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16301_T | Napoleon Crossing the Alps | Explore the The Black Brunswicker about the Reception of this artwork, Napoleon Crossing the Alps. | John Everett Millais also used the image to contrast David's theatrical rhetoric with a naturalistic scenario in his painting The Black Brunswicker, in which a print of the painting hangs on the wall of a room in which one of the Brunswickers who fought at the Battle of Quatre Bras prepares to leave his sweetheart to join the fight against Napoleon. | [
"Napoleon",
"Brunswickers",
"Battle of Quatre Bras",
"John Everett Millais",
"The Black Brunswicker"
] |
|
16301_NT | Napoleon Crossing the Alps | Explore the The Black Brunswicker about the Reception of this artwork. | John Everett Millais also used the image to contrast David's theatrical rhetoric with a naturalistic scenario in his painting The Black Brunswicker, in which a print of the painting hangs on the wall of a room in which one of the Brunswickers who fought at the Battle of Quatre Bras prepares to leave his sweetheart to join the fight against Napoleon. | [
"Napoleon",
"Brunswickers",
"Battle of Quatre Bras",
"John Everett Millais",
"The Black Brunswicker"
] |
|
16302_T | Napoleon Crossing the Alps | How does Napoleon Crossing the Alps elucidate its General references? | Dominique-Vivant Denon, Vivant Denon, Directeur des musées sous le Consulat et l'Empire, Correspondance, 2 vol., Réunion des Musées nationaux, Paris, 1999 (in French)
Antoine Schnapper (commissaire de l'exposition), David 1748–1825 catalogue de l'exposition Louvre-Versailles, Réunion des Musées nationaux, Paris, 1989 ISBN 2-7118-2326-1 (in French)
Daniel et Guy Wildenstein, Document complémentaires au catalogue de l'œuvre de Louis David, Fondation Wildenstein, Paris, 1973. (in French) | [
"Guy Wildenstein",
"Louvre",
"Dominique-Vivant Denon",
"Antoine Schnapper",
"Paris",
"Versailles",
"Daniel",
"Vivant Denon"
] |
|
16302_NT | Napoleon Crossing the Alps | How does this artwork elucidate its General references? | Dominique-Vivant Denon, Vivant Denon, Directeur des musées sous le Consulat et l'Empire, Correspondance, 2 vol., Réunion des Musées nationaux, Paris, 1999 (in French)
Antoine Schnapper (commissaire de l'exposition), David 1748–1825 catalogue de l'exposition Louvre-Versailles, Réunion des Musées nationaux, Paris, 1989 ISBN 2-7118-2326-1 (in French)
Daniel et Guy Wildenstein, Document complémentaires au catalogue de l'œuvre de Louis David, Fondation Wildenstein, Paris, 1973. (in French) | [
"Guy Wildenstein",
"Louvre",
"Dominique-Vivant Denon",
"Antoine Schnapper",
"Paris",
"Versailles",
"Daniel",
"Vivant Denon"
] |
|
16303_T | Bust of Victor Herbert | Focus on Bust of Victor Herbert and analyze the abstract. | Victor Herbert is an outdoor bronze portrait bust of Victor Herbert by Edmond Thomas Quinn, located in Central Park in Manhattan, New York. | [
"Victor Herbert",
"Edmond Thomas Quinn",
"New York",
"Manhattan",
"Central Park"
] |
|
16303_NT | Bust of Victor Herbert | Focus on this artwork and analyze the abstract. | Victor Herbert is an outdoor bronze portrait bust of Victor Herbert by Edmond Thomas Quinn, located in Central Park in Manhattan, New York. | [
"Victor Herbert",
"Edmond Thomas Quinn",
"New York",
"Manhattan",
"Central Park"
] |
|
16304_T | The Hostages (Laurens) | In The Hostages (Laurens), how is the abstract discussed? | The Hostages is an 1896 oil on canvas painting created by French painter and sculptor Jean-Paul Laurens, the last in a series of historical works by him. He does not give a specific historical setting, although he evokes the Princes in the Tower and Richard III of England. It is now collected in the Museum of Fine Arts of Lyon. | [
"Princes in the Tower",
"Lyon",
"Jean-Paul Laurens",
"Museum of Fine Arts of Lyon",
"Richard III of England"
] |
|
16304_NT | The Hostages (Laurens) | In this artwork, how is the abstract discussed? | The Hostages is an 1896 oil on canvas painting created by French painter and sculptor Jean-Paul Laurens, the last in a series of historical works by him. He does not give a specific historical setting, although he evokes the Princes in the Tower and Richard III of England. It is now collected in the Museum of Fine Arts of Lyon. | [
"Princes in the Tower",
"Lyon",
"Jean-Paul Laurens",
"Museum of Fine Arts of Lyon",
"Richard III of England"
] |
|
16305_T | The Lictors Bring to Brutus the Bodies of His Sons | Focus on The Lictors Bring to Brutus the Bodies of His Sons and explore the abstract. | The Lictors Bring to Brutus the Bodies of His Sons (French: Les licteurs rapportent à Brutus les corps de ses fils) is a work in oils by the French artist Jacques-Louis David. On a canvas of 146 square feet, this painting was first exhibited at the Paris Salon in 1789. The subject is the Roman leader Lucius Junius Brutus, founder of the Roman Republic, contemplating the fate of his sons. They had conspired to overthrow the republic and restore the monarchy, and Brutus himself was compelled to order their deaths. In doing so, Brutus became the heroic defender of the republic, at the cost of his own family. The painting was a bold allegory of civic virtue with immense resonance for the growing cause of republicanism. Its themes of virtue, sacrifice, and devotion to the nation sparked much controversy when it was unveiled in the politically charged era of the French Revolution. | [
"civic virtue",
"French",
"oils",
"Lucius Junius Brutus",
"Paris Salon",
"Roman",
"Roman Republic",
"republicanism",
"French Revolution",
"Paris",
"Jacques-Louis David"
] |
|
16305_NT | The Lictors Bring to Brutus the Bodies of His Sons | Focus on this artwork and explore the abstract. | The Lictors Bring to Brutus the Bodies of His Sons (French: Les licteurs rapportent à Brutus les corps de ses fils) is a work in oils by the French artist Jacques-Louis David. On a canvas of 146 square feet, this painting was first exhibited at the Paris Salon in 1789. The subject is the Roman leader Lucius Junius Brutus, founder of the Roman Republic, contemplating the fate of his sons. They had conspired to overthrow the republic and restore the monarchy, and Brutus himself was compelled to order their deaths. In doing so, Brutus became the heroic defender of the republic, at the cost of his own family. The painting was a bold allegory of civic virtue with immense resonance for the growing cause of republicanism. Its themes of virtue, sacrifice, and devotion to the nation sparked much controversy when it was unveiled in the politically charged era of the French Revolution. | [
"civic virtue",
"French",
"oils",
"Lucius Junius Brutus",
"Paris Salon",
"Roman",
"Roman Republic",
"republicanism",
"French Revolution",
"Paris",
"Jacques-Louis David"
] |
|
16306_T | The Lictors Bring to Brutus the Bodies of His Sons | Focus on The Lictors Bring to Brutus the Bodies of His Sons and explain the Background. | David labored over the painting for more than two years before he considered it complete. His attachment to the motif of Brutus had been evident for years before this painting, at least since the early 1780s when he was making The Oath of the Horatii (1784). This earlier work bears a distinct connection to Brutus through the themes of duty, loyalty, and virtue. The oath itself was an element of the Brutus legend which David artistically transposed to the Horatii. Similar license was taken with the composition of Brutus: the return of the sons' bodies is an episode not found in the accounts of Livy and Plutarch.David's enthusiasm for the republican cause, at least at this early stage, is a matter of dispute. Many historians believe his painterly inspirations were more prosaic, drawn from standard classical history lessons and lesser events of contemporary notoriety. In spite of its quick apotheosis by the public, some contemporaries questioned the personal intentions of David regarding this work, and the debate remains unresolved. | [
"Plutarch",
"Livy",
"The Oath of the Horatii",
"Oath of the Horatii"
] |
|
16306_NT | The Lictors Bring to Brutus the Bodies of His Sons | Focus on this artwork and explain the Background. | David labored over the painting for more than two years before he considered it complete. His attachment to the motif of Brutus had been evident for years before this painting, at least since the early 1780s when he was making The Oath of the Horatii (1784). This earlier work bears a distinct connection to Brutus through the themes of duty, loyalty, and virtue. The oath itself was an element of the Brutus legend which David artistically transposed to the Horatii. Similar license was taken with the composition of Brutus: the return of the sons' bodies is an episode not found in the accounts of Livy and Plutarch.David's enthusiasm for the republican cause, at least at this early stage, is a matter of dispute. Many historians believe his painterly inspirations were more prosaic, drawn from standard classical history lessons and lesser events of contemporary notoriety. In spite of its quick apotheosis by the public, some contemporaries questioned the personal intentions of David regarding this work, and the debate remains unresolved. | [
"Plutarch",
"Livy",
"The Oath of the Horatii",
"Oath of the Horatii"
] |
|
16307_T | The Lictors Bring to Brutus the Bodies of His Sons | Explore the Impact of this artwork, The Lictors Bring to Brutus the Bodies of His Sons. | The work had tremendous resonance for the time. The Revolution had already begun, and all paintings shown at the Salon had to be approved for political acceptability. David's 1788 portrait of Antoine Lavoisier had already been refused a display because the famed chemist was a potentially divisive figure, tied as he was to the Ancien Régime. Out of similar caution, The Lictors Bring to Brutus the Bodies of His Sons was almost not shown because of concerns about inflaming pro-revolutionary passions. The public's insistence was too great, however, and the authorities were forced to give in.After its first exhibition, David's friend, the actor François-Joseph Talma, played the title role in Voltaire's Brutus and added in a scene in which the stage direction exactly replicated the composition of the already famous painting.Contemporaneously with David, the painter Angelica Kauffmann (1741–1807) was commissioned by Polish royalty to create a work she entitled Brutus Condemning His Sons to Death for Treason. This painting, now lost, is known only by written description and a preparatory pen and ink drawing from 1788. | [
"Antoine Lavoisier",
"David's 1788 portrait",
"Angelica Kauffman",
"Voltaire",
"Ancien Régime",
"François-Joseph Talma",
"Angelica Kauffmann"
] |
|
16307_NT | The Lictors Bring to Brutus the Bodies of His Sons | Explore the Impact of this artwork. | The work had tremendous resonance for the time. The Revolution had already begun, and all paintings shown at the Salon had to be approved for political acceptability. David's 1788 portrait of Antoine Lavoisier had already been refused a display because the famed chemist was a potentially divisive figure, tied as he was to the Ancien Régime. Out of similar caution, The Lictors Bring to Brutus the Bodies of His Sons was almost not shown because of concerns about inflaming pro-revolutionary passions. The public's insistence was too great, however, and the authorities were forced to give in.After its first exhibition, David's friend, the actor François-Joseph Talma, played the title role in Voltaire's Brutus and added in a scene in which the stage direction exactly replicated the composition of the already famous painting.Contemporaneously with David, the painter Angelica Kauffmann (1741–1807) was commissioned by Polish royalty to create a work she entitled Brutus Condemning His Sons to Death for Treason. This painting, now lost, is known only by written description and a preparatory pen and ink drawing from 1788. | [
"Antoine Lavoisier",
"David's 1788 portrait",
"Angelica Kauffman",
"Voltaire",
"Ancien Régime",
"François-Joseph Talma",
"Angelica Kauffmann"
] |
|
16308_T | The Lictors Bring to Brutus the Bodies of His Sons | Focus on The Lictors Bring to Brutus the Bodies of His Sons and discuss the Legacy. | The Lictors Bring to Brutus the Bodies of His Sons is on permanent display in the Louvre in Paris. A study in ink and chalk from 1787 is housed in the Metropolitan Museum of Art in New York City. An oil on canvas study is in the collections of Nationalmuseum in Stockholm.The painting is featured in the 1980 BBC series 100 Great Paintings. | [
"Stockholm",
"the Louvre",
"Nationalmuseum",
"Louvre",
"Paris",
"Metropolitan Museum of Art",
"100 Great Paintings"
] |
|
16308_NT | The Lictors Bring to Brutus the Bodies of His Sons | Focus on this artwork and discuss the Legacy. | The Lictors Bring to Brutus the Bodies of His Sons is on permanent display in the Louvre in Paris. A study in ink and chalk from 1787 is housed in the Metropolitan Museum of Art in New York City. An oil on canvas study is in the collections of Nationalmuseum in Stockholm.The painting is featured in the 1980 BBC series 100 Great Paintings. | [
"Stockholm",
"the Louvre",
"Nationalmuseum",
"Louvre",
"Paris",
"Metropolitan Museum of Art",
"100 Great Paintings"
] |
|
16309_T | Sacred Conversation (Bellini, Madrid, 1505–1510) | How does Sacred Conversation (Bellini, Madrid, 1505–1510) elucidate its abstract? | Nunc Dimittis or Sacred Conversation is an oil-on-panel painting created ca. 1505–1510 by the Italian Renaissance master Giovanni Bellini. It measures 62 cm by 83 cm and is now in the Museo Thyssen-Bornemisza in Madrid. It belongs to the sacra conversazione genre and shows Anna and Simeon with the Madonna and Child. | [
"Giovanni Bellini",
"Simeon",
"sacra conversazione",
"Anna",
"Museo Thyssen-Bornemisza",
"Madrid"
] |
|
16309_NT | Sacred Conversation (Bellini, Madrid, 1505–1510) | How does this artwork elucidate its abstract? | Nunc Dimittis or Sacred Conversation is an oil-on-panel painting created ca. 1505–1510 by the Italian Renaissance master Giovanni Bellini. It measures 62 cm by 83 cm and is now in the Museo Thyssen-Bornemisza in Madrid. It belongs to the sacra conversazione genre and shows Anna and Simeon with the Madonna and Child. | [
"Giovanni Bellini",
"Simeon",
"sacra conversazione",
"Anna",
"Museo Thyssen-Bornemisza",
"Madrid"
] |
|
16310_T | Mars Being Disarmed by Venus | Focus on Mars Being Disarmed by Venus and analyze the Description. | At over 3 m (10 ft) high, it is an imposing work. Set before a temple floating in the clouds, Venus, the goddess of love, and her followers, the three Graces and Cupid, are shown taking away the weapons, helmet, shield, and armor of Mars, the god of war. Mars allows himself to be disarmed and gives in to Venus's charms.
Most of David's models for the painting were figures involved in the Théâtre de la Monnaie: Venus was modeled by the actress Marie Lesueur, Cupid by Lucien Petipa, Mars by a subscriber or 'abonné', and one of the Graces by the Prince of Orange's mistress.The painting is notable for not having a distinct artistic style, with David borrowing from divergent aesthetic traditions. David's themes go beyond the stylistic opposition of idealism versus realism, reflecting more broadly on the conflict between the Ancients and the Moderns. The art historian Philippe Bordes emphasizes this point, arguing that David was embracing “a past which was more than just the beau ideal" and "a present which was more than a stake in realism.” | [
"Ancients and the Moderns",
"Lucien Petipa",
"Marie Lesueur",
"Cupid",
"Théâtre de la Monnaie",
"Venus",
"Mars",
"Graces",
"Prince of Orange"
] |
|
16310_NT | Mars Being Disarmed by Venus | Focus on this artwork and analyze the Description. | At over 3 m (10 ft) high, it is an imposing work. Set before a temple floating in the clouds, Venus, the goddess of love, and her followers, the three Graces and Cupid, are shown taking away the weapons, helmet, shield, and armor of Mars, the god of war. Mars allows himself to be disarmed and gives in to Venus's charms.
Most of David's models for the painting were figures involved in the Théâtre de la Monnaie: Venus was modeled by the actress Marie Lesueur, Cupid by Lucien Petipa, Mars by a subscriber or 'abonné', and one of the Graces by the Prince of Orange's mistress.The painting is notable for not having a distinct artistic style, with David borrowing from divergent aesthetic traditions. David's themes go beyond the stylistic opposition of idealism versus realism, reflecting more broadly on the conflict between the Ancients and the Moderns. The art historian Philippe Bordes emphasizes this point, arguing that David was embracing “a past which was more than just the beau ideal" and "a present which was more than a stake in realism.” | [
"Ancients and the Moderns",
"Lucien Petipa",
"Marie Lesueur",
"Cupid",
"Théâtre de la Monnaie",
"Venus",
"Mars",
"Graces",
"Prince of Orange"
] |
|
16311_T | Mars Being Disarmed by Venus | In Mars Being Disarmed by Venus, how is the Reception discussed? | The painting initially received little commentary from critics, perhaps owing to the artist's position in political exile. Critics who discussed the work focused on the technical aspects of the painting, saying less about its political significance. Critics were especially cautious about discussing the artist's exiled status, though their reticence around the subject may have called more attention to it. | [] |
|
16311_NT | Mars Being Disarmed by Venus | In this artwork, how is the Reception discussed? | The painting initially received little commentary from critics, perhaps owing to the artist's position in political exile. Critics who discussed the work focused on the technical aspects of the painting, saying less about its political significance. Critics were especially cautious about discussing the artist's exiled status, though their reticence around the subject may have called more attention to it. | [] |
|
16312_T | Mars Being Disarmed by Venus | Focus on Mars Being Disarmed by Venus and explore the Political message. | In terms of technique, the painting can be described as combining idealism and realism, but art historians have sometimes seen this stylistic opposition as related to themes of gender and politics. David here departed from Neoclassicism, which typically glorified masculine virtue, often in service of the government. Venus subduing Mars takes on a political dimension insofar as it diverges from the aesthetic favored by the state, and which David had previously embraced. Art Historian Satish Padiyar argues that David, through the figures of Mars and Venus, “pulls his once authoritative language apart, shatters and disarms it.” | [
"Neoclassicism",
"Venus",
"Mars"
] |
|
16312_NT | Mars Being Disarmed by Venus | Focus on this artwork and explore the Political message. | In terms of technique, the painting can be described as combining idealism and realism, but art historians have sometimes seen this stylistic opposition as related to themes of gender and politics. David here departed from Neoclassicism, which typically glorified masculine virtue, often in service of the government. Venus subduing Mars takes on a political dimension insofar as it diverges from the aesthetic favored by the state, and which David had previously embraced. Art Historian Satish Padiyar argues that David, through the figures of Mars and Venus, “pulls his once authoritative language apart, shatters and disarms it.” | [
"Neoclassicism",
"Venus",
"Mars"
] |
|
16313_T | Portrait of Herman Doomer | Focus on Portrait of Herman Doomer and explain the abstract. | Portrait of Herman Doomer is a 1640 oil on oak panel portrait of an Amsterdam businessman by Rembrandt, now in the Metropolitan Museum of Art, to which it was left in 1929 by Louisine Havemeyer.The subject, Herman Doomer, was a successful cabinetmaker and worker in ebony, which was fashionable in seventeenth-century Amsterdam. Rembrandt also painted a companion piece of his wife around the same time, the Portrait of Baertje Martens, which is in the collection of the State Hermitage Museum, St. Petersburg, Russia. The two pictures were left by Baertje Martens in her will in 1654 to their son, Lambert Doomer, an artist himself, on condition that he made copies of the two pieces for each of his brothers and sisters.
The work is on view at the Metropolitan Museum in Gallery 964. | [
"Louisine Havemeyer",
"Hermitage Museum",
"Herman Doomer",
"State Hermitage Museum",
"Lambert Doomer",
"Metropolitan Museum of Art",
"Portrait of Baertje Martens",
"Rembrandt"
] |
|
16313_NT | Portrait of Herman Doomer | Focus on this artwork and explain the abstract. | Portrait of Herman Doomer is a 1640 oil on oak panel portrait of an Amsterdam businessman by Rembrandt, now in the Metropolitan Museum of Art, to which it was left in 1929 by Louisine Havemeyer.The subject, Herman Doomer, was a successful cabinetmaker and worker in ebony, which was fashionable in seventeenth-century Amsterdam. Rembrandt also painted a companion piece of his wife around the same time, the Portrait of Baertje Martens, which is in the collection of the State Hermitage Museum, St. Petersburg, Russia. The two pictures were left by Baertje Martens in her will in 1654 to their son, Lambert Doomer, an artist himself, on condition that he made copies of the two pieces for each of his brothers and sisters.
The work is on view at the Metropolitan Museum in Gallery 964. | [
"Louisine Havemeyer",
"Hermitage Museum",
"Herman Doomer",
"State Hermitage Museum",
"Lambert Doomer",
"Metropolitan Museum of Art",
"Portrait of Baertje Martens",
"Rembrandt"
] |
|
16314_T | Copies by Vincent van Gogh | Explore the abstract of this artwork, Copies by Vincent van Gogh. | Vincent van Gogh made many copies of other people's work between 1887 and early 1890, which can be considered appropriation art. While at Saint-Paul asylum in Saint-Rémy-de-Provence, France, where Van Gogh admitted himself, he strived to have subjects during the cold winter months. Seeking to be reinvigorated artistically, Van Gogh did more than 30 copies of works by some of his favorite artists. About twenty-one of the works were copies after, or inspired by, Jean-François Millet. Rather than replicate, Van Gogh sought to translate the subjects and composition through his perspective, color, and technique. Spiritual meaning and emotional comfort were expressed through symbolism and color. His brother Theo van Gogh would call the pieces in the series some of his best work. | [
"Saint-Rémy-de-Provence",
"Theo",
"Jean-François Millet",
"appropriation art",
"Saint-Rémy",
"after",
"Saint-Paul asylum",
"Theo van Gogh",
"Vincent van Gogh"
] |
|
16314_NT | Copies by Vincent van Gogh | Explore the abstract of this artwork. | Vincent van Gogh made many copies of other people's work between 1887 and early 1890, which can be considered appropriation art. While at Saint-Paul asylum in Saint-Rémy-de-Provence, France, where Van Gogh admitted himself, he strived to have subjects during the cold winter months. Seeking to be reinvigorated artistically, Van Gogh did more than 30 copies of works by some of his favorite artists. About twenty-one of the works were copies after, or inspired by, Jean-François Millet. Rather than replicate, Van Gogh sought to translate the subjects and composition through his perspective, color, and technique. Spiritual meaning and emotional comfort were expressed through symbolism and color. His brother Theo van Gogh would call the pieces in the series some of his best work. | [
"Saint-Rémy-de-Provence",
"Theo",
"Jean-François Millet",
"appropriation art",
"Saint-Rémy",
"after",
"Saint-Paul asylum",
"Theo van Gogh",
"Vincent van Gogh"
] |
|
16315_T | Copies by Vincent van Gogh | Focus on Copies by Vincent van Gogh and discuss the Background. | During the winter months at Saint-Remy Van Gogh had a shortage of subjects for his work. Residing at Saint-Paul asylum, he did not have the freedom he enjoyed in the past, the weather was too cold to work outdoors and he did not have access to models for paintings. Van Gogh took up copying some of his favorite works of others, which became the primary source of his work during the winter months. The Pietà (after Delacroix) marks the start of a series of paintings that Van Gogh made after artists such as Jean-François Millet, Honoré Daumier and Rembrandt. Millet's work, who greatly influenced Van Gogh, figures prominently in this series. He wrote to Theo about these copies: "I started making them inadvertently and now find that I can learn from them and that they give me a kind of comfort. My brush then moves through my fingers like a bow over the strings of a violin – completely for my pleasure."Several religious works, such as The Pietà, were included in the series, notable exceptions in his oeuvre. Saint-Paul asylum, housed in an old monastery, may have provided some of the inspiration for the specific subject. The nuns devoutness sometimes annoyed him, but he did find solace in religion. He wrote: "I am not indifferent, and pious thoughts often console me in my suffering."Van Gogh Museum asserts that Van Gogh may have identified with Christ "who had also suffered and been misunderstood." They also offer the conjecture of some scholars of a resemblance between the Van Gogh and the red-bearded Christ in The Pietà and Lazarus in the copy after Rembrandt. However it is unknown whether or not this was Van Gogh's intention. | [
"Theo",
"Jean-François Millet",
"Lazarus",
"after",
"oeuvre",
"Saint-Paul asylum",
"Rembrandt",
"Van Gogh Museum",
"Delacroix",
"Honoré Daumier"
] |
|
16315_NT | Copies by Vincent van Gogh | Focus on this artwork and discuss the Background. | During the winter months at Saint-Remy Van Gogh had a shortage of subjects for his work. Residing at Saint-Paul asylum, he did not have the freedom he enjoyed in the past, the weather was too cold to work outdoors and he did not have access to models for paintings. Van Gogh took up copying some of his favorite works of others, which became the primary source of his work during the winter months. The Pietà (after Delacroix) marks the start of a series of paintings that Van Gogh made after artists such as Jean-François Millet, Honoré Daumier and Rembrandt. Millet's work, who greatly influenced Van Gogh, figures prominently in this series. He wrote to Theo about these copies: "I started making them inadvertently and now find that I can learn from them and that they give me a kind of comfort. My brush then moves through my fingers like a bow over the strings of a violin – completely for my pleasure."Several religious works, such as The Pietà, were included in the series, notable exceptions in his oeuvre. Saint-Paul asylum, housed in an old monastery, may have provided some of the inspiration for the specific subject. The nuns devoutness sometimes annoyed him, but he did find solace in religion. He wrote: "I am not indifferent, and pious thoughts often console me in my suffering."Van Gogh Museum asserts that Van Gogh may have identified with Christ "who had also suffered and been misunderstood." They also offer the conjecture of some scholars of a resemblance between the Van Gogh and the red-bearded Christ in The Pietà and Lazarus in the copy after Rembrandt. However it is unknown whether or not this was Van Gogh's intention. | [
"Theo",
"Jean-François Millet",
"Lazarus",
"after",
"oeuvre",
"Saint-Paul asylum",
"Rembrandt",
"Van Gogh Museum",
"Delacroix",
"Honoré Daumier"
] |
|
16316_T | Copies by Vincent van Gogh | How does Copies by Vincent van Gogh elucidate its Copy after Émile Bernard? | Émile Bernard, an artist and Catholic mystic, was a close personal friend to Van Gogh. Bernard influenced Van Gogh artistically several ways. Bernard outlined figures in black, replicating the look of religious woodcut images of the Middle Ages. This resulted in a flattened, more primitive work. Van Gogh's Crows over the Wheatfield is one example of how Bernard's simplified form influenced his work. Bernard also taught Van Gogh about how to manipulate perspective in his work. Just as Van Gogh used color to express emotion, he used distortion of perspective as a means of artistic expression and a vehicle to "modernize" his work.As a demonstration of the sharing of artistic viewpoints, Van Gogh painted a copy in watercolor of a sketch made by Bernard of Breton woman. Van Gogh wrote to Bernard of a utopian ideal where artists worked cooperatively, focused on a common idea, to reach heights artistically "beyond the power of the isolated individual." As a means of clarification, he stated that did not mean that several painters would work on the same picture, but they will each create a work that "nonetheless belong together and complement each other." The Breton Women is one of many examples of how Van Gogh and one of his friend's brought their unique temperaments and skills to a single idea.Van Gogh wrote to Bernard his trade of the Breton Women to Paul Gauguin: "Let me make it perfectly clear that I was looking forward to seeing the sort of things that are in that painting of yours which Gauguin has, those Breton women walking in a meadow so beautifully composed, the colour with such naive distinction." Gauguin made a work, Breton Women at a Pardon which was may have been inspired by Bernard's work of Breton women. | [
"Breton Women",
"Émile Bernard",
"Middle Ages",
"after",
"Breton",
"Crows over the Wheatfield",
"Paul Gauguin",
"Breton woman",
"watercolor",
"utopian",
"Breton Women at a Pardon",
"Catholic mystic",
"woodcut",
"distortion of perspective"
] |
|
16316_NT | Copies by Vincent van Gogh | How does this artwork elucidate its Copy after Émile Bernard? | Émile Bernard, an artist and Catholic mystic, was a close personal friend to Van Gogh. Bernard influenced Van Gogh artistically several ways. Bernard outlined figures in black, replicating the look of religious woodcut images of the Middle Ages. This resulted in a flattened, more primitive work. Van Gogh's Crows over the Wheatfield is one example of how Bernard's simplified form influenced his work. Bernard also taught Van Gogh about how to manipulate perspective in his work. Just as Van Gogh used color to express emotion, he used distortion of perspective as a means of artistic expression and a vehicle to "modernize" his work.As a demonstration of the sharing of artistic viewpoints, Van Gogh painted a copy in watercolor of a sketch made by Bernard of Breton woman. Van Gogh wrote to Bernard of a utopian ideal where artists worked cooperatively, focused on a common idea, to reach heights artistically "beyond the power of the isolated individual." As a means of clarification, he stated that did not mean that several painters would work on the same picture, but they will each create a work that "nonetheless belong together and complement each other." The Breton Women is one of many examples of how Van Gogh and one of his friend's brought their unique temperaments and skills to a single idea.Van Gogh wrote to Bernard his trade of the Breton Women to Paul Gauguin: "Let me make it perfectly clear that I was looking forward to seeing the sort of things that are in that painting of yours which Gauguin has, those Breton women walking in a meadow so beautifully composed, the colour with such naive distinction." Gauguin made a work, Breton Women at a Pardon which was may have been inspired by Bernard's work of Breton women. | [
"Breton Women",
"Émile Bernard",
"Middle Ages",
"after",
"Breton",
"Crows over the Wheatfield",
"Paul Gauguin",
"Breton woman",
"watercolor",
"utopian",
"Breton Women at a Pardon",
"Catholic mystic",
"woodcut",
"distortion of perspective"
] |
|
16317_T | Copies by Vincent van Gogh | Focus on Copies by Vincent van Gogh and analyze the Copy after Virginie Demont Breton. | Van Gogh painted a work of the engraving Man at Sea made by Virginie Demont-Breton, daughter of Jules Breton. Her engraving was exhibited at the Salon of 1889. The picture depicts, almost entirely in shades of violet, a peaceful scene of a mother sitting by a fire with her baby on her lap. | [
"after",
"Breton",
"Jules Breton",
"Salon of 1889",
"Virginie Demont-Breton"
] |
|
16317_NT | Copies by Vincent van Gogh | Focus on this artwork and analyze the Copy after Virginie Demont Breton. | Van Gogh painted a work of the engraving Man at Sea made by Virginie Demont-Breton, daughter of Jules Breton. Her engraving was exhibited at the Salon of 1889. The picture depicts, almost entirely in shades of violet, a peaceful scene of a mother sitting by a fire with her baby on her lap. | [
"after",
"Breton",
"Jules Breton",
"Salon of 1889",
"Virginie Demont-Breton"
] |
|
16318_T | Copies by Vincent van Gogh | In Copies by Vincent van Gogh, how is the Copy after Honoré Daumier discussed? | In 1882 Van Gogh had remarked that he found Honoré Daumier's The Four Ages of a Drinker both beautiful and soulful.Van Gogh wrote to his brother Theo of Daumier's artistic perspective and humanity: "What impressed me so much at the time was something so stout and manly in Daumier's conception, something that made me think It must be good to think and to feel like that and to overlook or ignore a multitude of things and to concentrate on what makes us sit up and think and what touches us as human beings more directly and personally than meadows or clouds." Daumier's artistic talents included painting, sculpting and creating lithographs. He was well known for his social and political commentary.Van Gogh made Men Drinking after Daumier's work in Saint-Remy about February 1890. | [
"Theo",
"after",
"Honoré Daumier",
"Honoré Daumier's"
] |
|
16318_NT | Copies by Vincent van Gogh | In this artwork, how is the Copy after Honoré Daumier discussed? | In 1882 Van Gogh had remarked that he found Honoré Daumier's The Four Ages of a Drinker both beautiful and soulful.Van Gogh wrote to his brother Theo of Daumier's artistic perspective and humanity: "What impressed me so much at the time was something so stout and manly in Daumier's conception, something that made me think It must be good to think and to feel like that and to overlook or ignore a multitude of things and to concentrate on what makes us sit up and think and what touches us as human beings more directly and personally than meadows or clouds." Daumier's artistic talents included painting, sculpting and creating lithographs. He was well known for his social and political commentary.Van Gogh made Men Drinking after Daumier's work in Saint-Remy about February 1890. | [
"Theo",
"after",
"Honoré Daumier",
"Honoré Daumier's"
] |
|
16319_T | Copies by Vincent van Gogh | In the context of Copies by Vincent van Gogh, explain the Background of the Copies after Eugène Delacroix. | Van Gogh, motivated by the book The Imitation of Christ which included depiction of Christ as a suffering servant, worked on reprises of Eugène Delacroix's Pieta and Good Samaritan. Rather than representing "a triumphant Christ in glory," he depicted Christ in his most perilous and painful period, his crucifixion and death. Of capturing the scenes of his religious work from long ago, Van Gogh described Delacroix's perspective of how to paint the historical religious figures: "Eug. Delacroix, when he did a Gethsemane, had been beforehand to see what an olive grove was like on the spot, and the same for the sea whipped up by a strong mistral, and because he must have said to himself, these people we know from history, doges of Venice, crusaders, apostles, holy women, were of the same type as, and lived in a similar way to, their present-day descendants."Delacroix's influence helped Van Gogh develop artistically and gain knowledge of color theory. To his brother Theo, he wrote: "What I admire so much about Delacroix... is that he makes us feel the life of things, and the expression of movement, that he absolutely dominates his colours." | [
"Theo",
"The Imitation of Christ",
"Delacroix's",
"Delacroix",
"Eugène Delacroix's",
"Eugène Delacroix"
] |
|
16319_NT | Copies by Vincent van Gogh | In the context of this artwork, explain the Background of the Copies after Eugène Delacroix. | Van Gogh, motivated by the book The Imitation of Christ which included depiction of Christ as a suffering servant, worked on reprises of Eugène Delacroix's Pieta and Good Samaritan. Rather than representing "a triumphant Christ in glory," he depicted Christ in his most perilous and painful period, his crucifixion and death. Of capturing the scenes of his religious work from long ago, Van Gogh described Delacroix's perspective of how to paint the historical religious figures: "Eug. Delacroix, when he did a Gethsemane, had been beforehand to see what an olive grove was like on the spot, and the same for the sea whipped up by a strong mistral, and because he must have said to himself, these people we know from history, doges of Venice, crusaders, apostles, holy women, were of the same type as, and lived in a similar way to, their present-day descendants."Delacroix's influence helped Van Gogh develop artistically and gain knowledge of color theory. To his brother Theo, he wrote: "What I admire so much about Delacroix... is that he makes us feel the life of things, and the expression of movement, that he absolutely dominates his colours." | [
"Theo",
"The Imitation of Christ",
"Delacroix's",
"Delacroix",
"Eugène Delacroix's",
"Eugène Delacroix"
] |
|
16320_T | Copies by Vincent van Gogh | Focus on Copies by Vincent van Gogh and discuss the Copy after Gustave Doré. | Prisoners' Round (after Gustave Doré) was made by Van Gogh at Saint-Paul asylum in Saint-Rémy. This work like the reprises of Eugène Delacroix and Rembrandt's works, evokes Van Gogh's sense of isolation, like an imprisoned or dying man. Although sad, there is a sense of comfort offered. In a letter to his brother, Theo, Van Gogh mentioned that he found making it and Men Drinking (after Daumier) quite difficult.
Following Van Gogh's funeral, Émile Bernard wrote of the studies around his coffin: "On the walls of the room where his body was laid out all his last canvases were hung making a sort of halo for him and the brilliance of the genius that radiated from them made this death even more painful for us artists who were there." Of the Doré reprise, he said, "Convicts walking in a circle surrounded by high prison walls, a canvas inspired by Doré of a terrifying ferocity and which is also symbolic of his end. Wasn't life like that for him, a high prison like this with such high walls - so high…and these people walking endlessly round this pit, weren't they the poor artists, the poor damned souls walking past under the whip of Destiny?" | [
"Theo",
"Émile Bernard",
"Saint-Rémy",
"Rembrandt's",
"after",
"Gustave Doré",
"Saint-Paul asylum",
"Prisoners' Round (after Gustave Doré)",
"Rembrandt",
"Delacroix",
"Eugène Delacroix"
] |
|
16320_NT | Copies by Vincent van Gogh | Focus on this artwork and discuss the Copy after Gustave Doré. | Prisoners' Round (after Gustave Doré) was made by Van Gogh at Saint-Paul asylum in Saint-Rémy. This work like the reprises of Eugène Delacroix and Rembrandt's works, evokes Van Gogh's sense of isolation, like an imprisoned or dying man. Although sad, there is a sense of comfort offered. In a letter to his brother, Theo, Van Gogh mentioned that he found making it and Men Drinking (after Daumier) quite difficult.
Following Van Gogh's funeral, Émile Bernard wrote of the studies around his coffin: "On the walls of the room where his body was laid out all his last canvases were hung making a sort of halo for him and the brilliance of the genius that radiated from them made this death even more painful for us artists who were there." Of the Doré reprise, he said, "Convicts walking in a circle surrounded by high prison walls, a canvas inspired by Doré of a terrifying ferocity and which is also symbolic of his end. Wasn't life like that for him, a high prison like this with such high walls - so high…and these people walking endlessly round this pit, weren't they the poor artists, the poor damned souls walking past under the whip of Destiny?" | [
"Theo",
"Émile Bernard",
"Saint-Rémy",
"Rembrandt's",
"after",
"Gustave Doré",
"Saint-Paul asylum",
"Prisoners' Round (after Gustave Doré)",
"Rembrandt",
"Delacroix",
"Eugène Delacroix"
] |
|
16321_T | Copies by Vincent van Gogh | How does Copies by Vincent van Gogh elucidate its Copy after Keisai Eisen? | While living in Antwerp Van Gogh become acquainted with Japanese wood block prints. In Paris, Keisai Eisen's print appeared on the May 1886 cover of Paris Illustré magazine which inspired Van Gogh to make The Courtesan. The magazine issue was entirely devoted to Japan. Japanese author, Tadamasa Hayashi, who lived in Paris, acquainted Parisians with information about Japan. In addition to providing information about its history, climate and visual arts, Hayashi explained what it was like to live in Japan, such as its customs, religion, education, religion, and the nature of its people.Van Gogh copied and enlarged the image. He created a bright yellow background and colorful kimono. Influenced by other Japanese prints, he added a "watery landscape" of bamboo and water lilies. Frogs and cranes, terms used in 19th century France for prostitutes, with a distance boat adorn the border. | [
"its people",
"wood block prints",
"Antwerp",
"after",
"kimono",
"Tadamasa Hayashi",
"Keisai Eisen",
"Japanese",
"prints",
"Paris",
"Keisai Eisen's",
"Japan"
] |
|
16321_NT | Copies by Vincent van Gogh | How does this artwork elucidate its Copy after Keisai Eisen? | While living in Antwerp Van Gogh become acquainted with Japanese wood block prints. In Paris, Keisai Eisen's print appeared on the May 1886 cover of Paris Illustré magazine which inspired Van Gogh to make The Courtesan. The magazine issue was entirely devoted to Japan. Japanese author, Tadamasa Hayashi, who lived in Paris, acquainted Parisians with information about Japan. In addition to providing information about its history, climate and visual arts, Hayashi explained what it was like to live in Japan, such as its customs, religion, education, religion, and the nature of its people.Van Gogh copied and enlarged the image. He created a bright yellow background and colorful kimono. Influenced by other Japanese prints, he added a "watery landscape" of bamboo and water lilies. Frogs and cranes, terms used in 19th century France for prostitutes, with a distance boat adorn the border. | [
"its people",
"wood block prints",
"Antwerp",
"after",
"kimono",
"Tadamasa Hayashi",
"Keisai Eisen",
"Japanese",
"prints",
"Paris",
"Keisai Eisen's",
"Japan"
] |
|
16322_T | Copies by Vincent van Gogh | Focus on Copies by Vincent van Gogh and analyze the Copies after Utagawa Hiroshige. | In the mid-19th century Japan opened itself to trade, making Japanese art available to the west. The works of Japanese print makers, Hiroshige and Hokusai greatly influenced Van Gogh, both for the beautiful subject matter and the style of flat patterns of colors, without shadow. Van Gogh collected hundreds of Japanese prints and likened the works of the great Japanese artists, like Hiroshige, to those of Rembrandt, Hals, and Vermeer. Van Gogh explored the various influences, molding them into a style that was uniquely his own. The Japanese paintings represent Van Gogh's search for serenity, which he describes in a letter to his sister during this period, "Having as much of this serenity as possible, even though one knows little – nothing – for certain, is perhaps a better remedy for all diseases than all the things that are sold at the chemist's shop."Hiroshige, one of the last great masters of Ukiyo-e, was well known for series of prints of famous Japanese landmarks. | [
"Utagawa Hiroshige",
"Hiroshige",
"after",
"Vermeer",
"Japanese",
"prints",
"Rembrandt",
"Ukiyo-e",
"Hokusai",
"Japan",
"Japanese print makers",
"Japanese art"
] |
|
16322_NT | Copies by Vincent van Gogh | Focus on this artwork and analyze the Copies after Utagawa Hiroshige. | In the mid-19th century Japan opened itself to trade, making Japanese art available to the west. The works of Japanese print makers, Hiroshige and Hokusai greatly influenced Van Gogh, both for the beautiful subject matter and the style of flat patterns of colors, without shadow. Van Gogh collected hundreds of Japanese prints and likened the works of the great Japanese artists, like Hiroshige, to those of Rembrandt, Hals, and Vermeer. Van Gogh explored the various influences, molding them into a style that was uniquely his own. The Japanese paintings represent Van Gogh's search for serenity, which he describes in a letter to his sister during this period, "Having as much of this serenity as possible, even though one knows little – nothing – for certain, is perhaps a better remedy for all diseases than all the things that are sold at the chemist's shop."Hiroshige, one of the last great masters of Ukiyo-e, was well known for series of prints of famous Japanese landmarks. | [
"Utagawa Hiroshige",
"Hiroshige",
"after",
"Vermeer",
"Japanese",
"prints",
"Rembrandt",
"Ukiyo-e",
"Hokusai",
"Japan",
"Japanese print makers",
"Japanese art"
] |
|
16323_T | Copies by Vincent van Gogh | Describe the characteristics of the Japonaiserie: Flowering Plum Tree (after Hiroshige) in Copies by Vincent van Gogh's Copies after Utagawa Hiroshige. | The Flowering Plum Tree is believed to be the first of three oil paintings made by Van Gogh of Utagawa Hiroshige's Japanese woodblock prints. He used color to emulate the effect of the printer's ink, such as the red and greens in the background and the tint of green on the white blossoms. After he moved to Arles, Van Gogh wrote to his sister that he no longer needed to dream of going to Japan, "because I am always telling myself that here I am in Japan." | [
"Utagawa Hiroshige",
"Hiroshige",
"after",
"Arles",
"Utagawa Hiroshige's",
"Japanese",
"prints",
"Japan"
] |
|
16323_NT | Copies by Vincent van Gogh | Describe the characteristics of the Japonaiserie: Flowering Plum Tree (after Hiroshige) in this artwork's Copies after Utagawa Hiroshige. | The Flowering Plum Tree is believed to be the first of three oil paintings made by Van Gogh of Utagawa Hiroshige's Japanese woodblock prints. He used color to emulate the effect of the printer's ink, such as the red and greens in the background and the tint of green on the white blossoms. After he moved to Arles, Van Gogh wrote to his sister that he no longer needed to dream of going to Japan, "because I am always telling myself that here I am in Japan." | [
"Utagawa Hiroshige",
"Hiroshige",
"after",
"Arles",
"Utagawa Hiroshige's",
"Japanese",
"prints",
"Japan"
] |
|
16324_T | Copies by Vincent van Gogh | In the context of Copies by Vincent van Gogh, explore the Japonaiserie: Bridge in the Rain (after Hiroshige) of the Copies after Utagawa Hiroshige. | Utagawa Hiroshige's Evening Shower at Atake and the Great Bridge woodcut, which he had in his collection, inspired Van Gogh for its simplicity. The cloudburst, for instance, is conveyed by parallel lines. Such techniques were revered, but also difficult to execute when creating the wood block stamp for printing. By making a painting, Van Gogh's brushstrokes "softened the boldness of the Japanese woodcut." Calligraphic figures, borrowed from other Japanese prints, fill the border around the image. Rather than following the color patterns of the original woodcut print, he used bright colors or contrasting colors. | [
"Utagawa Hiroshige",
"Hiroshige",
"after",
"Utagawa Hiroshige's",
"Japanese",
"prints",
"Evening Shower at Atake and the Great Bridge",
"Japan",
"woodcut"
] |
|
16324_NT | Copies by Vincent van Gogh | In the context of this artwork, explore the Japonaiserie: Bridge in the Rain (after Hiroshige) of the Copies after Utagawa Hiroshige. | Utagawa Hiroshige's Evening Shower at Atake and the Great Bridge woodcut, which he had in his collection, inspired Van Gogh for its simplicity. The cloudburst, for instance, is conveyed by parallel lines. Such techniques were revered, but also difficult to execute when creating the wood block stamp for printing. By making a painting, Van Gogh's brushstrokes "softened the boldness of the Japanese woodcut." Calligraphic figures, borrowed from other Japanese prints, fill the border around the image. Rather than following the color patterns of the original woodcut print, he used bright colors or contrasting colors. | [
"Utagawa Hiroshige",
"Hiroshige",
"after",
"Utagawa Hiroshige's",
"Japanese",
"prints",
"Evening Shower at Atake and the Great Bridge",
"Japan",
"woodcut"
] |
|
16325_T | Copies by Vincent van Gogh | Focus on Copies by Vincent van Gogh and explain the Copy after Jacob Jordaens. | Van Gogh used Jordaen's subject and composition for his rendition of Cows. A later artist, Edward Hopper, also used Jordaen's Cows as a source of inspiration for his work. The painting is located at the Musée des Beaux-Arts de Lille in France. Jan Hulsker notes that the painting is a color study of an etching Dr. Gachet made of Jordaen's painting. | [
"Jan Hulsker",
"after",
"Dr. Gachet"
] |
|
16325_NT | Copies by Vincent van Gogh | Focus on this artwork and explain the Copy after Jacob Jordaens. | Van Gogh used Jordaen's subject and composition for his rendition of Cows. A later artist, Edward Hopper, also used Jordaen's Cows as a source of inspiration for his work. The painting is located at the Musée des Beaux-Arts de Lille in France. Jan Hulsker notes that the painting is a color study of an etching Dr. Gachet made of Jordaen's painting. | [
"Jan Hulsker",
"after",
"Dr. Gachet"
] |
|
16326_T | Copies by Vincent van Gogh | In the context of Copies by Vincent van Gogh, discuss the Background of the Copies after Jean-François Millet. | The "peasant genre" that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art. He described the works of Millet and Breton of religious significance, "something on high." A common denominator in his favored authors and artists was sentimental treatment of the destitute and downtrodden. He held laborers up to a high standard of how dedicatedly he should approach painting, "One must undertake with confidence, with a certain assurance that one is doing a reasonable thing, like the farmer who drives his plow... (one who) drags the harrow behind himself. If one hasn't a horse, one is one's own horse." Referring to painting of peasants Van Gogh wrote to his brother Theo: "How shall I ever manage to paint what I love so much?"Van Gogh Museum says of Millet's influence on Van Gogh: "Millet's paintings, with their unprecedented depictions of peasants and their labors, mark a turning point in 19th-century art. Before Millet, peasant figures were just one of many elements in picturesque or nostalgic scenes. In Millet's work, individual men and women became heroic and real. Millet was the only major artist of the Barbizon School who was not interested in 'pure' landscape painting."Van Gogh made twenty-one paintings in Saint-Rémy that were "translations" of the work of Jean-François Millet. Van Gogh did not intend for his works to be literal copies of the originals. Speaking specifically of the works after Millet, he explained, "it's not copying pure and simple that one would be doing. It is rather translating into another language, the one of colors, the impressions of chiaroscuro and white and black." He made a copy of The Gleaners (Des glaneuses) by Millet.
Theo wrote Van Gogh: "The copies after Millet are perhaps the best things you have done yet, and induce me to believe that on the day you turn to painting compositions of figures, we may look forward to great surprises." | [
"Theo",
"The Gleaners",
"Jean-François Millet",
"modern art",
"Saint-Rémy",
"genre",
"after",
"Breton",
"Jules Breton",
"Barbizon School",
"Van Gogh Museum",
"harrow"
] |
|
16326_NT | Copies by Vincent van Gogh | In the context of this artwork, discuss the Background of the Copies after Jean-François Millet. | The "peasant genre" that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art. He described the works of Millet and Breton of religious significance, "something on high." A common denominator in his favored authors and artists was sentimental treatment of the destitute and downtrodden. He held laborers up to a high standard of how dedicatedly he should approach painting, "One must undertake with confidence, with a certain assurance that one is doing a reasonable thing, like the farmer who drives his plow... (one who) drags the harrow behind himself. If one hasn't a horse, one is one's own horse." Referring to painting of peasants Van Gogh wrote to his brother Theo: "How shall I ever manage to paint what I love so much?"Van Gogh Museum says of Millet's influence on Van Gogh: "Millet's paintings, with their unprecedented depictions of peasants and their labors, mark a turning point in 19th-century art. Before Millet, peasant figures were just one of many elements in picturesque or nostalgic scenes. In Millet's work, individual men and women became heroic and real. Millet was the only major artist of the Barbizon School who was not interested in 'pure' landscape painting."Van Gogh made twenty-one paintings in Saint-Rémy that were "translations" of the work of Jean-François Millet. Van Gogh did not intend for his works to be literal copies of the originals. Speaking specifically of the works after Millet, he explained, "it's not copying pure and simple that one would be doing. It is rather translating into another language, the one of colors, the impressions of chiaroscuro and white and black." He made a copy of The Gleaners (Des glaneuses) by Millet.
Theo wrote Van Gogh: "The copies after Millet are perhaps the best things you have done yet, and induce me to believe that on the day you turn to painting compositions of figures, we may look forward to great surprises." | [
"Theo",
"The Gleaners",
"Jean-François Millet",
"modern art",
"Saint-Rémy",
"genre",
"after",
"Breton",
"Jules Breton",
"Barbizon School",
"Van Gogh Museum",
"harrow"
] |
|
16327_T | Copies by Vincent van Gogh | Focus on Copies by Vincent van Gogh and analyze the Copies after Rembrandt. | From Rembrandt, Van Gogh learned how to paint light into darkness. Rembrandt's influence seemed present one evening in 1877 when Van Gogh walked through Amsterdam. He wrote: "the ground was dark, the sky still lit by the glow of the sun, already gone down, the row of houses and towers standing out above, the lights in the windows everywhere, everything reflected in the water." Van Gogh found Rembrandt particularly adept at his observation of nature and expressing emotion with great tenderness.It's not clear if Van Gogh was copying after particular Rembrandt works for his copies or the spirit of the figures he portrayed. Examples of Rembrandt's angels and Lazarus are here for illustrative purposes.
In Van Gogh's version of The Raising of Lazarus (after Rembrandt), Christ is depicted symbolically through the sun to evoke the healing powers of faith. Christ is further referenced in two ways by the setting and circumstance. First, miraculously, he brought Lazarus back to life again. It also foretold Christ's own death and resurrection.
The painting includes the dead Lazarus and his two sisters. White, yellow and violet were used for Lazarus and the cave. One of the women is in a vibrant green dress and orange hair. The other wears a striped green and pink gown and has black hair. Behind them is the countryside of blue and a bright yellow sun.In The Raising of Lazarus (after Rembrandt), van Gogh drastically trimmed the composition of Rembrandt's etching and eliminated the figure of Christ, thus focusing on Lazarus and his sisters. It is speculated that in their countenances may be detected the likenesses of the artist and his friends Augustine Rouline and Marie Ginoux. Van Gogh had just recovered from a lengthy episode of illness, and he may have identified with the miracle of the biblical resurrection, whose "personalities are the characters of my dreams." | [
"Amsterdam",
"Lazarus",
"Rembrandt's",
"after",
"Rembrandt"
] |
|
16327_NT | Copies by Vincent van Gogh | Focus on this artwork and analyze the Copies after Rembrandt. | From Rembrandt, Van Gogh learned how to paint light into darkness. Rembrandt's influence seemed present one evening in 1877 when Van Gogh walked through Amsterdam. He wrote: "the ground was dark, the sky still lit by the glow of the sun, already gone down, the row of houses and towers standing out above, the lights in the windows everywhere, everything reflected in the water." Van Gogh found Rembrandt particularly adept at his observation of nature and expressing emotion with great tenderness.It's not clear if Van Gogh was copying after particular Rembrandt works for his copies or the spirit of the figures he portrayed. Examples of Rembrandt's angels and Lazarus are here for illustrative purposes.
In Van Gogh's version of The Raising of Lazarus (after Rembrandt), Christ is depicted symbolically through the sun to evoke the healing powers of faith. Christ is further referenced in two ways by the setting and circumstance. First, miraculously, he brought Lazarus back to life again. It also foretold Christ's own death and resurrection.
The painting includes the dead Lazarus and his two sisters. White, yellow and violet were used for Lazarus and the cave. One of the women is in a vibrant green dress and orange hair. The other wears a striped green and pink gown and has black hair. Behind them is the countryside of blue and a bright yellow sun.In The Raising of Lazarus (after Rembrandt), van Gogh drastically trimmed the composition of Rembrandt's etching and eliminated the figure of Christ, thus focusing on Lazarus and his sisters. It is speculated that in their countenances may be detected the likenesses of the artist and his friends Augustine Rouline and Marie Ginoux. Van Gogh had just recovered from a lengthy episode of illness, and he may have identified with the miracle of the biblical resurrection, whose "personalities are the characters of my dreams." | [
"Amsterdam",
"Lazarus",
"Rembrandt's",
"after",
"Rembrandt"
] |
|
16328_T | Seven Sorrows Polyptych | In Seven Sorrows Polyptych, how is the abstract discussed? | The Seven Sorrows Polyptych is an oil on panel painting by Albrecht Dürer. The painting includes a central picture (108 x 43 cm), currently at the Alte Pinakothek in Munich, and seven surrounding panels (measuring some 60 x 46 cm) which are exhibited at the Gemäldegalerie Alte Meister of Dresden. | [
"Dresden",
"Gemäldegalerie Alte Meister",
"Munich",
"oil on panel",
"Polyptych",
"Albrecht Dürer",
"Alte Pinakothek"
] |
|
16328_NT | Seven Sorrows Polyptych | In this artwork, how is the abstract discussed? | The Seven Sorrows Polyptych is an oil on panel painting by Albrecht Dürer. The painting includes a central picture (108 x 43 cm), currently at the Alte Pinakothek in Munich, and seven surrounding panels (measuring some 60 x 46 cm) which are exhibited at the Gemäldegalerie Alte Meister of Dresden. | [
"Dresden",
"Gemäldegalerie Alte Meister",
"Munich",
"oil on panel",
"Polyptych",
"Albrecht Dürer",
"Alte Pinakothek"
] |
|
16329_T | Seven Sorrows Polyptych | Focus on Seven Sorrows Polyptych and explore the Description. | The work was commissioned by Frederick III, Elector of Saxony, not a long time after his meeting with Dürer at Nuremberg in April 1496. Stylistic considerations suggest that the artist started to work on the painting only from around 1500.
Modern scholars tend to attribute to Dürer only the central panel, the others having been executed by his pupils based on his drawings. The central panel, portraying the Sorrowing Mother, arrived in the Bavarian museum from the Benediktbeuren convent of Munich in the early 19th century. It was restored in the 1930s: once the overpaintings and additions were removed, the shell-shaped niche (a motif typical of Italian art), the halo and the sword (a symbol of Mary of the Seven Sorrows) on the right were rediscovered, clarifying the subject of the work.
The other panels were at Wittenberg, seat of Frederick's castle. In 1640 they were moved to the Kunstkammer of the Prince of Saxony. In the mid-20th century they were restored: their conditions improved, but the attribution was not cleared. | [
"Wittenberg",
"Nuremberg",
"Munich",
"Frederick III, Elector of Saxony"
] |
|
16329_NT | Seven Sorrows Polyptych | Focus on this artwork and explore the Description. | The work was commissioned by Frederick III, Elector of Saxony, not a long time after his meeting with Dürer at Nuremberg in April 1496. Stylistic considerations suggest that the artist started to work on the painting only from around 1500.
Modern scholars tend to attribute to Dürer only the central panel, the others having been executed by his pupils based on his drawings. The central panel, portraying the Sorrowing Mother, arrived in the Bavarian museum from the Benediktbeuren convent of Munich in the early 19th century. It was restored in the 1930s: once the overpaintings and additions were removed, the shell-shaped niche (a motif typical of Italian art), the halo and the sword (a symbol of Mary of the Seven Sorrows) on the right were rediscovered, clarifying the subject of the work.
The other panels were at Wittenberg, seat of Frederick's castle. In 1640 they were moved to the Kunstkammer of the Prince of Saxony. In the mid-20th century they were restored: their conditions improved, but the attribution was not cleared. | [
"Wittenberg",
"Nuremberg",
"Munich",
"Frederick III, Elector of Saxony"
] |
|
16330_T | No. 5, 1948 | Focus on No. 5, 1948 and explain the abstract. | No. 5, 1948 is a 1948 painting by Jackson Pollock, an American painter known for his contributions to the abstract expressionist movement. It was sold on 22 May 2006 for $140 million, a new mark for highest ever price for a painting, not surpassed until April 2011. | [
"Jackson Pollock",
"abstract expressionist",
"highest ever price for a painting",
"until April 2011"
] |
|
16330_NT | No. 5, 1948 | Focus on this artwork and explain the abstract. | No. 5, 1948 is a 1948 painting by Jackson Pollock, an American painter known for his contributions to the abstract expressionist movement. It was sold on 22 May 2006 for $140 million, a new mark for highest ever price for a painting, not surpassed until April 2011. | [
"Jackson Pollock",
"abstract expressionist",
"highest ever price for a painting",
"until April 2011"
] |
|
16331_T | No. 5, 1948 | Explore the Composition of this artwork, No. 5, 1948. | The painting was created on fibreboard, also known as composition board, measuring 8’ x 4’. For the paint, Pollock chose to use liquid paints. More specifically, they were synthetic resin paints (gloss enamel) but are referred to as oil paints for classification of the work. On inspection it was grey, brown, white and yellow paint drizzled in a way that many people still perceive as a "dense bird’s nest". Initial reactions to the work were underwhelming:"You spent money on 'that'?"
The initial reaction of Ted Dragon, Ossorio's partner. | [
"fibreboard"
] |
|
16331_NT | No. 5, 1948 | Explore the Composition of this artwork. | The painting was created on fibreboard, also known as composition board, measuring 8’ x 4’. For the paint, Pollock chose to use liquid paints. More specifically, they were synthetic resin paints (gloss enamel) but are referred to as oil paints for classification of the work. On inspection it was grey, brown, white and yellow paint drizzled in a way that many people still perceive as a "dense bird’s nest". Initial reactions to the work were underwhelming:"You spent money on 'that'?"
The initial reaction of Ted Dragon, Ossorio's partner. | [
"fibreboard"
] |
|
16332_T | No. 5, 1948 | Focus on No. 5, 1948 and discuss the Damage and rework. | The painting was modified by Pollock after it was originally created. During January 1949, it was being shown in a solo Pollock show at the Betty Parsons gallery. It was from here that Alfonso A. Ossorio decided to purchase a "paint drip" composition; he chose No. 5, 1948 and paid $1,500. It was the only canvas sold from the show. At some point, presumably during the moving process, the painting became damaged, according to Grace Hartigan. "Home Sweet Home [the shipping company] came in with a painting in one hand and a lump of paint from the center of the painting in the other hand." Hartigan gave Pollock some paint and he patched the painting before it went to Ossorio, saying "He’ll never know, never know." When the painting was subsequently delivered to Ossorio, he claimed that he noticed "a portion of the paint - actually the skin from the top of an opened paint can - had slid" leaving a "nondescript smear amidst the surrounding linear clarity," as he explained in a 1978 lecture at Yale. Pollock offered to rework the painting but, according to Hartigan, he "repainted the whole thing again" and stated that "He'll never know. No one knows how to look at my paintings, he won’t know the difference." After three weeks, Ossorio visited Pollock's studio to inspect the painting. Ossorio was confronted with an artwork which was repainted onto fiberboard, with "new qualities of richness and depth" as a result of Pollock's "thorough but subtle repainting." It was clear that Ossorio still liked the painting despite the rework, and continued to attest that the "original concept remained unmistakably present, but affirmed and fulfilled by a new complexity and depth of linear interplay. It was, and still is a masterful display of control and disciplined vision." Pollock repaired the damage to the painting by completely repainting the original, in contrast to how other artworks are repaired. The reconstruction had not only retained but reinforced the metaphysical concept of the painting, and has become what Ossorio calls "a wonderful example of an artist having a second chance". | [
"Alfonso A. Ossorio",
"Betty Parsons",
"fiberboard",
"Grace Hartigan"
] |
|
16332_NT | No. 5, 1948 | Focus on this artwork and discuss the Damage and rework. | The painting was modified by Pollock after it was originally created. During January 1949, it was being shown in a solo Pollock show at the Betty Parsons gallery. It was from here that Alfonso A. Ossorio decided to purchase a "paint drip" composition; he chose No. 5, 1948 and paid $1,500. It was the only canvas sold from the show. At some point, presumably during the moving process, the painting became damaged, according to Grace Hartigan. "Home Sweet Home [the shipping company] came in with a painting in one hand and a lump of paint from the center of the painting in the other hand." Hartigan gave Pollock some paint and he patched the painting before it went to Ossorio, saying "He’ll never know, never know." When the painting was subsequently delivered to Ossorio, he claimed that he noticed "a portion of the paint - actually the skin from the top of an opened paint can - had slid" leaving a "nondescript smear amidst the surrounding linear clarity," as he explained in a 1978 lecture at Yale. Pollock offered to rework the painting but, according to Hartigan, he "repainted the whole thing again" and stated that "He'll never know. No one knows how to look at my paintings, he won’t know the difference." After three weeks, Ossorio visited Pollock's studio to inspect the painting. Ossorio was confronted with an artwork which was repainted onto fiberboard, with "new qualities of richness and depth" as a result of Pollock's "thorough but subtle repainting." It was clear that Ossorio still liked the painting despite the rework, and continued to attest that the "original concept remained unmistakably present, but affirmed and fulfilled by a new complexity and depth of linear interplay. It was, and still is a masterful display of control and disciplined vision." Pollock repaired the damage to the painting by completely repainting the original, in contrast to how other artworks are repaired. The reconstruction had not only retained but reinforced the metaphysical concept of the painting, and has become what Ossorio calls "a wonderful example of an artist having a second chance". | [
"Alfonso A. Ossorio",
"Betty Parsons",
"fiberboard",
"Grace Hartigan"
] |
|
16333_T | No. 5, 1948 | How does No. 5, 1948 elucidate its Ownership? | Jackson Pollock: 1948 – January 1949
Alfonso A. Ossorio: January 1949 – Unknown
Samuel Irving Newhouse, Jr.: Unknown
David Geffen: Unknown – November 2006
Efthimios HatzisAccording to a report in The New York Times on November 2, 2006, the painting was sold by David Geffen, founder of Geffen Records and co-founder of DreamWorks SKG, to David Martinez, managing partner of Fintech Advisory Ltd, in a private sale for a record inflation-adjusted price of $140 million. It is speculated that Geffen sold the painting, along with two others, to raise enough funds to bid for the Los Angeles Times.
The sale was reportedly brokered by Sotheby's auctioneer Tobias Meyer, however, the law firm of Shearman & Sterling, LLP, issued a press release on behalf of its client, David Martinez, to announce that contrary to recent articles in the press, Martinez did not own the painting or any rights to acquire it. In addition to the refutation issued by Shearman & Sterling, the auction expert Josh Baer indicated that Martinez was not the buyer of the painting. | [
"Alfonso A. Ossorio",
"Fintech Advisory",
"David Martinez",
"The New York Times",
"Jackson Pollock",
"DreamWorks SKG",
"Geffen Records",
"New York",
"David Geffen",
"Tobias Meyer",
"Samuel Irving Newhouse, Jr.",
"Sotheby's",
"Shearman & Sterling",
"inflation",
"Los Angeles Times"
] |
|
16333_NT | No. 5, 1948 | How does this artwork elucidate its Ownership? | Jackson Pollock: 1948 – January 1949
Alfonso A. Ossorio: January 1949 – Unknown
Samuel Irving Newhouse, Jr.: Unknown
David Geffen: Unknown – November 2006
Efthimios HatzisAccording to a report in The New York Times on November 2, 2006, the painting was sold by David Geffen, founder of Geffen Records and co-founder of DreamWorks SKG, to David Martinez, managing partner of Fintech Advisory Ltd, in a private sale for a record inflation-adjusted price of $140 million. It is speculated that Geffen sold the painting, along with two others, to raise enough funds to bid for the Los Angeles Times.
The sale was reportedly brokered by Sotheby's auctioneer Tobias Meyer, however, the law firm of Shearman & Sterling, LLP, issued a press release on behalf of its client, David Martinez, to announce that contrary to recent articles in the press, Martinez did not own the painting or any rights to acquire it. In addition to the refutation issued by Shearman & Sterling, the auction expert Josh Baer indicated that Martinez was not the buyer of the painting. | [
"Alfonso A. Ossorio",
"Fintech Advisory",
"David Martinez",
"The New York Times",
"Jackson Pollock",
"DreamWorks SKG",
"Geffen Records",
"New York",
"David Geffen",
"Tobias Meyer",
"Samuel Irving Newhouse, Jr.",
"Sotheby's",
"Shearman & Sterling",
"inflation",
"Los Angeles Times"
] |
|
16334_T | No. 5, 1948 | Focus on No. 5, 1948 and analyze the Popular references. | The lyrics of The Stone Roses song "Going Down" include a reference to the painting: "(There) she looks like a painting - Jackson Pollock's Number 5..." The Stone Roses' guitarist John Squire created cover artwork for many of the band's releases on Silvertone Records in a style similar to that of Jackson Pollock.
The painting played a central role in the film Ex Machina (2015), in which billionaire tech firm CEO Nathan Bateman (Oscar Isaac) owns the painting and uses it as an object lesson for the protagonist Caleb Smith (Domhnall Gleeson), noting that No. 5, 1948 would never have come into existence if Jackson Pollock only painted what he already knew. This is contrasted to the way an AI comes to know, thus emphasizing the problem of consciousness and epistemology. | [
"The Stone Roses",
"Jackson Pollock",
"Domhnall Gleeson",
"John Squire",
"Ex Machina",
"Oscar Isaac"
] |
|
16334_NT | No. 5, 1948 | Focus on this artwork and analyze the Popular references. | The lyrics of The Stone Roses song "Going Down" include a reference to the painting: "(There) she looks like a painting - Jackson Pollock's Number 5..." The Stone Roses' guitarist John Squire created cover artwork for many of the band's releases on Silvertone Records in a style similar to that of Jackson Pollock.
The painting played a central role in the film Ex Machina (2015), in which billionaire tech firm CEO Nathan Bateman (Oscar Isaac) owns the painting and uses it as an object lesson for the protagonist Caleb Smith (Domhnall Gleeson), noting that No. 5, 1948 would never have come into existence if Jackson Pollock only painted what he already knew. This is contrasted to the way an AI comes to know, thus emphasizing the problem of consciousness and epistemology. | [
"The Stone Roses",
"Jackson Pollock",
"Domhnall Gleeson",
"John Squire",
"Ex Machina",
"Oscar Isaac"
] |
|
16335_T | Flora (Francesco Melzi) | In Flora (Francesco Melzi), how is the abstract discussed? | Flora (also La Columbina or Columbine) is a painting by Francesco Melzi, completed c. 1520. It depicts the Roman mythological figure Flora, the goddess of springtime and flowers, a popular subject among Renaissance artists. The painting was in the collection of Maria de’ Medici in 1649 and has been in the collection of Hermitage Museum, in St. Petersburg, since 1850. | [
"Maria de’ Medici",
"Hermitage Museum",
"Francesco Melzi",
"Flora",
"St. Petersburg"
] |
|
16335_NT | Flora (Francesco Melzi) | In this artwork, how is the abstract discussed? | Flora (also La Columbina or Columbine) is a painting by Francesco Melzi, completed c. 1520. It depicts the Roman mythological figure Flora, the goddess of springtime and flowers, a popular subject among Renaissance artists. The painting was in the collection of Maria de’ Medici in 1649 and has been in the collection of Hermitage Museum, in St. Petersburg, since 1850. | [
"Maria de’ Medici",
"Hermitage Museum",
"Francesco Melzi",
"Flora",
"St. Petersburg"
] |
|
16336_T | Flora (Francesco Melzi) | Focus on Flora (Francesco Melzi) and explore the Analysis. | Flora was painted in the style typical of the Leonardeschi, utilizing Leonardo da Vinci's female facial type with downcast eyes, Leonardo's sfumato technique, and displaying Leonardo's penchant for careful observation of plants and hair. In the composition, Flora is seated in a grotto, surrounded by ferns and ivy. She wears the costume of an ancient Roman, with a white stola embroidered in gold and with a blue palla thrown over one shoulder. In her lap are white jasmines, and in her left hand she holds a spray of columbine that formerly gave the painting its title.The plants surrounding Flora held symbolic meaning for 16th and 17th century viewers. For example, the columbine, also known as aquilegia, are a symbol of fertility. Alongside Flora's exposed breast, the columbine emphasizes her role as a 'mother of flowers.' The jasmine in her proper right hand are symbolic of purity. The anemones in the folds of her palla in the lower left of the image represent rebirth. In ancient Greece, anemones were also the flower of the wind; these flowers thus also reference how Flora was married to Zephyrus, god of the West Wind. The ivy in the upper right represents eternity, and the fern in the upper left reflects the solitude of the grotto. | [
"Leonardo da Vinci",
"stola",
"Leonardo da Vinci's",
"Zephyrus",
"Leonardeschi",
"palla",
"Flora",
"jasmine",
"columbine",
"sfumato",
"West Wind"
] |
|
16336_NT | Flora (Francesco Melzi) | Focus on this artwork and explore the Analysis. | Flora was painted in the style typical of the Leonardeschi, utilizing Leonardo da Vinci's female facial type with downcast eyes, Leonardo's sfumato technique, and displaying Leonardo's penchant for careful observation of plants and hair. In the composition, Flora is seated in a grotto, surrounded by ferns and ivy. She wears the costume of an ancient Roman, with a white stola embroidered in gold and with a blue palla thrown over one shoulder. In her lap are white jasmines, and in her left hand she holds a spray of columbine that formerly gave the painting its title.The plants surrounding Flora held symbolic meaning for 16th and 17th century viewers. For example, the columbine, also known as aquilegia, are a symbol of fertility. Alongside Flora's exposed breast, the columbine emphasizes her role as a 'mother of flowers.' The jasmine in her proper right hand are symbolic of purity. The anemones in the folds of her palla in the lower left of the image represent rebirth. In ancient Greece, anemones were also the flower of the wind; these flowers thus also reference how Flora was married to Zephyrus, god of the West Wind. The ivy in the upper right represents eternity, and the fern in the upper left reflects the solitude of the grotto. | [
"Leonardo da Vinci",
"stola",
"Leonardo da Vinci's",
"Zephyrus",
"Leonardeschi",
"palla",
"Flora",
"jasmine",
"columbine",
"sfumato",
"West Wind"
] |
|
16337_T | Flora (Francesco Melzi) | Focus on Flora (Francesco Melzi) and explain the Attribution. | Melzi was a pupil of Leonardo da Vinci and the technique he used in this painting mirrors that of his teacher so well that the painting was thought to be an autograph work by Leonardo when it was purchased on behalf of Tsar Nicholas I for the Hermitage. Once at the museum, scholars attributed the painting to a variety of different Leonardeschi: In 1871, Joseph Crowe and Giovanni Cavalcaselle argued that it should be attributed to Andrea Solari; in 1892 Giovanni Morelli claimed it was painted by Giampietrino; and in 1899 George C. Williamson claimed it to be by Bernardino Luini. Claude Phillips called Flora a "puzzle" and felt that the painting had an underdrawing by Leonardo but was painted by a pupil.The attribution of Flora to Melzi is based on close similarities between the painting and other works by the artist, especially Vertumnus and Pomona at the Gemäldegalerie in Berlin. Adolfo Venturi wrote how the "same seductive, tender feminine charms, and the same Hellenic spirit recur in the Columbina" as in Vertumnus and Pomona. Rodman Henry likewise noted this similarity, though argued there was no evidence Melzi was an artist and so the paintings couldn't be attributed to him. Traces of Melzi's signature were, however, uncovered in the lower left corner of Flora in 1963, further strengthening the attribution.Along with Flora and Columbine, the painting has at times been called "Vanity" as well as "Gioconda." It was once also named "Portrait of Mme Babou de la Bourdaisière" when it was thought it might be a portrait of the mistress of Francis I. | [
"Francis I",
"Babou de la Bourdaisière",
"Tsar Nicholas I",
"Giovanni Cavalcaselle",
"Bernardino Luini",
"Leonardo da Vinci",
"Giampietrino",
"George C. Williamson",
"Leonardeschi",
"Flora",
"Vertumnus and Pomona",
"Gemäldegalerie",
"Andrea Solari",
"Giovanni Morelli",
"Adolfo Venturi"
] |
|
16337_NT | Flora (Francesco Melzi) | Focus on this artwork and explain the Attribution. | Melzi was a pupil of Leonardo da Vinci and the technique he used in this painting mirrors that of his teacher so well that the painting was thought to be an autograph work by Leonardo when it was purchased on behalf of Tsar Nicholas I for the Hermitage. Once at the museum, scholars attributed the painting to a variety of different Leonardeschi: In 1871, Joseph Crowe and Giovanni Cavalcaselle argued that it should be attributed to Andrea Solari; in 1892 Giovanni Morelli claimed it was painted by Giampietrino; and in 1899 George C. Williamson claimed it to be by Bernardino Luini. Claude Phillips called Flora a "puzzle" and felt that the painting had an underdrawing by Leonardo but was painted by a pupil.The attribution of Flora to Melzi is based on close similarities between the painting and other works by the artist, especially Vertumnus and Pomona at the Gemäldegalerie in Berlin. Adolfo Venturi wrote how the "same seductive, tender feminine charms, and the same Hellenic spirit recur in the Columbina" as in Vertumnus and Pomona. Rodman Henry likewise noted this similarity, though argued there was no evidence Melzi was an artist and so the paintings couldn't be attributed to him. Traces of Melzi's signature were, however, uncovered in the lower left corner of Flora in 1963, further strengthening the attribution.Along with Flora and Columbine, the painting has at times been called "Vanity" as well as "Gioconda." It was once also named "Portrait of Mme Babou de la Bourdaisière" when it was thought it might be a portrait of the mistress of Francis I. | [
"Francis I",
"Babou de la Bourdaisière",
"Tsar Nicholas I",
"Giovanni Cavalcaselle",
"Bernardino Luini",
"Leonardo da Vinci",
"Giampietrino",
"George C. Williamson",
"Leonardeschi",
"Flora",
"Vertumnus and Pomona",
"Gemäldegalerie",
"Andrea Solari",
"Giovanni Morelli",
"Adolfo Venturi"
] |
|
16338_T | Flora (Francesco Melzi) | Explore the Provenance of this artwork, Flora (Francesco Melzi). | The known history of the painting's ownership is as follows:
c. 1520, Painted by Francesco Melzi.
1649, listed in the posthumous collection of Maria de’ Medici.
Collection of the Duc d’Orleans, probably collected by Philippe II. Then by inheritance to Louis and then to Louis Philippe II.
1790, Sold to Viscount Edouard de Walckiers in Brussels.
1824(?), sold from the collection of (Daniel?) Danoot in Brussels to King Willem II of the Netherlands.
1850, sold at The Hague to Fëdor Bruni, agent of tsar Nicholas I, for ƒ40,000. Then acquired by the Hermitage Museum, Saint Petersburg, Russia (at which point it was re-attributed to Francesco Melzi and renamed Flora). | [
"King Willem II of the Netherlands",
"Louis",
"Edouard de Walckiers",
"Maria de’ Medici",
"Hermitage Museum",
"Fëdor Bruni",
"Saint Petersburg",
"Francesco Melzi",
"Philippe II",
"Flora",
"Duc d’Orleans",
"ƒ",
"Louis Philippe II"
] |
|
16338_NT | Flora (Francesco Melzi) | Explore the Provenance of this artwork. | The known history of the painting's ownership is as follows:
c. 1520, Painted by Francesco Melzi.
1649, listed in the posthumous collection of Maria de’ Medici.
Collection of the Duc d’Orleans, probably collected by Philippe II. Then by inheritance to Louis and then to Louis Philippe II.
1790, Sold to Viscount Edouard de Walckiers in Brussels.
1824(?), sold from the collection of (Daniel?) Danoot in Brussels to King Willem II of the Netherlands.
1850, sold at The Hague to Fëdor Bruni, agent of tsar Nicholas I, for ƒ40,000. Then acquired by the Hermitage Museum, Saint Petersburg, Russia (at which point it was re-attributed to Francesco Melzi and renamed Flora). | [
"King Willem II of the Netherlands",
"Louis",
"Edouard de Walckiers",
"Maria de’ Medici",
"Hermitage Museum",
"Fëdor Bruni",
"Saint Petersburg",
"Francesco Melzi",
"Philippe II",
"Flora",
"Duc d’Orleans",
"ƒ",
"Louis Philippe II"
] |
|
16339_T | Flora (Francesco Melzi) | Focus on Flora (Francesco Melzi) and discuss the Condition. | Flora was painted on wood panel which was transferred to canvas in the nineteenth century. Despite this, the paint layers are reported to be in good condition with a well-preserved underdrawing and minor losses and abrasions to the surface.In 2019, the painting underwent a conservation treatment performed by Maria Vyacheslavovna Shulepova (Мария Вячеславовна Шулепова) of the State Hermitage Museum. Before, the painting was covered in a yellowed varnish which obscured details and flattened the appearance of the background. The varnish also made the ultramarine palla worn by Flora to appear green. Analysis of the paint layers further revealed that Melzi did not "cheat" in painting the palla by glazing expensive ultramarine over a less expensive azurite; rather, being wealthy, Melzi could afford to paint the entire garment in pure ultramarine. | [
"azurite",
"conservation",
"Hermitage Museum",
"glazing",
"palla",
"ultramarine",
"Flora",
"wood panel"
] |
|
16339_NT | Flora (Francesco Melzi) | Focus on this artwork and discuss the Condition. | Flora was painted on wood panel which was transferred to canvas in the nineteenth century. Despite this, the paint layers are reported to be in good condition with a well-preserved underdrawing and minor losses and abrasions to the surface.In 2019, the painting underwent a conservation treatment performed by Maria Vyacheslavovna Shulepova (Мария Вячеславовна Шулепова) of the State Hermitage Museum. Before, the painting was covered in a yellowed varnish which obscured details and flattened the appearance of the background. The varnish also made the ultramarine palla worn by Flora to appear green. Analysis of the paint layers further revealed that Melzi did not "cheat" in painting the palla by glazing expensive ultramarine over a less expensive azurite; rather, being wealthy, Melzi could afford to paint the entire garment in pure ultramarine. | [
"azurite",
"conservation",
"Hermitage Museum",
"glazing",
"palla",
"ultramarine",
"Flora",
"wood panel"
] |
|
16340_T | Flora (Francesco Melzi) | How does Flora (Francesco Melzi) elucidate its In popular culture? | Flora appears on the cover of Italian singer Mango's 2009 album Gli amori son finestre.In 2012, a sixteenth-century copy of Flora sold at Christie's for £937,250 to a private collector in Saint Petersburg, Russia. | [
"Christie's",
"Mango's",
"Saint Petersburg",
"Flora",
"Gli amori son finestre"
] |
|
16340_NT | Flora (Francesco Melzi) | How does this artwork elucidate its In popular culture? | Flora appears on the cover of Italian singer Mango's 2009 album Gli amori son finestre.In 2012, a sixteenth-century copy of Flora sold at Christie's for £937,250 to a private collector in Saint Petersburg, Russia. | [
"Christie's",
"Mango's",
"Saint Petersburg",
"Flora",
"Gli amori son finestre"
] |
|
16341_T | Flora (Francesco Melzi) | In Flora (Francesco Melzi), how is the Further documentation discussed? | E. de Bruyn, De schilderijenverzameling van Zijne Koninklijke Hoogheid de prins van Oranje te Brussel, Bulletin de la Classe des Beaux Arts, Académie Royale de Belgique 28 (1946), 155-63.
H. E. van Gelder, De kinsteverzameling van kning Willem II, Maandlad voor de Beeldende Kunsten 24 (1948), 137-48.
Erik Hinterding and Femy Horsch, ‘‘’A Small but choice collection’’: the art gallery of King Willem II of the Netherlands (1792-1849)’, Simiolus: Netherlands Quarterly for the History of Art 19, no.1/2 (1989), 4-122. [Which includes a ‘Reconstruction of the Collection of Old Master Paintings’ pp. 55–122. Provenance for Flora is on page 13 and 114]
Tatyana K. Kustodieva, The Hermitage: Catalogue of Western European Painting; Italian Painting, Thirteenth to Sixteenth Centuries (Moscow and Florence: Iskusstvo Publishers, 1994), 296-7.
Darius A. Spieth, Revolutionary Paris and the Market for Netherlandish Art (Leiden and Boston: Brill, 2018), 99 note 194 and 270-1.
Wilhelm Suida, Leonardo und sein Kreis (Munich: 1929), 232-33, fig. 302. | [
"King Willem II of the Netherlands",
"Flora"
] |
|
16341_NT | Flora (Francesco Melzi) | In this artwork, how is the Further documentation discussed? | E. de Bruyn, De schilderijenverzameling van Zijne Koninklijke Hoogheid de prins van Oranje te Brussel, Bulletin de la Classe des Beaux Arts, Académie Royale de Belgique 28 (1946), 155-63.
H. E. van Gelder, De kinsteverzameling van kning Willem II, Maandlad voor de Beeldende Kunsten 24 (1948), 137-48.
Erik Hinterding and Femy Horsch, ‘‘’A Small but choice collection’’: the art gallery of King Willem II of the Netherlands (1792-1849)’, Simiolus: Netherlands Quarterly for the History of Art 19, no.1/2 (1989), 4-122. [Which includes a ‘Reconstruction of the Collection of Old Master Paintings’ pp. 55–122. Provenance for Flora is on page 13 and 114]
Tatyana K. Kustodieva, The Hermitage: Catalogue of Western European Painting; Italian Painting, Thirteenth to Sixteenth Centuries (Moscow and Florence: Iskusstvo Publishers, 1994), 296-7.
Darius A. Spieth, Revolutionary Paris and the Market for Netherlandish Art (Leiden and Boston: Brill, 2018), 99 note 194 and 270-1.
Wilhelm Suida, Leonardo und sein Kreis (Munich: 1929), 232-33, fig. 302. | [
"King Willem II of the Netherlands",
"Flora"
] |
|
16342_T | Statue of Saint Joseph, Charles Bridge | Focus on Statue of Saint Joseph, Charles Bridge and explore the abstract. | The statue of Saint Joseph (Czech: Socha svatého Josefa) with a young Jesus is an outdoor sculpture by Josef Max, installed on the south side of the Charles Bridge in Prague, Czech Republic. | [
"Prague",
"Josef Max",
"Charles Bridge",
"Jesus",
"Saint Joseph"
] |
|
16342_NT | Statue of Saint Joseph, Charles Bridge | Focus on this artwork and explore the abstract. | The statue of Saint Joseph (Czech: Socha svatého Josefa) with a young Jesus is an outdoor sculpture by Josef Max, installed on the south side of the Charles Bridge in Prague, Czech Republic. | [
"Prague",
"Josef Max",
"Charles Bridge",
"Jesus",
"Saint Joseph"
] |
|
16343_T | Congress Voting Independence | Focus on Congress Voting Independence and explain the Identification of portraits. | Most of the Founding Fathers in the portrait can be identified. The central figures are the Committee of Five, which was charged by the Second Continental Congress with drafting the Declaration of Independence, including (from left to right): John Adams from the Province of Massachusetts Bay, Roger Sherman from Connecticut Colony, Robert R. Livingston from the Province of New York, Thomas Jefferson from the Colony of Virginia, and Benjamin Franklin (seated) from the Province of Pennsylvania.
In the foreground on the left is Samuel Adams from the Province of Massachusetts Bay, and Robert Morris (wearing white) from the Province of Pennsylvania. Above Samuel Adams is Robert Treat Paine from the Province of Massachusetts Bay, and above him is Benjamin Rush from the Province of Pennsylvania. Immediately to the left of Samuel Adams is Samuel Chase from the Province of Maryland, and above Robert Morris (wearing dark) is Benjamin Harrison from the Colony of Virginia. | [
"Robert Morris",
"Maryland",
"John Adams",
"Robert R. Livingston",
"Pennsylvania",
"Province of Pennsylvania",
"Robert Treat Paine",
"Benjamin Franklin",
"Committee of Five",
"Samuel Adams",
"Samuel Chase",
"Virginia",
"Declaration of Independence",
"Roger Sherman",
"Province of Maryland",
"Founding Fathers",
"Colony of Virginia",
"Province of Massachusetts Bay",
"Province of New York",
"Continental Congress",
"Connecticut Colony",
"Thomas Jefferson",
"Second Continental Congress",
"Connecticut",
"Benjamin Harrison",
"Benjamin Rush",
"Massachusetts"
] |
|
16343_NT | Congress Voting Independence | Focus on this artwork and explain the Identification of portraits. | Most of the Founding Fathers in the portrait can be identified. The central figures are the Committee of Five, which was charged by the Second Continental Congress with drafting the Declaration of Independence, including (from left to right): John Adams from the Province of Massachusetts Bay, Roger Sherman from Connecticut Colony, Robert R. Livingston from the Province of New York, Thomas Jefferson from the Colony of Virginia, and Benjamin Franklin (seated) from the Province of Pennsylvania.
In the foreground on the left is Samuel Adams from the Province of Massachusetts Bay, and Robert Morris (wearing white) from the Province of Pennsylvania. Above Samuel Adams is Robert Treat Paine from the Province of Massachusetts Bay, and above him is Benjamin Rush from the Province of Pennsylvania. Immediately to the left of Samuel Adams is Samuel Chase from the Province of Maryland, and above Robert Morris (wearing dark) is Benjamin Harrison from the Colony of Virginia. | [
"Robert Morris",
"Maryland",
"John Adams",
"Robert R. Livingston",
"Pennsylvania",
"Province of Pennsylvania",
"Robert Treat Paine",
"Benjamin Franklin",
"Committee of Five",
"Samuel Adams",
"Samuel Chase",
"Virginia",
"Declaration of Independence",
"Roger Sherman",
"Province of Maryland",
"Founding Fathers",
"Colony of Virginia",
"Province of Massachusetts Bay",
"Province of New York",
"Continental Congress",
"Connecticut Colony",
"Thomas Jefferson",
"Second Continental Congress",
"Connecticut",
"Benjamin Harrison",
"Benjamin Rush",
"Massachusetts"
] |
|
16344_T | Congress Voting Independence | Explore the Engraving by Edward Savage of this artwork, Congress Voting Independence. | An engraving based on the painting was made by Edward Savage in 1801, who finished the unpainted portraits. | [
"Edward Savage"
] |
|
16344_NT | Congress Voting Independence | Explore the Engraving by Edward Savage of this artwork. | An engraving based on the painting was made by Edward Savage in 1801, who finished the unpainted portraits. | [
"Edward Savage"
] |
|
16345_T | Prometheus (Zach) | Focus on Prometheus (Zach) and discuss the abstract. | Prometheus is an outdoor 1958 cast iron sculpture depicting the mythological figure Prometheus by Jan Zach, installed north of the Jordan Schnitzer Museum of Art on the University of Oregon campus in Eugene, Oregon, in the United States. | [
"Prometheus",
"Jordan Schnitzer Museum of Art",
"University of Oregon",
"Eugene, Oregon",
"Jan Zach"
] |
|
16345_NT | Prometheus (Zach) | Focus on this artwork and discuss the abstract. | Prometheus is an outdoor 1958 cast iron sculpture depicting the mythological figure Prometheus by Jan Zach, installed north of the Jordan Schnitzer Museum of Art on the University of Oregon campus in Eugene, Oregon, in the United States. | [
"Prometheus",
"Jordan Schnitzer Museum of Art",
"University of Oregon",
"Eugene, Oregon",
"Jan Zach"
] |
|
16346_T | Prometheus (Zach) | How does Prometheus (Zach) elucidate its Description and history? | The Smithsonian Institution describes the sculpture as "two abstract figures with intrabody appendages supported by tripod-like legs". It measures approximately 8.5 feet (2.6 m) x 5.5 feet (1.7 m) x 3 feet (0.91 m) and is set on a concrete base that measures approximately 3.5 feet (1.1 m) x 3 feet (0.91 m) x 3 feet (0.91 m). A plaque on the front of the base reads: PROMETHEUS / JAN ZACH – SCULPTOR. The sculpture's condition was deemed "treatment needed" by the Smithsonian's "Save Outdoor Sculpture!" program in July 1993. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
16346_NT | Prometheus (Zach) | How does this artwork elucidate its Description and history? | The Smithsonian Institution describes the sculpture as "two abstract figures with intrabody appendages supported by tripod-like legs". It measures approximately 8.5 feet (2.6 m) x 5.5 feet (1.7 m) x 3 feet (0.91 m) and is set on a concrete base that measures approximately 3.5 feet (1.1 m) x 3 feet (0.91 m) x 3 feet (0.91 m). A plaque on the front of the base reads: PROMETHEUS / JAN ZACH – SCULPTOR. The sculpture's condition was deemed "treatment needed" by the Smithsonian's "Save Outdoor Sculpture!" program in July 1993. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
16347_T | The Laundress (Greuze) | Focus on The Laundress (Greuze) and analyze the abstract. | The Laundress (French: La Blanchisseuse) is a 1761 genre painting by French artist Jean-Baptiste Greuze (1725–1805), existing in two versions. The subject of laundresses, also known as washerwomen, was a popular one in art, especially in France.The prime version of The Laundress was one of fourteen works exhibited by Greuze at the Salon of 1761 and was part of the collection of Greuze's patron, Ange Laurent Lalive de Jully. The painting was mostly unknown for more than two centuries as it was purchased in 1770 by Gustaf Adolf Sparre and privately held in that Swedish art collection and rarely seen until it was acquired by the Getty Museum in 1983.The second version is now in the Fogg Museum, Harvard. At 39 x 31 cm, it is just slightly smaller than the Getty's, and also dated c. 1761. It was possibly created to allow a print to be made of the subject. | [
"Fogg Museum",
"genre painting",
"Ange Laurent Lalive de Jully",
"washerwomen",
"Salon",
"Jean-Baptiste Greuze",
"Gustaf Adolf Sparre",
"prime version",
"Getty Museum"
] |
|
16347_NT | The Laundress (Greuze) | Focus on this artwork and analyze the abstract. | The Laundress (French: La Blanchisseuse) is a 1761 genre painting by French artist Jean-Baptiste Greuze (1725–1805), existing in two versions. The subject of laundresses, also known as washerwomen, was a popular one in art, especially in France.The prime version of The Laundress was one of fourteen works exhibited by Greuze at the Salon of 1761 and was part of the collection of Greuze's patron, Ange Laurent Lalive de Jully. The painting was mostly unknown for more than two centuries as it was purchased in 1770 by Gustaf Adolf Sparre and privately held in that Swedish art collection and rarely seen until it was acquired by the Getty Museum in 1983.The second version is now in the Fogg Museum, Harvard. At 39 x 31 cm, it is just slightly smaller than the Getty's, and also dated c. 1761. It was possibly created to allow a print to be made of the subject. | [
"Fogg Museum",
"genre painting",
"Ange Laurent Lalive de Jully",
"washerwomen",
"Salon",
"Jean-Baptiste Greuze",
"Gustaf Adolf Sparre",
"prime version",
"Getty Museum"
] |
|
16348_T | The Laundress (Greuze) | In The Laundress (Greuze), how is the Background discussed? | French artist Jean-Baptiste Greuze was a late-eighteenth-century genre painter who was influenced by seventeenth-century Dutch and Flemish artists. He first exhibited at the Salon of 1755, receiving great attention for his genre painting Un Père de famille qui lit la Bible à ses enfàns (Father Reading the Bible to His Children). Several years previously, Denis Diderot began publishing the first modern form of art criticism, and became one of Greuze's admirers after they met in 1759. Greuze achieved even greater success at the Salon of 1761 with L'Accordée de village. Greuze was considered one of the greatest painters of his time, but his popularity began to decline by the 1780s. After the French Revolution he lost everything and died penniless. Greuze was virtually forgotten by the art world for several centuries until his reemergence in the late twentieth century with the reappraisal of art from the Ancien Régime. | [
"Denis Diderot",
"genre painting",
"genre painter",
"Salon",
"Jean-Baptiste Greuze",
"Ancien Régime",
"French Revolution",
"L'Accordée de village"
] |
|
16348_NT | The Laundress (Greuze) | In this artwork, how is the Background discussed? | French artist Jean-Baptiste Greuze was a late-eighteenth-century genre painter who was influenced by seventeenth-century Dutch and Flemish artists. He first exhibited at the Salon of 1755, receiving great attention for his genre painting Un Père de famille qui lit la Bible à ses enfàns (Father Reading the Bible to His Children). Several years previously, Denis Diderot began publishing the first modern form of art criticism, and became one of Greuze's admirers after they met in 1759. Greuze achieved even greater success at the Salon of 1761 with L'Accordée de village. Greuze was considered one of the greatest painters of his time, but his popularity began to decline by the 1780s. After the French Revolution he lost everything and died penniless. Greuze was virtually forgotten by the art world for several centuries until his reemergence in the late twentieth century with the reappraisal of art from the Ancien Régime. | [
"Denis Diderot",
"genre painting",
"genre painter",
"Salon",
"Jean-Baptiste Greuze",
"Ancien Régime",
"French Revolution",
"L'Accordée de village"
] |
|
16349_T | The Laundress (Greuze) | Focus on The Laundress (Greuze) and explore the Development and exhibition. | Greuze likely began working on The Laundress sometime in July 1761, around the same time as L'Accordée de village. In drawing upon Dutch and Flemish cabinet paintings, Greuze may have found inspiration in the style of Rembrandt, and other artists and paintings such as Jean-Baptiste-Siméon Chardin's The Kitchen Maid (1738), Gerrit Dou's Girl Chopping Onions (1646), Gabriël Metsu's The Laundress (1650), and Jan Steen's Girl Offering Oysters (1658–1660).
Its development was influenced by Dutch cabinet painting and the imagery of the laundress made popular through a literary style known as genre poissard.Greuze exhibited a total of fourteen paintings at the Salon in September 1761, including The Laundress and L'Accordée de village. | [
"The Kitchen Maid",
"cabinet painting",
"Rembrandt",
"Jan Steen",
"Salon",
"Gerrit Dou",
"Gabriël Metsu",
"L'Accordée de village",
"Jean-Baptiste-Siméon Chardin"
] |
|
16349_NT | The Laundress (Greuze) | Focus on this artwork and explore the Development and exhibition. | Greuze likely began working on The Laundress sometime in July 1761, around the same time as L'Accordée de village. In drawing upon Dutch and Flemish cabinet paintings, Greuze may have found inspiration in the style of Rembrandt, and other artists and paintings such as Jean-Baptiste-Siméon Chardin's The Kitchen Maid (1738), Gerrit Dou's Girl Chopping Onions (1646), Gabriël Metsu's The Laundress (1650), and Jan Steen's Girl Offering Oysters (1658–1660).
Its development was influenced by Dutch cabinet painting and the imagery of the laundress made popular through a literary style known as genre poissard.Greuze exhibited a total of fourteen paintings at the Salon in September 1761, including The Laundress and L'Accordée de village. | [
"The Kitchen Maid",
"cabinet painting",
"Rembrandt",
"Jan Steen",
"Salon",
"Gerrit Dou",
"Gabriël Metsu",
"L'Accordée de village",
"Jean-Baptiste-Siméon Chardin"
] |
|
16350_T | The Laundress (Greuze) | Focus on The Laundress (Greuze) and explain the Description. | A young maidservant bends over to wring out linen with her hands as she stares provocatively at the viewer with a sensual, flirting glance. She appears unkempt, wearing clothes which cover her body and red mules on her feet, but her ankle and foot are exposed suggesting a lack of sexual restraint. A marabout, a kettle used for boiling water, is seated on a small table in the lower left frame. | [
"mules",
"maidservant"
] |
|
16350_NT | The Laundress (Greuze) | Focus on this artwork and explain the Description. | A young maidservant bends over to wring out linen with her hands as she stares provocatively at the viewer with a sensual, flirting glance. She appears unkempt, wearing clothes which cover her body and red mules on her feet, but her ankle and foot are exposed suggesting a lack of sexual restraint. A marabout, a kettle used for boiling water, is seated on a small table in the lower left frame. | [
"mules",
"maidservant"
] |
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