. Art historians Nenad Cambi from Split and professor Vincenzo Saladino from the University of Florence believe that this bronze statue dates from 2nd or 1st century BC. The author is unknown, but the statue's beauty, as well as the quality of its casting, indicate a highly skilled craftsman.
A similar statue was found in 1896 in Ephesus, in present-day Turkey, and is now held by the Kunsthistorisches Museum in Vienna. Croatian Apoxyomenos is different from the Vatican Apoxyomenos made by Lysippos, primarily because the Croatian keeps his hands at the level of the hip and not the forearm. A larger number of fragmentary findings of this type suggests the popularity of the figure in antiquity. The Vatican Apoxyomenos may have been created as a variation on the Lysippos theme style. Of the eight known Apoxyomenos statues, the Croatian one is the most complete and best preserved.Art historian and professor Antun Karaman described Apoxyomenos:
Apoxyomenos' bronze glow flashes just like the last flashes of the Greek classical period when man, with the help of philosophy, begins to seek refuge in the invisible (Plato advocates an escape to the fold of higher consciousness), but also in a safe and solid shelter of knowledge (Aristotle's gnoseological thesis). Therefore, Apoxyomenos is dignified and calm. Viewing his perfect form, one can almost touch what would otherwise remain hidden from one's sight, which would be limited to the observation of external forms. Apoxyomenos and its sculptor stoically accept the relativity of the foundation of existence, because he lives in the midst of constant change. By accepting impermanence as an effective value and fact, he reveals buried emotions that tomorrow are going to rise to a boiling point in Hellenism. | [
"Turkey",
"Florence",
"Lysippos",
"bronze",
"Ephesus",
"Croatian",
"Split",
"Kunsthistorisches Museum",
"University of Florence",
"Apoxyomenos",
"Vienna"
] |
|
16223_NT | Croatian Apoxyomenos | In this artwork, how is the Appearance and typology discussed? | Croatian Apoxyomenos is 6 feet 3.5 inches (1.92 m) high, and stands on a 10-centimetre (3.9 in) high original bronze base which is decorated with alternating square and swastika ornamentation. The alternating square-and-swastika is repeated three times on the sides of the base, four times on the front, while the back side of the base is undecorated. Art historians Nenad Cambi from Split and professor Vincenzo Saladino from the University of Florence believe that this bronze statue dates from 2nd or 1st century BC. The author is unknown, but the statue's beauty, as well as the quality of its casting, indicate a highly skilled craftsman.
A similar statue was found in 1896 in Ephesus, in present-day Turkey, and is now held by the Kunsthistorisches Museum in Vienna. Croatian Apoxyomenos is different from the Vatican Apoxyomenos made by Lysippos, primarily because the Croatian keeps his hands at the level of the hip and not the forearm. A larger number of fragmentary findings of this type suggests the popularity of the figure in antiquity. The Vatican Apoxyomenos may have been created as a variation on the Lysippos theme style. Of the eight known Apoxyomenos statues, the Croatian one is the most complete and best preserved.Art historian and professor Antun Karaman described Apoxyomenos:
Apoxyomenos' bronze glow flashes just like the last flashes of the Greek classical period when man, with the help of philosophy, begins to seek refuge in the invisible (Plato advocates an escape to the fold of higher consciousness), but also in a safe and solid shelter of knowledge (Aristotle's gnoseological thesis). Therefore, Apoxyomenos is dignified and calm. Viewing his perfect form, one can almost touch what would otherwise remain hidden from one's sight, which would be limited to the observation of external forms. Apoxyomenos and its sculptor stoically accept the relativity of the foundation of existence, because he lives in the midst of constant change. By accepting impermanence as an effective value and fact, he reveals buried emotions that tomorrow are going to rise to a boiling point in Hellenism. | [
"Turkey",
"Florence",
"Lysippos",
"bronze",
"Ephesus",
"Croatian",
"Split",
"Kunsthistorisches Museum",
"University of Florence",
"Apoxyomenos",
"Vienna"
] |
|
16224_T | Croatian Apoxyomenos | Focus on Croatian Apoxyomenos and explore the Analysis and open questions. | Shards of wood, twigs, a few seeds of fruits, pitted olives and cherries, and the nest of a small rodent were found inside Apoxyomenos. Radiocarbon dating of organic material found inside the statue indicated that Apoxyomenos did not fall into the sea immediately after it was made, but, according to the results, sometime between 20 BC and 110 AD.Extensive underwater search on an area of 50,000 square meters (540,000 sq.ft) around the finding, using robotic probes and metal detectors, revealed fragments of the bronze base of the statue, a lead anchor bar, and some amphorae remains. Since the findings do not indicate a shipwreck, researchers believe that Apoxyomenos was thrown into the sea from a Roman merchant ship during a storm, but the reason remains a mystery.At the beginning of 2nd century AD, this Apoxyomenos was already considered to be an antique. It may have been in the process of being transported to one of major cities in the Northern Adriatic, such as Aquileia, Trieste, Ravenna, Pula or Poreč. An early Roman villa with thermae in Verige Bay on the island of Veliki Brijun is also one of the likely destinations.
Since the discovery, archaeologists are divided over the question of whether the model for the sculptor was left-handed or right-handed. While he was visiting the Apoxyomenos exhibition in Palazzo Medici Riccardi, Italian Education Minister Giuseppe Fioroni concluded that the model was left-handed. He based this on his observation that the left shoulder muscles of the model are more developed than those on the right.Croatian archaeologist Nenad Cambi analysed the body type and proportions of the statue and concluded – based on the muscular development of the upper torso – that it most probably represents a wrestler.Cambi has challenged the classification and naming of the sculpture. In his view, Apoxyomenos is not the correct name for the statue because the model is cleaning the scraping instrument, not his body. In this respect, this statue is different from the others, except for the Viennese one, found in 1896. Cambi believes that statue, too, is misclassified. Cambi argues that the correct name for the statue of this type would be the Strigil Cleaner. | [
"Ravenna",
"Strigil",
"Giuseppe Fioroni",
"Italian Education Minister",
"thermae",
"Palazzo Medici Riccardi",
"Pula",
"amphora",
"bronze",
"Aquileia",
"Croatian",
"Poreč",
"Radiocarbon dating",
"Veliki Brijun",
"left",
"Apoxyomenos",
"Trieste"
] |
|
16224_NT | Croatian Apoxyomenos | Focus on this artwork and explore the Analysis and open questions. | Shards of wood, twigs, a few seeds of fruits, pitted olives and cherries, and the nest of a small rodent were found inside Apoxyomenos. Radiocarbon dating of organic material found inside the statue indicated that Apoxyomenos did not fall into the sea immediately after it was made, but, according to the results, sometime between 20 BC and 110 AD.Extensive underwater search on an area of 50,000 square meters (540,000 sq.ft) around the finding, using robotic probes and metal detectors, revealed fragments of the bronze base of the statue, a lead anchor bar, and some amphorae remains. Since the findings do not indicate a shipwreck, researchers believe that Apoxyomenos was thrown into the sea from a Roman merchant ship during a storm, but the reason remains a mystery.At the beginning of 2nd century AD, this Apoxyomenos was already considered to be an antique. It may have been in the process of being transported to one of major cities in the Northern Adriatic, such as Aquileia, Trieste, Ravenna, Pula or Poreč. An early Roman villa with thermae in Verige Bay on the island of Veliki Brijun is also one of the likely destinations.
Since the discovery, archaeologists are divided over the question of whether the model for the sculptor was left-handed or right-handed. While he was visiting the Apoxyomenos exhibition in Palazzo Medici Riccardi, Italian Education Minister Giuseppe Fioroni concluded that the model was left-handed. He based this on his observation that the left shoulder muscles of the model are more developed than those on the right.Croatian archaeologist Nenad Cambi analysed the body type and proportions of the statue and concluded – based on the muscular development of the upper torso – that it most probably represents a wrestler.Cambi has challenged the classification and naming of the sculpture. In his view, Apoxyomenos is not the correct name for the statue because the model is cleaning the scraping instrument, not his body. In this respect, this statue is different from the others, except for the Viennese one, found in 1896. Cambi believes that statue, too, is misclassified. Cambi argues that the correct name for the statue of this type would be the Strigil Cleaner. | [
"Ravenna",
"Strigil",
"Giuseppe Fioroni",
"Italian Education Minister",
"thermae",
"Palazzo Medici Riccardi",
"Pula",
"amphora",
"bronze",
"Aquileia",
"Croatian",
"Poreč",
"Radiocarbon dating",
"Veliki Brijun",
"left",
"Apoxyomenos",
"Trieste"
] |
|
16225_T | Croatian Apoxyomenos | Focus on Croatian Apoxyomenos and explain the Exhibition. | After years of desalination and careful restoration, Apoxyomenos was exhibited at the Archaeological Museum in Zagreb from 18 May to 17 September 2006. From 1 October 2006 to 30 January 2007, it was exhibited at the Italian Palazzo Medici Riccardi in Florence, where it was seen by around 80,000 people, "greatly increasing the number of visits to Palace". For the following two years, Apoxyomenos was returned to display at the Archaeological Museum in Zagreb.
In 2007, Apoxyomenos was awarded the Europa Nostra, European Union Prize for Cultural Heritage.In February 2007, Croatian Prime Minister Ivo Sanader advocated moving Apoxyomenos to the island of Lošinj, the archipelago it was found in, but he left the final decision to the experts from the Council for Cultural Heritage. In October 2007, the Council unanimously decided that Apoxyomenos will be moved to the Apoxyomenos Museum that is being built as an addition to the historic Kvarner Palace in Mali Lošinj. This decision was supported by the Ministry of Culture.
As of 30 April 2016, the Apoxyomenos is being kept in the Museum of Apoxyomenos in Mali Lošinj. The cost of the museum, which has been under construction from 2009 until 2016, according to the plan of architects Saša Randić and Idis Turato, is around 20 million kuna (cca. €2.6 million).Following its return to Zagreb in 2007, Apoxyomenos has been exhibited in many international museums, including the British Museum in London and J. Paul Getty Museum in Los Angeles:21 February – 20 April 2008, Osijek, Osijek Archaeological Museum
28 April – 30 June 2008, Rijeka, Maritime and History Museum of the Croatian Littoral
8 July – 1 December 2008, Split, Split Ethnographic Museum
31 March – 7 September 2010, Zadar, Museum of Antique Glass
15 September 2010 – 30 January 2011, Zagreb, Klovićevi Dvori Gallery –
3 March – 30 May 2011, Ljubljana, Ljubljana City Museum
2 February – 4 November 2012, Zagreb, Mimara Museum.
22 November 2012 – 25 February 2013, Paris, Louvre Museum | [
"Ljubljana",
"Los Angeles",
"British Museum",
"Lošinj",
"Florence",
"Euro",
"Osijek",
"Palazzo Medici Riccardi",
"Mali Lošinj",
"Louvre",
"Ministry of Culture",
"Louvre Museum",
"Ivo Sanader",
"Osijek Archaeological Museum",
"Rijeka",
"Europa Nostra",
"kuna",
"archipelago",
"Croatian",
"J. Paul Getty Museum",
"London",
"Paris",
"Croatian Prime Minister",
"Split",
"Archaeological Museum in Zagreb",
"left",
"Apoxyomenos",
"Klovićevi Dvori Gallery",
"€",
"Zadar",
"Mimara Museum"
] |
|
16225_NT | Croatian Apoxyomenos | Focus on this artwork and explain the Exhibition. | After years of desalination and careful restoration, Apoxyomenos was exhibited at the Archaeological Museum in Zagreb from 18 May to 17 September 2006. From 1 October 2006 to 30 January 2007, it was exhibited at the Italian Palazzo Medici Riccardi in Florence, where it was seen by around 80,000 people, "greatly increasing the number of visits to Palace". For the following two years, Apoxyomenos was returned to display at the Archaeological Museum in Zagreb.
In 2007, Apoxyomenos was awarded the Europa Nostra, European Union Prize for Cultural Heritage.In February 2007, Croatian Prime Minister Ivo Sanader advocated moving Apoxyomenos to the island of Lošinj, the archipelago it was found in, but he left the final decision to the experts from the Council for Cultural Heritage. In October 2007, the Council unanimously decided that Apoxyomenos will be moved to the Apoxyomenos Museum that is being built as an addition to the historic Kvarner Palace in Mali Lošinj. This decision was supported by the Ministry of Culture.
As of 30 April 2016, the Apoxyomenos is being kept in the Museum of Apoxyomenos in Mali Lošinj. The cost of the museum, which has been under construction from 2009 until 2016, according to the plan of architects Saša Randić and Idis Turato, is around 20 million kuna (cca. €2.6 million).Following its return to Zagreb in 2007, Apoxyomenos has been exhibited in many international museums, including the British Museum in London and J. Paul Getty Museum in Los Angeles:21 February – 20 April 2008, Osijek, Osijek Archaeological Museum
28 April – 30 June 2008, Rijeka, Maritime and History Museum of the Croatian Littoral
8 July – 1 December 2008, Split, Split Ethnographic Museum
31 March – 7 September 2010, Zadar, Museum of Antique Glass
15 September 2010 – 30 January 2011, Zagreb, Klovićevi Dvori Gallery –
3 March – 30 May 2011, Ljubljana, Ljubljana City Museum
2 February – 4 November 2012, Zagreb, Mimara Museum.
22 November 2012 – 25 February 2013, Paris, Louvre Museum | [
"Ljubljana",
"Los Angeles",
"British Museum",
"Lošinj",
"Florence",
"Euro",
"Osijek",
"Palazzo Medici Riccardi",
"Mali Lošinj",
"Louvre",
"Ministry of Culture",
"Louvre Museum",
"Ivo Sanader",
"Osijek Archaeological Museum",
"Rijeka",
"Europa Nostra",
"kuna",
"archipelago",
"Croatian",
"J. Paul Getty Museum",
"London",
"Paris",
"Croatian Prime Minister",
"Split",
"Archaeological Museum in Zagreb",
"left",
"Apoxyomenos",
"Klovićevi Dvori Gallery",
"€",
"Zadar",
"Mimara Museum"
] |
|
16226_T | Croatian Apoxyomenos | Explore the Literature of this artwork, Croatian Apoxyomenos. | Hrvatski Apoksiomen/The Croatian Apoxyomenos, exhibition catalogue, (ed.) M. Domijan, I. Karniš, Zagreb, 2006, second revised edition 2008
Apoxyomenos: The Athlete of Croatia/Apoxyomenos: l'Atleta della Croazia, exhibition catalogue, (ed.) Maurizio Michelucci, Florence, 2006 | [
"Florence",
"Croatian",
"Apoxyomenos"
] |
|
16226_NT | Croatian Apoxyomenos | Explore the Literature of this artwork. | Hrvatski Apoksiomen/The Croatian Apoxyomenos, exhibition catalogue, (ed.) M. Domijan, I. Karniš, Zagreb, 2006, second revised edition 2008
Apoxyomenos: The Athlete of Croatia/Apoxyomenos: l'Atleta della Croazia, exhibition catalogue, (ed.) Maurizio Michelucci, Florence, 2006 | [
"Florence",
"Croatian",
"Apoxyomenos"
] |
|
16227_T | Statue of Christopher Columbus (Philadelphia) | Focus on Statue of Christopher Columbus (Philadelphia) and discuss the abstract. | An 1876 statue of Christopher Columbus by Emanuele Caroni is installed in Marconi Plaza, 2848 South Broad Street, Philadelphia, Pennsylvania (United States), inside a railing that bears wire art of Columbus's three ships, the Niña, Pinta, and Santa Maria. | [
"Pennsylvania",
"Marconi Plaza",
"Philadelphia",
"Pinta",
"Santa Maria",
"Niña",
"Christopher Columbus"
] |
|
16227_NT | Statue of Christopher Columbus (Philadelphia) | Focus on this artwork and discuss the abstract. | An 1876 statue of Christopher Columbus by Emanuele Caroni is installed in Marconi Plaza, 2848 South Broad Street, Philadelphia, Pennsylvania (United States), inside a railing that bears wire art of Columbus's three ships, the Niña, Pinta, and Santa Maria. | [
"Pennsylvania",
"Marconi Plaza",
"Philadelphia",
"Pinta",
"Santa Maria",
"Niña",
"Christopher Columbus"
] |
|
16228_T | Statue of Christopher Columbus (Philadelphia) | How does Statue of Christopher Columbus (Philadelphia) elucidate its Description and history? | The Christopher Columbus Monument was originally erected on the Centennial Exposition grounds at the intersection of Fountain and Belmont Avenues, near the Conservatory and dedicated on October 13, 1876 as a tribute from Italy to America. The entire monument cost $18,000, was made of Italian Ravazzoni marble, and stands 22 ft (6.7 m) from the ground, the statue of Columbus being 10 ft (3.0 m) in height and the pedestal 12 ft (3.7 m). The base is 7 ft (2.1 m) long by 6 ft (1.8 m) in width, and the weight is about 70,000 lb (32,000 kg). The figure represents Columbus, in the costume of his age and clime, standing on a ship's deck, near his feet being an anchor, coils of rope, and a sailor's dunnage bag; his right hand resting on a globe, 15 in (380 mm) in diameter, with the New World outlined on the front face, and supported by a hexagonal column. His left is gracefully extended and holds a chart of what was once an unknown sea. The head of the statue is bare, and the physiognomy about as represented in the bust of the navigator at Genoa. On the front cap of the pedestal are the words "Presented to the city of Philadelphia by the Italian Societies". Beneath this is a medallion representing the landing of Columbus. On the opposite side of the cap is inscribed "Dedicated October 13, 1886, by the Christopher Columbus Monument Association, on the Anniversary of the Landing of Columbus, October 13, 1482". Underneath is the Genoese coat of arms and the words "In commemoration of the First Century of American Independence". On the remaining two sides of the pedestal are the coats of arms of Italy and the United States.Antonio Isoleri, the second pastor of the first Italian church in the United States and the prototype for all Italian parishes in Philadelphia that came afterward, St. Mary Magdalen dePazzi,: 257 organized for the erection of this statue of Christopher Columbus, the first in Philadelphia, in Fairmount Park, and for a celebration.: 97 Isoleri, calling for unity among Italians in America: 316 utilized the explorer to provide people that were divided by their various regional ethnicities with a hero from a common heritage that generated shared pride.: 60, 140
On August 12, 2020, the Philadelphia Art Commission issued an order to remove the statue from Marconi Plaza and to place it in temporary storage. This followed an endorsement of a city proposal, two weeks prior, by the Philadelphia Historical Commission, to remove the statue, citing public safety and susceptibility of damage to the statue as a result of the George Floyd protests. A judge later halted the order, while a legal battle continues in the courts. Citing preservation of the statue pending a final decision, the City of Philadelphia had it boxed. On August 17, 2021 a judge from Philadelphia Common Pleas Court ruled the decision for removing the statue to be without legal merit, and on December 9, 2022, a ruling by the Pennsylvania Commonwealth Court ordered the plywood box enclosure to be removed. | [
"Philadelphia Historical Commission",
"Genoa",
"right",
"Pennsylvania",
"Marconi Plaza",
"Philadelphia",
"George Floyd protests",
"Italy",
"left",
"Philadelphia Common Pleas Court",
"Christopher Columbus",
"Fairmount Park",
"Centennial Exposition",
"St. Mary Magdalen dePazzi"
] |
|
16228_NT | Statue of Christopher Columbus (Philadelphia) | How does this artwork elucidate its Description and history? | The Christopher Columbus Monument was originally erected on the Centennial Exposition grounds at the intersection of Fountain and Belmont Avenues, near the Conservatory and dedicated on October 13, 1876 as a tribute from Italy to America. The entire monument cost $18,000, was made of Italian Ravazzoni marble, and stands 22 ft (6.7 m) from the ground, the statue of Columbus being 10 ft (3.0 m) in height and the pedestal 12 ft (3.7 m). The base is 7 ft (2.1 m) long by 6 ft (1.8 m) in width, and the weight is about 70,000 lb (32,000 kg). The figure represents Columbus, in the costume of his age and clime, standing on a ship's deck, near his feet being an anchor, coils of rope, and a sailor's dunnage bag; his right hand resting on a globe, 15 in (380 mm) in diameter, with the New World outlined on the front face, and supported by a hexagonal column. His left is gracefully extended and holds a chart of what was once an unknown sea. The head of the statue is bare, and the physiognomy about as represented in the bust of the navigator at Genoa. On the front cap of the pedestal are the words "Presented to the city of Philadelphia by the Italian Societies". Beneath this is a medallion representing the landing of Columbus. On the opposite side of the cap is inscribed "Dedicated October 13, 1886, by the Christopher Columbus Monument Association, on the Anniversary of the Landing of Columbus, October 13, 1482". Underneath is the Genoese coat of arms and the words "In commemoration of the First Century of American Independence". On the remaining two sides of the pedestal are the coats of arms of Italy and the United States.Antonio Isoleri, the second pastor of the first Italian church in the United States and the prototype for all Italian parishes in Philadelphia that came afterward, St. Mary Magdalen dePazzi,: 257 organized for the erection of this statue of Christopher Columbus, the first in Philadelphia, in Fairmount Park, and for a celebration.: 97 Isoleri, calling for unity among Italians in America: 316 utilized the explorer to provide people that were divided by their various regional ethnicities with a hero from a common heritage that generated shared pride.: 60, 140
On August 12, 2020, the Philadelphia Art Commission issued an order to remove the statue from Marconi Plaza and to place it in temporary storage. This followed an endorsement of a city proposal, two weeks prior, by the Philadelphia Historical Commission, to remove the statue, citing public safety and susceptibility of damage to the statue as a result of the George Floyd protests. A judge later halted the order, while a legal battle continues in the courts. Citing preservation of the statue pending a final decision, the City of Philadelphia had it boxed. On August 17, 2021 a judge from Philadelphia Common Pleas Court ruled the decision for removing the statue to be without legal merit, and on December 9, 2022, a ruling by the Pennsylvania Commonwealth Court ordered the plywood box enclosure to be removed. | [
"Philadelphia Historical Commission",
"Genoa",
"right",
"Pennsylvania",
"Marconi Plaza",
"Philadelphia",
"George Floyd protests",
"Italy",
"left",
"Philadelphia Common Pleas Court",
"Christopher Columbus",
"Fairmount Park",
"Centennial Exposition",
"St. Mary Magdalen dePazzi"
] |
|
16229_T | Barberini Faun | Focus on Barberini Faun and analyze the abstract. | The life-size ancient but much restored marble statue known as the Barberini Faun, Fauno Barberini or Drunken Satyr is now in the Glyptothek in Munich, Germany. A faun is the Roman equivalent of a Greek satyr. In Greek mythology, satyrs were human-like male woodland spirits with several animal features, often a goat-like tail, hooves, ears, or horns. Satyrs attended Dionysus. | [
"Glyptothek",
"Satyr",
"Barberini",
"satyr",
"Greek mythology",
"faun",
"Munich",
"Munich, Germany",
"Dionysus",
"Faun"
] |
|
16229_NT | Barberini Faun | Focus on this artwork and analyze the abstract. | The life-size ancient but much restored marble statue known as the Barberini Faun, Fauno Barberini or Drunken Satyr is now in the Glyptothek in Munich, Germany. A faun is the Roman equivalent of a Greek satyr. In Greek mythology, satyrs were human-like male woodland spirits with several animal features, often a goat-like tail, hooves, ears, or horns. Satyrs attended Dionysus. | [
"Glyptothek",
"Satyr",
"Barberini",
"satyr",
"Greek mythology",
"faun",
"Munich",
"Munich, Germany",
"Dionysus",
"Faun"
] |
|
16230_T | Barberini Faun | In Barberini Faun, how is the History discussed? | The sculpture was either carved by an unknown Hellenistic sculptor of the Pergamene school, in the late third or early second century BC or is a Roman copy of high quality, though its present form was given it by a series of restorers in Rome, ending with Vincenzo Pacetti. The statue was found in the 1620s in the moat below the Castel Sant'Angelo, Rome, which in antiquity had been Hadrian’s Mausoleum. Work on the fortification was undertaken by the Barberini Pope Urban VIII in 1624. The sculpture made its first documented appearance in a receipt for its restoration, 6 June 1628, when it already belonged to the Pope's nephew, Cardinal Francesco Barberini. When discovered, the statue was heavily damaged; the right leg, parts of both hands, and parts of the head were missing. The historian Procopius recorded that during the siege of Rome in 537 the defenders had hurled down upon the Goths the statues adorning Hadrian's Mausoleum, and Johann Winckelmann speculated that the place of discovery and the statue's condition suggested that it had been such a projectile.
It was traditionally asserted that Cardinal Maffeo Barberini commissioned Gian Lorenzo Bernini to restore the statue, "but there is no evidence for the tradition that Bernini was in any way involved with the statue," Francis Haskell and Nicholas Penny observed in 1981, after reviewing the documentation and literature. Restorations, at first in stucco, were remade in 1679 by Giuseppe Giorgetti and Lorenzo Ottoni, who enabled the antique left leg to be reaffixed and provided the elaborate supporting structure that is illustrated in Paolo Alessandro Maffei's Raccolta di statue (1704); in the eighteenth century the right leg was again restored in marble, and once more by Pacetti in 1799. (The sculpture is shown today without the restored hanging left arm.)
These restorations of the Barberini Faun may have enhanced the sexual aspect of the statue. Because of this, the statue has acquired a reputation as an example of erotic art. Nudity in Greek art was nothing new; however, the blatant sexuality of this work makes it most interesting to twentieth-century eyes. His wantonly spread legs focus attention on his genitals. Not all viewers have found the Faun so indecorous: the Barberini Faun was reproduced on a Nymphenburg porcelain service in the 1830s.
The statue was housed in the Palazzo Barberini, Rome, until it was sold in 1799 to the sculptor and restorer Vincenzo Pacetti; Pacetti offered it to various English and French clients, including Lucien Bonaparte. The Barberini brought suit to annul the sale and eventually sold the Faun, after much public competition and a ban on its exportation, strongly supported by the antiquarian Carlo Fea and by Antonio Canova— to Ludwig, Crown Prince of Bavaria. Ludwig had planned a special room in the Glyptothek designed by the architect Leo von Klenze before the purchase was even finalized, and it was in place by 1827. The Glyptothek opened in 1830 to house Ludwig's sculpture collection. | [
"Pope Urban VIII",
"Vincenzo Pacetti",
"siege of Rome in 537",
"Glyptothek",
"Lucien Bonaparte",
"Pergamene school",
"Palazzo Barberini",
"Barberini",
"Goths",
"Hellenistic",
"Johann Winckelmann",
"Lorenzo Ottoni",
"Leo von Klenze",
"Giuseppe Giorgetti",
"Hadrian",
"Ludwig, Crown Prince of Bavaria",
"Cardinal Francesco Barberini",
"Francis Haskell",
"Procopius",
"Carlo Fea",
"Nymphenburg porcelain",
"Gian Lorenzo Bernini",
"Antonio Canova",
"Faun",
"Castel Sant'Angelo"
] |
|
16230_NT | Barberini Faun | In this artwork, how is the History discussed? | The sculpture was either carved by an unknown Hellenistic sculptor of the Pergamene school, in the late third or early second century BC or is a Roman copy of high quality, though its present form was given it by a series of restorers in Rome, ending with Vincenzo Pacetti. The statue was found in the 1620s in the moat below the Castel Sant'Angelo, Rome, which in antiquity had been Hadrian’s Mausoleum. Work on the fortification was undertaken by the Barberini Pope Urban VIII in 1624. The sculpture made its first documented appearance in a receipt for its restoration, 6 June 1628, when it already belonged to the Pope's nephew, Cardinal Francesco Barberini. When discovered, the statue was heavily damaged; the right leg, parts of both hands, and parts of the head were missing. The historian Procopius recorded that during the siege of Rome in 537 the defenders had hurled down upon the Goths the statues adorning Hadrian's Mausoleum, and Johann Winckelmann speculated that the place of discovery and the statue's condition suggested that it had been such a projectile.
It was traditionally asserted that Cardinal Maffeo Barberini commissioned Gian Lorenzo Bernini to restore the statue, "but there is no evidence for the tradition that Bernini was in any way involved with the statue," Francis Haskell and Nicholas Penny observed in 1981, after reviewing the documentation and literature. Restorations, at first in stucco, were remade in 1679 by Giuseppe Giorgetti and Lorenzo Ottoni, who enabled the antique left leg to be reaffixed and provided the elaborate supporting structure that is illustrated in Paolo Alessandro Maffei's Raccolta di statue (1704); in the eighteenth century the right leg was again restored in marble, and once more by Pacetti in 1799. (The sculpture is shown today without the restored hanging left arm.)
These restorations of the Barberini Faun may have enhanced the sexual aspect of the statue. Because of this, the statue has acquired a reputation as an example of erotic art. Nudity in Greek art was nothing new; however, the blatant sexuality of this work makes it most interesting to twentieth-century eyes. His wantonly spread legs focus attention on his genitals. Not all viewers have found the Faun so indecorous: the Barberini Faun was reproduced on a Nymphenburg porcelain service in the 1830s.
The statue was housed in the Palazzo Barberini, Rome, until it was sold in 1799 to the sculptor and restorer Vincenzo Pacetti; Pacetti offered it to various English and French clients, including Lucien Bonaparte. The Barberini brought suit to annul the sale and eventually sold the Faun, after much public competition and a ban on its exportation, strongly supported by the antiquarian Carlo Fea and by Antonio Canova— to Ludwig, Crown Prince of Bavaria. Ludwig had planned a special room in the Glyptothek designed by the architect Leo von Klenze before the purchase was even finalized, and it was in place by 1827. The Glyptothek opened in 1830 to house Ludwig's sculpture collection. | [
"Pope Urban VIII",
"Vincenzo Pacetti",
"siege of Rome in 537",
"Glyptothek",
"Lucien Bonaparte",
"Pergamene school",
"Palazzo Barberini",
"Barberini",
"Goths",
"Hellenistic",
"Johann Winckelmann",
"Lorenzo Ottoni",
"Leo von Klenze",
"Giuseppe Giorgetti",
"Hadrian",
"Ludwig, Crown Prince of Bavaria",
"Cardinal Francesco Barberini",
"Francis Haskell",
"Procopius",
"Carlo Fea",
"Nymphenburg porcelain",
"Gian Lorenzo Bernini",
"Antonio Canova",
"Faun",
"Castel Sant'Angelo"
] |
|
16231_T | Barberini Faun | Focus on Barberini Faun and explore the Copies. | A marble copy was sculpted by Edmé Bouchardon at the French Academy in Rome in 1726 (illustration, right). Cardinal Barberini desired a plaster cast of it to keep with the antique original. Bouchardon's Barberini Faun arrived in France in 1732, greatly admired. In 1775 the duc de Chartres bought it for his elaborate garden plan at Parc Monceau. It is now in the Louvre Museum.
A copy by sculptor Eugène-Louis Lequesne was given to France in 1846. It is now located in the École nationale supérieure des Beaux-Arts.A gilded copy is included among many other replicas of classical sculptures that adorn the grand cascade that descends from the back of Peter the Great's summer palace, Peterhof, outside of St. Petersburg, Russia. | [
"Peterhof",
"Barberini",
"Peter the Great",
"duc de Chartres",
"École nationale supérieure des Beaux-Arts",
"French Academy in Rome",
"Russia",
"Louvre",
"St. Petersburg",
"Edmé Bouchardon",
"Parc Monceau",
"Faun",
"Louvre Museum"
] |
|
16231_NT | Barberini Faun | Focus on this artwork and explore the Copies. | A marble copy was sculpted by Edmé Bouchardon at the French Academy in Rome in 1726 (illustration, right). Cardinal Barberini desired a plaster cast of it to keep with the antique original. Bouchardon's Barberini Faun arrived in France in 1732, greatly admired. In 1775 the duc de Chartres bought it for his elaborate garden plan at Parc Monceau. It is now in the Louvre Museum.
A copy by sculptor Eugène-Louis Lequesne was given to France in 1846. It is now located in the École nationale supérieure des Beaux-Arts.A gilded copy is included among many other replicas of classical sculptures that adorn the grand cascade that descends from the back of Peter the Great's summer palace, Peterhof, outside of St. Petersburg, Russia. | [
"Peterhof",
"Barberini",
"Peter the Great",
"duc de Chartres",
"École nationale supérieure des Beaux-Arts",
"French Academy in Rome",
"Russia",
"Louvre",
"St. Petersburg",
"Edmé Bouchardon",
"Parc Monceau",
"Faun",
"Louvre Museum"
] |
|
16232_T | Presentation of the Virgin at the Temple (Cima) | Focus on Presentation of the Virgin at the Temple (Cima) and explain the abstract. | The Presentation of the Virgin Mary at the Temple is a painting by the Italian Renaissance master Cima da Conegliano, c. 1496–1497, in the Gemäldegalerie Alte Meister of Dresden, Germany, of the Presentation of Mary. The work presents the theme, apocryphal, but common in Christian art, of the presentation of the Virgin Mary in the Temple of Jerusalem, during her childhood. | [
"Dresden",
"Presentation of Mary",
"Cima da Conegliano",
"Gemäldegalerie Alte Meister",
"Germany"
] |
|
16232_NT | Presentation of the Virgin at the Temple (Cima) | Focus on this artwork and explain the abstract. | The Presentation of the Virgin Mary at the Temple is a painting by the Italian Renaissance master Cima da Conegliano, c. 1496–1497, in the Gemäldegalerie Alte Meister of Dresden, Germany, of the Presentation of Mary. The work presents the theme, apocryphal, but common in Christian art, of the presentation of the Virgin Mary in the Temple of Jerusalem, during her childhood. | [
"Dresden",
"Presentation of Mary",
"Cima da Conegliano",
"Gemäldegalerie Alte Meister",
"Germany"
] |
|
16233_T | King Gustav III of Sweden and His Brothers | Explore the Portraits of the Swedish royal family of this artwork, King Gustav III of Sweden and His Brothers. | In the same year that Roslin moved to Paris, he was elected to be a member of the French Académie, a great honour for an artist from outside France.Roslin was commissioned to paint the portraits of numerous European aristocrats, not only in Paris but also from St. Petersburg, Bayreuth and Stockholm. Carrying out these commissions meant that he travelled widely – for example, Roslin spent two years in the service of Catherine II in St Petersburg. Gustav III attracted artists to his court. Sweden's royal family were the patrons of Roslin and he maintained contacts with them throughout his career. A number of different compositions both half-length portraits of Gustav III, and portraits in full-figure were painted of the royal family by Roslin. He also painted numerous portraits of Swedes who visited Paris.
Like a court painter, Roslin was able to vary the portraits of the same person giving them different attributes and accessories to give a varied air to the paintings. The 18th century was a period of regeneration and reconstruction in Sweden as the country had been devastated and weakened by the huge costs of King Charles XII's wars. Gustav III's role now was to consolidate the country. In another painting by Roslin he is depicted as an allegoric interpretation of his role as Sweden's "Hercules who will crush the Hydra of anarchy and discord." Therefore, Gustav III was painted dressed in armour, the crown and wearing the grand star of the Order of the Seraphim, a Swedish royal order initiated by King Frederick I in 1748, only awarded to members of the royal family and foreign heads of state as well.These new commissions were promoting Roslin's career in France, since the new king was pleased with his works and gave him several new commissions. To this was added a new group portrait commissioned by the king, depicting the three royal brothers. | [
"Gustav",
"Stockholm",
"Hydra",
"allegoric interpretation",
"King Frederick I",
"Hercules",
"royal family",
"Catherine II",
"aristocrats",
"Bayreuth",
"Gustav III",
"Order of the Seraphim",
"armour",
"St. Petersburg",
"court painter"
] |
|
16233_NT | King Gustav III of Sweden and His Brothers | Explore the Portraits of the Swedish royal family of this artwork. | In the same year that Roslin moved to Paris, he was elected to be a member of the French Académie, a great honour for an artist from outside France.Roslin was commissioned to paint the portraits of numerous European aristocrats, not only in Paris but also from St. Petersburg, Bayreuth and Stockholm. Carrying out these commissions meant that he travelled widely – for example, Roslin spent two years in the service of Catherine II in St Petersburg. Gustav III attracted artists to his court. Sweden's royal family were the patrons of Roslin and he maintained contacts with them throughout his career. A number of different compositions both half-length portraits of Gustav III, and portraits in full-figure were painted of the royal family by Roslin. He also painted numerous portraits of Swedes who visited Paris.
Like a court painter, Roslin was able to vary the portraits of the same person giving them different attributes and accessories to give a varied air to the paintings. The 18th century was a period of regeneration and reconstruction in Sweden as the country had been devastated and weakened by the huge costs of King Charles XII's wars. Gustav III's role now was to consolidate the country. In another painting by Roslin he is depicted as an allegoric interpretation of his role as Sweden's "Hercules who will crush the Hydra of anarchy and discord." Therefore, Gustav III was painted dressed in armour, the crown and wearing the grand star of the Order of the Seraphim, a Swedish royal order initiated by King Frederick I in 1748, only awarded to members of the royal family and foreign heads of state as well.These new commissions were promoting Roslin's career in France, since the new king was pleased with his works and gave him several new commissions. To this was added a new group portrait commissioned by the king, depicting the three royal brothers. | [
"Gustav",
"Stockholm",
"Hydra",
"allegoric interpretation",
"King Frederick I",
"Hercules",
"royal family",
"Catherine II",
"aristocrats",
"Bayreuth",
"Gustav III",
"Order of the Seraphim",
"armour",
"St. Petersburg",
"court painter"
] |
|
16234_T | King Gustav III of Sweden and His Brothers | Focus on King Gustav III of Sweden and His Brothers and discuss the The portrait of the three brothers. | Roslin was required to compose a group portrait in a new configuration, and he chose a triangular composition, with half-length portraits of the three princes seated round a table studying a plan of fortifications. The artist faced a difficulty, in that the princes had not sat all together at the same time for him.The prince, who would be crowned King Gustav III of Sweden, traveled to France on February 4, 1771 together with his brother Fredrick. Roslin had received the commission for the triple portrait a few months earlier, and had already depicted Karl (Charles XIII of Sweden) before he left the country prior to his brothers' arrival. New sittings now followed; in the mornings the Crown Prince and his younger brother participated in sittings held in Roslin's studio. By that time Roslin was already flooded with a series of royal commissions.Because none of the brothers sat together at the depicted table in reality, the trio look as if they are not interacting with each other, nor studying the plan. They are somewhat disconnectedly pointing to the plan on the table, but the weakness of this is counterbalanced with Roslin's eminent ability to render fabrics and his presentation of the subjects of his painting wearing colourful clothes. The elegant external appearances are depicted in a lifelike manner. However this was a portrait of princes, and thus demanded a decorum that dignified the models: "Gustav III and his brothers could hardly be portrayed as sweaty campaigners despite the gravity of their doings." The painting is held by the Swedish National Museum.The presentation is seen as being conflicted by competing considerations and goals. This was part of a series of royal portraits wherein the brothers were depicted separately in different situations and accoutrement. The attire was changed for allegorical effect. | [
"Gustav",
"Swedish National Museum",
"Charles XIII",
"left",
"Gustav III",
"Gustav III of Sweden",
"Charles XIII of Sweden"
] |
|
16234_NT | King Gustav III of Sweden and His Brothers | Focus on this artwork and discuss the The portrait of the three brothers. | Roslin was required to compose a group portrait in a new configuration, and he chose a triangular composition, with half-length portraits of the three princes seated round a table studying a plan of fortifications. The artist faced a difficulty, in that the princes had not sat all together at the same time for him.The prince, who would be crowned King Gustav III of Sweden, traveled to France on February 4, 1771 together with his brother Fredrick. Roslin had received the commission for the triple portrait a few months earlier, and had already depicted Karl (Charles XIII of Sweden) before he left the country prior to his brothers' arrival. New sittings now followed; in the mornings the Crown Prince and his younger brother participated in sittings held in Roslin's studio. By that time Roslin was already flooded with a series of royal commissions.Because none of the brothers sat together at the depicted table in reality, the trio look as if they are not interacting with each other, nor studying the plan. They are somewhat disconnectedly pointing to the plan on the table, but the weakness of this is counterbalanced with Roslin's eminent ability to render fabrics and his presentation of the subjects of his painting wearing colourful clothes. The elegant external appearances are depicted in a lifelike manner. However this was a portrait of princes, and thus demanded a decorum that dignified the models: "Gustav III and his brothers could hardly be portrayed as sweaty campaigners despite the gravity of their doings." The painting is held by the Swedish National Museum.The presentation is seen as being conflicted by competing considerations and goals. This was part of a series of royal portraits wherein the brothers were depicted separately in different situations and accoutrement. The attire was changed for allegorical effect. | [
"Gustav",
"Swedish National Museum",
"Charles XIII",
"left",
"Gustav III",
"Gustav III of Sweden",
"Charles XIII of Sweden"
] |
|
16235_T | Survival of the Fattest (sculpture) | How does Survival of the Fattest (sculpture) elucidate its abstract? | Survival of the Fattest is a sculpture of a small, starved boy carrying a fat woman. The sculpture was made by Jens Galschiøt and Lars Calmar in 2002, as a symbol of the imbalanced distribution of the world’s resources. In 2006 it was acquired by the city of Ringkøbing, Central Denmark Region, and placed in the harbour. | [
"Central Denmark Region",
"Jens Galschiøt",
"Ringkøbing"
] |
|
16235_NT | Survival of the Fattest (sculpture) | How does this artwork elucidate its abstract? | Survival of the Fattest is a sculpture of a small, starved boy carrying a fat woman. The sculpture was made by Jens Galschiøt and Lars Calmar in 2002, as a symbol of the imbalanced distribution of the world’s resources. In 2006 it was acquired by the city of Ringkøbing, Central Denmark Region, and placed in the harbour. | [
"Central Denmark Region",
"Jens Galschiøt",
"Ringkøbing"
] |
|
16236_T | Survival of the Fattest (sculpture) | Focus on Survival of the Fattest (sculpture) and analyze the Sculpture and symbols. | The 3.5 metre tall bronze sculpture was made in 2002 and depicts a huge fat woman from the west, sitting on the shoulders of a starved African boy. The woman is holding a pair of scales, as a symbol of justice, but her eyes are closed—a reference to the traditional depiction of Lady Justice wearing a blindfold, but also a suggestion that justice is degenerating into a self-righteous unwillingness to see an obvious injustice.
The sculpture was intended to send out a message to the rich part of the world; it seems to create focus on our obesity due to over consumption while people in the third world are dying of hunger. Due to the imbalanced distribution of the resources in the world, the most people in the western countries are living comfortably, they are oppressing the poor people by means of an unjust world trade. The rich countries are by means of tariff barriers and subsidies keeping the poor countries out of the markets of the West.On the sculpture there is an inscription, which states: "I'm sitting on the back of a man. He is sinking under the burden. I would do anything to help him. Except stepping down from his back." | [] |
|
16236_NT | Survival of the Fattest (sculpture) | Focus on this artwork and analyze the Sculpture and symbols. | The 3.5 metre tall bronze sculpture was made in 2002 and depicts a huge fat woman from the west, sitting on the shoulders of a starved African boy. The woman is holding a pair of scales, as a symbol of justice, but her eyes are closed—a reference to the traditional depiction of Lady Justice wearing a blindfold, but also a suggestion that justice is degenerating into a self-righteous unwillingness to see an obvious injustice.
The sculpture was intended to send out a message to the rich part of the world; it seems to create focus on our obesity due to over consumption while people in the third world are dying of hunger. Due to the imbalanced distribution of the resources in the world, the most people in the western countries are living comfortably, they are oppressing the poor people by means of an unjust world trade. The rich countries are by means of tariff barriers and subsidies keeping the poor countries out of the markets of the West.On the sculpture there is an inscription, which states: "I'm sitting on the back of a man. He is sinking under the burden. I would do anything to help him. Except stepping down from his back." | [] |
|
16237_T | Survival of the Fattest (sculpture) | In Survival of the Fattest (sculpture), how is the Exhibition at COP15 discussed? | In 2009 at the 15th Climate Change Conference (COP15), Jens Galschiot exhibited a series of sculptures titled SevenMeters, with Survival of the Fattest among them.
Survival of the Fattest was placed in the harbour of Copenhagen, next to the internationally famous statue The Little Mermaid. Based on the 1837 fairy tale by the Danish fairy tale writer Hans Christian Andersen. The Little Mermaid is a national monument and seen by an estimated 1 million tourists a year.
By placing his sculpture in the water next to The Little Mermaid, Galschiot was assured that its explosive message would receive international attention. The act also highlighted that the goals and objectives of the wealthy nations at the Climate Change Conference to be nothing more than fairy tales.As of 2020, the monument is located in the harbour of Ringkøbing, Central Denmark Region. | [
"Central Denmark Region",
"SevenMeters",
"Climate Change",
"Jens Galschiot",
"The Little Mermaid",
"Ringkøbing",
"Hans Christian Andersen",
"COP15"
] |
|
16237_NT | Survival of the Fattest (sculpture) | In this artwork, how is the Exhibition at COP15 discussed? | In 2009 at the 15th Climate Change Conference (COP15), Jens Galschiot exhibited a series of sculptures titled SevenMeters, with Survival of the Fattest among them.
Survival of the Fattest was placed in the harbour of Copenhagen, next to the internationally famous statue The Little Mermaid. Based on the 1837 fairy tale by the Danish fairy tale writer Hans Christian Andersen. The Little Mermaid is a national monument and seen by an estimated 1 million tourists a year.
By placing his sculpture in the water next to The Little Mermaid, Galschiot was assured that its explosive message would receive international attention. The act also highlighted that the goals and objectives of the wealthy nations at the Climate Change Conference to be nothing more than fairy tales.As of 2020, the monument is located in the harbour of Ringkøbing, Central Denmark Region. | [
"Central Denmark Region",
"SevenMeters",
"Climate Change",
"Jens Galschiot",
"The Little Mermaid",
"Ringkøbing",
"Hans Christian Andersen",
"COP15"
] |
|
16238_T | Spanish–American War Memorial (Los Angeles) | Focus on Spanish–American War Memorial (Los Angeles) and explore the abstract. | The Spanish–American War Memorial, also known as the 7th Regiment Monument, is installed in Los Angeles' Pershing Square, in the U.S. state of California. | [
"U.S. state",
"Pershing Square",
"California",
"Los Angeles"
] |
|
16238_NT | Spanish–American War Memorial (Los Angeles) | Focus on this artwork and explore the abstract. | The Spanish–American War Memorial, also known as the 7th Regiment Monument, is installed in Los Angeles' Pershing Square, in the U.S. state of California. | [
"U.S. state",
"Pershing Square",
"California",
"Los Angeles"
] |
|
16239_T | Maria at La Granja | Focus on Maria at La Granja and explain the abstract. | Maria at La Granja is an oil painting on canvas executed in 1907 by the Spanish artist Joaquín Sorolla. It is part of the collection of the San Diego Museum of Art, which acquired it in 1926. | [
"San Diego",
"San Diego Museum of Art",
"Joaquín Sorolla"
] |
|
16239_NT | Maria at La Granja | Focus on this artwork and explain the abstract. | Maria at La Granja is an oil painting on canvas executed in 1907 by the Spanish artist Joaquín Sorolla. It is part of the collection of the San Diego Museum of Art, which acquired it in 1926. | [
"San Diego",
"San Diego Museum of Art",
"Joaquín Sorolla"
] |
|
16240_T | The Funeral of Phocion | Explore the abstract of this artwork, The Funeral of Phocion. | The Funeral of Phocion is a 1648 landscape painting, also known as The Burial of Phocion, Landscape with the Funeral of Phocion and Landscape with the Body of Phocion Carried out of Athens, by the French artist Nicolas Poussin. Phocion was an Athenian statesman from the 4th century BC.
Three versions of the painting are known. These are now housed in The Louvre, Paris; National Museum Cardiff and the collections of the Glass House in New Canaan, Connecticut, United States.
In the same year Poussin painted a companion piece to The Funeral of Phocion, Landscape with the Ashes of Phocion. | [
"landscape",
"Nicolas Poussin",
"Athenian",
"Phocion",
"The Louvre",
"United States",
"National Museum Cardiff",
"New Canaan, Connecticut",
"Glass House",
"Louvre",
"Athens",
"Paris",
"Landscape with the Ashes of Phocion"
] |
|
16240_NT | The Funeral of Phocion | Explore the abstract of this artwork. | The Funeral of Phocion is a 1648 landscape painting, also known as The Burial of Phocion, Landscape with the Funeral of Phocion and Landscape with the Body of Phocion Carried out of Athens, by the French artist Nicolas Poussin. Phocion was an Athenian statesman from the 4th century BC.
Three versions of the painting are known. These are now housed in The Louvre, Paris; National Museum Cardiff and the collections of the Glass House in New Canaan, Connecticut, United States.
In the same year Poussin painted a companion piece to The Funeral of Phocion, Landscape with the Ashes of Phocion. | [
"landscape",
"Nicolas Poussin",
"Athenian",
"Phocion",
"The Louvre",
"United States",
"National Museum Cardiff",
"New Canaan, Connecticut",
"Glass House",
"Louvre",
"Athens",
"Paris",
"Landscape with the Ashes of Phocion"
] |
|
16241_T | Moulin Rouge: La Goulue | Focus on Moulin Rouge: La Goulue and discuss the abstract. | Moulin Rouge: La Goulue is a poster by French artist Henri de Toulouse-Lautrec. It is a colour lithograph from 1891, probably printed in about 3,000 copies, advertising the famous dancers La Goulue and "No-Bones" Valentin, and the new Paris dance hall Moulin Rouge. Although most examples were pasted as advertising posters and lost, surviving examples are in the collection of the Indianapolis Museum of Art and many other institutions. | [
"La Goulue",
"French",
"Indianapolis Museum of Art",
"lithograph",
"Moulin Rouge",
"Henri de Toulouse-Lautrec",
"Paris",
"\"No-Bones\" Valentin"
] |
|
16241_NT | Moulin Rouge: La Goulue | Focus on this artwork and discuss the abstract. | Moulin Rouge: La Goulue is a poster by French artist Henri de Toulouse-Lautrec. It is a colour lithograph from 1891, probably printed in about 3,000 copies, advertising the famous dancers La Goulue and "No-Bones" Valentin, and the new Paris dance hall Moulin Rouge. Although most examples were pasted as advertising posters and lost, surviving examples are in the collection of the Indianapolis Museum of Art and many other institutions. | [
"La Goulue",
"French",
"Indianapolis Museum of Art",
"lithograph",
"Moulin Rouge",
"Henri de Toulouse-Lautrec",
"Paris",
"\"No-Bones\" Valentin"
] |
|
16242_T | Moulin Rouge: La Goulue | How does Moulin Rouge: La Goulue elucidate its Historical information? | The Moulin Rouge had opened two years earlier, in 1889, and instantly established itself as a Montmartre landmark. It was renowned for the elasticity of its young dancers, both physically and morally; police officers made periodic checks to ensure that they were all wearing underwear. However, the poster by Jules Chéret advertising the club's delights was relatively subdued, so the director Charles Zidler hired the young (only 27 years old) Toulouse-Lautrec to create a more vibrant poster.Although Moulin Rouge: La Goulue was Toulouse-Lautrec's first attempt at lithography, such was his grasp of the medium's possibilities that it was an immediate sensation. 3000 copies spread around Paris captivated the public with their eye-catching design, bold colors, and innovative, Japanese-inspired use of silhouettes. Cannily focusing on the dancer La Goulue, whose energetic kicks and insatiable appetites had made her famous, gave the poster an additional boost in popularity. But it was Toulouse-Lautrec's own artistic skill that made him a star overnight. | [
"La Goulue",
"Charles Zidler",
"Montmartre",
"lithograph",
"Moulin Rouge",
"Jules Chéret",
"Paris"
] |
|
16242_NT | Moulin Rouge: La Goulue | How does this artwork elucidate its Historical information? | The Moulin Rouge had opened two years earlier, in 1889, and instantly established itself as a Montmartre landmark. It was renowned for the elasticity of its young dancers, both physically and morally; police officers made periodic checks to ensure that they were all wearing underwear. However, the poster by Jules Chéret advertising the club's delights was relatively subdued, so the director Charles Zidler hired the young (only 27 years old) Toulouse-Lautrec to create a more vibrant poster.Although Moulin Rouge: La Goulue was Toulouse-Lautrec's first attempt at lithography, such was his grasp of the medium's possibilities that it was an immediate sensation. 3000 copies spread around Paris captivated the public with their eye-catching design, bold colors, and innovative, Japanese-inspired use of silhouettes. Cannily focusing on the dancer La Goulue, whose energetic kicks and insatiable appetites had made her famous, gave the poster an additional boost in popularity. But it was Toulouse-Lautrec's own artistic skill that made him a star overnight. | [
"La Goulue",
"Charles Zidler",
"Montmartre",
"lithograph",
"Moulin Rouge",
"Jules Chéret",
"Paris"
] |
|
16243_T | St Sebastian (Perugino, Nationalmuseum) | Focus on St Sebastian (Perugino, Nationalmuseum) and analyze the abstract. | St Sebastian is an oil on panel painting by Perugino, completed c. 1490. The painting has been in the Nationalmuseum in Stockholm since 1928. It is one of the artist's earliest depictions of Saint Sebastian, showing him as an ephebos, or male adolescent, unlike his later treatments based on the Doryphoros, such as that in the Louvre. It is signed "Petrus Perusinus pinxit" (Peter of Perugia painted [it]). | [
"ephebos",
"Saint Sebastian",
"Stockholm",
"Louvre",
"Doryphoros",
"Perugino",
"Nationalmuseum"
] |
|
16243_NT | St Sebastian (Perugino, Nationalmuseum) | Focus on this artwork and analyze the abstract. | St Sebastian is an oil on panel painting by Perugino, completed c. 1490. The painting has been in the Nationalmuseum in Stockholm since 1928. It is one of the artist's earliest depictions of Saint Sebastian, showing him as an ephebos, or male adolescent, unlike his later treatments based on the Doryphoros, such as that in the Louvre. It is signed "Petrus Perusinus pinxit" (Peter of Perugia painted [it]). | [
"ephebos",
"Saint Sebastian",
"Stockholm",
"Louvre",
"Doryphoros",
"Perugino",
"Nationalmuseum"
] |
|
16244_T | The Verdict of the People | In The Verdict of the People, how is the abstract discussed? | The Verdict of the People is an 1854 painting by George Caleb Bingham, currently owned by the Saint Louis Art Museum.
The last painting of Bingham's Election Series, The Verdict of the People tells the end of the story represented in the series. Within this painting, Bingham hid several political motives and ideas similar to the rest of the Election Series. Historians say the painting depicts public reaction to a likely proslavery candidate's election victory.
Completed in 1854, the work covered issues of slavery, temperance, and a representative government, subjects that had gone from a local to a national level. During the early 1850s, the temperance movement grew and more states were abolishing alcohol. A book by Herman Humphrey, titled Parallel between Intemperance and Slavery, associated the cause of anti-slavery to that of temperance. Bingham showed his view on intemperance and slavery by painting a banner that said, "Freedom for Virtue[,] Restriction for Vice." The banner referred to temperance by saying that the vice and alcohol would need to be restricted for the people to be free. The banner then references Bingham's ideas of slavery by using the connection of the temperance movement and the anti-slavery movement to show that Bingham thought negatively about slavery and shared that view with intemperance.When Donald Trump was inaugurated as the 45th president of the United States on Jan. 20, 2017, The Verdict of the People was the chosen painting, hanging on a partition wall behind the ceremonial head table in the Capitol's Statuary Hall. | [
"Saint Louis Art Museum",
"Donald Trump",
"George Caleb Bingham",
"inaugurated"
] |
|
16244_NT | The Verdict of the People | In this artwork, how is the abstract discussed? | The Verdict of the People is an 1854 painting by George Caleb Bingham, currently owned by the Saint Louis Art Museum.
The last painting of Bingham's Election Series, The Verdict of the People tells the end of the story represented in the series. Within this painting, Bingham hid several political motives and ideas similar to the rest of the Election Series. Historians say the painting depicts public reaction to a likely proslavery candidate's election victory.
Completed in 1854, the work covered issues of slavery, temperance, and a representative government, subjects that had gone from a local to a national level. During the early 1850s, the temperance movement grew and more states were abolishing alcohol. A book by Herman Humphrey, titled Parallel between Intemperance and Slavery, associated the cause of anti-slavery to that of temperance. Bingham showed his view on intemperance and slavery by painting a banner that said, "Freedom for Virtue[,] Restriction for Vice." The banner referred to temperance by saying that the vice and alcohol would need to be restricted for the people to be free. The banner then references Bingham's ideas of slavery by using the connection of the temperance movement and the anti-slavery movement to show that Bingham thought negatively about slavery and shared that view with intemperance.When Donald Trump was inaugurated as the 45th president of the United States on Jan. 20, 2017, The Verdict of the People was the chosen painting, hanging on a partition wall behind the ceremonial head table in the Capitol's Statuary Hall. | [
"Saint Louis Art Museum",
"Donald Trump",
"George Caleb Bingham",
"inaugurated"
] |
|
16245_T | Magdalene with the Smoking Flame | Focus on Magdalene with the Smoking Flame and explore the abstract. | Magdalene with the Smoking Flame (also titled in French La Madeleine à la veilleuse, and La Madeleine à la flamme filante) is a c. 1640 oil-on-canvas depiction of Mary Magdalene by French Baroque painter Georges de La Tour. Two versions of this painting exist, one in the Los Angeles County Museum of Art and the other in the Louvre Museum (La Madeleine a la veilleuse). | [
"Mary Magdalene",
"French",
"Baroque",
"Los Angeles County Museum of Art",
"Louvre Museum",
"Louvre",
"Georges de La Tour"
] |
|
16245_NT | Magdalene with the Smoking Flame | Focus on this artwork and explore the abstract. | Magdalene with the Smoking Flame (also titled in French La Madeleine à la veilleuse, and La Madeleine à la flamme filante) is a c. 1640 oil-on-canvas depiction of Mary Magdalene by French Baroque painter Georges de La Tour. Two versions of this painting exist, one in the Los Angeles County Museum of Art and the other in the Louvre Museum (La Madeleine a la veilleuse). | [
"Mary Magdalene",
"French",
"Baroque",
"Los Angeles County Museum of Art",
"Louvre Museum",
"Louvre",
"Georges de La Tour"
] |
|
16246_T | Magdalene with the Smoking Flame | Focus on Magdalene with the Smoking Flame and explain the History. | The Louvre version of the painting was bought in 1949 from the French Administration des Douanes. In the somewhat uncertain chronology of Georges de La Tour's work, this painting has been allotted the date of 1640, by analogy with the Saint Mary with a Mirror, which has been dated between 1635 and 1645. The location of this painting before 1949 is unknown. | [
"French",
"Saint",
"Louvre",
"Georges de La Tour"
] |
|
16246_NT | Magdalene with the Smoking Flame | Focus on this artwork and explain the History. | The Louvre version of the painting was bought in 1949 from the French Administration des Douanes. In the somewhat uncertain chronology of Georges de La Tour's work, this painting has been allotted the date of 1640, by analogy with the Saint Mary with a Mirror, which has been dated between 1635 and 1645. The location of this painting before 1949 is unknown. | [
"French",
"Saint",
"Louvre",
"Georges de La Tour"
] |
|
16247_T | Magdalene with the Smoking Flame | Explore the Georges de La Tour about the History of this artwork, Magdalene with the Smoking Flame. | Georges de La Tour was a Catholic Baroque artist with a successful career, despite the fact that he was working at an unsettling time of religious wars and the violence that followed. He learned many skills from the work of Caravaggio such as tenebrism, an especially dramatic contrast between light and shadow. Like Caravaggio, in Georges de La Tour's younger days he was interested in low-life disreputable scenes of hoaxers, thieves, and swindlers. Unlike Caravaggio, Georges de La Tour was not violent or a murderer. His artwork is known to be thoughtful, genuine, and sincere.He painted many versions of the Magdalene, which suggests that several of his patrons were interested in this theme. Throughout his Magdalene series he demonstrates small changes in lighting, pose, and symbolism. Although the changes are small, the paintings seem to portray a number of different meanings and emotions.By the 1620s, La Tour was offered substantial court patronage in Lorraine and royal patronage in Paris. In the 1630s, during the Thirty Years War, La Tour spent time in Paris painting for Cardinal Richelieu. He also painted for King Louis XIII and presented him with a Night Scene with Saint Sebastian. He was then titled painter-in-ordinary to the king. | [
"tenebrism",
"Baroque",
"Caravaggio",
"Catholic",
"King Louis XIII",
"Saint",
"Lorraine",
"Cardinal Richelieu",
"Thirty Years War",
"Paris",
"Georges de La Tour"
] |
|
16247_NT | Magdalene with the Smoking Flame | Explore the Georges de La Tour about the History of this artwork. | Georges de La Tour was a Catholic Baroque artist with a successful career, despite the fact that he was working at an unsettling time of religious wars and the violence that followed. He learned many skills from the work of Caravaggio such as tenebrism, an especially dramatic contrast between light and shadow. Like Caravaggio, in Georges de La Tour's younger days he was interested in low-life disreputable scenes of hoaxers, thieves, and swindlers. Unlike Caravaggio, Georges de La Tour was not violent or a murderer. His artwork is known to be thoughtful, genuine, and sincere.He painted many versions of the Magdalene, which suggests that several of his patrons were interested in this theme. Throughout his Magdalene series he demonstrates small changes in lighting, pose, and symbolism. Although the changes are small, the paintings seem to portray a number of different meanings and emotions.By the 1620s, La Tour was offered substantial court patronage in Lorraine and royal patronage in Paris. In the 1630s, during the Thirty Years War, La Tour spent time in Paris painting for Cardinal Richelieu. He also painted for King Louis XIII and presented him with a Night Scene with Saint Sebastian. He was then titled painter-in-ordinary to the king. | [
"tenebrism",
"Baroque",
"Caravaggio",
"Catholic",
"King Louis XIII",
"Saint",
"Lorraine",
"Cardinal Richelieu",
"Thirty Years War",
"Paris",
"Georges de La Tour"
] |
|
16248_T | Magdalene with the Smoking Flame | Focus on Magdalene with the Smoking Flame and discuss the Mary Magdalene in Baroque art. | During the 17th century, great devotion was shown to Mary Magdalene in all Catholic countries. She was the perfect lover of Christ, her beauty was made more appealing because of her repentance, which had a special attraction for a period so passionately interested in problems of mysticism, quietism and asceticism. The theme of the repentance of sinners and trials sent by God is illustrated in subjects such as the Repentance of St. Peter, Mary Magdalene, and Job. A number of written works give evidence to the cult of Magdalene and this cult became widespread since Provence contained two great sanctuaries dedicated to her: the grotto of La Sainte-Baume, and the Saintes-Maries-de-la-Mer.After being introduced to Jesus Christ, Mary Magdalene became one of Christ's most devoted followers. Mary Magdalene became a symbol of the sacrament of penance and contemplation. In Baroque art, Mary Magdalene is usually shown beneath Christ's feet because according to interpretations of the Bible, she was a prostitute who washed Jesus's feet using her hair and tears. She is also known to have witnessed Jesus's crucifixion, burial, and resurrection. In paintings, she is usually recognized as a saint with a halo above her head and she often holds an ointment jar.In the Baroque era, the image of Mary Magdalene went through a change. If the medieval Magdalene was shown as a former sinner who was saved through salvation, Mary Magdalene during the Counter-Reformation was depicted as beguilingly seductive. Like other saints, Mary Magdalene was often used as propaganda for the Catholic sacraments. For example, Francesco Vanni's painting, The Last Communion of Mary Magdalene, shows the practice of communion with a dying woman, which made a statement about the triumph of the Catholic faith against disagreements with Protestantism. | [
"asceticism",
"Mary Magdalene",
"Bible",
"sacrament",
"Jesus",
"Job",
"crucifixion",
"Baroque",
"Catholic",
"Christ",
"saint",
"resurrection",
"mysticism",
"Saint",
"Protestantism",
"Francesco Vanni",
"quietism",
"Counter-Reformation"
] |
|
16248_NT | Magdalene with the Smoking Flame | Focus on this artwork and discuss the Mary Magdalene in Baroque art. | During the 17th century, great devotion was shown to Mary Magdalene in all Catholic countries. She was the perfect lover of Christ, her beauty was made more appealing because of her repentance, which had a special attraction for a period so passionately interested in problems of mysticism, quietism and asceticism. The theme of the repentance of sinners and trials sent by God is illustrated in subjects such as the Repentance of St. Peter, Mary Magdalene, and Job. A number of written works give evidence to the cult of Magdalene and this cult became widespread since Provence contained two great sanctuaries dedicated to her: the grotto of La Sainte-Baume, and the Saintes-Maries-de-la-Mer.After being introduced to Jesus Christ, Mary Magdalene became one of Christ's most devoted followers. Mary Magdalene became a symbol of the sacrament of penance and contemplation. In Baroque art, Mary Magdalene is usually shown beneath Christ's feet because according to interpretations of the Bible, she was a prostitute who washed Jesus's feet using her hair and tears. She is also known to have witnessed Jesus's crucifixion, burial, and resurrection. In paintings, she is usually recognized as a saint with a halo above her head and she often holds an ointment jar.In the Baroque era, the image of Mary Magdalene went through a change. If the medieval Magdalene was shown as a former sinner who was saved through salvation, Mary Magdalene during the Counter-Reformation was depicted as beguilingly seductive. Like other saints, Mary Magdalene was often used as propaganda for the Catholic sacraments. For example, Francesco Vanni's painting, The Last Communion of Mary Magdalene, shows the practice of communion with a dying woman, which made a statement about the triumph of the Catholic faith against disagreements with Protestantism. | [
"asceticism",
"Mary Magdalene",
"Bible",
"sacrament",
"Jesus",
"Job",
"crucifixion",
"Baroque",
"Catholic",
"Christ",
"saint",
"resurrection",
"mysticism",
"Saint",
"Protestantism",
"Francesco Vanni",
"quietism",
"Counter-Reformation"
] |
|
16249_T | Magdalene with the Smoking Flame | In the context of Magdalene with the Smoking Flame, analyze the Subject matter of the Visual analysis. | The Magdalene with the Smoking Flame portrays Mary Magdalene with a skull on her lap and a brightly lit candle on the desk. She has her hand under her chin while staring at the candle. There are two books placed on the desk, like the books in the other versions of the paintings. One of the books is the Holy Bible. There is also a cross and a rope on top of the desk. The rope looks similar to the rope that is tied around her waist. Her shoulders are bare and her skirt only reaches to her knees leaving her legs bare.Georges de La Tour paints Magdalene with her hand tucked under her chin, contemplating death with the slight touch of the skull with her other hand. In the Magdalene with the Smoking Flame there is no mirror in the painting compared to Magdalene at the Mirror and Magdalene with Two Flames. The Magdalene in this painting is not monochrome like the other versions. | [
"Mary Magdalene",
"Bible",
"Magdalene with Two Flames",
"Magdalene at the Mirror",
"Georges de La Tour"
] |
|
16249_NT | Magdalene with the Smoking Flame | In the context of this artwork, analyze the Subject matter of the Visual analysis. | The Magdalene with the Smoking Flame portrays Mary Magdalene with a skull on her lap and a brightly lit candle on the desk. She has her hand under her chin while staring at the candle. There are two books placed on the desk, like the books in the other versions of the paintings. One of the books is the Holy Bible. There is also a cross and a rope on top of the desk. The rope looks similar to the rope that is tied around her waist. Her shoulders are bare and her skirt only reaches to her knees leaving her legs bare.Georges de La Tour paints Magdalene with her hand tucked under her chin, contemplating death with the slight touch of the skull with her other hand. In the Magdalene with the Smoking Flame there is no mirror in the painting compared to Magdalene at the Mirror and Magdalene with Two Flames. The Magdalene in this painting is not monochrome like the other versions. | [
"Mary Magdalene",
"Bible",
"Magdalene with Two Flames",
"Magdalene at the Mirror",
"Georges de La Tour"
] |
|
16250_T | Magdalene with the Smoking Flame | Describe the characteristics of the Influences in Magdalene with the Smoking Flame's Visual analysis. | Most of Georges de La Tour's paintings were influenced by Caravaggio and his followers from Rome. Caravaggio's followers spread throughout other European countries; therefore, it was not necessary for Georges de La Tour to travel to Italy. De La Tour was not only inspired by Caravaggio's style, but also by other northern styles. He concentrated on dramatic effects of light and shade called tenebrism. Georges de La Tour took Caravaggio's style of tenebrism and made it into something new and entirely his own. He created several monumental paintings that are different from both Italian art and Caravaggism. He brought many characteristics of mystery, tranquil grandeur, and silence into his artwork which brings it closer to French classical art and literature. | [
"classical",
"French",
"tenebrism",
"Caravaggio",
"Caravaggio's followers",
"Georges de La Tour"
] |
|
16250_NT | Magdalene with the Smoking Flame | Describe the characteristics of the Influences in this artwork's Visual analysis. | Most of Georges de La Tour's paintings were influenced by Caravaggio and his followers from Rome. Caravaggio's followers spread throughout other European countries; therefore, it was not necessary for Georges de La Tour to travel to Italy. De La Tour was not only inspired by Caravaggio's style, but also by other northern styles. He concentrated on dramatic effects of light and shade called tenebrism. Georges de La Tour took Caravaggio's style of tenebrism and made it into something new and entirely his own. He created several monumental paintings that are different from both Italian art and Caravaggism. He brought many characteristics of mystery, tranquil grandeur, and silence into his artwork which brings it closer to French classical art and literature. | [
"classical",
"French",
"tenebrism",
"Caravaggio",
"Caravaggio's followers",
"Georges de La Tour"
] |
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