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16251_T | Magdalene with the Smoking Flame | Focus on Magdalene with the Smoking Flame and explore the Versions. | There are two other works on the same theme by de La Tour.
Magdalene at the Mirror (National Gallery of Art) is an oil on-canvas painting created circa 1635–1640. This version is known to be the original painting out of the Magdalene series. In Magdalene at the Mirror, Magdalene is shown in profile view sitting in front of the mirror, candle, and skull. The skull is on top of the Bible on the desk and the candle is covered by the skull. The viewer can only observe the top of the slightly shown candle and the light illuminating around it. The mirror shows the side of the skulls face yet the skull has its back towards the mirror. The mirror symbolizes vanity while the skull is a metaphor of mortality. The candlelight most likely stands for spiritual enlightenment. Martha with Magdalene at the Mirror was also painted by Caravaggio during the 16th century.Magdalene with Two Flames (Metropolitan Museum of Art, New York) is an oil-on-canvas painting created between 1625 and 1650. The exact date is unknown. The skull is placed on Magdalene's lap with her hands clasped over the head. The candle is brightly lit and is reflected within the mirror. The light from the candle illuminates throughout the room and on the wall where we see Magdalene's shadow. | [
"Bible",
"National Gallery of Art",
"Magdalene with Two Flames",
"Caravaggio",
"Magdalene at the Mirror",
"Metropolitan Museum of Art"
] |
|
16251_NT | Magdalene with the Smoking Flame | Focus on this artwork and explore the Versions. | There are two other works on the same theme by de La Tour.
Magdalene at the Mirror (National Gallery of Art) is an oil on-canvas painting created circa 1635–1640. This version is known to be the original painting out of the Magdalene series. In Magdalene at the Mirror, Magdalene is shown in profile view sitting in front of the mirror, candle, and skull. The skull is on top of the Bible on the desk and the candle is covered by the skull. The viewer can only observe the top of the slightly shown candle and the light illuminating around it. The mirror shows the side of the skulls face yet the skull has its back towards the mirror. The mirror symbolizes vanity while the skull is a metaphor of mortality. The candlelight most likely stands for spiritual enlightenment. Martha with Magdalene at the Mirror was also painted by Caravaggio during the 16th century.Magdalene with Two Flames (Metropolitan Museum of Art, New York) is an oil-on-canvas painting created between 1625 and 1650. The exact date is unknown. The skull is placed on Magdalene's lap with her hands clasped over the head. The candle is brightly lit and is reflected within the mirror. The light from the candle illuminates throughout the room and on the wall where we see Magdalene's shadow. | [
"Bible",
"National Gallery of Art",
"Magdalene with Two Flames",
"Caravaggio",
"Magdalene at the Mirror",
"Metropolitan Museum of Art"
] |
|
16252_T | The Flight into Egypt (El Greco) | Focus on The Flight into Egypt (El Greco) and explain the abstract. | The Flight into Egypt is a c.1570 painting of the Flight into Egypt by El Greco, now in the Museo del Prado in Madrid. It is one of his earliest works, dating to his stay in Venice, and shows the major influence of Tintoretto and Jacopo Bassano, especially in the landscape background. The clouds and the chromaticism are similar to his Healing of the Man Born Blind, though most of the tonalities show the influence of Raphael and Michelangelo. | [
"Michelangelo",
"Flight into Egypt",
"Healing of the Man Born Blind",
"Tintoretto",
"Jacopo Bassano",
"El Greco",
"Museo del Prado",
"Raphael",
"Venice"
] |
|
16252_NT | The Flight into Egypt (El Greco) | Focus on this artwork and explain the abstract. | The Flight into Egypt is a c.1570 painting of the Flight into Egypt by El Greco, now in the Museo del Prado in Madrid. It is one of his earliest works, dating to his stay in Venice, and shows the major influence of Tintoretto and Jacopo Bassano, especially in the landscape background. The clouds and the chromaticism are similar to his Healing of the Man Born Blind, though most of the tonalities show the influence of Raphael and Michelangelo. | [
"Michelangelo",
"Flight into Egypt",
"Healing of the Man Born Blind",
"Tintoretto",
"Jacopo Bassano",
"El Greco",
"Museo del Prado",
"Raphael",
"Venice"
] |
|
16253_T | Guernica (Picasso) | Focus on Guernica (Picasso) and discuss the abstract. | Guernica (Spanish: [ɡeɾˈnika]; Basque: [ɡernika]) is a large 1937 oil painting by Spanish artist Pablo Picasso. It is one of his best-known works, regarded by many art critics as the most moving and powerful anti-war painting in history. It is exhibited in the Museo Reina Sofía in Madrid.The grey, black, and white painting, on a canvas 3.49 meters (11 ft 5 in) tall and 7.76 meters (25 ft 6 in) across, portrays the suffering wrought by violence and chaos. Prominently featured in the composition are a gored horse, a bull, screaming women, a dead baby, a dismembered soldier, and flames.
Picasso painted Guernica at his home in Paris in response to the 26 April 1937 bombing of Guernica, a town in the Basque Country in northern Spain that was bombed by Nazi Germany and Fascist Italy at the request of the Spanish Nationalists. Upon completion, Guernica was exhibited at the Spanish display at the 1937 Paris International Exposition and then at other venues around the world. The touring exhibition was used to raise funds for Spanish war relief. The painting soon became famous and widely acclaimed, helping to bring worldwide attention to the Spanish Civil War that took place from 1936 to 1939. | [
"bombing of Guernica",
"Spain",
"anti-war",
"town",
"Basque Country",
"Nazi Germany",
"Paris International Exposition",
"Museo Reina Sofía",
"Pablo Picasso",
"Madrid",
"Nationalists",
"Guernica",
"Paris",
"Fascist Italy",
"1937 Paris International Exposition",
"the composition",
"Picasso",
"Spanish Civil War"
] |
|
16253_NT | Guernica (Picasso) | Focus on this artwork and discuss the abstract. | Guernica (Spanish: [ɡeɾˈnika]; Basque: [ɡernika]) is a large 1937 oil painting by Spanish artist Pablo Picasso. It is one of his best-known works, regarded by many art critics as the most moving and powerful anti-war painting in history. It is exhibited in the Museo Reina Sofía in Madrid.The grey, black, and white painting, on a canvas 3.49 meters (11 ft 5 in) tall and 7.76 meters (25 ft 6 in) across, portrays the suffering wrought by violence and chaos. Prominently featured in the composition are a gored horse, a bull, screaming women, a dead baby, a dismembered soldier, and flames.
Picasso painted Guernica at his home in Paris in response to the 26 April 1937 bombing of Guernica, a town in the Basque Country in northern Spain that was bombed by Nazi Germany and Fascist Italy at the request of the Spanish Nationalists. Upon completion, Guernica was exhibited at the Spanish display at the 1937 Paris International Exposition and then at other venues around the world. The touring exhibition was used to raise funds for Spanish war relief. The painting soon became famous and widely acclaimed, helping to bring worldwide attention to the Spanish Civil War that took place from 1936 to 1939. | [
"bombing of Guernica",
"Spain",
"anti-war",
"town",
"Basque Country",
"Nazi Germany",
"Paris International Exposition",
"Museo Reina Sofía",
"Pablo Picasso",
"Madrid",
"Nationalists",
"Guernica",
"Paris",
"Fascist Italy",
"1937 Paris International Exposition",
"the composition",
"Picasso",
"Spanish Civil War"
] |
|
16254_T | Guernica (Picasso) | How does Guernica (Picasso) elucidate its Commission? | In January 1937, while Pablo Picasso was living in Paris on Rue des Grands Augustins, he was commissioned by the Spanish Republican government to create a large mural for the Spanish pavilion at the 1937 Paris World's Fair. This piece was to help raise awareness of the war and raise necessary funds. Picasso, who had last visited Spain in 1934 and would never return, was the Honorary Director-in-Exile of the Prado Museum.Picasso worked somewhat dispassionately from January until late April on the project's initial sketches, which depicted his perennial theme of an artist's studio. Then, immediately upon hearing reports of the 26 April bombing of Guernica, poet Juan Larrea visited Picasso's home to urge him to make the bombing his subject. Days later, on 1 May, Picasso read George Steer's eyewitness account of the attack, which originally had been published in both The Times and The New York Times on 28 April, and abandoned his initial idea. Acting on Larrea's suggestion, Picasso began sketching a series of preliminary drawings for Guernica. | [
"Rue des Grands Augustins",
"bombing of Guernica",
"George Steer",
"Juan Larrea",
"Spain",
"The Times",
"Pablo Picasso",
"Guernica",
"mural",
"Paris",
"Prado Museum",
"The New York Times",
"Spanish Republican",
"1937 Paris World's Fair",
"Picasso"
] |
|
16254_NT | Guernica (Picasso) | How does this artwork elucidate its Commission? | In January 1937, while Pablo Picasso was living in Paris on Rue des Grands Augustins, he was commissioned by the Spanish Republican government to create a large mural for the Spanish pavilion at the 1937 Paris World's Fair. This piece was to help raise awareness of the war and raise necessary funds. Picasso, who had last visited Spain in 1934 and would never return, was the Honorary Director-in-Exile of the Prado Museum.Picasso worked somewhat dispassionately from January until late April on the project's initial sketches, which depicted his perennial theme of an artist's studio. Then, immediately upon hearing reports of the 26 April bombing of Guernica, poet Juan Larrea visited Picasso's home to urge him to make the bombing his subject. Days later, on 1 May, Picasso read George Steer's eyewitness account of the attack, which originally had been published in both The Times and The New York Times on 28 April, and abandoned his initial idea. Acting on Larrea's suggestion, Picasso began sketching a series of preliminary drawings for Guernica. | [
"Rue des Grands Augustins",
"bombing of Guernica",
"George Steer",
"Juan Larrea",
"Spain",
"The Times",
"Pablo Picasso",
"Guernica",
"mural",
"Paris",
"Prado Museum",
"The New York Times",
"Spanish Republican",
"1937 Paris World's Fair",
"Picasso"
] |
|
16255_T | Guernica (Picasso) | Describe the characteristics of the Bombing of 26 April 1937 in Guernica (Picasso)'s Historical context. | During the Spanish Civil War the Republican forces, made up of communists, socialists, anarchists, and others with differing goals, united in their opposition to the Nationalists, led by General Francisco Franco, who sought to establish a fascist dictatorship. The Nationalists perceived Guernica, a quiet village in the province of Biscay in Basque Country, as the northern bastion of the Republican resistance movement and the center of Basque culture.On Monday, 26 April 1937, warplanes of the Nazi Germany Condor Legion, commanded by Colonel Wolfram von Richthofen, bombed Guernica for about two hours. In his 30 April 1937 journal entry von Richthofen noted that when the squadron arrived "there was smoke everywhere" from the attack by three aircraft, and since nobody could see the roads, bridges, and suburbs "they just dropped everything right into the center. The 250s toppled a number of houses and destroyed the water mains. The incendiaries now could spread and become effective. The materials of the houses: tile roofs, wooden porches, and half-timbering resulted in complete annihilation."Monday was Guernica's market day, and many of its inhabitants were congregated in the center of town. When the main bombardment began the roads were already full of debris and the bridges leading out of town destroyed, and they were unable to escape.
Guernica, the capital of Biscay, was 10 kilometers from the front lines and in-between the front lines and Bilbao. A Republican retreat towards Bilbao, or an advance towards it, had to pass through it. von Richthofen's 26 April 1937 diary entry states Guernica was targeted "...to halt and disrupt the Red withdrawal which has to pass through here." The following day, Richthofen wrote in his diary, "Guernica burning". The nearest actual military target, a war product factory on the village's outskirts, went through the attack unscathed, so the attack was widely condemned as a terror bombing. | [
"center",
"Bilbao",
"Biscay",
"town",
"Wolfram von Richthofen",
"Francisco Franco",
"right",
"Basque Country",
"The Nation",
"Nazi Germany",
"Condor Legion",
"Nationalists",
"Guernica",
"Franco",
"Spanish Civil War"
] |
|
16255_NT | Guernica (Picasso) | Describe the characteristics of the Bombing of 26 April 1937 in this artwork's Historical context. | During the Spanish Civil War the Republican forces, made up of communists, socialists, anarchists, and others with differing goals, united in their opposition to the Nationalists, led by General Francisco Franco, who sought to establish a fascist dictatorship. The Nationalists perceived Guernica, a quiet village in the province of Biscay in Basque Country, as the northern bastion of the Republican resistance movement and the center of Basque culture.On Monday, 26 April 1937, warplanes of the Nazi Germany Condor Legion, commanded by Colonel Wolfram von Richthofen, bombed Guernica for about two hours. In his 30 April 1937 journal entry von Richthofen noted that when the squadron arrived "there was smoke everywhere" from the attack by three aircraft, and since nobody could see the roads, bridges, and suburbs "they just dropped everything right into the center. The 250s toppled a number of houses and destroyed the water mains. The incendiaries now could spread and become effective. The materials of the houses: tile roofs, wooden porches, and half-timbering resulted in complete annihilation."Monday was Guernica's market day, and many of its inhabitants were congregated in the center of town. When the main bombardment began the roads were already full of debris and the bridges leading out of town destroyed, and they were unable to escape.
Guernica, the capital of Biscay, was 10 kilometers from the front lines and in-between the front lines and Bilbao. A Republican retreat towards Bilbao, or an advance towards it, had to pass through it. von Richthofen's 26 April 1937 diary entry states Guernica was targeted "...to halt and disrupt the Red withdrawal which has to pass through here." The following day, Richthofen wrote in his diary, "Guernica burning". The nearest actual military target, a war product factory on the village's outskirts, went through the attack unscathed, so the attack was widely condemned as a terror bombing. | [
"center",
"Bilbao",
"Biscay",
"town",
"Wolfram von Richthofen",
"Francisco Franco",
"right",
"Basque Country",
"The Nation",
"Nazi Germany",
"Condor Legion",
"Nationalists",
"Guernica",
"Franco",
"Spanish Civil War"
] |
|
16256_T | Guernica (Picasso) | In the context of Guernica (Picasso), explore the Aftermath of the Historical context. | Most of Guernica's men were away fighting on behalf of the Republicans, and at the time of the bombing the town was populated mostly by women and children as reflected in Picasso's painting. Art theorist Rudolf Arnheim writes: The women and children make Guernica the image of innocent, defenseless humanity victimized. Also, women and children have often been presented by Picasso as the very perfection of mankind. An assault on women and children is, in Picasso's view, directed at the core of mankind.
The Times journalist George Steer propelled this event onto the international scene, and brought it to Pablo Picasso's attention, in an eyewitness account published on 28 April in both The Times and The New York Times. On the 29th it appeared in L'Humanité. Steer wrote:Guernica, the most ancient town of the Basques and the centre of their cultural tradition, was completely destroyed yesterday afternoon by insurgent air raiders. The bombardment of this open town far behind the lines occupied precisely three hours and a quarter, during which a powerful fleet of aeroplanes consisting of three types of German types, Junkers and Heinkel bombers, did not cease unloading on the town bombs weighing from 1,000 lbs. downwards and, it is calculated, more than 3,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged low from above the centre of the town to machinegun those of the civilian population who had taken refuge in the fields."
Picasso lived in Paris during its World War II German occupation. A widely repeated story is that a German officer saw a photo of Guernica in Picasso's apartment and asked, "Did you do that?", and Picasso responded, "No, you did." | [
"German occupation",
"George Steer",
"town",
"The Times",
"Pablo Picasso",
"Guernica",
"Paris",
"The New York Times",
"Rudolf Arnheim",
"L'Humanité",
"Picasso"
] |
|
16256_NT | Guernica (Picasso) | In the context of this artwork, explore the Aftermath of the Historical context. | Most of Guernica's men were away fighting on behalf of the Republicans, and at the time of the bombing the town was populated mostly by women and children as reflected in Picasso's painting. Art theorist Rudolf Arnheim writes: The women and children make Guernica the image of innocent, defenseless humanity victimized. Also, women and children have often been presented by Picasso as the very perfection of mankind. An assault on women and children is, in Picasso's view, directed at the core of mankind.
The Times journalist George Steer propelled this event onto the international scene, and brought it to Pablo Picasso's attention, in an eyewitness account published on 28 April in both The Times and The New York Times. On the 29th it appeared in L'Humanité. Steer wrote:Guernica, the most ancient town of the Basques and the centre of their cultural tradition, was completely destroyed yesterday afternoon by insurgent air raiders. The bombardment of this open town far behind the lines occupied precisely three hours and a quarter, during which a powerful fleet of aeroplanes consisting of three types of German types, Junkers and Heinkel bombers, did not cease unloading on the town bombs weighing from 1,000 lbs. downwards and, it is calculated, more than 3,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged low from above the centre of the town to machinegun those of the civilian population who had taken refuge in the fields."
Picasso lived in Paris during its World War II German occupation. A widely repeated story is that a German officer saw a photo of Guernica in Picasso's apartment and asked, "Did you do that?", and Picasso responded, "No, you did." | [
"German occupation",
"George Steer",
"town",
"The Times",
"Pablo Picasso",
"Guernica",
"Paris",
"The New York Times",
"Rudolf Arnheim",
"L'Humanité",
"Picasso"
] |
|
16257_T | Guernica (Picasso) | Focus on Guernica (Picasso) and explain the Creation. | Guernica was painted using a matte house paint specially formulated at Picasso's request to have the least possible gloss. American artist John Ferren assisted him in preparing the monumental canvas, and photographer Dora Maar, who had been working with Picasso since mid-1936 photographing his studio and teaching him the technique of cameraless photography, documented its creation. Apart from their documentary and publicity value, Maar's photographs "helped Picasso to eschew color and give the work the black-and-white immediacy of a photograph", according to art historian John Richardson.Picasso, who rarely allowed strangers into his studio to watch him work, admitted influential visitors to observe his progress on Guernica, believing that the publicity would help the antifascist cause. As his work on the mural progressed, Picasso explained: "The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death."Picasso worked on the painting for 35 days, and finished it on 4 June 1937. | [
"Dora Maar",
"Spain",
"John Ferren",
"Guernica",
"mural",
"cameraless photography",
"Picasso",
"John Richardson"
] |
|
16257_NT | Guernica (Picasso) | Focus on this artwork and explain the Creation. | Guernica was painted using a matte house paint specially formulated at Picasso's request to have the least possible gloss. American artist John Ferren assisted him in preparing the monumental canvas, and photographer Dora Maar, who had been working with Picasso since mid-1936 photographing his studio and teaching him the technique of cameraless photography, documented its creation. Apart from their documentary and publicity value, Maar's photographs "helped Picasso to eschew color and give the work the black-and-white immediacy of a photograph", according to art historian John Richardson.Picasso, who rarely allowed strangers into his studio to watch him work, admitted influential visitors to observe his progress on Guernica, believing that the publicity would help the antifascist cause. As his work on the mural progressed, Picasso explained: "The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death."Picasso worked on the painting for 35 days, and finished it on 4 June 1937. | [
"Dora Maar",
"Spain",
"John Ferren",
"Guernica",
"mural",
"cameraless photography",
"Picasso",
"John Richardson"
] |
|
16258_T | Guernica (Picasso) | Explore the Composition of this artwork, Guernica (Picasso). | The scene occurs within a large room. On the left, a wide-eyed bull, with a tail suggesting rising flame and smoke as if seen through a window, stands over a grieving woman holding a dead child in her arms. The woman's head is thrown back and her mouth is wide open. A horse falls in agony in the center of the room, with a large gaping hole in its side, as if it had just been run through by a spear or javelin. The horse appears to be wearing chain mail armor, decorated with vertical tally marks arranged in rows.
A dead and dismembered soldier lies under the horse. The hand of his severed right arm grasps a shattered sword, from which a flower grows. The open palm of his left hand contains a stigma, a symbol of martyrdom derived from the stigmata of Christ. A bare light bulb in the shape of an all-seeing eye blazes over the suffering horse's head.
To the horse's upper right a frightened woman's head and extended right arm reach through a window. As she witnesses the scene she carries a flame-lit lamp in her right hand, and holds it near the bare bulb. Below her a woman in shock staggers from the right towards the center while looking into the blazing light bulb with a blank stare.
Daggers that suggest screaming have replaced the tongues of the horse, the bull, and the grieving woman. To the bull's right a dove appears on a cracked wall through which bright light from the outside shines.
On the far right of the room there is a fourth woman, her arms raised in terror. Her wide-open mouth and thrown back head echo the grieving woman's. She is entrapped by fire from above and below, her right hand suggesting the shape of an airplane.
A dark wall with an open door defines the right side of the room.
A "hidden" image formed by the horse appears in Guernica: The horse's nostrils and upper teeth can be seen as a human skull facing left and slightly downward.
Another hidden image is of a bull that appears to gore the horse from underneath. The bull's head is formed mainly by the horse's entire front leg which has the knee on the ground. The leg's knee-cap forms the head's nose. A horn appears within the horse's breast. | [
"stigmata",
"center",
"Christ",
"right",
"all-seeing eye",
"Guernica",
"chain mail"
] |
|
16258_NT | Guernica (Picasso) | Explore the Composition of this artwork. | The scene occurs within a large room. On the left, a wide-eyed bull, with a tail suggesting rising flame and smoke as if seen through a window, stands over a grieving woman holding a dead child in her arms. The woman's head is thrown back and her mouth is wide open. A horse falls in agony in the center of the room, with a large gaping hole in its side, as if it had just been run through by a spear or javelin. The horse appears to be wearing chain mail armor, decorated with vertical tally marks arranged in rows.
A dead and dismembered soldier lies under the horse. The hand of his severed right arm grasps a shattered sword, from which a flower grows. The open palm of his left hand contains a stigma, a symbol of martyrdom derived from the stigmata of Christ. A bare light bulb in the shape of an all-seeing eye blazes over the suffering horse's head.
To the horse's upper right a frightened woman's head and extended right arm reach through a window. As she witnesses the scene she carries a flame-lit lamp in her right hand, and holds it near the bare bulb. Below her a woman in shock staggers from the right towards the center while looking into the blazing light bulb with a blank stare.
Daggers that suggest screaming have replaced the tongues of the horse, the bull, and the grieving woman. To the bull's right a dove appears on a cracked wall through which bright light from the outside shines.
On the far right of the room there is a fourth woman, her arms raised in terror. Her wide-open mouth and thrown back head echo the grieving woman's. She is entrapped by fire from above and below, her right hand suggesting the shape of an airplane.
A dark wall with an open door defines the right side of the room.
A "hidden" image formed by the horse appears in Guernica: The horse's nostrils and upper teeth can be seen as a human skull facing left and slightly downward.
Another hidden image is of a bull that appears to gore the horse from underneath. The bull's head is formed mainly by the horse's entire front leg which has the knee on the ground. The leg's knee-cap forms the head's nose. A horn appears within the horse's breast. | [
"stigmata",
"center",
"Christ",
"right",
"all-seeing eye",
"Guernica",
"chain mail"
] |
|
16259_T | Guernica (Picasso) | Focus on Guernica (Picasso) and discuss the Symbolism and interpretations. | Interpretations of Guernica vary widely and contradict one another. This extends, for example, to the mural's two dominant elements: the bull and the horse. Art historian Patricia Failing said, "The bull and the horse are important characters in Spanish culture. Picasso himself certainly used these characters to play many different roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very tough. Their relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's career."
When pressed to explain the elements in Guernica, Picasso said,...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.
In The Dream and Lie of Franco, a series of narrative sketches Picasso also created for the World's Fair, Franco is depicted as a monster that first devours his own horse and later does battle with an angry bull. Work on these illustrations began before the bombing of Guernica, and four additional panels were added, three of which relate directly to the Guernica mural.
According to scholar Beverly Ray, the following list of interpretations reflects the general consensus of historians: "The shape and posture of the bodies express protest"; "Picasso uses black, white, and grey paint to set a somber mood and express pain and chaos"; "flaming buildings and crumbling walls not only express the destruction of Guernica, but reflect the destructive power of civil war"; "the newspaper print used in the painting reflects how Picasso learned of the massacre"; "The light bulb in the painting represents the sun"; and "The broken sword near the bottom of the painting symbolizes the defeat of the people at the hand of their tormentors".Alejandro Escalona said, "The chaos unfolding seems to happen in closed quarters provoking an intense feeling of oppression. There is no way out of the nightmarish cityscape. The absence of color makes the violent scene developing right before your eyes even more horrifying. The blacks, whites, and grays startle you—especially because you are used to see war images broadcast live and in high-definition right to your living room."In drawing attention to a number of preliminary studies, the so-called primary project, that show an atelier installation incorporating the central triangular shape which reappears in the final version of Guernica, Becht-Jördens and Wehmeier interpret the painting as a self-referential composition in the tradition of atelier paintings such as Las Meninas by Diego Velázquez. In his chef d'oeuvre, Picasso seems to be trying to define his role and his power as an artist in the face of political power and violence. But far from being a mere political painting, Guernica should be seen as Picasso's comment on what art can actually contribute towards the self-assertion that liberates every human being and protects the individual against overwhelming forces such as political crime, war, violence and death. | [
"bombing of Guernica",
"Las Meninas",
"right",
"The Dream and Lie of Franco",
"Guernica",
"Franco",
"Diego Velázquez",
"mural",
"Picasso"
] |
|
16259_NT | Guernica (Picasso) | Focus on this artwork and discuss the Symbolism and interpretations. | Interpretations of Guernica vary widely and contradict one another. This extends, for example, to the mural's two dominant elements: the bull and the horse. Art historian Patricia Failing said, "The bull and the horse are important characters in Spanish culture. Picasso himself certainly used these characters to play many different roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very tough. Their relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's career."
When pressed to explain the elements in Guernica, Picasso said,...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.
In The Dream and Lie of Franco, a series of narrative sketches Picasso also created for the World's Fair, Franco is depicted as a monster that first devours his own horse and later does battle with an angry bull. Work on these illustrations began before the bombing of Guernica, and four additional panels were added, three of which relate directly to the Guernica mural.
According to scholar Beverly Ray, the following list of interpretations reflects the general consensus of historians: "The shape and posture of the bodies express protest"; "Picasso uses black, white, and grey paint to set a somber mood and express pain and chaos"; "flaming buildings and crumbling walls not only express the destruction of Guernica, but reflect the destructive power of civil war"; "the newspaper print used in the painting reflects how Picasso learned of the massacre"; "The light bulb in the painting represents the sun"; and "The broken sword near the bottom of the painting symbolizes the defeat of the people at the hand of their tormentors".Alejandro Escalona said, "The chaos unfolding seems to happen in closed quarters provoking an intense feeling of oppression. There is no way out of the nightmarish cityscape. The absence of color makes the violent scene developing right before your eyes even more horrifying. The blacks, whites, and grays startle you—especially because you are used to see war images broadcast live and in high-definition right to your living room."In drawing attention to a number of preliminary studies, the so-called primary project, that show an atelier installation incorporating the central triangular shape which reappears in the final version of Guernica, Becht-Jördens and Wehmeier interpret the painting as a self-referential composition in the tradition of atelier paintings such as Las Meninas by Diego Velázquez. In his chef d'oeuvre, Picasso seems to be trying to define his role and his power as an artist in the face of political power and violence. But far from being a mere political painting, Guernica should be seen as Picasso's comment on what art can actually contribute towards the self-assertion that liberates every human being and protects the individual against overwhelming forces such as political crime, war, violence and death. | [
"bombing of Guernica",
"Las Meninas",
"right",
"The Dream and Lie of Franco",
"Guernica",
"Franco",
"Diego Velázquez",
"mural",
"Picasso"
] |
|
16260_T | Guernica (Picasso) | In the context of Guernica (Picasso), analyze the 1937 Paris International Exhibition of the Exhibition. | Guernica was unveiled and initially exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, where Nazi Germany and the Soviet Union had huge pavilions. The Pavilion, which was financed by the Spanish Republican government at the time of civil war, was built to exhibit the Spanish government's struggle for existence contrary to the Exposition's technology theme. The Pavilion's entrance presented an enormous photographic mural of Republican soldiers accompanied by the slogan:We are fighting for the essential unity of Spain.
We are fighting for the integrity of Spanish soil.
We are fighting for the independence of our country and for the right of the Spanish people to determine their own destiny.The display of Guernica was accompanied by a poem by Paul Éluard, and the pavilion displayed The Reaper by Joan Miró and Mercury Fountain by Alexander Calder, both of whom were sympathetic to the Republican cause.At Guernica's Paris Exhibition unveiling it garnered little attention. The public's reaction to the painting was mixed. Max Aub, one of the officials in charge of the Spanish pavilion, was compelled to defend the work against a group of Spanish officials who objected to the mural's modernist style and sought to replace it with a more traditional painting that was also commissioned for the exhibition, Madrid 1937 (Black Aeroplanes) by Horacio Ferrer de Morgado. Some Marxist groups criticized Picasso's painting as lacking in political commitment, and faulted it for not offering a vision of a better future. In contrast, Morgado's painting was a great success with Spanish Communists and with the public. The art critic Clement Greenberg was also critical of Guernica, and in a later essay he termed the painting "jerky" and "too compressed for its size", and compared it unfavorably to the "magnificently lyrical" The Charnel House (1944–1948), a later antiwar painting by Picasso.Among the painting's admirers were art critic Jean Cassou and poet José Bergamín, both of whom praised the painting as quintessentially Spanish. Michel Leiris perceived in Guernica a foreshadowing: "On a black and white canvas that depicts ancient tragedy ... Picasso also writes our letter of doom: all that we love is going to be lost..." Jean Cocteau also praised the painting and declared it a cross that "[General] Franco would always carry on his shoulder." | [
"Jean Cassou",
"Clement Greenberg",
"Joan Miró",
"Spain",
"right",
"Nazi Germany",
"Paris International Exposition",
"The Charnel House",
"Max Aub",
"José Bergamín",
"Madrid",
"Michel Leiris",
"Guernica",
"Franco",
"mural",
"Paris",
"Jean Cocteau",
"Alexander Calder",
"The Reaper",
"Mercury Fountain",
"Spanish Republican",
"Picasso",
"Paul Éluard"
] |
|
16260_NT | Guernica (Picasso) | In the context of this artwork, analyze the 1937 Paris International Exhibition of the Exhibition. | Guernica was unveiled and initially exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, where Nazi Germany and the Soviet Union had huge pavilions. The Pavilion, which was financed by the Spanish Republican government at the time of civil war, was built to exhibit the Spanish government's struggle for existence contrary to the Exposition's technology theme. The Pavilion's entrance presented an enormous photographic mural of Republican soldiers accompanied by the slogan:We are fighting for the essential unity of Spain.
We are fighting for the integrity of Spanish soil.
We are fighting for the independence of our country and for the right of the Spanish people to determine their own destiny.The display of Guernica was accompanied by a poem by Paul Éluard, and the pavilion displayed The Reaper by Joan Miró and Mercury Fountain by Alexander Calder, both of whom were sympathetic to the Republican cause.At Guernica's Paris Exhibition unveiling it garnered little attention. The public's reaction to the painting was mixed. Max Aub, one of the officials in charge of the Spanish pavilion, was compelled to defend the work against a group of Spanish officials who objected to the mural's modernist style and sought to replace it with a more traditional painting that was also commissioned for the exhibition, Madrid 1937 (Black Aeroplanes) by Horacio Ferrer de Morgado. Some Marxist groups criticized Picasso's painting as lacking in political commitment, and faulted it for not offering a vision of a better future. In contrast, Morgado's painting was a great success with Spanish Communists and with the public. The art critic Clement Greenberg was also critical of Guernica, and in a later essay he termed the painting "jerky" and "too compressed for its size", and compared it unfavorably to the "magnificently lyrical" The Charnel House (1944–1948), a later antiwar painting by Picasso.Among the painting's admirers were art critic Jean Cassou and poet José Bergamín, both of whom praised the painting as quintessentially Spanish. Michel Leiris perceived in Guernica a foreshadowing: "On a black and white canvas that depicts ancient tragedy ... Picasso also writes our letter of doom: all that we love is going to be lost..." Jean Cocteau also praised the painting and declared it a cross that "[General] Franco would always carry on his shoulder." | [
"Jean Cassou",
"Clement Greenberg",
"Joan Miró",
"Spain",
"right",
"Nazi Germany",
"Paris International Exposition",
"The Charnel House",
"Max Aub",
"José Bergamín",
"Madrid",
"Michel Leiris",
"Guernica",
"Franco",
"mural",
"Paris",
"Jean Cocteau",
"Alexander Calder",
"The Reaper",
"Mercury Fountain",
"Spanish Republican",
"Picasso",
"Paul Éluard"
] |
|
16261_T | Guernica (Picasso) | Describe the characteristics of the European tour in Guernica (Picasso)'s Exhibition. | Guernica, for which Picasso was paid 150,000 francs for his costs by the Spanish Republican government, was one of the few major paintings that Picasso did not sell directly to his exclusive contracted art dealer and friend, Paul Rosenberg. However, after its exhibition Rosenberg organised a four-man extravaganza Scandinavian tour of 118 works by Picasso, Matisse, Braque, and Henri Laurens. The tour's main attraction was Guernica.From January to April 1938 the tour visited Oslo, Copenhagen, Stockholm, and Göteborg. Starting in late September Guernica was exhibited in London's Whitechapel Art Gallery. This stop was organized by Sir Roland Penrose with Labour Party leader Clement Attlee, and the painting arrived in London on 30 September, the same day the Munich Agreement was signed by the leaders of the United Kingdom, France, Italy, and Germany. It then travelled to Leeds, Liverpool, and, in early 1939, Manchester. There, Manchester Foodship For Spain, a group of artists and activists engaged in sending aid to the people of Spain, exhibited the painting in the HE Nunn & Co Ford automobile showroom for two weeks. Guernica then returned briefly to France. | [
"Whitechapel Art Gallery",
"Sir Roland Penrose",
"Munich Agreement",
"Roland Penrose",
"Liverpool",
"Spain",
"Clement Attlee",
"Göteborg",
"art dealer",
"Stockholm",
"Copenhagen",
"Henri Laurens",
"Matisse",
"Oslo",
"Guernica",
"Leeds",
"London",
"Spanish Republican",
"Manchester",
"Paul Rosenberg",
"Picasso",
"Scandinavia",
"Braque"
] |
|
16261_NT | Guernica (Picasso) | Describe the characteristics of the European tour in this artwork's Exhibition. | Guernica, for which Picasso was paid 150,000 francs for his costs by the Spanish Republican government, was one of the few major paintings that Picasso did not sell directly to his exclusive contracted art dealer and friend, Paul Rosenberg. However, after its exhibition Rosenberg organised a four-man extravaganza Scandinavian tour of 118 works by Picasso, Matisse, Braque, and Henri Laurens. The tour's main attraction was Guernica.From January to April 1938 the tour visited Oslo, Copenhagen, Stockholm, and Göteborg. Starting in late September Guernica was exhibited in London's Whitechapel Art Gallery. This stop was organized by Sir Roland Penrose with Labour Party leader Clement Attlee, and the painting arrived in London on 30 September, the same day the Munich Agreement was signed by the leaders of the United Kingdom, France, Italy, and Germany. It then travelled to Leeds, Liverpool, and, in early 1939, Manchester. There, Manchester Foodship For Spain, a group of artists and activists engaged in sending aid to the people of Spain, exhibited the painting in the HE Nunn & Co Ford automobile showroom for two weeks. Guernica then returned briefly to France. | [
"Whitechapel Art Gallery",
"Sir Roland Penrose",
"Munich Agreement",
"Roland Penrose",
"Liverpool",
"Spain",
"Clement Attlee",
"Göteborg",
"art dealer",
"Stockholm",
"Copenhagen",
"Henri Laurens",
"Matisse",
"Oslo",
"Guernica",
"Leeds",
"London",
"Spanish Republican",
"Manchester",
"Paul Rosenberg",
"Picasso",
"Scandinavia",
"Braque"
] |
|
16262_T | Guernica (Picasso) | In the context of Guernica (Picasso), explore the American tour of the Exhibition. | After Francisco Franco's victory in Spain, Guernica was sent to the United States to raise funds and support for Spanish refugees. It was first shown at the Valentine Gallery in New York City in May 1939. The San Francisco Museum of Art (later renamed the San Francisco Museum of Modern Art) gave the work its first museum appearance in the United States from 27 August to 19 September 1939. New York's Museum of Modern Art (MoMA) then mounted an exhibition from 15 November until 7 January 1940, entitled: Picasso: 40 Years of His Art. The exhibition, which was organized by MoMA's director Alfred H. Barr in collaboration with the Art Institute of Chicago, contained 344 works, including Guernica and its studies.At Picasso's request the safekeeping of Guernica was then entrusted to the Museum of Modern Art, and it was his expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country. Between 1939 and 1952, Guernica traveled extensively in the United States. Between 1941 and 1942, it was exhibited at Harvard University's Fogg Museum twice.Between 1953 and 1956 it was shown in Brazil, then at the first Picasso retrospective in Milan, Italy, and then in numerous other major European cities before returning to MoMA for a retrospective celebrating Picasso's 75th birthday. It then went to Chicago and Philadelphia. By this time, concern for the state of the painting resulted in a decision to keep it in one place: a room on MoMA's third floor, where it was accompanied by several of Picasso's preliminary studies and some of Dora Maar's photographs of the work in progress. The studies and photos were often loaned for other exhibitions, but until 1981, Guernica itself remained at MoMA.During the Vietnam War, the room containing the painting became the site of occasional anti-war vigils. These were usually peaceful and uneventful, but on 28 February 1974, Tony Shafrazi—ostensibly protesting Second Lieutenant William Calley's petition for habeas corpus following his indictment and sentencing for the murder of 109 Vietnamese civilians during the My Lai massacre—defaced the painting with red spray paint, painting the words "KILL LIES ALL". The paint was removed with relative ease from the varnished surface. | [
"Dora Maar",
"Art Institute of Chicago",
"Milan",
"My Lai massacre",
"Chicago",
"Spain",
"anti-war",
"Francisco Franco",
"William Calley",
"Fogg Museum",
"Tony Shafrazi",
"Vietnam War",
"Museum of Modern Art",
"New York City",
"Guernica",
"Franco",
"Brazil",
"San Francisco Museum of Modern Art",
"Philadelphia",
"Picasso",
"Alfred H. Barr"
] |
|
16262_NT | Guernica (Picasso) | In the context of this artwork, explore the American tour of the Exhibition. | After Francisco Franco's victory in Spain, Guernica was sent to the United States to raise funds and support for Spanish refugees. It was first shown at the Valentine Gallery in New York City in May 1939. The San Francisco Museum of Art (later renamed the San Francisco Museum of Modern Art) gave the work its first museum appearance in the United States from 27 August to 19 September 1939. New York's Museum of Modern Art (MoMA) then mounted an exhibition from 15 November until 7 January 1940, entitled: Picasso: 40 Years of His Art. The exhibition, which was organized by MoMA's director Alfred H. Barr in collaboration with the Art Institute of Chicago, contained 344 works, including Guernica and its studies.At Picasso's request the safekeeping of Guernica was then entrusted to the Museum of Modern Art, and it was his expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country. Between 1939 and 1952, Guernica traveled extensively in the United States. Between 1941 and 1942, it was exhibited at Harvard University's Fogg Museum twice.Between 1953 and 1956 it was shown in Brazil, then at the first Picasso retrospective in Milan, Italy, and then in numerous other major European cities before returning to MoMA for a retrospective celebrating Picasso's 75th birthday. It then went to Chicago and Philadelphia. By this time, concern for the state of the painting resulted in a decision to keep it in one place: a room on MoMA's third floor, where it was accompanied by several of Picasso's preliminary studies and some of Dora Maar's photographs of the work in progress. The studies and photos were often loaned for other exhibitions, but until 1981, Guernica itself remained at MoMA.During the Vietnam War, the room containing the painting became the site of occasional anti-war vigils. These were usually peaceful and uneventful, but on 28 February 1974, Tony Shafrazi—ostensibly protesting Second Lieutenant William Calley's petition for habeas corpus following his indictment and sentencing for the murder of 109 Vietnamese civilians during the My Lai massacre—defaced the painting with red spray paint, painting the words "KILL LIES ALL". The paint was removed with relative ease from the varnished surface. | [
"Dora Maar",
"Art Institute of Chicago",
"Milan",
"My Lai massacre",
"Chicago",
"Spain",
"anti-war",
"Francisco Franco",
"William Calley",
"Fogg Museum",
"Tony Shafrazi",
"Vietnam War",
"Museum of Modern Art",
"New York City",
"Guernica",
"Franco",
"Brazil",
"San Francisco Museum of Modern Art",
"Philadelphia",
"Picasso",
"Alfred H. Barr"
] |
|
16263_T | Guernica (Picasso) | Focus on Guernica (Picasso) and explain the Establishment in Spain. | As early as 1968, Franco had expressed an interest in having Guernica come to Spain. However, Picasso refused to allow this until the Spanish people again enjoyed a republic. He later added other conditions, such as the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso's junior, died two years later, in 1975. After Franco's death, Spain was transformed into a democratic constitutional monarchy, ratified by a new constitution in 1978. However, MoMA was reluctant to give up one of its greatest treasures and argued that a monarchy did not represent the republic that had been stipulated in Picasso's will as a condition for the painting's delivery. Under great pressure from a number of observers, MoMA finally ceded the painting to Spain in 1981. The Spanish historian Javier Tusell was one of the negotiators.Upon its arrival in Spain in September 1981, it was first displayed behind bomb-and bullet-proof glass screens at the Casón del Buen Retiro in Madrid in time to celebrate the centenary of Picasso's birth, 25 October. The exhibition was visited by almost a million people in the first year. Since that time there has never been any attempted vandalism or other security threat to the painting.In 1992, the painting was moved from the Museo del Prado to a purpose-built gallery at the Museo Nacional Centro de Arte Reina Sofía, both in Madrid, along with about two dozen preparatory works. This action was controversial in Spain, since Picasso's will stated that the painting should be displayed at the Prado. However, the move was part of a transfer of all of the Prado's collections of art after the early 19th century to other nearby buildings in the city for reasons of space; the Reina Sofía, which houses the capital's national collection of 20th-century art, was the natural place to move it to.
At the Reina Sofía, the painting has roughly the same protection as any other work.Basque nationalists have advocated that the picture be brought to the Basque Country, especially after the building of the Guggenheim Bilbao Museum. Officials at the Reina Sofía claim that the canvas is now thought to be too fragile to move. Even the staff of the Guggenheim do not see a permanent transfer of the painting as possible, although the Basque government continues to support the possibility of a temporary exhibition in Bilbao. | [
"Bilbao",
"Casón del Buen Retiro",
"Museo del Prado",
"Spain",
"Museo Nacional Centro de Arte Reina Sofía",
"Javier Tusell",
"Basque Country",
"Guggenheim Bilbao Museum",
"Madrid",
"Guernica",
"Franco",
"constitutional monarchy",
"Picasso",
"Basque nationalists",
"a new constitution"
] |
|
16263_NT | Guernica (Picasso) | Focus on this artwork and explain the Establishment in Spain. | As early as 1968, Franco had expressed an interest in having Guernica come to Spain. However, Picasso refused to allow this until the Spanish people again enjoyed a republic. He later added other conditions, such as the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso's junior, died two years later, in 1975. After Franco's death, Spain was transformed into a democratic constitutional monarchy, ratified by a new constitution in 1978. However, MoMA was reluctant to give up one of its greatest treasures and argued that a monarchy did not represent the republic that had been stipulated in Picasso's will as a condition for the painting's delivery. Under great pressure from a number of observers, MoMA finally ceded the painting to Spain in 1981. The Spanish historian Javier Tusell was one of the negotiators.Upon its arrival in Spain in September 1981, it was first displayed behind bomb-and bullet-proof glass screens at the Casón del Buen Retiro in Madrid in time to celebrate the centenary of Picasso's birth, 25 October. The exhibition was visited by almost a million people in the first year. Since that time there has never been any attempted vandalism or other security threat to the painting.In 1992, the painting was moved from the Museo del Prado to a purpose-built gallery at the Museo Nacional Centro de Arte Reina Sofía, both in Madrid, along with about two dozen preparatory works. This action was controversial in Spain, since Picasso's will stated that the painting should be displayed at the Prado. However, the move was part of a transfer of all of the Prado's collections of art after the early 19th century to other nearby buildings in the city for reasons of space; the Reina Sofía, which houses the capital's national collection of 20th-century art, was the natural place to move it to.
At the Reina Sofía, the painting has roughly the same protection as any other work.Basque nationalists have advocated that the picture be brought to the Basque Country, especially after the building of the Guggenheim Bilbao Museum. Officials at the Reina Sofía claim that the canvas is now thought to be too fragile to move. Even the staff of the Guggenheim do not see a permanent transfer of the painting as possible, although the Basque government continues to support the possibility of a temporary exhibition in Bilbao. | [
"Bilbao",
"Casón del Buen Retiro",
"Museo del Prado",
"Spain",
"Museo Nacional Centro de Arte Reina Sofía",
"Javier Tusell",
"Basque Country",
"Guggenheim Bilbao Museum",
"Madrid",
"Guernica",
"Franco",
"constitutional monarchy",
"Picasso",
"Basque nationalists",
"a new constitution"
] |
|
16264_T | Guernica (Picasso) | Explore the Tapestry at the United Nations of this artwork, Guernica (Picasso). | A full-size tapestry copy of Picasso's Guernica, by Jacqueline de la Baume Dürrbach, hangs at the Headquarters of the United Nations in New York City at the entrance to the Security Council room. It is less monochromatic than the original and uses several shades of brown.
The Guernica tapestry was first displayed from 1985 to 2009, and returned in 2015. Originally commissioned in 1955 by Nelson Rockefeller, since Picasso refused to sell him the original, the tapestry was placed on loan to the United Nations by the Rockefeller estate in 1985.On 5 February 2003 a large blue curtain was placed to cover over the work at the UN, so that it would not be visible in the background during press conferences by Colin Powell and John Negroponte as they were arguing in favor of war on Iraq. On the following day, UN officials claimed that the curtain was placed there at the request of television news crews, who had complained that the wild lines and screaming figures made for a bad backdrop, and that a horse's hindquarters appeared just above the faces of any speakers. Some diplomats, however, in talks with journalists claimed that the Bush administration pressured UN officials to cover the tapestry, rather than have it in the background while Powell or other US diplomats argued for war on Iraq. In a critique of the covering, columnist Alejandro Escalona hypothesized that Guernica's "unappealing ménage of mutilated bodies and distorted faces proved to be too strong for articulating to the world why the US was going to war in Iraq", while referring to the work as "an inconvenient masterpiece".On 17 March 2009, Deputy Spokesperson for the Secretary-General Marie Okabe announced that the Guernica tapestry had been moved to a gallery in London in advance of extensive renovations at UN Headquarters. The Guernica tapestry was the showcase piece for the grand reopening of the Whitechapel Gallery. It was located in the 'Guernica room' which was originally part of the old Whitechapel Library. In 2012 the tapestry was on loan from the Rockefeller family to the San Antonio Museum of Art in San Antonio, Texas. It was returned to the UN by March 2015. Nelson A. Rockefeller Jr., the owner of the tapestry, took it back in February 2021. In February 2022, it was returned to the wall outside the UN Security Council. | [
"San Antonio, Texas",
"Whitechapel Gallery",
"Headquarters of the United Nations",
"Colin Powell",
"John Negroponte",
"tapestry",
"Security Council",
"San Antonio Museum of Art",
"New York City",
"Guernica",
"London",
"Nelson Rockefeller",
"Tapestry",
"Picasso",
"Jacqueline de la Baume Dürrbach",
"San Antonio"
] |
|
16264_NT | Guernica (Picasso) | Explore the Tapestry at the United Nations of this artwork. | A full-size tapestry copy of Picasso's Guernica, by Jacqueline de la Baume Dürrbach, hangs at the Headquarters of the United Nations in New York City at the entrance to the Security Council room. It is less monochromatic than the original and uses several shades of brown.
The Guernica tapestry was first displayed from 1985 to 2009, and returned in 2015. Originally commissioned in 1955 by Nelson Rockefeller, since Picasso refused to sell him the original, the tapestry was placed on loan to the United Nations by the Rockefeller estate in 1985.On 5 February 2003 a large blue curtain was placed to cover over the work at the UN, so that it would not be visible in the background during press conferences by Colin Powell and John Negroponte as they were arguing in favor of war on Iraq. On the following day, UN officials claimed that the curtain was placed there at the request of television news crews, who had complained that the wild lines and screaming figures made for a bad backdrop, and that a horse's hindquarters appeared just above the faces of any speakers. Some diplomats, however, in talks with journalists claimed that the Bush administration pressured UN officials to cover the tapestry, rather than have it in the background while Powell or other US diplomats argued for war on Iraq. In a critique of the covering, columnist Alejandro Escalona hypothesized that Guernica's "unappealing ménage of mutilated bodies and distorted faces proved to be too strong for articulating to the world why the US was going to war in Iraq", while referring to the work as "an inconvenient masterpiece".On 17 March 2009, Deputy Spokesperson for the Secretary-General Marie Okabe announced that the Guernica tapestry had been moved to a gallery in London in advance of extensive renovations at UN Headquarters. The Guernica tapestry was the showcase piece for the grand reopening of the Whitechapel Gallery. It was located in the 'Guernica room' which was originally part of the old Whitechapel Library. In 2012 the tapestry was on loan from the Rockefeller family to the San Antonio Museum of Art in San Antonio, Texas. It was returned to the UN by March 2015. Nelson A. Rockefeller Jr., the owner of the tapestry, took it back in February 2021. In February 2022, it was returned to the wall outside the UN Security Council. | [
"San Antonio, Texas",
"Whitechapel Gallery",
"Headquarters of the United Nations",
"Colin Powell",
"John Negroponte",
"tapestry",
"Security Council",
"San Antonio Museum of Art",
"New York City",
"Guernica",
"London",
"Nelson Rockefeller",
"Tapestry",
"Picasso",
"Jacqueline de la Baume Dürrbach",
"San Antonio"
] |
|
16265_T | Guernica (Picasso) | Focus on Guernica (Picasso) and discuss the Significance and legacy. | During the 1970s, Guernica was a symbol for Spaniards of both the end of the Franco regime following Franco's death and of Basque nationalism. The Basque left has repeatedly used imagery from the picture. An example is the organization Etxerat, which uses a reversed image of the lamp as its symbol. Guernica has since become a universal and powerful symbol warning humanity against the suffering and devastation of war. There are no obvious references to the specific attack, making its message universal and timeless.Art historian and curator W. J. H. B. Sandberg argued in Daedalus in 1960 that Picasso pioneered a “new language” combining expressionistic and cubist techniques in Guernica. Sandberg wrote that Guernica conveyed an “expressionistic message” in its focus on the inhumanity of the air raid, while using "the language of cubism". For Sandberg, the work's defining cubist features included its use of diagonals, which rendered the painting's setting "ambiguous, unreal, inside and outside at the same time". In 2016, the British art critic Jonathan Jones called the painting a "Cubist apocalypse" and stated that Picasso "was trying to show the truth so viscerally and permanently that it could outstare the daily lies of the age of dictators".Works inspired by Guernica include Faith Ringgold's 1967 painting The American People Series #20: Die; Goshka Macuga's The Nature of the Beast (2009–2010), which used the Whitechapel-hosted United Nations Guernica tapestry; The Keiskamma Guernicas (2010–2017); and Erica Luckert's theatrical production of Guernica (2011–2012). Art and design historian Dr Nicola Ashmore curated an exhibition, Guernica Remakings, at the University of Brighton galleries from 29 July 2017 to 23 August 2017. | [
"right",
"tapestry",
"Goshka Macuga",
"Jonathan Jones",
"Etxerat",
"The American People Series #20: Die",
"Basque left",
"Guernica",
"Basque nationalism",
"Franco",
"Picasso",
"Faith Ringgold",
"University of Brighton",
"W. J. H. B. Sandberg",
"Daedalus"
] |
|
16265_NT | Guernica (Picasso) | Focus on this artwork and discuss the Significance and legacy. | During the 1970s, Guernica was a symbol for Spaniards of both the end of the Franco regime following Franco's death and of Basque nationalism. The Basque left has repeatedly used imagery from the picture. An example is the organization Etxerat, which uses a reversed image of the lamp as its symbol. Guernica has since become a universal and powerful symbol warning humanity against the suffering and devastation of war. There are no obvious references to the specific attack, making its message universal and timeless.Art historian and curator W. J. H. B. Sandberg argued in Daedalus in 1960 that Picasso pioneered a “new language” combining expressionistic and cubist techniques in Guernica. Sandberg wrote that Guernica conveyed an “expressionistic message” in its focus on the inhumanity of the air raid, while using "the language of cubism". For Sandberg, the work's defining cubist features included its use of diagonals, which rendered the painting's setting "ambiguous, unreal, inside and outside at the same time". In 2016, the British art critic Jonathan Jones called the painting a "Cubist apocalypse" and stated that Picasso "was trying to show the truth so viscerally and permanently that it could outstare the daily lies of the age of dictators".Works inspired by Guernica include Faith Ringgold's 1967 painting The American People Series #20: Die; Goshka Macuga's The Nature of the Beast (2009–2010), which used the Whitechapel-hosted United Nations Guernica tapestry; The Keiskamma Guernicas (2010–2017); and Erica Luckert's theatrical production of Guernica (2011–2012). Art and design historian Dr Nicola Ashmore curated an exhibition, Guernica Remakings, at the University of Brighton galleries from 29 July 2017 to 23 August 2017. | [
"right",
"tapestry",
"Goshka Macuga",
"Jonathan Jones",
"Etxerat",
"The American People Series #20: Die",
"Basque left",
"Guernica",
"Basque nationalism",
"Franco",
"Picasso",
"Faith Ringgold",
"University of Brighton",
"W. J. H. B. Sandberg",
"Daedalus"
] |
|
16266_T | Sud Obelisk | Focus on Sud Obelisk and analyze the abstract. | Sud Obelisk is a public artwork in Douala, Cameroon, created by Faouzi Laatiris. The work is an engraved obelisk. | [
"Cameroon",
"Faouzi Laatiris",
"Douala",
"Obelisk",
"obelisk",
"public art"
] |
|
16266_NT | Sud Obelisk | Focus on this artwork and analyze the abstract. | Sud Obelisk is a public artwork in Douala, Cameroon, created by Faouzi Laatiris. The work is an engraved obelisk. | [
"Cameroon",
"Faouzi Laatiris",
"Douala",
"Obelisk",
"obelisk",
"public art"
] |
|
16267_T | Sud Obelisk | In Sud Obelisk, how is the Description discussed? | The artwork is an obelisk, which appears directly from the ground without basing. Realized in reinforced concrete, it is covered with black marble, and covered with golden brass. On one side, names of the city and other places in the world are engraved in Latin characters and Arabic calligraphy, which are endowed with obelisks and are reference places of art.
The obelisk, belonging to the vocabulary of classical Egyptian architecture, is the most elaborate shape of universal rites of raised stones. Such monuments, of classic, modern or contemporary periods decorate most of the Western and African metropolises today. Sud Obelisk, also makes reference to the burial, which as a rite is an integral part of Cameroonian life.
Sud Obelisk was inaugurated during the Salon Urbain de Douala - SUD 2007. | [
"rite",
"Cameroon",
"concrete",
"marble",
"Salon Urbain de Douala - SUD 2007",
"Douala",
"Obelisk",
"obelisk",
"burial",
"brass"
] |
|
16267_NT | Sud Obelisk | In this artwork, how is the Description discussed? | The artwork is an obelisk, which appears directly from the ground without basing. Realized in reinforced concrete, it is covered with black marble, and covered with golden brass. On one side, names of the city and other places in the world are engraved in Latin characters and Arabic calligraphy, which are endowed with obelisks and are reference places of art.
The obelisk, belonging to the vocabulary of classical Egyptian architecture, is the most elaborate shape of universal rites of raised stones. Such monuments, of classic, modern or contemporary periods decorate most of the Western and African metropolises today. Sud Obelisk, also makes reference to the burial, which as a rite is an integral part of Cameroonian life.
Sud Obelisk was inaugurated during the Salon Urbain de Douala - SUD 2007. | [
"rite",
"Cameroon",
"concrete",
"marble",
"Salon Urbain de Douala - SUD 2007",
"Douala",
"Obelisk",
"obelisk",
"burial",
"brass"
] |
|
16268_T | The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola | Focus on The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola and explore the abstract. | The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola is a painting by Canaletto in the J. Paul Getty Museum in Los Angeles, California. Painted around 1738, it may have been commissioned by the English merchant and art collector Joseph Smith (1682–1770). | [
"Grand Canal",
"Los Angeles, California",
"Los Angeles",
"J. Paul Getty Museum",
"Joseph Smith (1682–1770)",
"Canaletto",
"Palazzo Flangini",
"Getty Museum"
] |
|
16268_NT | The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola | Focus on this artwork and explore the abstract. | The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola is a painting by Canaletto in the J. Paul Getty Museum in Los Angeles, California. Painted around 1738, it may have been commissioned by the English merchant and art collector Joseph Smith (1682–1770). | [
"Grand Canal",
"Los Angeles, California",
"Los Angeles",
"J. Paul Getty Museum",
"Joseph Smith (1682–1770)",
"Canaletto",
"Palazzo Flangini",
"Getty Museum"
] |
|
16269_T | The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola | Focus on The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola and explain the Description. | The composition depicts the upper reaches of the Grand Canal near the entrance to the Cannaregio Canal. It is a typical example of the vedute paintings popular with Grand Tour travelers as a visual record of their stay in Venice.
The viewer's vantage point is in the middle of the canal, surrounded by gondolas, barges, and the buildings lining the banks. Many of the structures depicted by Canaletto still stand today, for example Palazzo Flangini, the building at far left, which retains its off-center entrance portal. To the right of the palace, the lantern on the dome of the church of San Geremia is visible, followed by the gabled canonica (rectory) of San Geremia. The trees appearing over a garden wall mark the corner of the Grand Canal and the Cannaregio Canal, which branches off to the left. The garden belongs to Palazzo Labia, the first building on the Cannaregio Canal, adjacent to San Geremia but hidden from view in the painting. The very last building visible in the background of the painting is Palazzo Vendramin Calergi, partly cut off due to the canal's curve to the right.
The painting also records the traghetto, a ferry service using row boats that was the primary means of crossing the Grand Canal prior to the construction of most of the bridges that span it today. One such boat is seen departing from the Riva di Biasio in the foreground at right, while another is prominently shown in the middle of the canal. | [
"Grand Canal",
"gondola",
"Grand Tour",
"Palazzo Labia",
"San Geremia",
"Palazzo Vendramin Calergi",
"Canaletto",
"Palazzo Flangini",
"lantern"
] |
|
16269_NT | The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola | Focus on this artwork and explain the Description. | The composition depicts the upper reaches of the Grand Canal near the entrance to the Cannaregio Canal. It is a typical example of the vedute paintings popular with Grand Tour travelers as a visual record of their stay in Venice.
The viewer's vantage point is in the middle of the canal, surrounded by gondolas, barges, and the buildings lining the banks. Many of the structures depicted by Canaletto still stand today, for example Palazzo Flangini, the building at far left, which retains its off-center entrance portal. To the right of the palace, the lantern on the dome of the church of San Geremia is visible, followed by the gabled canonica (rectory) of San Geremia. The trees appearing over a garden wall mark the corner of the Grand Canal and the Cannaregio Canal, which branches off to the left. The garden belongs to Palazzo Labia, the first building on the Cannaregio Canal, adjacent to San Geremia but hidden from view in the painting. The very last building visible in the background of the painting is Palazzo Vendramin Calergi, partly cut off due to the canal's curve to the right.
The painting also records the traghetto, a ferry service using row boats that was the primary means of crossing the Grand Canal prior to the construction of most of the bridges that span it today. One such boat is seen departing from the Riva di Biasio in the foreground at right, while another is prominently shown in the middle of the canal. | [
"Grand Canal",
"gondola",
"Grand Tour",
"Palazzo Labia",
"San Geremia",
"Palazzo Vendramin Calergi",
"Canaletto",
"Palazzo Flangini",
"lantern"
] |
|
16270_T | The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola | Explore the Related works of this artwork, The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola. | Later versions of this composition are in the Minneapolis Institute of Arts, Grand Canal from Palazzo Flangini to Palazzo Bembo, about 1740, and the Wallace Collection, London, Venice: the Grand Canal from the Palazzo Flangini to San Marcuola, about 1740–1750.Canaletto's nephew Bernardo Bellotto painted an enlarged replica with minor variations around 1740–41. The painting was engraved by Antonio Visentini for the second edition of Venetian views after Canaletto, published in 1742. | [
"Grand Canal",
"Wallace Collection",
"Bernardo Bellotto",
"Minneapolis Institute of Art",
"Antonio Visentini",
"Minneapolis Institute of Arts",
"Canaletto",
"Palazzo Flangini"
] |
|
16270_NT | The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola | Explore the Related works of this artwork. | Later versions of this composition are in the Minneapolis Institute of Arts, Grand Canal from Palazzo Flangini to Palazzo Bembo, about 1740, and the Wallace Collection, London, Venice: the Grand Canal from the Palazzo Flangini to San Marcuola, about 1740–1750.Canaletto's nephew Bernardo Bellotto painted an enlarged replica with minor variations around 1740–41. The painting was engraved by Antonio Visentini for the second edition of Venetian views after Canaletto, published in 1742. | [
"Grand Canal",
"Wallace Collection",
"Bernardo Bellotto",
"Minneapolis Institute of Art",
"Antonio Visentini",
"Minneapolis Institute of Arts",
"Canaletto",
"Palazzo Flangini"
] |
|
16271_T | Diana (Felderhoff) | Focus on Diana (Felderhoff) and discuss the abstract. | Diana is an outdoor 1898 bronze sculpture of Diana by Reinhold Felderhoff, cast in 1910 and installed in the Kolonnadenhof outside the Alte Nationalgalerie in Berlin, Germany. | [
"bronze sculpture",
"Reinhold Felderhoff",
"Diana",
"Alte Nationalgalerie",
"Berlin"
] |
|
16271_NT | Diana (Felderhoff) | Focus on this artwork and discuss the abstract. | Diana is an outdoor 1898 bronze sculpture of Diana by Reinhold Felderhoff, cast in 1910 and installed in the Kolonnadenhof outside the Alte Nationalgalerie in Berlin, Germany. | [
"bronze sculpture",
"Reinhold Felderhoff",
"Diana",
"Alte Nationalgalerie",
"Berlin"
] |
|
16272_T | The Battle of San Jacinto (McArdle) | How does The Battle of San Jacinto (McArdle) elucidate its abstract? | The Battle of San Jacinto refers to at least two paintings by Henry Arthur McArdle, depicting the Battle of San Jacinto. One version, measuring approximately 8 feet (2.4 m) by 14 feet (4.3 m), is installed in the Texas Senate chamber of the Texas State Capitol in Austin, Texas. A smaller oil painting, measuring 5 feet (1.5 m) by 7 feet (2.1 m), was discovered in late 2009; this version is not a copy or study for the monumental painting in the Capitol. | [
"Henry Arthur McArdle",
"Texas State Capitol",
"Austin, Texas",
"Battle of San Jacinto"
] |
|
16272_NT | The Battle of San Jacinto (McArdle) | How does this artwork elucidate its abstract? | The Battle of San Jacinto refers to at least two paintings by Henry Arthur McArdle, depicting the Battle of San Jacinto. One version, measuring approximately 8 feet (2.4 m) by 14 feet (4.3 m), is installed in the Texas Senate chamber of the Texas State Capitol in Austin, Texas. A smaller oil painting, measuring 5 feet (1.5 m) by 7 feet (2.1 m), was discovered in late 2009; this version is not a copy or study for the monumental painting in the Capitol. | [
"Henry Arthur McArdle",
"Texas State Capitol",
"Austin, Texas",
"Battle of San Jacinto"
] |
|
16273_T | Portrait of Gustave Geffroy | Focus on Portrait of Gustave Geffroy and analyze the abstract. | Portrait of Gustave Geffroy is a c. 1895 painting by the French Post-Impressionist artist Paul Cézanne. It portrays Gustave Geffroy, a French novelist and art critic noted as one of the earliest historians of Impressionism. | [
"Impressionism",
"art critic",
"Portrait",
"Gustave Geffroy",
"Post-Impressionist",
"Paul Cézanne"
] |
|
16273_NT | Portrait of Gustave Geffroy | Focus on this artwork and analyze the abstract. | Portrait of Gustave Geffroy is a c. 1895 painting by the French Post-Impressionist artist Paul Cézanne. It portrays Gustave Geffroy, a French novelist and art critic noted as one of the earliest historians of Impressionism. | [
"Impressionism",
"art critic",
"Portrait",
"Gustave Geffroy",
"Post-Impressionist",
"Paul Cézanne"
] |
|
16274_T | Portrait of Gustave Geffroy | In Portrait of Gustave Geffroy, how is the Subject's response discussed? | The painter sent the critic a request in April 1895, after which Geffroy sat for Cézanne daily over a span of three months in the study at his home in Paris. After the three months' time, Cézanne, disappointed with the portrait's results, fled both the painting and Paris itself for his home in Aix-en-Provence. In a July 6 letter to Monet, he explained, "I am a little upset at the meager result I obtained, especially after so many sittings and successive bursts of enthusiasm and despair." It has also been speculated that, despite his words of gratitude in the same letter to Monet noting Geffroy's patience over the three-month span, the artist had built up feelings of resentment, even hostility, toward the critic, causing his abandonment of the project for seclusion in Aix. Reasons for the breakdown in relations on Cézanne's part have been attributed to everything from politics to artistic principles to religion. | [
"portrait",
"Aix-en-Provence",
"Paris"
] |
|
16274_NT | Portrait of Gustave Geffroy | In this artwork, how is the Subject's response discussed? | The painter sent the critic a request in April 1895, after which Geffroy sat for Cézanne daily over a span of three months in the study at his home in Paris. After the three months' time, Cézanne, disappointed with the portrait's results, fled both the painting and Paris itself for his home in Aix-en-Provence. In a July 6 letter to Monet, he explained, "I am a little upset at the meager result I obtained, especially after so many sittings and successive bursts of enthusiasm and despair." It has also been speculated that, despite his words of gratitude in the same letter to Monet noting Geffroy's patience over the three-month span, the artist had built up feelings of resentment, even hostility, toward the critic, causing his abandonment of the project for seclusion in Aix. Reasons for the breakdown in relations on Cézanne's part have been attributed to everything from politics to artistic principles to religion. | [
"portrait",
"Aix-en-Provence",
"Paris"
] |
|
16275_T | Portrait of Gustave Geffroy | Focus on Portrait of Gustave Geffroy and explore the Legacy. | Cézanne was unhappy with the painting and it was never finished, yet Portrait of Gustave Geffroy became a popular retrospective work after his death. Cubist painters were interested in the geometrical dimensions of the bookcase and perspective of vast table space in relation to the rest of the pictorial space. Geffroy noted that Cézanne painted the entire canvas at once, leaving the face and hands for last; they were ultimately unfinished. The portrait has been described as angular, with the figure of Geffroy centered as a pyramidal or triangular figure, and surrounded by shelves, books and figurines complementing and converging on top of his profile. The multiple angles of perspective, particularly with the books both in cases and on the table, have been noted for their "zig-zag" effect on the viewer, creating movement within the painting.The portrait has been noted as the continuation of a recurring Cézanne theme: people in their natural environment, reserved and unimposing, immersed in their everyday tasks. It has also been compared to the earlier Portrait of Duranty by Edgar Degas, from which critics have speculated Cézanne drew inspiration.The painting was donated to the French state in 1969 by the family of collector Auguste Pellerin and is on permanent display at the Musée d'Orsay in Paris. | [
"Edgar Degas",
"Musée d'Orsay",
"Cubist",
"Portrait",
"Gustave Geffroy",
"Auguste Pellerin",
"perspective",
"portrait",
"Paris",
"geometrical"
] |
|
16275_NT | Portrait of Gustave Geffroy | Focus on this artwork and explore the Legacy. | Cézanne was unhappy with the painting and it was never finished, yet Portrait of Gustave Geffroy became a popular retrospective work after his death. Cubist painters were interested in the geometrical dimensions of the bookcase and perspective of vast table space in relation to the rest of the pictorial space. Geffroy noted that Cézanne painted the entire canvas at once, leaving the face and hands for last; they were ultimately unfinished. The portrait has been described as angular, with the figure of Geffroy centered as a pyramidal or triangular figure, and surrounded by shelves, books and figurines complementing and converging on top of his profile. The multiple angles of perspective, particularly with the books both in cases and on the table, have been noted for their "zig-zag" effect on the viewer, creating movement within the painting.The portrait has been noted as the continuation of a recurring Cézanne theme: people in their natural environment, reserved and unimposing, immersed in their everyday tasks. It has also been compared to the earlier Portrait of Duranty by Edgar Degas, from which critics have speculated Cézanne drew inspiration.The painting was donated to the French state in 1969 by the family of collector Auguste Pellerin and is on permanent display at the Musée d'Orsay in Paris. | [
"Edgar Degas",
"Musée d'Orsay",
"Cubist",
"Portrait",
"Gustave Geffroy",
"Auguste Pellerin",
"perspective",
"portrait",
"Paris",
"geometrical"
] |
|
16276_T | Ashbourne portrait | Focus on Ashbourne portrait and explain the abstract. | The Ashbourne portrait is one of several portraits that have been falsely identified as portrayals of William Shakespeare. At least 60 such works had been offered for sale to the National Portrait Gallery in the 19th century within the first forty years of its existence; the Ashbourne portrait was one of these. The portrait is now a part of the collection of the Folger Shakespeare Library in Washington, DC.
The identity of the artist is unknown. At some point the portrait was altered to cater to public demand for more pictures of the bard and to conform to 19th century ideas of Shakespeare. The hair over the forehead was scraped out and painted over to create a bald patch. It was also lengthened at the sides, an appearance associated with Shakespeare. The date was also altered to fit Shakespeare's age. The coat of arms was painted over. In this form the painting bore the date 1611 and purported to show Shakespeare at the age of 47.In 1940, Charles Wisner Barrell argued on the basis of x-ray evidence that the portrait originally depicted Edward de Vere, 17th Earl of Oxford and that this was evidence that Oxford was the true author of Shakespeare's plays. In 1979 the coat of arms was rediscovered following restoration. It was identified as that of Hugh Hamersley (1565–1636), Lord Mayor of London in 1627. | [
"National Portrait Gallery",
"bard",
"Hugh Hamersley",
"Washington, DC",
"Charles Wisner Barrell",
"Edward de Vere, 17th Earl of Oxford",
"Folger Shakespeare Library",
"William Shakespeare"
] |
|
16276_NT | Ashbourne portrait | Focus on this artwork and explain the abstract. | The Ashbourne portrait is one of several portraits that have been falsely identified as portrayals of William Shakespeare. At least 60 such works had been offered for sale to the National Portrait Gallery in the 19th century within the first forty years of its existence; the Ashbourne portrait was one of these. The portrait is now a part of the collection of the Folger Shakespeare Library in Washington, DC.
The identity of the artist is unknown. At some point the portrait was altered to cater to public demand for more pictures of the bard and to conform to 19th century ideas of Shakespeare. The hair over the forehead was scraped out and painted over to create a bald patch. It was also lengthened at the sides, an appearance associated with Shakespeare. The date was also altered to fit Shakespeare's age. The coat of arms was painted over. In this form the painting bore the date 1611 and purported to show Shakespeare at the age of 47.In 1940, Charles Wisner Barrell argued on the basis of x-ray evidence that the portrait originally depicted Edward de Vere, 17th Earl of Oxford and that this was evidence that Oxford was the true author of Shakespeare's plays. In 1979 the coat of arms was rediscovered following restoration. It was identified as that of Hugh Hamersley (1565–1636), Lord Mayor of London in 1627. | [
"National Portrait Gallery",
"bard",
"Hugh Hamersley",
"Washington, DC",
"Charles Wisner Barrell",
"Edward de Vere, 17th Earl of Oxford",
"Folger Shakespeare Library",
"William Shakespeare"
] |
|
16277_T | Ashbourne portrait | Explore the History of this artwork, Ashbourne portrait. | It was first brought to light by Clement Usill Kingston in 1847. Kingston was a schoolmaster at the Ashbourne School and amateur painter living in the town of Ashbourne, Derbyshire, after which the portrait came to be named. He wrote to Abraham Wivell, an authority on Shakespeare portraits, explaining the circumstances in which he claimed to have found it. According to Kingston, "a friend in London sent me word that he had seen a portrait of Shakespeare, that he was positive it was a genuine picture, and that the owner only valued it as being a very fine painting. Being too poor to purchase it himself, he advised me by all means to have it." He immediately purchased it. Kingston told Wivell that the design on the book held in the subject's hand was a combination of "the crest of the Shakespeare family and the tragic mask". After examining the work, Wivell enthusiastically endorsed it.
It was subsequently reproduced in mezzotint by G.F. Storm. In this form it was widely reproduced during the 19th century, having entered the canon of Shakespeare portraits.
In 1910 M.H. Spielmann devoted two articles to a critical analysis of the portrait, with regard to provenance, attribution and identification. He dismissed Kingston's claim that the Shakespeare "family crest" could be seen on the book. He also rejected a suggestion that the subject was portrayed in the character of Hamlet. He concluded that the aristocratic nature of the portrait did not conform to Shakespeare's status as a playwright, and that the painting's historical subject was a mystery. However, he accepted that Shakespeare could be the portrait's subject.The painting was auctioned at Sotheby's in 1928, and sold for £1,000 ($5,000) to Eustace Conway, an American lawyer, who in turn sold it to Henry Clay Folger's widow, Emily Jordan Folger in 1931, for the sum of $3,500, as a gift to the Folger Shakespeare Library, which opened the following year.In 1932, the writer Percy Allen argued that the painting originally depicted Edward de Vere, 17th Earl of Oxford, but had been later retouched. In 1940, Charles Wisner Barrell investigated the portrait using X-rays and concurred with Allen's view. Art historian William Pressly, who catalogued the Folger's paintings, and directed the 1988 restoration of the work, states that the controversy surrounding the sitter's identity was resolved in 1979, when restorative work on the painting revealed conclusively that it had been begun as a portrait of Sir Hugh Hamersley. The Folger Library dates the painting to 1612, and while stating that most researchers identify the painting's subject as Sir Hugh Hamersley, notes that some Oxfordians contend it depicts Edward de Vere. It currently hangs in the Folger Shakespeare Library. | [
"Ashbourne, Derbyshire",
"the canon of Shakespeare portraits",
"Emily Jordan Folger",
"Art historian",
"Ashbourne School",
"right",
"mezzotint",
"Hugh Hamersley",
"Charles Wisner Barrell",
"Sotheby's",
"Edward de Vere, 17th Earl of Oxford",
"Folger Shakespeare Library",
"Abraham Wivell",
"Oxfordians",
"Percy Allen",
"Henry Clay Folger",
"Sir Hugh Hamersley",
"M.H. Spielmann",
"X-ray"
] |
|
16277_NT | Ashbourne portrait | Explore the History of this artwork. | It was first brought to light by Clement Usill Kingston in 1847. Kingston was a schoolmaster at the Ashbourne School and amateur painter living in the town of Ashbourne, Derbyshire, after which the portrait came to be named. He wrote to Abraham Wivell, an authority on Shakespeare portraits, explaining the circumstances in which he claimed to have found it. According to Kingston, "a friend in London sent me word that he had seen a portrait of Shakespeare, that he was positive it was a genuine picture, and that the owner only valued it as being a very fine painting. Being too poor to purchase it himself, he advised me by all means to have it." He immediately purchased it. Kingston told Wivell that the design on the book held in the subject's hand was a combination of "the crest of the Shakespeare family and the tragic mask". After examining the work, Wivell enthusiastically endorsed it.
It was subsequently reproduced in mezzotint by G.F. Storm. In this form it was widely reproduced during the 19th century, having entered the canon of Shakespeare portraits.
In 1910 M.H. Spielmann devoted two articles to a critical analysis of the portrait, with regard to provenance, attribution and identification. He dismissed Kingston's claim that the Shakespeare "family crest" could be seen on the book. He also rejected a suggestion that the subject was portrayed in the character of Hamlet. He concluded that the aristocratic nature of the portrait did not conform to Shakespeare's status as a playwright, and that the painting's historical subject was a mystery. However, he accepted that Shakespeare could be the portrait's subject.The painting was auctioned at Sotheby's in 1928, and sold for £1,000 ($5,000) to Eustace Conway, an American lawyer, who in turn sold it to Henry Clay Folger's widow, Emily Jordan Folger in 1931, for the sum of $3,500, as a gift to the Folger Shakespeare Library, which opened the following year.In 1932, the writer Percy Allen argued that the painting originally depicted Edward de Vere, 17th Earl of Oxford, but had been later retouched. In 1940, Charles Wisner Barrell investigated the portrait using X-rays and concurred with Allen's view. Art historian William Pressly, who catalogued the Folger's paintings, and directed the 1988 restoration of the work, states that the controversy surrounding the sitter's identity was resolved in 1979, when restorative work on the painting revealed conclusively that it had been begun as a portrait of Sir Hugh Hamersley. The Folger Library dates the painting to 1612, and while stating that most researchers identify the painting's subject as Sir Hugh Hamersley, notes that some Oxfordians contend it depicts Edward de Vere. It currently hangs in the Folger Shakespeare Library. | [
"Ashbourne, Derbyshire",
"the canon of Shakespeare portraits",
"Emily Jordan Folger",
"Art historian",
"Ashbourne School",
"right",
"mezzotint",
"Hugh Hamersley",
"Charles Wisner Barrell",
"Sotheby's",
"Edward de Vere, 17th Earl of Oxford",
"Folger Shakespeare Library",
"Abraham Wivell",
"Oxfordians",
"Percy Allen",
"Henry Clay Folger",
"Sir Hugh Hamersley",
"M.H. Spielmann",
"X-ray"
] |
|
16278_T | Ashbourne portrait | Focus on Ashbourne portrait and discuss the Allen and Barrell's theories. | In 1932, Percy Allen published The Life Story of Edward de Vere as "William Shakespeare". Allen was a supporter of J. Thomas Looney's theory that the works of Shakespeare were written by de Vere, the 17th Earl of Oxford. He argued that the features of the man in the Ashbourne portrait corresponded to those of de Vere and that the costume suggested a date earlier than 1611. He believed that the portrait dated from 1597, but had later been retouched as part of "an elaborate plot".In 1940, Charles Wisner Barrell, a former director of Motion Pictures for the Western Electric Company, an American follower of Looney's and Allen's views, examined the portrait using X-ray and infra-red photography, and proved what Allen had suspected, namely that the painting had indeed been tampered with. He supported Allen's conclusion that it was a retouched portrait of Edward de Vere. On the basis of what was taken to be the artist's monogram, C.K., beneath a coat of arms, he concluded that the portrait was the work of Cornelius Ketel, who had been active in England and had reportedly done one of Oxford's portraits. He also suggested that the coat of arms belonged to Oxford's wife, Elizabeth Trentham. Ketel had in fact been commissioned in 1577 to paint a series of 19 portraits for the Cathay Company, in which Oxford had invested and lost a large sum of money.Barrell's identification received wide exposure, and caused a sensation. Barrell believed he had proven that there was literally a cover-up, a conspiracy to conceal the identity of the Edward de Vere he believed to be the real author of Shakespeare's works.In late 1948/early 1949 a further series of X rays was made at the National Gallery of Art by Stephen S. Pichetto. These failed to reveal a "C. K." beneath the coat of arms. It is conjectured that if they were there, they probably stood for "Clement Kingston", the original owner who profited from the "discovery" of a new portrait ostensibly depicting Shakespeare. In 1948 Barrell sued Giles E. Dawson, the curator of Books and Manuscripts for the Folger Shakespeare Library in Washington, D.C for suggesting in a letter that Barrell had doctored his x-ray pictures. Though Barrell had promised to supply the Folger library with copies of the photographs he had commissioned, he never did so, and their present whereabouts are unknown. Folger director Joseph Quincy Adams, according to Dawson, also believed Barrell had tampered with his evidence. The suit was dismissed in 1950. | [
"National Gallery of Art",
"Western Electric Company",
"Motion Pictures",
"Cornelius Ketel",
"J. Thomas Looney",
"Cathay Company",
"Western Electric",
"Joseph Quincy Adams",
"infra-red photography",
"Charles Wisner Barrell",
"Elizabeth Trentham",
"Folger Shakespeare Library",
"William Shakespeare",
"Percy Allen",
"X-ray"
] |
|
16278_NT | Ashbourne portrait | Focus on this artwork and discuss the Allen and Barrell's theories. | In 1932, Percy Allen published The Life Story of Edward de Vere as "William Shakespeare". Allen was a supporter of J. Thomas Looney's theory that the works of Shakespeare were written by de Vere, the 17th Earl of Oxford. He argued that the features of the man in the Ashbourne portrait corresponded to those of de Vere and that the costume suggested a date earlier than 1611. He believed that the portrait dated from 1597, but had later been retouched as part of "an elaborate plot".In 1940, Charles Wisner Barrell, a former director of Motion Pictures for the Western Electric Company, an American follower of Looney's and Allen's views, examined the portrait using X-ray and infra-red photography, and proved what Allen had suspected, namely that the painting had indeed been tampered with. He supported Allen's conclusion that it was a retouched portrait of Edward de Vere. On the basis of what was taken to be the artist's monogram, C.K., beneath a coat of arms, he concluded that the portrait was the work of Cornelius Ketel, who had been active in England and had reportedly done one of Oxford's portraits. He also suggested that the coat of arms belonged to Oxford's wife, Elizabeth Trentham. Ketel had in fact been commissioned in 1577 to paint a series of 19 portraits for the Cathay Company, in which Oxford had invested and lost a large sum of money.Barrell's identification received wide exposure, and caused a sensation. Barrell believed he had proven that there was literally a cover-up, a conspiracy to conceal the identity of the Edward de Vere he believed to be the real author of Shakespeare's works.In late 1948/early 1949 a further series of X rays was made at the National Gallery of Art by Stephen S. Pichetto. These failed to reveal a "C. K." beneath the coat of arms. It is conjectured that if they were there, they probably stood for "Clement Kingston", the original owner who profited from the "discovery" of a new portrait ostensibly depicting Shakespeare. In 1948 Barrell sued Giles E. Dawson, the curator of Books and Manuscripts for the Folger Shakespeare Library in Washington, D.C for suggesting in a letter that Barrell had doctored his x-ray pictures. Though Barrell had promised to supply the Folger library with copies of the photographs he had commissioned, he never did so, and their present whereabouts are unknown. Folger director Joseph Quincy Adams, according to Dawson, also believed Barrell had tampered with his evidence. The suit was dismissed in 1950. | [
"National Gallery of Art",
"Western Electric Company",
"Motion Pictures",
"Cornelius Ketel",
"J. Thomas Looney",
"Cathay Company",
"Western Electric",
"Joseph Quincy Adams",
"infra-red photography",
"Charles Wisner Barrell",
"Elizabeth Trentham",
"Folger Shakespeare Library",
"William Shakespeare",
"Percy Allen",
"X-ray"
] |
|
16279_T | Ashbourne portrait | How does Ashbourne portrait elucidate its 1979 restoration? | In 1979, the Folger commissioned Peter Michaels to restore the portrait. In removing the overpaint, he uncovered the coat of arms, and his assistant Lisa Oehrl made a sketch of it, unaware of the sitter's identity. It was Lilly Lievsay, Folger cataloguer of manuscripts, and Folger curator Laetitia Yeandle who, on the basis of this drawing, linked the image of the sketch conclusively to the armorial coat of Hamersley. The restorative work also clarified the date, which had been tampered with to yield the year 1611 (when Shakespeare was 47). Beneath the second 1 of that date a 2 is clearly visible, indicating it was executed in 1612, 8 years after Oxford's death, when Hamersley was 47 years old. Above the date is written aetatis suae.47 (aged 47). He had not, at that time, been granted his coat of arms, and art historian William Pressly conjectures that they were either included in anticipation of the honour, or painted in later.The original alterations to the Hamersley painting, to make it look like what people would expect of a portrait of Shakespeare, is thought to be the handiwork of Clement Kingston, who was also a painter. Some Oxfordians, though disappointed, quickly accepted the results, and claimed partial credit for the new findings.The identity of the sitter is, however, still believed to be de Vere by some Oxfordians. Oxfordian Barbara Burris published articles arguing that the Folger had deliberately erased the CK monogram and "that the fashions the sitter wears in the painting date to about 1580, when Hamersley would have been 15 and Oxford 30, and when Ketel [who returned to Holland in 1581] was working in England." | [
"Oxfordians"
] |
|
16279_NT | Ashbourne portrait | How does this artwork elucidate its 1979 restoration? | In 1979, the Folger commissioned Peter Michaels to restore the portrait. In removing the overpaint, he uncovered the coat of arms, and his assistant Lisa Oehrl made a sketch of it, unaware of the sitter's identity. It was Lilly Lievsay, Folger cataloguer of manuscripts, and Folger curator Laetitia Yeandle who, on the basis of this drawing, linked the image of the sketch conclusively to the armorial coat of Hamersley. The restorative work also clarified the date, which had been tampered with to yield the year 1611 (when Shakespeare was 47). Beneath the second 1 of that date a 2 is clearly visible, indicating it was executed in 1612, 8 years after Oxford's death, when Hamersley was 47 years old. Above the date is written aetatis suae.47 (aged 47). He had not, at that time, been granted his coat of arms, and art historian William Pressly conjectures that they were either included in anticipation of the honour, or painted in later.The original alterations to the Hamersley painting, to make it look like what people would expect of a portrait of Shakespeare, is thought to be the handiwork of Clement Kingston, who was also a painter. Some Oxfordians, though disappointed, quickly accepted the results, and claimed partial credit for the new findings.The identity of the sitter is, however, still believed to be de Vere by some Oxfordians. Oxfordian Barbara Burris published articles arguing that the Folger had deliberately erased the CK monogram and "that the fashions the sitter wears in the painting date to about 1580, when Hamersley would have been 15 and Oxford 30, and when Ketel [who returned to Holland in 1581] was working in England." | [
"Oxfordians"
] |
|
16280_T | Kastorbrunnen | Focus on Kastorbrunnen and explain the abstract. | The Kastorbrunnen (Saint Castor's Fountain) in the forecourt of the Basilica of St. Kastor in Koblenz, Rhineland-Palatinate, Germany, is a curious testimony of the Napoleonic Wars. The fountain, built in 1812, was connected to the first aqueduct of the Elector Palatine. | [
"aqueduct",
"Koblenz",
"Napoleonic Wars",
"Basilica of St. Kastor",
"Rhineland-Palatinate",
"Elector Palatine"
] |
|
16280_NT | Kastorbrunnen | Focus on this artwork and explain the abstract. | The Kastorbrunnen (Saint Castor's Fountain) in the forecourt of the Basilica of St. Kastor in Koblenz, Rhineland-Palatinate, Germany, is a curious testimony of the Napoleonic Wars. The fountain, built in 1812, was connected to the first aqueduct of the Elector Palatine. | [
"aqueduct",
"Koblenz",
"Napoleonic Wars",
"Basilica of St. Kastor",
"Rhineland-Palatinate",
"Elector Palatine"
] |
|
16281_T | Kastorbrunnen | Explore the History of this artwork, Kastorbrunnen. | Jean Marie Thérèse Doazan, the prefect of the French department of Rhin-et-Moselle, built the neo-classical fountain made of basalt blocks in 1812 in front of the basilica. His hastily written inscription, inscribed in orthographically incorrect French, was intended to commemorate Napoleon's supposedly successful campaign in Russia.
The text says:An MDCCCXII / Mémorable par la campagne contre les Russes / sous le Prefectura de Jules Doazan.
(that is: In 1812 / Memorial to the campaign against the Russians / under the prefecture of Jules Doazan.)
In fact, Napoleon's campaign in Russia ended in catastrophic defeat. In the War of the Sixth Coalition on New Year's Eve of 1814, the predominantly Russian Army Corps under General Saint-Priest, which formed the right wing of Blücher's Silesian Army, crossed the Rhine between Neuwied and the Lahn estuary with the main focus on Koblenz. The French had recently vacated the city and left it to the Russians without a fight. Saint-Priest, however, showed humor and did not remove Doazan's fountain or the first inscription, but put a second one underneath. It is:Vu et approuvé par nous Commandant / Russe de la ville de Coblentz / le 1er janvier 1814.
(that is: Seen and approved by us, Russian commander of the city Koblenz, on 1 January 1814.) | [
"Blücher",
"Lahn",
"Koblenz",
"Jean Marie Thérèse Doazan",
"Neuwied",
"basalt",
"Saint-Priest",
"War of the Sixth Coalition",
"Rhin-et-Moselle"
] |
|
16281_NT | Kastorbrunnen | Explore the History of this artwork. | Jean Marie Thérèse Doazan, the prefect of the French department of Rhin-et-Moselle, built the neo-classical fountain made of basalt blocks in 1812 in front of the basilica. His hastily written inscription, inscribed in orthographically incorrect French, was intended to commemorate Napoleon's supposedly successful campaign in Russia.
The text says:An MDCCCXII / Mémorable par la campagne contre les Russes / sous le Prefectura de Jules Doazan.
(that is: In 1812 / Memorial to the campaign against the Russians / under the prefecture of Jules Doazan.)
In fact, Napoleon's campaign in Russia ended in catastrophic defeat. In the War of the Sixth Coalition on New Year's Eve of 1814, the predominantly Russian Army Corps under General Saint-Priest, which formed the right wing of Blücher's Silesian Army, crossed the Rhine between Neuwied and the Lahn estuary with the main focus on Koblenz. The French had recently vacated the city and left it to the Russians without a fight. Saint-Priest, however, showed humor and did not remove Doazan's fountain or the first inscription, but put a second one underneath. It is:Vu et approuvé par nous Commandant / Russe de la ville de Coblentz / le 1er janvier 1814.
(that is: Seen and approved by us, Russian commander of the city Koblenz, on 1 January 1814.) | [
"Blücher",
"Lahn",
"Koblenz",
"Jean Marie Thérèse Doazan",
"Neuwied",
"basalt",
"Saint-Priest",
"War of the Sixth Coalition",
"Rhin-et-Moselle"
] |
|
16282_T | Kastorbrunnen | Focus on Kastorbrunnen and discuss the Construction. | The Kastorbrunnen is a large square of Niedermendig basalt cubes, and was originally in the middle of the square. It was created to the plans of the military engineer Dagobert Chauchet by the sculptor Rauch from Aachen, and has a high, grooved base and a wide grooved end plate. There are two suspended semicircular fountain shells from Lahn marble attached. The well was fed with spring water piped from Metternich and, since 15 August 1812 (the birthday of the emperor Napoleon) has supplied the neighborhood with clean drinking water. It supported a group of figures made of limestone with the personifications of the Rhine and Moselle. Because of severe weathering the sculpture was removed shortly after 1817. A copy is now in the garden of the Electoral Palace. In the 1950s the fountain, which the French had placed on the axis of the Kastorgasse, and thus in the line of sight of the basilica, was moved a few meters to the north to clear the view of the church. | [
"Lahn",
"Aachen",
"basalt"
] |
|
16282_NT | Kastorbrunnen | Focus on this artwork and discuss the Construction. | The Kastorbrunnen is a large square of Niedermendig basalt cubes, and was originally in the middle of the square. It was created to the plans of the military engineer Dagobert Chauchet by the sculptor Rauch from Aachen, and has a high, grooved base and a wide grooved end plate. There are two suspended semicircular fountain shells from Lahn marble attached. The well was fed with spring water piped from Metternich and, since 15 August 1812 (the birthday of the emperor Napoleon) has supplied the neighborhood with clean drinking water. It supported a group of figures made of limestone with the personifications of the Rhine and Moselle. Because of severe weathering the sculpture was removed shortly after 1817. A copy is now in the garden of the Electoral Palace. In the 1950s the fountain, which the French had placed on the axis of the Kastorgasse, and thus in the line of sight of the basilica, was moved a few meters to the north to clear the view of the church. | [
"Lahn",
"Aachen",
"basalt"
] |
|
16283_T | Kastorbrunnen | How does Kastorbrunnen elucidate its Protection? | The Kastorbrunnen is a protected cultural monument, and is registered in the list of monuments of the state of Rhineland-Palatinate. It is located in Koblenz-Altstadt at the Kastorhof.Since 2002 Kastorbrunnen has been listed as a UNESCO World Heritage Site, Upper Middle Rhine Valley. | [
"Koblenz",
"World Heritage Site",
"Rhineland-Palatinate"
] |
|
16283_NT | Kastorbrunnen | How does this artwork elucidate its Protection? | The Kastorbrunnen is a protected cultural monument, and is registered in the list of monuments of the state of Rhineland-Palatinate. It is located in Koblenz-Altstadt at the Kastorhof.Since 2002 Kastorbrunnen has been listed as a UNESCO World Heritage Site, Upper Middle Rhine Valley. | [
"Koblenz",
"World Heritage Site",
"Rhineland-Palatinate"
] |
|
16284_T | The Pool of London (painting) | Focus on The Pool of London (painting) and analyze the abstract. | The Pool of London is a 1906 work by French artist André Derain. It is in the collection of Tate Modern. At the suggestion of Ambroise Vollard, Derain travelled to London to paint works that reflected the popularity of Claude Monet's earlier London series. The painting depicts the Pool of London, a stretch of the River Thames, as seen from London Bridge.
The painting was one of a number of works featured in the Courtauld Gallery's 2006 exhibition "André Derain: The London Paintings" | [
"French",
"Tate Modern",
"Pool of London",
"Tate",
"London series",
"Courtauld Gallery",
"André Derain",
"Claude Monet",
"London",
"Ambroise Vollard",
"London Bridge",
"River Thames"
] |
|
16284_NT | The Pool of London (painting) | Focus on this artwork and analyze the abstract. | The Pool of London is a 1906 work by French artist André Derain. It is in the collection of Tate Modern. At the suggestion of Ambroise Vollard, Derain travelled to London to paint works that reflected the popularity of Claude Monet's earlier London series. The painting depicts the Pool of London, a stretch of the River Thames, as seen from London Bridge.
The painting was one of a number of works featured in the Courtauld Gallery's 2006 exhibition "André Derain: The London Paintings" | [
"French",
"Tate Modern",
"Pool of London",
"Tate",
"London series",
"Courtauld Gallery",
"André Derain",
"Claude Monet",
"London",
"Ambroise Vollard",
"London Bridge",
"River Thames"
] |
|
16285_T | Contemplation of Money | In Contemplation of Money, how is the abstract discussed? | Contemplation of Money (Russian: Созерца́ние де́нег, romanized: Sozertsániye déneg) is an conceptual project by the artist Alexey Parygin, realized in the second half of the 1990s, the main semantic element of which were banknotes. The basis is a group of art objects created using the coins and bills of the Bank of Russia, which were in circulation at the time. | [
"Bank of Russia",
"conceptual project",
"Alexey Parygin",
"Money"
] |
|
16285_NT | Contemplation of Money | In this artwork, how is the abstract discussed? | Contemplation of Money (Russian: Созерца́ние де́нег, romanized: Sozertsániye déneg) is an conceptual project by the artist Alexey Parygin, realized in the second half of the 1990s, the main semantic element of which were banknotes. The basis is a group of art objects created using the coins and bills of the Bank of Russia, which were in circulation at the time. | [
"Bank of Russia",
"conceptual project",
"Alexey Parygin",
"Money"
] |
|
16286_T | Contemplation of Money | Focus on Contemplation of Money and explore the History. | The specific mass of money was steadily increasing and depreciating. Square, circle, and triangle, the simple geometric shapes chosen as the matrix for mounting the collages, were programmatically predictable and non-alternative, like ideal meditative figures. The objects were conceived as self-sufficient parts of modular structures with the possibility of variable combination on display, depending on the specific exposition task.
The association with the icon of the Russian avant-garde—Kazimir Malevich’s triptych (Black Square, Black Cross, Black Circle) became a conscious component of the project. It is the same with the form of Byzantine art and old Russian icons.
In this case, the plastic solution of the series of artworks is not perceived as a literal quotation or borrowing.Contemplation of Money is an ironic homage to the Black Square, which became one of the turning points in the 20th century art history and almost immediately turned into a speculative idea and manifesto on itself. A clear signpost to indicate the conceptual vector of the project more accurately.In modern society, Money has long taken the place of God, the sheer speculative idea of its presence giving love and support and faith in eternal life. By means of art, the Contemplation of Money and Art is a Business projects portrayed money as a New Divine Essence.Contemplation of Money is the artist’s first philosophical manifesto, which was developed in subsequent artworks: Art is a Business (2000-2015), Art in the Forest (2000-2005), Posturbanism Art Project (since 2005), City as an Artist's Subjectivity (2019-2020). | [
"manifesto",
"eternal life",
"Kazimir Malevich’s",
"Art is a Business",
"God",
"Posturbanism Art Project",
"Black Square",
"Black Circle",
"City as an Artist's Subjectivity",
"Russian icons",
"Kazimir Malevich",
"Russian avant-garde",
"Byzantine art",
"Black Cross",
"Money",
"Divine Essence"
] |
|
16286_NT | Contemplation of Money | Focus on this artwork and explore the History. | The specific mass of money was steadily increasing and depreciating. Square, circle, and triangle, the simple geometric shapes chosen as the matrix for mounting the collages, were programmatically predictable and non-alternative, like ideal meditative figures. The objects were conceived as self-sufficient parts of modular structures with the possibility of variable combination on display, depending on the specific exposition task.
The association with the icon of the Russian avant-garde—Kazimir Malevich’s triptych (Black Square, Black Cross, Black Circle) became a conscious component of the project. It is the same with the form of Byzantine art and old Russian icons.
In this case, the plastic solution of the series of artworks is not perceived as a literal quotation or borrowing.Contemplation of Money is an ironic homage to the Black Square, which became one of the turning points in the 20th century art history and almost immediately turned into a speculative idea and manifesto on itself. A clear signpost to indicate the conceptual vector of the project more accurately.In modern society, Money has long taken the place of God, the sheer speculative idea of its presence giving love and support and faith in eternal life. By means of art, the Contemplation of Money and Art is a Business projects portrayed money as a New Divine Essence.Contemplation of Money is the artist’s first philosophical manifesto, which was developed in subsequent artworks: Art is a Business (2000-2015), Art in the Forest (2000-2005), Posturbanism Art Project (since 2005), City as an Artist's Subjectivity (2019-2020). | [
"manifesto",
"eternal life",
"Kazimir Malevich’s",
"Art is a Business",
"God",
"Posturbanism Art Project",
"Black Square",
"Black Circle",
"City as an Artist's Subjectivity",
"Russian icons",
"Kazimir Malevich",
"Russian avant-garde",
"Byzantine art",
"Black Cross",
"Money",
"Divine Essence"
] |
|
16287_T | Contemplation of Money | Explore the Art Objects about the Major work of this artwork, Contemplation of Money. | Contemplation of money (1997, burlap on a stretcher, banknotes, 1000 x 1000 x 25 mm).
Sign—Square I (1997, burlap on a stretcher, coins, 383 x 383 x 25 mm).
Sign—Square II (1997, burlap on a stretcher, coins, 383 x 383 x 25 mm).
Sign—Cross (1997, burlap on a stretcher, coins, 383 x 383 x 25 mm).
Sign—Circle (1997, burlap on a stretcher, coins, Ø 400 x 25 mm).
Sign—Triangle (1997, burlap on a stretcher, coins, 430 x 430 x 420 x 25 mm).
Sign—Big Square (1997, burlap on a stretcher, coins, 585 x 585 x 15 mm).
Sign—Large Circle (1997, burlap on a stretcher, coins, Ø 585 x 15 mm).
Sign—Big Triangle (1997, burlap on a stretcher, coins, 670 x 670 x 645 x 15 mm).
Sign—Blue Square (1997, burlap on a stretcher, banknotes, 435 x 430 x 25 mm).
Sign—White Cross (1997, burlap on a stretcher, banknotes, 430 x 430 x 25 mm).
Sign—Yellow Triangle (1997, burlap on a stretcher, banknotes, 430 x 430 x 25 mm).
Sign—Green Circle (1997, burlap on a stretcher, banknotes, 435 x 430 x 25 mm).
Pyramid XO (1998, burlap, coins, H 300, 280 x 280 mm). | [] |
|
16287_NT | Contemplation of Money | Explore the Art Objects about the Major work of this artwork. | Contemplation of money (1997, burlap on a stretcher, banknotes, 1000 x 1000 x 25 mm).
Sign—Square I (1997, burlap on a stretcher, coins, 383 x 383 x 25 mm).
Sign—Square II (1997, burlap on a stretcher, coins, 383 x 383 x 25 mm).
Sign—Cross (1997, burlap on a stretcher, coins, 383 x 383 x 25 mm).
Sign—Circle (1997, burlap on a stretcher, coins, Ø 400 x 25 mm).
Sign—Triangle (1997, burlap on a stretcher, coins, 430 x 430 x 420 x 25 mm).
Sign—Big Square (1997, burlap on a stretcher, coins, 585 x 585 x 15 mm).
Sign—Large Circle (1997, burlap on a stretcher, coins, Ø 585 x 15 mm).
Sign—Big Triangle (1997, burlap on a stretcher, coins, 670 x 670 x 645 x 15 mm).
Sign—Blue Square (1997, burlap on a stretcher, banknotes, 435 x 430 x 25 mm).
Sign—White Cross (1997, burlap on a stretcher, banknotes, 430 x 430 x 25 mm).
Sign—Yellow Triangle (1997, burlap on a stretcher, banknotes, 430 x 430 x 25 mm).
Sign—Green Circle (1997, burlap on a stretcher, banknotes, 435 x 430 x 25 mm).
Pyramid XO (1998, burlap, coins, H 300, 280 x 280 mm). | [] |
|
16288_T | Contemplation of Money | In the context of Contemplation of Money, discuss the Artist's book of the Major work. | Parygin A. Contemplation of money. — St. Petersburg, 1999. — 21 p.
Parygin A. Contemplation of money (nine sheets in a folder). — St. Petersburg, 1997. | [
"St. Petersburg"
] |
|
16288_NT | Contemplation of Money | In the context of this artwork, discuss the Artist's book of the Major work. | Parygin A. Contemplation of money. — St. Petersburg, 1999. — 21 p.
Parygin A. Contemplation of money (nine sheets in a folder). — St. Petersburg, 1997. | [
"St. Petersburg"
] |
|
16289_T | Contemplation of Money | How does Contemplation of Money elucidate its Exhibitions? | The Artist's Book in Russia and the UK. — Tsaritsyno Palace. Moscow. March 13 — May 18, 2014; Radishchev Art Museum. August 7 — September 30, 2014.
XXVII International Congress of Ex-Libris. — Central Exhibition Hall Manege. St. Petersburg. August 22—25, 1998.
2nd International Festival of Experimental Arts and Performance. — Central Exhibition Hall Manege. St. Petersburg. August 1—11, 1998.
Petersburg 97. — Central Exhibition Hall Manege. St. Petersburg. January 9—31, 1998. | [
"Moscow",
"Radishchev Art Museum",
"Tsaritsyno Palace",
"St. Petersburg",
"Central Exhibition Hall Manege"
] |
|
16289_NT | Contemplation of Money | How does this artwork elucidate its Exhibitions? | The Artist's Book in Russia and the UK. — Tsaritsyno Palace. Moscow. March 13 — May 18, 2014; Radishchev Art Museum. August 7 — September 30, 2014.
XXVII International Congress of Ex-Libris. — Central Exhibition Hall Manege. St. Petersburg. August 22—25, 1998.
2nd International Festival of Experimental Arts and Performance. — Central Exhibition Hall Manege. St. Petersburg. August 1—11, 1998.
Petersburg 97. — Central Exhibition Hall Manege. St. Petersburg. January 9—31, 1998. | [
"Moscow",
"Radishchev Art Museum",
"Tsaritsyno Palace",
"St. Petersburg",
"Central Exhibition Hall Manege"
] |
|
16290_T | Napoleon Crossing the Alps | Focus on Napoleon Crossing the Alps and analyze the abstract. | Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les Alpes au col du Grand Saint-Bernard) is a series of five oil on canvas equestrian portraits of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. Initially commissioned by the King of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made along the Alps through the Great St Bernard Pass in May 1800.
It has become one of the most commonly reproduced images of Napoleon. | [
"Napoleon",
"the King of Spain",
"Jacques-Louis David",
"oil on canvas",
"Napoleon Bonaparte",
"Bonaparte Crossing the Alps",
"Napoleon Crossing the Alps",
"Great St Bernard Pass"
] |
|
16290_NT | Napoleon Crossing the Alps | Focus on this artwork and analyze the abstract. | Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les Alpes au col du Grand Saint-Bernard) is a series of five oil on canvas equestrian portraits of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. Initially commissioned by the King of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made along the Alps through the Great St Bernard Pass in May 1800.
It has become one of the most commonly reproduced images of Napoleon. | [
"Napoleon",
"the King of Spain",
"Jacques-Louis David",
"oil on canvas",
"Napoleon Bonaparte",
"Bonaparte Crossing the Alps",
"Napoleon Crossing the Alps",
"Great St Bernard Pass"
] |
|
16291_T | Napoleon Crossing the Alps | In Napoleon Crossing the Alps, how is the Background discussed? | Having taken power in France during the 18 Brumaire on 9 November 1799, Napoleon was determined to return to Italy to reinforce the French troops in the country and retake the territory seized by the Austrians in the preceding years. In the spring of 1800 he led the Reserve Army across the Alps through the Great St Bernard Pass. The Austrian forces, under Michael von Melas, were laying siege to Masséna in Genoa and Napoleon hoped to gain the element of surprise by taking the trans-Alpine route. By the time Napoleon's troops arrived, Genoa had fallen; but he pushed ahead, hoping to engage the Austrians before they could regroup. The Reserve Army fought a battle at Montebello on 9 June before eventually securing a decisive victory at the Battle of Marengo.
The installation of Napoleon as First Consul and the French victory in Italy called for a rapprochement with Charles IV of Spain. While talks were underway to re-establish diplomatic relations, a traditional exchange of gifts took place. Charles received Versailles-manufactured pistols, dresses from the best Parisian dressmakers, jewels for the queen, and a fine set of armour for the newly reappointed Prime Minister, Manuel Godoy. In return Napoleon was offered sixteen Spanish horses from the royal stables, portraits of the king and queen by Goya, and the portrait that was to be commissioned from David. The French ambassador to Spain, Charles-Jean-Marie Alquier, requested the original painting from David on Charles' behalf. The portrait was to hang in the Royal Palace of Madrid as a token of the new relationship between the two countries. David, who had been an ardent supporter of the Revolution but had transferred his fervour to the new Consulate, was eager to undertake the commission.
On learning of the request, Bonaparte instructed David to produce three further versions: one for the Château de Saint-Cloud, one for the library of Les Invalides, and a third for the Royal Palace of Milan, capital of the Cisalpine Republic. A fifth version was produced by David and remained in his various workshops until his death. | [
"Napoleon",
"rapprochement",
"Milan",
"Genoa",
"Charles IV of Spain",
"the queen",
"Charles-Jean-Marie Alquier",
"Battle of Marengo",
"Royal Palace of Milan",
"First Consul",
"Goya",
"Château de Saint-Cloud",
"Les Invalides",
"territory seized",
"Italy",
"Royal Palace of Madrid",
"Revolution",
"Consulate",
"Madrid",
"Marengo",
"Manuel Godoy",
"Masséna",
"Austrians",
"Cisalpine Republic",
"Paris",
"Montebello",
"Versailles",
"18 Brumaire",
"Michael von Melas",
"Royal Palace",
"Great St Bernard Pass"
] |
|
16291_NT | Napoleon Crossing the Alps | In this artwork, how is the Background discussed? | Having taken power in France during the 18 Brumaire on 9 November 1799, Napoleon was determined to return to Italy to reinforce the French troops in the country and retake the territory seized by the Austrians in the preceding years. In the spring of 1800 he led the Reserve Army across the Alps through the Great St Bernard Pass. The Austrian forces, under Michael von Melas, were laying siege to Masséna in Genoa and Napoleon hoped to gain the element of surprise by taking the trans-Alpine route. By the time Napoleon's troops arrived, Genoa had fallen; but he pushed ahead, hoping to engage the Austrians before they could regroup. The Reserve Army fought a battle at Montebello on 9 June before eventually securing a decisive victory at the Battle of Marengo.
The installation of Napoleon as First Consul and the French victory in Italy called for a rapprochement with Charles IV of Spain. While talks were underway to re-establish diplomatic relations, a traditional exchange of gifts took place. Charles received Versailles-manufactured pistols, dresses from the best Parisian dressmakers, jewels for the queen, and a fine set of armour for the newly reappointed Prime Minister, Manuel Godoy. In return Napoleon was offered sixteen Spanish horses from the royal stables, portraits of the king and queen by Goya, and the portrait that was to be commissioned from David. The French ambassador to Spain, Charles-Jean-Marie Alquier, requested the original painting from David on Charles' behalf. The portrait was to hang in the Royal Palace of Madrid as a token of the new relationship between the two countries. David, who had been an ardent supporter of the Revolution but had transferred his fervour to the new Consulate, was eager to undertake the commission.
On learning of the request, Bonaparte instructed David to produce three further versions: one for the Château de Saint-Cloud, one for the library of Les Invalides, and a third for the Royal Palace of Milan, capital of the Cisalpine Republic. A fifth version was produced by David and remained in his various workshops until his death. | [
"Napoleon",
"rapprochement",
"Milan",
"Genoa",
"Charles IV of Spain",
"the queen",
"Charles-Jean-Marie Alquier",
"Battle of Marengo",
"Royal Palace of Milan",
"First Consul",
"Goya",
"Château de Saint-Cloud",
"Les Invalides",
"territory seized",
"Italy",
"Royal Palace of Madrid",
"Revolution",
"Consulate",
"Madrid",
"Marengo",
"Manuel Godoy",
"Masséna",
"Austrians",
"Cisalpine Republic",
"Paris",
"Montebello",
"Versailles",
"18 Brumaire",
"Michael von Melas",
"Royal Palace",
"Great St Bernard Pass"
] |
|
16292_T | Napoleon Crossing the Alps | In the context of Napoleon Crossing the Alps, explore the History of the five versions of the Background. | The original painting remained in Madrid until 1812, when it was taken by Joseph Bonaparte after his abdication as King of Spain. He took it with him when he went into exile in the United States, and it hung at his Point Breeze estate near Bordentown, New Jersey. The painting was handed down through his descendants until 1949, when his great grandniece, Eugenie Bonaparte, bequeathed it to the museum of the Château de Malmaison.
The version produced for the Château de Saint-Cloud from 1801 was removed in 1814 by the Prussian soldiers under von Blücher who offered it to Frederick William III King of Prussia. It is now held in the Charlottenburg Palace in Berlin.
The 1802 copy from Les Invalides was taken down and put into storage on the Bourbon Restoration of 1814; but in 1837, under the orders of Louis-Philippe, it was rehung in his newly declared museum at the Palace of Versailles, where it remains to the present day.
The 1803 version was delivered to Milan but confiscated in 1816 by the Austrians. The people of Milan refused to give it up and it remained in the city until 1825. It was finally installed at the Belvedere in Vienna in 1834. It remains there today, now part of the collection of the Österreichische Galerie Belvedere.
The version kept by David until his death in 1825 was exhibited at the Bazar Bonne-Nouvelle in 1846 (where it was remarked upon by Baudelaire). In 1850 it was offered to the future Napoleon III by David's daughter, Pauline Jeanin, and installed at the Tuileries Palace. In 1979, it was given to the museum at the Palace of Versailles. | [
"Napoleon",
"Milan",
"Berlin",
"Eugenie Bonaparte",
"Louis-Philippe",
"Bazar Bonne-Nouvelle",
"Napoleon III",
"Bourbon Restoration",
"Château de Saint-Cloud",
"Baudelaire",
"Palace of Versailles",
"Les Invalides",
"Malmaison",
"Tuileries Palace",
"Charlottenburg Palace",
"Madrid",
"Joseph Bonaparte",
"von Blücher",
"Austrians",
"Prussian",
"Charlottenburg",
"Belvedere",
"Österreichische Galerie Belvedere",
"Frederick William III King of Prussia",
"Château de Malmaison",
"Point Breeze",
"Versailles",
"Vienna",
"Bordentown, New Jersey"
] |
|
16292_NT | Napoleon Crossing the Alps | In the context of this artwork, explore the History of the five versions of the Background. | The original painting remained in Madrid until 1812, when it was taken by Joseph Bonaparte after his abdication as King of Spain. He took it with him when he went into exile in the United States, and it hung at his Point Breeze estate near Bordentown, New Jersey. The painting was handed down through his descendants until 1949, when his great grandniece, Eugenie Bonaparte, bequeathed it to the museum of the Château de Malmaison.
The version produced for the Château de Saint-Cloud from 1801 was removed in 1814 by the Prussian soldiers under von Blücher who offered it to Frederick William III King of Prussia. It is now held in the Charlottenburg Palace in Berlin.
The 1802 copy from Les Invalides was taken down and put into storage on the Bourbon Restoration of 1814; but in 1837, under the orders of Louis-Philippe, it was rehung in his newly declared museum at the Palace of Versailles, where it remains to the present day.
The 1803 version was delivered to Milan but confiscated in 1816 by the Austrians. The people of Milan refused to give it up and it remained in the city until 1825. It was finally installed at the Belvedere in Vienna in 1834. It remains there today, now part of the collection of the Österreichische Galerie Belvedere.
The version kept by David until his death in 1825 was exhibited at the Bazar Bonne-Nouvelle in 1846 (where it was remarked upon by Baudelaire). In 1850 it was offered to the future Napoleon III by David's daughter, Pauline Jeanin, and installed at the Tuileries Palace. In 1979, it was given to the museum at the Palace of Versailles. | [
"Napoleon",
"Milan",
"Berlin",
"Eugenie Bonaparte",
"Louis-Philippe",
"Bazar Bonne-Nouvelle",
"Napoleon III",
"Bourbon Restoration",
"Château de Saint-Cloud",
"Baudelaire",
"Palace of Versailles",
"Les Invalides",
"Malmaison",
"Tuileries Palace",
"Charlottenburg Palace",
"Madrid",
"Joseph Bonaparte",
"von Blücher",
"Austrians",
"Prussian",
"Charlottenburg",
"Belvedere",
"Österreichische Galerie Belvedere",
"Frederick William III King of Prussia",
"Château de Malmaison",
"Point Breeze",
"Versailles",
"Vienna",
"Bordentown, New Jersey"
] |
|
16293_T | Napoleon Crossing the Alps | Focus on Napoleon Crossing the Alps and explain the Paintings. | The commission specified a portrait of Napoleon standing in the uniform of the First Consul, probably in the spirit of the portraits that were later produced by Antoine-Jean Gros, Robert Lefèvre (Napoleon in his coronation robes) and Jean Auguste Dominique Ingres (Napoleon I on his Imperial Throne), but David was keen to paint an equestrian scene. The Spanish ambassador, Ignacio Muzquiz, informed Napoleon and asked him how he would like to be represented. Napoleon initially requested to be shown reviewing the troops but eventually decided on a scene showing him crossing the Alps.
In reality the crossing had been made in fine weather and Bonaparte had been led across by a guide mounted on a mule. However, from the outset the painting was first and foremost propaganda, and Bonaparte asked David to portray him "calm, mounted on a fiery steed" (Calme sur un cheval fougueux), and it is probable that he also suggested the addition of the names of the other great generals who had led their forces across the Alps: Hannibal and Charlemagne. | [
"Napoleon",
"Antoine-Jean Gros",
"Jean Auguste Dominique Ingres",
"First Consul",
"Napoleon in his coronation robes",
"Robert Lefèvre",
"Hannibal",
"propaganda",
"Charlemagne",
"Napoleon I on his Imperial Throne"
] |
|
16293_NT | Napoleon Crossing the Alps | Focus on this artwork and explain the Paintings. | The commission specified a portrait of Napoleon standing in the uniform of the First Consul, probably in the spirit of the portraits that were later produced by Antoine-Jean Gros, Robert Lefèvre (Napoleon in his coronation robes) and Jean Auguste Dominique Ingres (Napoleon I on his Imperial Throne), but David was keen to paint an equestrian scene. The Spanish ambassador, Ignacio Muzquiz, informed Napoleon and asked him how he would like to be represented. Napoleon initially requested to be shown reviewing the troops but eventually decided on a scene showing him crossing the Alps.
In reality the crossing had been made in fine weather and Bonaparte had been led across by a guide mounted on a mule. However, from the outset the painting was first and foremost propaganda, and Bonaparte asked David to portray him "calm, mounted on a fiery steed" (Calme sur un cheval fougueux), and it is probable that he also suggested the addition of the names of the other great generals who had led their forces across the Alps: Hannibal and Charlemagne. | [
"Napoleon",
"Antoine-Jean Gros",
"Jean Auguste Dominique Ingres",
"First Consul",
"Napoleon in his coronation robes",
"Robert Lefèvre",
"Hannibal",
"propaganda",
"Charlemagne",
"Napoleon I on his Imperial Throne"
] |
|
16294_T | Napoleon Crossing the Alps | Explore the Production about the Paintings of this artwork, Napoleon Crossing the Alps. | Few drafts and preparatory studies were made, contrary to David's normal practice. Gros, David's pupil, produced a small oil sketch of a horse being reined in, which was a probable study for Napoleon's mount, and the notebooks of David show some sketches of first thoughts on the position of the rider. The lack of early studies may in part be explained by Bonaparte's refusal to sit for the portrait. He had sat for Gros in 1796 on the insistence of Joséphine de Beauharnais, but Gros had complained that he had not had enough time for the sitting to be of benefit. David had also managed to persuade him to sit for a portrait in 1798, but the three hours that the fidgety and impatient Bonaparte had granted him did not give him sufficient time to produce a decent likeness. On accepting the commission for the Alpine scene, it appears that David expected that he would be sitting for the study, but Bonaparte refused point blank, not only on the basis that he disliked sitting but also because he believed that the painting should be a representation of his character rather than his physical appearance:The refusal to attend a sitting marked a break in the portraiture of Napoleon in general, with realism abandoned for political iconography: after this point the portraits become emblematic, capturing an ideal rather than a physical likeness.
Unable to convince Napoleon to sit for the picture, David took a bust as a starting point for his features, and made his son perch on top of a ladder as a model for the posture. The uniform is more accurate, as David was able to borrow the uniform and bicorne worn by Bonaparte at Marengo. Two of Napoleon's horses were used as models for the "fiery steed": the mare "la Belle" which features in the version held at Charlottenburg, and the famous grey Marengo which appears in those held at Versailles and Vienna. Engravings from Voyage pittoresque de la Suisse served as models for the landscape.
The first of the five portraits was painted in four months, from October 1800 to January 1801. On completion of the initial version, David immediately began work on the second version which was finished on 25 May, the date of Bonaparte's inspection of the portraits at David's Louvre workshop.
Two of David's pupils assisted him in producing the different versions: Jérôme-Martin Langlois worked primarily on the first two portraits, and George Rouget produced the copy for Les Invalides. | [
"Napoleon",
"Jérôme-Martin Langlois",
"George Rouget",
"bicorne",
"grey",
"Les Invalides",
"Louvre",
"Marengo",
"Joséphine de Beauharnais",
"Charlottenburg",
"realism",
"iconography",
"oil sketch",
"Versailles",
"Vienna"
] |
|
16294_NT | Napoleon Crossing the Alps | Explore the Production about the Paintings of this artwork. | Few drafts and preparatory studies were made, contrary to David's normal practice. Gros, David's pupil, produced a small oil sketch of a horse being reined in, which was a probable study for Napoleon's mount, and the notebooks of David show some sketches of first thoughts on the position of the rider. The lack of early studies may in part be explained by Bonaparte's refusal to sit for the portrait. He had sat for Gros in 1796 on the insistence of Joséphine de Beauharnais, but Gros had complained that he had not had enough time for the sitting to be of benefit. David had also managed to persuade him to sit for a portrait in 1798, but the three hours that the fidgety and impatient Bonaparte had granted him did not give him sufficient time to produce a decent likeness. On accepting the commission for the Alpine scene, it appears that David expected that he would be sitting for the study, but Bonaparte refused point blank, not only on the basis that he disliked sitting but also because he believed that the painting should be a representation of his character rather than his physical appearance:The refusal to attend a sitting marked a break in the portraiture of Napoleon in general, with realism abandoned for political iconography: after this point the portraits become emblematic, capturing an ideal rather than a physical likeness.
Unable to convince Napoleon to sit for the picture, David took a bust as a starting point for his features, and made his son perch on top of a ladder as a model for the posture. The uniform is more accurate, as David was able to borrow the uniform and bicorne worn by Bonaparte at Marengo. Two of Napoleon's horses were used as models for the "fiery steed": the mare "la Belle" which features in the version held at Charlottenburg, and the famous grey Marengo which appears in those held at Versailles and Vienna. Engravings from Voyage pittoresque de la Suisse served as models for the landscape.
The first of the five portraits was painted in four months, from October 1800 to January 1801. On completion of the initial version, David immediately began work on the second version which was finished on 25 May, the date of Bonaparte's inspection of the portraits at David's Louvre workshop.
Two of David's pupils assisted him in producing the different versions: Jérôme-Martin Langlois worked primarily on the first two portraits, and George Rouget produced the copy for Les Invalides. | [
"Napoleon",
"Jérôme-Martin Langlois",
"George Rouget",
"bicorne",
"grey",
"Les Invalides",
"Louvre",
"Marengo",
"Joséphine de Beauharnais",
"Charlottenburg",
"realism",
"iconography",
"oil sketch",
"Versailles",
"Vienna"
] |
|
16295_T | Napoleon Crossing the Alps | In the context of Napoleon Crossing the Alps, discuss the Technique of the Paintings. | In contrast to his predecessors François Boucher and Jean-Honoré Fragonard, who employed a red or grey undercoat as a base colour to build up the painting, David used white background of the canvas directly underneath his colours, as some of his unfinished works show, such as his first attempt at a portrait of Bonaparte or his sketch of the Tennis Court Oath.
David worked using two or three layers. After having captured the basic outline with an ochre drawing, he would flesh out the painting with light touches, using a brush with little paint, and concentrating on the blocks of light and shade rather than the details. The results of this technique are particularly noticeable in the original version of Napoleon Crossing the Alps from Malmaison, especially in the treatment of the rump of the horse. With the second layer, David concentrated on filling out the details and correcting possible defects.
The third and last layer was used for finishing touches: by blending of tones and smoothing the surface. David often left this task to his assistants. | [
"Napoleon",
"Jean-Honoré Fragonard",
"grey",
"Malmaison",
"Tennis Court Oath",
"Napoleon Crossing the Alps",
"ochre",
"François Boucher",
"left"
] |
|
16295_NT | Napoleon Crossing the Alps | In the context of this artwork, discuss the Technique of the Paintings. | In contrast to his predecessors François Boucher and Jean-Honoré Fragonard, who employed a red or grey undercoat as a base colour to build up the painting, David used white background of the canvas directly underneath his colours, as some of his unfinished works show, such as his first attempt at a portrait of Bonaparte or his sketch of the Tennis Court Oath.
David worked using two or three layers. After having captured the basic outline with an ochre drawing, he would flesh out the painting with light touches, using a brush with little paint, and concentrating on the blocks of light and shade rather than the details. The results of this technique are particularly noticeable in the original version of Napoleon Crossing the Alps from Malmaison, especially in the treatment of the rump of the horse. With the second layer, David concentrated on filling out the details and correcting possible defects.
The third and last layer was used for finishing touches: by blending of tones and smoothing the surface. David often left this task to his assistants. | [
"Napoleon",
"Jean-Honoré Fragonard",
"grey",
"Malmaison",
"Tennis Court Oath",
"Napoleon Crossing the Alps",
"ochre",
"François Boucher",
"left"
] |
|
16296_T | Napoleon Crossing the Alps | In Napoleon Crossing the Alps, how is the Detail of the Paintings elucidated? | All five versions of the picture are of roughly the same large size (2.6 m × 2.2 m). Bonaparte appears mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne, and armed with a Mamluk-style sabre. He is wreathed in the folds of a large cloak which billows in the wind. His head is turned towards the viewer, and he gestures with his right hand toward the mountain summit. His left hand grips the reins of his steed. The horse rears up on its back legs, its mane and tail whipped against its body by the same wind that inflates Napoleon's cloak. In background a line of the soldiers interspersed with artillery make their way up the mountain. Dark clouds hang over the picture and in front of Bonaparte the mountains rise up sharply. In the foreground BONAPARTE, HANNIBAL and KAROLVS MAGNVS IMP. are engraved on rocks. On the breastplate yoke of the horse, the picture is signed and dated. | [
"Napoleon",
"BONAPARTE",
"bicorne",
"KAROLVS MAGNVS IMP.",
"breastplate",
"Mamluk",
"HANNIBAL",
"left"
] |
|
16296_NT | Napoleon Crossing the Alps | In this artwork, how is the Detail of the Paintings elucidated? | All five versions of the picture are of roughly the same large size (2.6 m × 2.2 m). Bonaparte appears mounted in the uniform of a general in chief, wearing a gold-trimmed bicorne, and armed with a Mamluk-style sabre. He is wreathed in the folds of a large cloak which billows in the wind. His head is turned towards the viewer, and he gestures with his right hand toward the mountain summit. His left hand grips the reins of his steed. The horse rears up on its back legs, its mane and tail whipped against its body by the same wind that inflates Napoleon's cloak. In background a line of the soldiers interspersed with artillery make their way up the mountain. Dark clouds hang over the picture and in front of Bonaparte the mountains rise up sharply. In the foreground BONAPARTE, HANNIBAL and KAROLVS MAGNVS IMP. are engraved on rocks. On the breastplate yoke of the horse, the picture is signed and dated. | [
"Napoleon",
"BONAPARTE",
"bicorne",
"KAROLVS MAGNVS IMP.",
"breastplate",
"Mamluk",
"HANNIBAL",
"left"
] |
|
16297_T | Napoleon Crossing the Alps | In the context of Napoleon Crossing the Alps, analyze the Differences between the five versions of the Paintings. | In the original version held at Malmaison (260 × 221 cm; 1021⁄3 × 87 in), Bonaparte has an orange cloak, the crispin (cuff) of his gauntlet is embroidered, the horse is piebald, black and white, and the tack is complete and includes a Running Martingale. The girth around the horse's belly is a dark faded red. The officer holding a sabre in the background is obscured by the horse's tail. Napoleon's face appears youthful. The painting is signed in the yoke of the breastplate: L. DAVID YEAR IX.
The Charlottenburg version (260 × 226 cm; 1021⁄3 × 89 in) shows Napoleon in a red cloak mounted on a chestnut horse. The tack is simpler, lacking the martingale, and the girth is grey-blue. There are traces of snow on the ground. Napoleon's features are sunken with the faint hint of a smile. The picture is signed L.DAVID YEAR IX.
In the first Versailles version (272 × 232 cm; 107 × 911⁄3 in), the horse is a dappled grey, the tack is identical to that of the Charlottenburg version, and the girth is blue. The embroidery of the gauntlet is simplified with the facing of the sleeve visible under the glove. The landscape is darker and Napoleon's expression is sterner. The picture is not signed.
The version from the Belvedere (264 × 232 cm; 104 × 911⁄3 in) is almost identical to that of Versailles but is signed J.L.DAVID L.ANNO X.
The second Versailles version (267 × 230 cm; 105 × 901⁄2 in) shows a black and white horse with complete tack but lacking the martingale. The girth is red. The cloak is orange-red, the collar is black, and the embroidery of the gauntlet is very simple and almost unnoticeable. The scarf tied around Napoleon's waist is light blue. The officer with the sabre is again masked by the tail of the horse. Napoleon's features are older, he has shorter hair, and—as in the Charlottenburg version—there is the faint trace of a smile. The embroidery and the style of the bicorne suggest that the picture was completed after 1804. The picture is not dated but is signed L.DAVID. | [
"Napoleon",
"tack",
"bicorne",
"grey",
"Running Martingale",
"Malmaison",
"Charlottenburg",
"Belvedere",
"breastplate",
"girth",
"Versailles",
"piebald"
] |
|
16297_NT | Napoleon Crossing the Alps | In the context of this artwork, analyze the Differences between the five versions of the Paintings. | In the original version held at Malmaison (260 × 221 cm; 1021⁄3 × 87 in), Bonaparte has an orange cloak, the crispin (cuff) of his gauntlet is embroidered, the horse is piebald, black and white, and the tack is complete and includes a Running Martingale. The girth around the horse's belly is a dark faded red. The officer holding a sabre in the background is obscured by the horse's tail. Napoleon's face appears youthful. The painting is signed in the yoke of the breastplate: L. DAVID YEAR IX.
The Charlottenburg version (260 × 226 cm; 1021⁄3 × 89 in) shows Napoleon in a red cloak mounted on a chestnut horse. The tack is simpler, lacking the martingale, and the girth is grey-blue. There are traces of snow on the ground. Napoleon's features are sunken with the faint hint of a smile. The picture is signed L.DAVID YEAR IX.
In the first Versailles version (272 × 232 cm; 107 × 911⁄3 in), the horse is a dappled grey, the tack is identical to that of the Charlottenburg version, and the girth is blue. The embroidery of the gauntlet is simplified with the facing of the sleeve visible under the glove. The landscape is darker and Napoleon's expression is sterner. The picture is not signed.
The version from the Belvedere (264 × 232 cm; 104 × 911⁄3 in) is almost identical to that of Versailles but is signed J.L.DAVID L.ANNO X.
The second Versailles version (267 × 230 cm; 105 × 901⁄2 in) shows a black and white horse with complete tack but lacking the martingale. The girth is red. The cloak is orange-red, the collar is black, and the embroidery of the gauntlet is very simple and almost unnoticeable. The scarf tied around Napoleon's waist is light blue. The officer with the sabre is again masked by the tail of the horse. Napoleon's features are older, he has shorter hair, and—as in the Charlottenburg version—there is the faint trace of a smile. The embroidery and the style of the bicorne suggest that the picture was completed after 1804. The picture is not dated but is signed L.DAVID. | [
"Napoleon",
"tack",
"bicorne",
"grey",
"Running Martingale",
"Malmaison",
"Charlottenburg",
"Belvedere",
"breastplate",
"girth",
"Versailles",
"piebald"
] |
|
16298_T | Napoleon Crossing the Alps | In Napoleon Crossing the Alps, how is the Influences discussed? | After Napoleon's rise to power and the victory at Marengo, the fashion was for allegorical portraits of Bonaparte, glorifying the new Master of France, such as Antoine-François Callet's Allegory of the Battle of Marengo, featuring Bonaparte dressed in Roman costume and flanked by winged symbols of victory, and Pierre Paul Prud'hon's Triumph of Bonaparte, featuring the First Consul in a chariot accompanied by winged figures. David chose symbolism rather than allegory. His figure of Bonaparte is heroic and idealized but it lacks the concrete symbols of allegorical painting.Faithful to his desire for a "return to the pure Greek" (retour vers le grec pur), David applied the radical neo-classicism that he had demonstrated in his 1799 The Intervention of the Sabine Women to the portrait of Bonaparte, with the use of contemporary costumes the only concession. The horse from the first version is almost identical in posture and colouring to one featured in the melee of The Intervention of the Sabine Women.The youthful figure of Bonaparte in the initial painting reflects the aesthetic of the "beautiful ideal" symbolized by the "Apollo Belvedere" and taken to its zenith in The Death of Hyacinthos by Jean Broc, one of David's pupils. The figure of the beautiful young man which David had already painted in La Mort du jeune Bara is also present in The Intervention of the Sabine Women. The youthful posture of David's son, forced into posing for the artist by Bonaparte's refusal to sit, is evident in the attitude of the Napoleon portrayed in the painting; with his legs folded like the Greek riders, the youthful figure evokes the young Alexander the Great mounted on Bucephalus as seen on his sarcophagus (now in the archaeological museum of Istanbul).
For the horse, David takes as a starting point the equestrian statue of Peter the Great, The Bronze Horseman by Étienne Maurice Falconet in Saint Petersburg, duplicating the calm handling of a rearing horse on rocky ground. There are also hints of Titus in The Destruction of the Temple of Jerusalem by Nicolas Poussin, a painter who strongly influenced David's work. The horses of the Greek statuary which appear many times in David's notebooks point to the bas-reliefs of the Parthenon as a source of inspiration. | [
"Napoleon",
"Nicolas Poussin",
"Bucephalus",
"The Bronze Horseman",
"Battle of Marengo",
"Apollo Belvedere",
"First Consul",
"Peter the Great",
"Pierre Paul Prud'hon",
"equestrian statue",
"sarcophagus",
"Saint Petersburg",
"The Intervention of the Sabine Women",
"allegory",
"Parthenon",
"Bronze Horseman",
"Marengo",
"Alexander the Great",
"Allegory",
"Jean Broc",
"Alexander",
"Istanbul",
"Belvedere",
"Étienne Maurice Falconet",
"The Death of Hyacinthos",
"The Destruction of the Temple of Jerusalem",
"Antoine-François Callet"
] |
|
16298_NT | Napoleon Crossing the Alps | In this artwork, how is the Influences discussed? | After Napoleon's rise to power and the victory at Marengo, the fashion was for allegorical portraits of Bonaparte, glorifying the new Master of France, such as Antoine-François Callet's Allegory of the Battle of Marengo, featuring Bonaparte dressed in Roman costume and flanked by winged symbols of victory, and Pierre Paul Prud'hon's Triumph of Bonaparte, featuring the First Consul in a chariot accompanied by winged figures. David chose symbolism rather than allegory. His figure of Bonaparte is heroic and idealized but it lacks the concrete symbols of allegorical painting.Faithful to his desire for a "return to the pure Greek" (retour vers le grec pur), David applied the radical neo-classicism that he had demonstrated in his 1799 The Intervention of the Sabine Women to the portrait of Bonaparte, with the use of contemporary costumes the only concession. The horse from the first version is almost identical in posture and colouring to one featured in the melee of The Intervention of the Sabine Women.The youthful figure of Bonaparte in the initial painting reflects the aesthetic of the "beautiful ideal" symbolized by the "Apollo Belvedere" and taken to its zenith in The Death of Hyacinthos by Jean Broc, one of David's pupils. The figure of the beautiful young man which David had already painted in La Mort du jeune Bara is also present in The Intervention of the Sabine Women. The youthful posture of David's son, forced into posing for the artist by Bonaparte's refusal to sit, is evident in the attitude of the Napoleon portrayed in the painting; with his legs folded like the Greek riders, the youthful figure evokes the young Alexander the Great mounted on Bucephalus as seen on his sarcophagus (now in the archaeological museum of Istanbul).
For the horse, David takes as a starting point the equestrian statue of Peter the Great, The Bronze Horseman by Étienne Maurice Falconet in Saint Petersburg, duplicating the calm handling of a rearing horse on rocky ground. There are also hints of Titus in The Destruction of the Temple of Jerusalem by Nicolas Poussin, a painter who strongly influenced David's work. The horses of the Greek statuary which appear many times in David's notebooks point to the bas-reliefs of the Parthenon as a source of inspiration. | [
"Napoleon",
"Nicolas Poussin",
"Bucephalus",
"The Bronze Horseman",
"Battle of Marengo",
"Apollo Belvedere",
"First Consul",
"Peter the Great",
"Pierre Paul Prud'hon",
"equestrian statue",
"sarcophagus",
"Saint Petersburg",
"The Intervention of the Sabine Women",
"allegory",
"Parthenon",
"Bronze Horseman",
"Marengo",
"Alexander the Great",
"Allegory",
"Jean Broc",
"Alexander",
"Istanbul",
"Belvedere",
"Étienne Maurice Falconet",
"The Death of Hyacinthos",
"The Destruction of the Temple of Jerusalem",
"Antoine-François Callet"
] |
|
16299_T | Napoleon Crossing the Alps | Focus on Napoleon Crossing the Alps and explore the Reception. | The first two copies were exhibited in the Louvre in June 1801 alongside The Intervention of the Sabine Women, and although there was an outcry in the press over the purchase, the painting quickly became well known as a result of the numerous reproductions that were produced, the image appearing everywhere from posters to postage stamps. It quickly became the most reproduced image of Napoleon.
With this work David took the genre of the equestrian portraiture to its zenith. No other equestrian portrait made under Napoleon gained such celebrity, with perhaps the exception of Théodore Géricault's The Charging Chasseur of 1812.
With Bonaparte's exile in 1815 the portraits fell out of fashion, but by the late 1830s they were once again being hung in the art galleries and museums. | [
"Napoleon",
"The Intervention of the Sabine Women",
"Louvre",
"The Charging Chasseur",
"Théodore Géricault"
] |
|
16299_NT | Napoleon Crossing the Alps | Focus on this artwork and explore the Reception. | The first two copies were exhibited in the Louvre in June 1801 alongside The Intervention of the Sabine Women, and although there was an outcry in the press over the purchase, the painting quickly became well known as a result of the numerous reproductions that were produced, the image appearing everywhere from posters to postage stamps. It quickly became the most reproduced image of Napoleon.
With this work David took the genre of the equestrian portraiture to its zenith. No other equestrian portrait made under Napoleon gained such celebrity, with perhaps the exception of Théodore Géricault's The Charging Chasseur of 1812.
With Bonaparte's exile in 1815 the portraits fell out of fashion, but by the late 1830s they were once again being hung in the art galleries and museums. | [
"Napoleon",
"The Intervention of the Sabine Women",
"Louvre",
"The Charging Chasseur",
"Théodore Géricault"
] |
|
16300_T | Napoleon Crossing the Alps | In the context of Napoleon Crossing the Alps, explain the Delaroche's version of the Reception. | Arthur George, 3rd Earl of Onslow, who had a large Napoleonic collection, was visiting the Louvre with Paul Delaroche in 1848 and commented on the implausibility and theatricality of David's painting. He commissioned Delaroche to produce a more accurate version which featured Napoleon on a mule; the final painting, Napoleon Crossing the Alps, was completed in 1850. While Delaroche's painting is more realistic than the symbolic heroic representation of David, it was not meant to be demeaning - Delaroche admired Bonaparte and thought that the achievement was not diminished by depicting it in a realistic fashion. | [
"Napoleon",
"Arthur George, 3rd Earl of Onslow",
"Louvre",
"Napoleon Crossing the Alps",
"Paul Delaroche"
] |
|
16300_NT | Napoleon Crossing the Alps | In the context of this artwork, explain the Delaroche's version of the Reception. | Arthur George, 3rd Earl of Onslow, who had a large Napoleonic collection, was visiting the Louvre with Paul Delaroche in 1848 and commented on the implausibility and theatricality of David's painting. He commissioned Delaroche to produce a more accurate version which featured Napoleon on a mule; the final painting, Napoleon Crossing the Alps, was completed in 1850. While Delaroche's painting is more realistic than the symbolic heroic representation of David, it was not meant to be demeaning - Delaroche admired Bonaparte and thought that the achievement was not diminished by depicting it in a realistic fashion. | [
"Napoleon",
"Arthur George, 3rd Earl of Onslow",
"Louvre",
"Napoleon Crossing the Alps",
"Paul Delaroche"
] |
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