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16351_T | The Laundress (Greuze) | Explore the Provenance of this artwork, The Laundress (Greuze). | Greuze's patron, Ange-Laurent de La Live de Jully, was the original owner of the painting. After he sold it in 1770, it passed through multiple Swedish collections for several centuries, including those of Count Gustaf Adolph Sparre, his wife Countess Amelie (Ramel) Sparre, their grandson Count Gustaf Adolf Frederik de la Gardie, his father Count Jakob Gustaf de la Gardie, who without further issue sold the entire collection to Count Carl de Geer, who gifted the entire collection to his granddaughter Countess Elizabeth (von Platen) Wachtmeister, who first created the Wachtmeister family trust of paintings and had the original collection inventory from 1794 updated by the Swedish art historian Georg Göthe. Her grandson Count Gustav Axel Wachtmeister died in 1978, and the Wachtmeister Family trust began selling the paintings, selling the Laundress to the J. Paul Getty Museum in 1983. | [
"J. Paul Getty Museum",
"Getty Museum"
] |
|
16351_NT | The Laundress (Greuze) | Explore the Provenance of this artwork. | Greuze's patron, Ange-Laurent de La Live de Jully, was the original owner of the painting. After he sold it in 1770, it passed through multiple Swedish collections for several centuries, including those of Count Gustaf Adolph Sparre, his wife Countess Amelie (Ramel) Sparre, their grandson Count Gustaf Adolf Frederik de la Gardie, his father Count Jakob Gustaf de la Gardie, who without further issue sold the entire collection to Count Carl de Geer, who gifted the entire collection to his granddaughter Countess Elizabeth (von Platen) Wachtmeister, who first created the Wachtmeister family trust of paintings and had the original collection inventory from 1794 updated by the Swedish art historian Georg Göthe. Her grandson Count Gustav Axel Wachtmeister died in 1978, and the Wachtmeister Family trust began selling the paintings, selling the Laundress to the J. Paul Getty Museum in 1983. | [
"J. Paul Getty Museum",
"Getty Museum"
] |
|
16352_T | Bombardment of Algiers (painting) | Focus on Bombardment of Algiers (painting) and discuss the abstract. | Bombardment of Algiers is one of a number of oil-on-canvas paintings by British artist Thomas Luny depicting the heavy bombardment of the harbour of Algiers by a fleet of Anglo-Dutch ships under the command of Admiral Lord Exmouth, and the ensuing destruction. The exact date of the paintings creation is not known, but it is signed and dated to 1820 by Luny, four years after the events depicted. | [
"Admiral",
"Bombardment of Algiers",
"Algiers",
"British",
"Thomas Luny",
"oil-on-canvas",
"Lord Exmouth"
] |
|
16352_NT | Bombardment of Algiers (painting) | Focus on this artwork and discuss the abstract. | Bombardment of Algiers is one of a number of oil-on-canvas paintings by British artist Thomas Luny depicting the heavy bombardment of the harbour of Algiers by a fleet of Anglo-Dutch ships under the command of Admiral Lord Exmouth, and the ensuing destruction. The exact date of the paintings creation is not known, but it is signed and dated to 1820 by Luny, four years after the events depicted. | [
"Admiral",
"Bombardment of Algiers",
"Algiers",
"British",
"Thomas Luny",
"oil-on-canvas",
"Lord Exmouth"
] |
|
16353_T | Bombardment of Algiers (painting) | How does Bombardment of Algiers (painting) elucidate its Background? | The painting is a portrayal of the Bombardment of Algiers, which took place on 27 August 1816. This campaign was an attempt by the British to end the slavery conducted by the Dey of Algiers, specifically to free the hundreds of Christians that had been enslaved by the Dey. It was the result of the Dey's rejection of previous non-combative negotiations to free these slaves.The two forces stated in their earlier negotiations that they would not fire the first shot. However, despite the Algerian's plan to board Exmouth's ships in secrecy using small ships, an Algerian ship fired out of line at approximately 3:00 pm, and the Algerian plan was foiled and the battle instigated. After around ten hours, the Algerian fleet were effectively overpowered and subdued by Exmouth's fleet of approximately 28 ships.
Following effective victory, Exmouth dispatched a peace treaty the next day at noon, under the condition that the opposition comply to the terms specified. He expressly stated that if the terms were not agreed with and met, that the combative action would continue. The Dey accepted these terms. However, Exmouth had taken a sizable risk by demanding acceptance by force, because the fleet had actually fired off all of its ammunition.About a month later, on 24 September, a treaty was signed and sanctioned. This resulted in the freeing of over 1000 Christian slaves, among other things. | [
"ammunition",
"Bombardment of Algiers",
"Christians",
"Algiers",
"British",
"Dey of Algiers"
] |
|
16353_NT | Bombardment of Algiers (painting) | How does this artwork elucidate its Background? | The painting is a portrayal of the Bombardment of Algiers, which took place on 27 August 1816. This campaign was an attempt by the British to end the slavery conducted by the Dey of Algiers, specifically to free the hundreds of Christians that had been enslaved by the Dey. It was the result of the Dey's rejection of previous non-combative negotiations to free these slaves.The two forces stated in their earlier negotiations that they would not fire the first shot. However, despite the Algerian's plan to board Exmouth's ships in secrecy using small ships, an Algerian ship fired out of line at approximately 3:00 pm, and the Algerian plan was foiled and the battle instigated. After around ten hours, the Algerian fleet were effectively overpowered and subdued by Exmouth's fleet of approximately 28 ships.
Following effective victory, Exmouth dispatched a peace treaty the next day at noon, under the condition that the opposition comply to the terms specified. He expressly stated that if the terms were not agreed with and met, that the combative action would continue. The Dey accepted these terms. However, Exmouth had taken a sizable risk by demanding acceptance by force, because the fleet had actually fired off all of its ammunition.About a month later, on 24 September, a treaty was signed and sanctioned. This resulted in the freeing of over 1000 Christian slaves, among other things. | [
"ammunition",
"Bombardment of Algiers",
"Christians",
"Algiers",
"British",
"Dey of Algiers"
] |
|
16354_T | Bombardment of Algiers (painting) | Focus on Bombardment of Algiers (painting) and analyze the Analysis. | The painting is a seascape, as the majority of Luny's works were. It specifically depicts a scene of the bombardment wherein British victory is evidently close. Night has fallen, so it would have been several hours into the assault. Many of Exmouth's ships are seen in the middleground, launching their attack on the shoreline defences. In the foreground, there are several small ships, presumably the Algerian boats that were to be employed in the boarding of Exmouth's ships. Far in the background, the silhouette of mountains behind the port, and the clouded night sky can be seen. Little of the actual port can be seen, as it is shrouded by the billowing smoke.
The only source of lighting in the painting comes from the towering inferno in the approximate centre of the piece, behind Exmouth's ships. In the darkness of the night and the long shadows, it creates a Chiaroscuro effect, introducing stark contrast between light and dark. This is accentuated by the pure blackness that surrounds the scene from all sides. This effect is also seen in some of Luny's other paintings, most similarly in his Battle of the Nile. | [
"Chiaroscuro",
"middleground",
"British",
"Battle of the Nile"
] |
|
16354_NT | Bombardment of Algiers (painting) | Focus on this artwork and analyze the Analysis. | The painting is a seascape, as the majority of Luny's works were. It specifically depicts a scene of the bombardment wherein British victory is evidently close. Night has fallen, so it would have been several hours into the assault. Many of Exmouth's ships are seen in the middleground, launching their attack on the shoreline defences. In the foreground, there are several small ships, presumably the Algerian boats that were to be employed in the boarding of Exmouth's ships. Far in the background, the silhouette of mountains behind the port, and the clouded night sky can be seen. Little of the actual port can be seen, as it is shrouded by the billowing smoke.
The only source of lighting in the painting comes from the towering inferno in the approximate centre of the piece, behind Exmouth's ships. In the darkness of the night and the long shadows, it creates a Chiaroscuro effect, introducing stark contrast between light and dark. This is accentuated by the pure blackness that surrounds the scene from all sides. This effect is also seen in some of Luny's other paintings, most similarly in his Battle of the Nile. | [
"Chiaroscuro",
"middleground",
"British",
"Battle of the Nile"
] |
|
16355_T | Two Angels in Sant'Agostino | In Two Angels in Sant'Agostino, how is the abstract discussed? | Two Angels in Sant'Agostino are two marble sculptures above the high altar of the Basilica of Sant'Agostino in Rome. They are listed as being by the Italian artist Gian Lorenzo Bernini in the biography of Baldinucci, and there is also recorded evidence of Bernini having been paid for them. However, it seems likely that Bernini passed the work over to one of his assistants, Giuliano Finelli.One of the bozzetti (preparatory works in terracotta) is in the Ringling Museum, Sarasota, in the USA. It was verified as a Bernini by art historian Rudolf Wittkower and purchased for US$5,880 by the museum in 1961; a fact corroborated in newspaper reports of the time. However, the current Ringling museum website states the work to be the design of Bernini and executed by Giuliano Finelli. | [
"bozzetti",
"Sarasota",
"Gian Lorenzo Bernini",
"Ringling Museum",
"Basilica of Sant'Agostino",
"terracotta"
] |
|
16355_NT | Two Angels in Sant'Agostino | In this artwork, how is the abstract discussed? | Two Angels in Sant'Agostino are two marble sculptures above the high altar of the Basilica of Sant'Agostino in Rome. They are listed as being by the Italian artist Gian Lorenzo Bernini in the biography of Baldinucci, and there is also recorded evidence of Bernini having been paid for them. However, it seems likely that Bernini passed the work over to one of his assistants, Giuliano Finelli.One of the bozzetti (preparatory works in terracotta) is in the Ringling Museum, Sarasota, in the USA. It was verified as a Bernini by art historian Rudolf Wittkower and purchased for US$5,880 by the museum in 1961; a fact corroborated in newspaper reports of the time. However, the current Ringling museum website states the work to be the design of Bernini and executed by Giuliano Finelli. | [
"bozzetti",
"Sarasota",
"Gian Lorenzo Bernini",
"Ringling Museum",
"Basilica of Sant'Agostino",
"terracotta"
] |
|
16356_T | She-Guardian | Focus on She-Guardian and explore the abstract. | She-Guardian is a landscape sculpture by Russian sculptor Dashi Namdakov. It depicts a mythical winged creature standing guard over her young. The statue is 11 metres (36 ft) high to the tip of the wings.
In May 2015, the monument was installed in the "City of Sculpture" temporary art space next to Cumberland Gate at London's Marble Arch. This was arranged by the Halcyon Gallery, with approval and consent of the Westminster Council. It remained there until 2016.Some people say the sculpture exhibits an aggressive posture but Namdakov said: "I've never seen any threat in its open mouth. I recognized it as defense of the youth and protection of the family." | [
"Marble Arch",
"Halcyon Gallery",
"Dashi Namdakov"
] |
|
16356_NT | She-Guardian | Focus on this artwork and explore the abstract. | She-Guardian is a landscape sculpture by Russian sculptor Dashi Namdakov. It depicts a mythical winged creature standing guard over her young. The statue is 11 metres (36 ft) high to the tip of the wings.
In May 2015, the monument was installed in the "City of Sculpture" temporary art space next to Cumberland Gate at London's Marble Arch. This was arranged by the Halcyon Gallery, with approval and consent of the Westminster Council. It remained there until 2016.Some people say the sculpture exhibits an aggressive posture but Namdakov said: "I've never seen any threat in its open mouth. I recognized it as defense of the youth and protection of the family." | [
"Marble Arch",
"Halcyon Gallery",
"Dashi Namdakov"
] |
|
16357_T | She-Guardian | Focus on She-Guardian and explain the Production. | The idea for the work came to Dashi from a lynx skull, given to him by Siberian hunters. The statue was realized by an Italian famous foundry based in Pietrasanta: Fonderia d'arte Massimo del Chiaro. | [] |
|
16357_NT | She-Guardian | Focus on this artwork and explain the Production. | The idea for the work came to Dashi from a lynx skull, given to him by Siberian hunters. The statue was realized by an Italian famous foundry based in Pietrasanta: Fonderia d'arte Massimo del Chiaro. | [] |
|
16358_T | July Fourteenth, Rue Daunou, 1910 | Explore the abstract of this artwork, July Fourteenth, Rue Daunou, 1910. | July Fourteenth, Rue Daunou, 1910 is an early-20th-century painting by American impressionist Childe Hassam. Done in oil on canvas, the painting depicts the celebration of Bastille Day in Paris. It is now in the Metropolitan Museum of Art. | [
"Paris",
"Childe Hassam",
"American impressionist",
"Metropolitan Museum of Art",
"Bastille Day"
] |
|
16358_NT | July Fourteenth, Rue Daunou, 1910 | Explore the abstract of this artwork. | July Fourteenth, Rue Daunou, 1910 is an early-20th-century painting by American impressionist Childe Hassam. Done in oil on canvas, the painting depicts the celebration of Bastille Day in Paris. It is now in the Metropolitan Museum of Art. | [
"Paris",
"Childe Hassam",
"American impressionist",
"Metropolitan Museum of Art",
"Bastille Day"
] |
|
16359_T | July Fourteenth, Rue Daunou, 1910 | Focus on July Fourteenth, Rue Daunou, 1910 and discuss the Description. | July Fourteenth, Rue Daunou, 1910 depicts the celebration of Bastille Day from the artist's viewpoint on top of the Hôtel l’Empire in Paris. The street below is thronged with automobiles and people, while the flags of France, Belgium, and the United States are being flown on various buildings. The Metropolitan Museum of Art considers the painting to be a precursor to Hassam's famous Flag Series. | [
"Paris",
"Flag Series",
"Metropolitan Museum of Art",
"Bastille Day"
] |
|
16359_NT | July Fourteenth, Rue Daunou, 1910 | Focus on this artwork and discuss the Description. | July Fourteenth, Rue Daunou, 1910 depicts the celebration of Bastille Day from the artist's viewpoint on top of the Hôtel l’Empire in Paris. The street below is thronged with automobiles and people, while the flags of France, Belgium, and the United States are being flown on various buildings. The Metropolitan Museum of Art considers the painting to be a precursor to Hassam's famous Flag Series. | [
"Paris",
"Flag Series",
"Metropolitan Museum of Art",
"Bastille Day"
] |
|
16360_T | Two Men Contemplating the Moon | How does Two Men Contemplating the Moon elucidate its Image description and composition? | The paintings depicts a foreground scene of two people on a mountain path, which leads up from the centre bottom of the picture to the left. The man on the right is wearing a grey-green cape and the black beret of the altdeutsche Tracht and has a stick in his right hand. The man on the left is somewhat higher on the path and is leaning on his companion's shoulder; he is slimmer and is wearing a grey-green frock-coat, from which a white collar protrudes, and the black cap of an early Burschenschaft, its ribbon tied under his chin. They are both looking at the sickle of the waxing moon and the evening star. The Moon's night side is lit by earthshine. The scene is framed by an uprooted and moss-grown oak on their right, whose branches reach out to those of a spruce on their left; a boulder prevents the oak from falling, and there is another boulder on the left. In the background the landscape falls away; the tops of pine trees suggest a forest. In the immediate foreground are a tree stump and a large dry branch lying on the ground. The painting is almost monochromatic in shades of brown and grey, depicting nightfall.
The Dresden version is generally held to be the original. It exemplifies the golden section in the ratios between the central vertical axis, the perpendicular axis between it and the star, and the other axis running through the older man's eye. The German art historian Werner Busch, in line with older readings of the artist that insist on spiritual messages behind natural forms, sees the geometric layout as signalling the transcendent message of the two figures' experience of nature. As in many paintings by Friedrich, there is no middle ground; the foreground earthly scene is contrasted with the lighted sky and the abyss at the two men's feet made perceptible through this contrast, which exemplifies the antithetical relationship of rational, palpable earthly space and irrational and sublime infinity explored by the Romantic painters. The composition places these in a harmonious relationship. It has been described as a defining image of German Romanticism.The two men depicted may be Friedrich himself, on the right, and his pupil August Heinrich (1794–1822) on the left; Friedrich's friend Wilhelm Wegener gave this interpretation. Dahl agreed that the younger man was Heinrich but identified the older as Christian Wilhelm Bommer, the brother of Friedrich's wife Caroline; however, in 1819, Heinrich was 25 but Bommer only 18. In the variant with a man and a woman, Caroline Friedrich would then be the woman. Two art historians of the early twentieth century also proposed locations. Max Semrau located Friedrich and his friend Benjamin Friedrich Gotthelf Kummer on a cliff on the island of Rügen; Max Sauerlandt, the same two men in the Harz Mountains. | [
"Werner Busch",
"Romantic painters",
"altdeutsche Tracht",
"Rügen",
"German Romanticism",
"Harz",
"golden section",
"evening star",
"Burschenschaft",
"Romanticism",
"earthshine",
"Harz Mountains",
"German Romantic"
] |
|
16360_NT | Two Men Contemplating the Moon | How does this artwork elucidate its Image description and composition? | The paintings depicts a foreground scene of two people on a mountain path, which leads up from the centre bottom of the picture to the left. The man on the right is wearing a grey-green cape and the black beret of the altdeutsche Tracht and has a stick in his right hand. The man on the left is somewhat higher on the path and is leaning on his companion's shoulder; he is slimmer and is wearing a grey-green frock-coat, from which a white collar protrudes, and the black cap of an early Burschenschaft, its ribbon tied under his chin. They are both looking at the sickle of the waxing moon and the evening star. The Moon's night side is lit by earthshine. The scene is framed by an uprooted and moss-grown oak on their right, whose branches reach out to those of a spruce on their left; a boulder prevents the oak from falling, and there is another boulder on the left. In the background the landscape falls away; the tops of pine trees suggest a forest. In the immediate foreground are a tree stump and a large dry branch lying on the ground. The painting is almost monochromatic in shades of brown and grey, depicting nightfall.
The Dresden version is generally held to be the original. It exemplifies the golden section in the ratios between the central vertical axis, the perpendicular axis between it and the star, and the other axis running through the older man's eye. The German art historian Werner Busch, in line with older readings of the artist that insist on spiritual messages behind natural forms, sees the geometric layout as signalling the transcendent message of the two figures' experience of nature. As in many paintings by Friedrich, there is no middle ground; the foreground earthly scene is contrasted with the lighted sky and the abyss at the two men's feet made perceptible through this contrast, which exemplifies the antithetical relationship of rational, palpable earthly space and irrational and sublime infinity explored by the Romantic painters. The composition places these in a harmonious relationship. It has been described as a defining image of German Romanticism.The two men depicted may be Friedrich himself, on the right, and his pupil August Heinrich (1794–1822) on the left; Friedrich's friend Wilhelm Wegener gave this interpretation. Dahl agreed that the younger man was Heinrich but identified the older as Christian Wilhelm Bommer, the brother of Friedrich's wife Caroline; however, in 1819, Heinrich was 25 but Bommer only 18. In the variant with a man and a woman, Caroline Friedrich would then be the woman. Two art historians of the early twentieth century also proposed locations. Max Semrau located Friedrich and his friend Benjamin Friedrich Gotthelf Kummer on a cliff on the island of Rügen; Max Sauerlandt, the same two men in the Harz Mountains. | [
"Werner Busch",
"Romantic painters",
"altdeutsche Tracht",
"Rügen",
"German Romanticism",
"Harz",
"golden section",
"evening star",
"Burschenschaft",
"Romanticism",
"earthshine",
"Harz Mountains",
"German Romantic"
] |
|
16361_T | Two Men Contemplating the Moon | In the context of Two Men Contemplating the Moon, analyze the Man and Woman Contemplating the Moon of the Image description and composition. | In this painting, the man and woman face away from the viewer, centered vertically, and located left of center horizontally. The woman's arm is resting on the man's shoulder. The serene and contemplative pose of the couple contrasts with the contortions of the half uprooted oak tree, which is itself in opposition with the verticality of the lush pine tree on the left. This irregular and asymmetrical pictorial construction—one linked with the post-Baroque aesthetic of the previous century—was fairly rare in Friedrich's work, often characterized by regular geometric arrangements. | [] |
|
16361_NT | Two Men Contemplating the Moon | In the context of this artwork, analyze the Man and Woman Contemplating the Moon of the Image description and composition. | In this painting, the man and woman face away from the viewer, centered vertically, and located left of center horizontally. The woman's arm is resting on the man's shoulder. The serene and contemplative pose of the couple contrasts with the contortions of the half uprooted oak tree, which is itself in opposition with the verticality of the lush pine tree on the left. This irregular and asymmetrical pictorial construction—one linked with the post-Baroque aesthetic of the previous century—was fairly rare in Friedrich's work, often characterized by regular geometric arrangements. | [] |
|
16362_T | Two Men Contemplating the Moon | In Two Men Contemplating the Moon, how is the Versions discussed? | According to Johan Christian Dahl, the first owner of the (presumed) earliest version, Friedrich painted an unknown number of copies, and others also copied the picture. Several versions are extant today, but their dating and authorship has not been positively determined; discussion of the question was revived in 1991. Apart from Dahl's copy (now in Dresden), there is a version in the Metropolitan Museum of Art, New York, dated 1825–1830. In addition to the closer adherence to the golden section, the Dresden version is truer to Friedrich's preparatory sketches from nature.
Paintings of the variant image of a man and woman observing the Moon (Mann und Frau den Mond betrachtend), dated between 1818 and 1835, are located in the Alte Nationalgalerie in Berlin and in a private collection in Switzerland. The art historian Kaspar Monrad suggests that this may be the first version of the theme, and thus would predate early 1818, when the Danish writer Peder Hjort reported obtaining such a painting from Friedrich. In addition to substituting the figure of a woman for the man on the left, the Berlin version differs from Two Men Contemplating the Moon in many details: the stump is broken rather than sawed, as it is in the Dresden version, the dead branch has been omitted, the tops of the trees on the right are higher, and decisively, the walking stick has been omitted, although X-ray examination reveals two lines indicating where the artist had planned to include it. | [
"Two Men Contemplating the Moon",
"golden section",
"Johan Christian Dahl",
"Alte Nationalgalerie",
"Metropolitan Museum of Art",
"X-ray"
] |
|
16362_NT | Two Men Contemplating the Moon | In this artwork, how is the Versions discussed? | According to Johan Christian Dahl, the first owner of the (presumed) earliest version, Friedrich painted an unknown number of copies, and others also copied the picture. Several versions are extant today, but their dating and authorship has not been positively determined; discussion of the question was revived in 1991. Apart from Dahl's copy (now in Dresden), there is a version in the Metropolitan Museum of Art, New York, dated 1825–1830. In addition to the closer adherence to the golden section, the Dresden version is truer to Friedrich's preparatory sketches from nature.
Paintings of the variant image of a man and woman observing the Moon (Mann und Frau den Mond betrachtend), dated between 1818 and 1835, are located in the Alte Nationalgalerie in Berlin and in a private collection in Switzerland. The art historian Kaspar Monrad suggests that this may be the first version of the theme, and thus would predate early 1818, when the Danish writer Peder Hjort reported obtaining such a painting from Friedrich. In addition to substituting the figure of a woman for the man on the left, the Berlin version differs from Two Men Contemplating the Moon in many details: the stump is broken rather than sawed, as it is in the Dresden version, the dead branch has been omitted, the tops of the trees on the right are higher, and decisively, the walking stick has been omitted, although X-ray examination reveals two lines indicating where the artist had planned to include it. | [
"Two Men Contemplating the Moon",
"golden section",
"Johan Christian Dahl",
"Alte Nationalgalerie",
"Metropolitan Museum of Art",
"X-ray"
] |
|
16363_T | Two Men Contemplating the Moon | Focus on Two Men Contemplating the Moon and explore the Provenance. | The painting in the Galerie Neue Meister in Dresden was included in 1830 in Johan Christian Dahl's collection under the title Mondscheinlandschaft. Zwei männliche Figuren betrachten den aufgehenden Halbmond (Moonlit Landscape: Two Male Figures Observing the Rising Half-Moon); he sold it to the Royal Art Gallery in Dresden in 1840 for 80 talers. Dahl had obtained the painting from Friedrich in exchange for a work of his own. The painting in Berlin of a man and a woman was at the Salomon art dealership in Dresden in 1922. In 1932 it was shown at the Paul Cassirer gallery in Berlin on loan from the collection of Lulu Böhler in Lucerne, and it was bought that year by the Alte Nationalgalerie from the Fritz Nathan Gallery of Lucerne. | [
"Galerie Neue Meister",
"Lucerne",
"taler",
"Johan Christian Dahl",
"Fritz Nathan",
"Alte Nationalgalerie"
] |
|
16363_NT | Two Men Contemplating the Moon | Focus on this artwork and explore the Provenance. | The painting in the Galerie Neue Meister in Dresden was included in 1830 in Johan Christian Dahl's collection under the title Mondscheinlandschaft. Zwei männliche Figuren betrachten den aufgehenden Halbmond (Moonlit Landscape: Two Male Figures Observing the Rising Half-Moon); he sold it to the Royal Art Gallery in Dresden in 1840 for 80 talers. Dahl had obtained the painting from Friedrich in exchange for a work of his own. The painting in Berlin of a man and a woman was at the Salomon art dealership in Dresden in 1922. In 1932 it was shown at the Paul Cassirer gallery in Berlin on loan from the collection of Lulu Böhler in Lucerne, and it was bought that year by the Alte Nationalgalerie from the Fritz Nathan Gallery of Lucerne. | [
"Galerie Neue Meister",
"Lucerne",
"taler",
"Johan Christian Dahl",
"Fritz Nathan",
"Alte Nationalgalerie"
] |
|
16364_T | Two Men Contemplating the Moon | Focus on Two Men Contemplating the Moon and explain the Interpretations. | With its softly melancholy mood, the painting epitomises the Romantic view of nature. The two meditative figures, seen almost entirely from the rear, serve as representatives of the observer, who is left to contemplate what they are seeing and supply a meaning. In addition to the Romantic mysticism of the tension between the palpable world and the unending cosmos, three additional contrasting interpretations have been presented, in terms of religion, politics and biography. | [] |
|
16364_NT | Two Men Contemplating the Moon | Focus on this artwork and explain the Interpretations. | With its softly melancholy mood, the painting epitomises the Romantic view of nature. The two meditative figures, seen almost entirely from the rear, serve as representatives of the observer, who is left to contemplate what they are seeing and supply a meaning. In addition to the Romantic mysticism of the tension between the palpable world and the unending cosmos, three additional contrasting interpretations have been presented, in terms of religion, politics and biography. | [] |
|
16365_T | Two Men Contemplating the Moon | Explore the Religion about the Interpretations of this artwork, Two Men Contemplating the Moon. | The German art historian Helmut Börsch-Supan interprets the evergreen spruce and the dead oak as symbols of the Christian worldview and defeated paganism, respectively, the path as the path of life and the waxing moon as Christ. The oak has traditionally represented history and transience, the evergreen fir-tree, the constantly renewing power of nature. The uprooted tree may represent death, yet its contrast with the clear, bright sky represents hope, eternal life, and closeness to the sublime, or Christ. | [
"Helmut Börsch-Supan"
] |
|
16365_NT | Two Men Contemplating the Moon | Explore the Religion about the Interpretations of this artwork. | The German art historian Helmut Börsch-Supan interprets the evergreen spruce and the dead oak as symbols of the Christian worldview and defeated paganism, respectively, the path as the path of life and the waxing moon as Christ. The oak has traditionally represented history and transience, the evergreen fir-tree, the constantly renewing power of nature. The uprooted tree may represent death, yet its contrast with the clear, bright sky represents hope, eternal life, and closeness to the sublime, or Christ. | [
"Helmut Börsch-Supan"
] |
|
16366_T | Two Men Contemplating the Moon | In the context of Two Men Contemplating the Moon, discuss the Politics of the Interpretations. | The altdeutsche Tracht worn by both men was banned under the Carlsbad decrees of 1819, coinciding with the creation of the work. Friedrich himself pointed to the importance of this political aspect in interpreting the work; Karl Förster recounts in his memoirs that on a visit to the artist's studio in Dresden on 9 April 1820, Friedrich showed him the painting and said, with irony, as if in explanation, "They are fomenting demagogic intrigues". Many of Friedrich's paintings feature people in this political costume, suggesting he intended a political message against their suppression; however, the sketches and most of the paintings predate the ban. | [
"Karl Förster",
"altdeutsche Tracht",
"Carlsbad decrees"
] |
|
16366_NT | Two Men Contemplating the Moon | In the context of this artwork, discuss the Politics of the Interpretations. | The altdeutsche Tracht worn by both men was banned under the Carlsbad decrees of 1819, coinciding with the creation of the work. Friedrich himself pointed to the importance of this political aspect in interpreting the work; Karl Förster recounts in his memoirs that on a visit to the artist's studio in Dresden on 9 April 1820, Friedrich showed him the painting and said, with irony, as if in explanation, "They are fomenting demagogic intrigues". Many of Friedrich's paintings feature people in this political costume, suggesting he intended a political message against their suppression; however, the sketches and most of the paintings predate the ban. | [
"Karl Förster",
"altdeutsche Tracht",
"Carlsbad decrees"
] |
|
16367_T | Crucifixion (Corpus Hypercubus) | How does Crucifixion (Corpus Hypercubus) elucidate its abstract? | Crucifixion (Corpus Hypercubus) is a 1954 oil-on-canvas painting by Salvador Dalí. A nontraditional, surrealist portrayal of the Crucifixion, it depicts Christ on a polyhedron net of a tesseract (hypercube). It is one of his best-known paintings from the later period of his career. | [
"net",
"surrealist",
"Salvador Dalí",
"polyhedron net",
"tesseract",
"oil-on-canvas",
"portrayal of the Crucifixion"
] |
|
16367_NT | Crucifixion (Corpus Hypercubus) | How does this artwork elucidate its abstract? | Crucifixion (Corpus Hypercubus) is a 1954 oil-on-canvas painting by Salvador Dalí. A nontraditional, surrealist portrayal of the Crucifixion, it depicts Christ on a polyhedron net of a tesseract (hypercube). It is one of his best-known paintings from the later period of his career. | [
"net",
"surrealist",
"Salvador Dalí",
"polyhedron net",
"tesseract",
"oil-on-canvas",
"portrayal of the Crucifixion"
] |
|
16368_T | Crucifixion (Corpus Hypercubus) | Focus on Crucifixion (Corpus Hypercubus) and analyze the Background. | During the 1940s and 1950s Dalí's interest in traditional surrealism diminished and he became fascinated with nuclear science, feeling that "thenceforth, the atom was [his] favorite food for thought". The atomic bombing at the end of World War II left a lasting impression; his 1951 essay "Mystical Manifesto" introduced an art theory he called "nuclear mysticism" that combined his interests in Catholicism, mathematics, science, and Catalan culture in an effort to reestablish classical values and techniques, which he extensively utilized in Corpus Hypercubus.That same year, to promote nuclear mysticism and explain the "return to spiritual classicism movement" in modern art, he traveled throughout the United States giving lectures. Before painting Corpus Hypercubus, Dalí announced his intention to portray an exploding Christ using both classical painting techniques along with the motif of the cube, and he declared that "this painting will be the great metaphysical work of [his] summer". Juan de Herrera's Treatise on Cubic Forms was particularly influential to Dalí. | [
"atomic bombing",
"Juan de Herrera",
"surrealism",
"nuclear science",
"metaphysical",
"Catholicism",
"Catalan"
] |
|
16368_NT | Crucifixion (Corpus Hypercubus) | Focus on this artwork and analyze the Background. | During the 1940s and 1950s Dalí's interest in traditional surrealism diminished and he became fascinated with nuclear science, feeling that "thenceforth, the atom was [his] favorite food for thought". The atomic bombing at the end of World War II left a lasting impression; his 1951 essay "Mystical Manifesto" introduced an art theory he called "nuclear mysticism" that combined his interests in Catholicism, mathematics, science, and Catalan culture in an effort to reestablish classical values and techniques, which he extensively utilized in Corpus Hypercubus.That same year, to promote nuclear mysticism and explain the "return to spiritual classicism movement" in modern art, he traveled throughout the United States giving lectures. Before painting Corpus Hypercubus, Dalí announced his intention to portray an exploding Christ using both classical painting techniques along with the motif of the cube, and he declared that "this painting will be the great metaphysical work of [his] summer". Juan de Herrera's Treatise on Cubic Forms was particularly influential to Dalí. | [
"atomic bombing",
"Juan de Herrera",
"surrealism",
"nuclear science",
"metaphysical",
"Catholicism",
"Catalan"
] |
|
16369_T | Crucifixion (Corpus Hypercubus) | In Crucifixion (Corpus Hypercubus), how is the Composition and meaning discussed? | Corpus Hypercubus is painted in oil on canvas, and its dimensions are 194.3 cm × 123.8 cm (76.5 in × 48.75 in). Consistent with his theory of nuclear mysticism, Dalí uses classical elements along with ideas inspired by mathematics and science. Some noticeably classic features are the drapery of the clothing and the Caravaggesque lighting that theatrically envelops Christ, though like his 1951 painting Christ of Saint John of the Cross, Corpus Hypercubus takes the traditional biblical scene of Christ's Crucifixion and almost completely reinvents it. The union of Christ and the tesseract reflects Dalí's opinion that the seemingly separate and incompatible concepts of science and religion can in fact coexist. Upon completing Corpus Hypercubus, Dalí described his work as "metaphysical, transcendent cubism".While he did attempt to distance himself from the Surrealist movement after his development of nuclear mysticism, in Corpus Hypercubus Dalí incorporates dreamlike features consistent with his earlier work, such as the levitating Christ and the giant chessboard below. Jesus' face is turned away from the viewer, making it completely obscured. The crown of thorns is missing from Christ's head as are the nails from his hands and feet, leaving his body completely devoid of the wounds often closely associated with the Crucifixion. With Christ of Saint John of the Cross, Dalí did the same in order to leave only the "metaphysical beauty of Christ-God". Dalí sets the painting at the bay of his hometown Port Lligat in Catalonia, which is also the setting of other paintings of his including The Madonna of Port Lligat, The Sacrament of the Last Supper, and Christ of Saint John of the Cross.
A viewer's eyes may quickly be drawn to the knees of Christ, which have a grotesque exaggeration of hyperrealistic detail. On close observation of the original painting, five different images of Dalí's wife Gala appear in Christ's right knee, and five different images of Dalí himself appear in the left knee; the most prominent two being Gala's back/neck/back of head with right arm extended upward, and Dalí's own face complete with his trademark upswept mustache. The additional embedded images are more difficult to see in low-quality reproductions or prints. | [
"cubism",
"Catalonia",
"Port Lligat",
"Gala",
"Caravaggesque",
"Christ of Saint John of the Cross",
"The Sacrament of the Last Supper",
"embedded images",
"The Madonna of Port Lligat",
"metaphysical",
"tesseract"
] |
|
16369_NT | Crucifixion (Corpus Hypercubus) | In this artwork, how is the Composition and meaning discussed? | Corpus Hypercubus is painted in oil on canvas, and its dimensions are 194.3 cm × 123.8 cm (76.5 in × 48.75 in). Consistent with his theory of nuclear mysticism, Dalí uses classical elements along with ideas inspired by mathematics and science. Some noticeably classic features are the drapery of the clothing and the Caravaggesque lighting that theatrically envelops Christ, though like his 1951 painting Christ of Saint John of the Cross, Corpus Hypercubus takes the traditional biblical scene of Christ's Crucifixion and almost completely reinvents it. The union of Christ and the tesseract reflects Dalí's opinion that the seemingly separate and incompatible concepts of science and religion can in fact coexist. Upon completing Corpus Hypercubus, Dalí described his work as "metaphysical, transcendent cubism".While he did attempt to distance himself from the Surrealist movement after his development of nuclear mysticism, in Corpus Hypercubus Dalí incorporates dreamlike features consistent with his earlier work, such as the levitating Christ and the giant chessboard below. Jesus' face is turned away from the viewer, making it completely obscured. The crown of thorns is missing from Christ's head as are the nails from his hands and feet, leaving his body completely devoid of the wounds often closely associated with the Crucifixion. With Christ of Saint John of the Cross, Dalí did the same in order to leave only the "metaphysical beauty of Christ-God". Dalí sets the painting at the bay of his hometown Port Lligat in Catalonia, which is also the setting of other paintings of his including The Madonna of Port Lligat, The Sacrament of the Last Supper, and Christ of Saint John of the Cross.
A viewer's eyes may quickly be drawn to the knees of Christ, which have a grotesque exaggeration of hyperrealistic detail. On close observation of the original painting, five different images of Dalí's wife Gala appear in Christ's right knee, and five different images of Dalí himself appear in the left knee; the most prominent two being Gala's back/neck/back of head with right arm extended upward, and Dalí's own face complete with his trademark upswept mustache. The additional embedded images are more difficult to see in low-quality reproductions or prints. | [
"cubism",
"Catalonia",
"Port Lligat",
"Gala",
"Caravaggesque",
"Christ of Saint John of the Cross",
"The Sacrament of the Last Supper",
"embedded images",
"The Madonna of Port Lligat",
"metaphysical",
"tesseract"
] |
|
16370_T | Crucifixion (Corpus Hypercubus) | In the context of Crucifixion (Corpus Hypercubus), explore the Tesseract of the Composition and meaning. | The most striking change Dalí makes from nearly every other crucifixion painting concerns the cross, which he transforms into an unfolded net of a tesseract (also known as a hypercube). The unfolding of a tesseract into eight cubes is analogous to unfolding the sides of a cube into six squares. The use of a hypercube for the cross has been interpreted as a geometric symbol for the transcendental nature of God. Just as the concept of God exists in a space that is incomprehensible to humans, the hypercube exists in four spatial dimensions, which is equally inaccessible to the mind. The net of the hypercube is a three-dimensional representation of it, similar to how Christ is a human form of God that is more relatable to people.
The word "corpus" in the title can refer both to the body of Christ and to geometric figures, reinforcing the link Dalí makes between religion and mathematics and science. Christ's levitation above the Earth could symbolize His rise above Earthly desire and suffering. The motif of the cube is present elsewhere: Gala is standing on one, and the chessboard is made up of squares. | [
"net",
"Gala",
"Tesseract",
"tesseract"
] |
|
16370_NT | Crucifixion (Corpus Hypercubus) | In the context of this artwork, explore the Tesseract of the Composition and meaning. | The most striking change Dalí makes from nearly every other crucifixion painting concerns the cross, which he transforms into an unfolded net of a tesseract (also known as a hypercube). The unfolding of a tesseract into eight cubes is analogous to unfolding the sides of a cube into six squares. The use of a hypercube for the cross has been interpreted as a geometric symbol for the transcendental nature of God. Just as the concept of God exists in a space that is incomprehensible to humans, the hypercube exists in four spatial dimensions, which is equally inaccessible to the mind. The net of the hypercube is a three-dimensional representation of it, similar to how Christ is a human form of God that is more relatable to people.
The word "corpus" in the title can refer both to the body of Christ and to geometric figures, reinforcing the link Dalí makes between religion and mathematics and science. Christ's levitation above the Earth could symbolize His rise above Earthly desire and suffering. The motif of the cube is present elsewhere: Gala is standing on one, and the chessboard is made up of squares. | [
"net",
"Gala",
"Tesseract",
"tesseract"
] |
|
16371_T | Crucifixion (Corpus Hypercubus) | In the context of Crucifixion (Corpus Hypercubus), explain the Gala of the Composition and meaning. | On the bottom left of the painting, Dalí painted his wife Gala as Mary Magdalene looking up at Jesus. Dalí thought of her as the "perfect union of the development of the hypercubic octahedron on the human level of the cube". He used her as a model because "the most noble beings were painted by Velázquez and Zurbarán. [He] only [approaches] nobility when painting Gala, and nobility can only be inspired by the human being." | [
"Mary Magdalene",
"Gala",
"Zurbarán",
"Velázquez"
] |
|
16371_NT | Crucifixion (Corpus Hypercubus) | In the context of this artwork, explain the Gala of the Composition and meaning. | On the bottom left of the painting, Dalí painted his wife Gala as Mary Magdalene looking up at Jesus. Dalí thought of her as the "perfect union of the development of the hypercubic octahedron on the human level of the cube". He used her as a model because "the most noble beings were painted by Velázquez and Zurbarán. [He] only [approaches] nobility when painting Gala, and nobility can only be inspired by the human being." | [
"Mary Magdalene",
"Gala",
"Zurbarán",
"Velázquez"
] |
|
16372_T | Crucifixion (Corpus Hypercubus) | Explore the Reception of this artwork, Crucifixion (Corpus Hypercubus). | Fiona Macdonald describes the painting as showing a classical pose of Christ superimposed on a mathematical representation of the fourth dimension that is both unseeable and spiritual, considering it to be "arguably the greatest expression of [Dalí's] scientific curiosity". Gary Bolyer assesses it as "one of the most beautiful works of the modern era."Novelist Ayn Rand declared Corpus Hypercubus to be her favorite painting, and she would spend hours contemplating it at the Metropolitan Museum of Art. She felt a connection between John Galt's defiance over his spiritual ordeal in her novel Atlas Shrugged and Dalí's portrayal of Christ in the painting.A reproduction of the painting is mentioned in J. G. Ballard's 1969 surrealist novel, The Atrocity Exhibition and in Robert J. Sawyer's 1998 science fiction novel, Factoring Humanity. | [
"J. G. Ballard",
"fourth dimension",
"John Galt",
"surrealist",
"The Atrocity Exhibition",
"Robert J. Sawyer",
"Ayn Rand",
"Atlas Shrugged",
"Metropolitan Museum of Art"
] |
|
16372_NT | Crucifixion (Corpus Hypercubus) | Explore the Reception of this artwork. | Fiona Macdonald describes the painting as showing a classical pose of Christ superimposed on a mathematical representation of the fourth dimension that is both unseeable and spiritual, considering it to be "arguably the greatest expression of [Dalí's] scientific curiosity". Gary Bolyer assesses it as "one of the most beautiful works of the modern era."Novelist Ayn Rand declared Corpus Hypercubus to be her favorite painting, and she would spend hours contemplating it at the Metropolitan Museum of Art. She felt a connection between John Galt's defiance over his spiritual ordeal in her novel Atlas Shrugged and Dalí's portrayal of Christ in the painting.A reproduction of the painting is mentioned in J. G. Ballard's 1969 surrealist novel, The Atrocity Exhibition and in Robert J. Sawyer's 1998 science fiction novel, Factoring Humanity. | [
"J. G. Ballard",
"fourth dimension",
"John Galt",
"surrealist",
"The Atrocity Exhibition",
"Robert J. Sawyer",
"Ayn Rand",
"Atlas Shrugged",
"Metropolitan Museum of Art"
] |
|
16373_T | Crucifixion (Corpus Hypercubus) | Focus on Crucifixion (Corpus Hypercubus) and discuss the Exhibitions. | After being first exhibited in Rome in 1954, Corpus Hypercubus was acquired in 1955 by the Metropolitan Museum of Art in New York City, where it was renamed Crucifixion. After nearly 25 years, the painting was loaned to the Centre Georges Pompidou in Paris, the Daimaru Museum in Osaka, and the Tate Gallery in London from December 1979 until June 1980. Throughout the early and mid 1980s Crucifixion was loaned to museums in Japan, Mexico, and Spain, including the Palau Reial de Pedralbes in Barcelona, the only time the painting has been exhibited in Catalonia, Dalí's home region.
It was later loaned to the Staatsgalerie Stuttgart in Germany and the Pabellón de España at the Universal Exposition of Seville 1992 before being loaned long-term to the Salvador Dalí Museum (St. Petersburg, Florida) from 1993 to 1999. In 2000, it was loaned to the Wadsworth Atheneum in Connecticut from January to March and the Hirshhorn Museum and Sculpture Garden in Washington DC, as part of the traveling show "Dalí's Optical Illusions". In 2005, Corpus Hypercubus spent four months at the Philadelphia Museum of Art in a major retrospective of Dalí's work, and in 2006 it was loaned to the Museum Ludwig in Cologne, before returning to New York City. | [
"Hirshhorn Museum and Sculpture Garden",
"Palau Reial de Pedralbes",
"New York City",
"Centre Georges Pompidou",
"Catalonia",
"Museum Ludwig",
"Tate",
"Wadsworth Atheneum",
"Salvador Dalí",
"Tate Gallery",
"Staatsgalerie Stuttgart",
"Salvador Dalí Museum",
"Daimaru Museum",
"Metropolitan Museum of Art",
"Philadelphia Museum of Art"
] |
|
16373_NT | Crucifixion (Corpus Hypercubus) | Focus on this artwork and discuss the Exhibitions. | After being first exhibited in Rome in 1954, Corpus Hypercubus was acquired in 1955 by the Metropolitan Museum of Art in New York City, where it was renamed Crucifixion. After nearly 25 years, the painting was loaned to the Centre Georges Pompidou in Paris, the Daimaru Museum in Osaka, and the Tate Gallery in London from December 1979 until June 1980. Throughout the early and mid 1980s Crucifixion was loaned to museums in Japan, Mexico, and Spain, including the Palau Reial de Pedralbes in Barcelona, the only time the painting has been exhibited in Catalonia, Dalí's home region.
It was later loaned to the Staatsgalerie Stuttgart in Germany and the Pabellón de España at the Universal Exposition of Seville 1992 before being loaned long-term to the Salvador Dalí Museum (St. Petersburg, Florida) from 1993 to 1999. In 2000, it was loaned to the Wadsworth Atheneum in Connecticut from January to March and the Hirshhorn Museum and Sculpture Garden in Washington DC, as part of the traveling show "Dalí's Optical Illusions". In 2005, Corpus Hypercubus spent four months at the Philadelphia Museum of Art in a major retrospective of Dalí's work, and in 2006 it was loaned to the Museum Ludwig in Cologne, before returning to New York City. | [
"Hirshhorn Museum and Sculpture Garden",
"Palau Reial de Pedralbes",
"New York City",
"Centre Georges Pompidou",
"Catalonia",
"Museum Ludwig",
"Tate",
"Wadsworth Atheneum",
"Salvador Dalí",
"Tate Gallery",
"Staatsgalerie Stuttgart",
"Salvador Dalí Museum",
"Daimaru Museum",
"Metropolitan Museum of Art",
"Philadelphia Museum of Art"
] |
|
16374_T | Liberation (painting) | How does Liberation (painting) elucidate its abstract? | Liberation (Norwegian: Frigjøring) is a 1974 painting by the Norwegian artist Odd Nerdrum. It depicts a room with a mattress where a couple have sexual intercourse with the woman on top of the passive man.
Nerdrum's art from the period 1968–1983 is characterized by everyday realism and left-wing politics. Liberation was created in this context, where the radical left propounded a sexual revolution as a way to create a socialist utopia by politicizing every aspect of human life, especially sexuality. Nerdrum made several paintings on the topic of what was considered sexual liberation. The most famous of these are Liberation from 1974 and Spring (Vår) from 1977. | [
"sexual revolution",
"realism",
"woman on top",
"Odd Nerdrum",
"socialist"
] |
|
16374_NT | Liberation (painting) | How does this artwork elucidate its abstract? | Liberation (Norwegian: Frigjøring) is a 1974 painting by the Norwegian artist Odd Nerdrum. It depicts a room with a mattress where a couple have sexual intercourse with the woman on top of the passive man.
Nerdrum's art from the period 1968–1983 is characterized by everyday realism and left-wing politics. Liberation was created in this context, where the radical left propounded a sexual revolution as a way to create a socialist utopia by politicizing every aspect of human life, especially sexuality. Nerdrum made several paintings on the topic of what was considered sexual liberation. The most famous of these are Liberation from 1974 and Spring (Vår) from 1977. | [
"sexual revolution",
"realism",
"woman on top",
"Odd Nerdrum",
"socialist"
] |
|
16375_T | Liberation (painting) | Focus on Liberation (painting) and analyze the Provenance. | The painting was first presented at Høstutstillingen in 1974. It was exhibited at the Oslo gallery Kunstnerforbundet in 1976 as part of the exhibition Odd Nerdrum Malerier ("Odd Nerdrum Paintings"). | [
"Odd Nerdrum",
"Høstutstillingen"
] |
|
16375_NT | Liberation (painting) | Focus on this artwork and analyze the Provenance. | The painting was first presented at Høstutstillingen in 1974. It was exhibited at the Oslo gallery Kunstnerforbundet in 1976 as part of the exhibition Odd Nerdrum Malerier ("Odd Nerdrum Paintings"). | [
"Odd Nerdrum",
"Høstutstillingen"
] |
|
16376_T | The Bezique Game | In The Bezique Game, how is the abstract discussed? | The Bezique Game (La partie de Bésigue) is an 1880 oil-on-canvas painting by the French impressionist artist Gustave Caillebotte (1848–1894). The work is now in the collection of the Louvre Abu Dhabi.Eponymously it depicts a Bezique or Bésigue contest; bezique being a 19th-century French melding and trick-taking card game for two players.
It was displayed at the seventh Impressionist exhibition in 1882 and ran first in the catalogue.Caillebotte set this depiction of his friends in the luxurious apartment on Boulevard Haussmann that he shared with his brother, the composer Martial Caillebotte, who is depicted in the picture smoking a pipe. | [
"impressionist",
"Martial Caillebotte",
"Gustave Caillebotte",
"Bezique",
"Boulevard Haussmann",
"oil-on-canvas",
"Louvre Abu Dhabi",
"Abu Dhabi"
] |
|
16376_NT | The Bezique Game | In this artwork, how is the abstract discussed? | The Bezique Game (La partie de Bésigue) is an 1880 oil-on-canvas painting by the French impressionist artist Gustave Caillebotte (1848–1894). The work is now in the collection of the Louvre Abu Dhabi.Eponymously it depicts a Bezique or Bésigue contest; bezique being a 19th-century French melding and trick-taking card game for two players.
It was displayed at the seventh Impressionist exhibition in 1882 and ran first in the catalogue.Caillebotte set this depiction of his friends in the luxurious apartment on Boulevard Haussmann that he shared with his brother, the composer Martial Caillebotte, who is depicted in the picture smoking a pipe. | [
"impressionist",
"Martial Caillebotte",
"Gustave Caillebotte",
"Bezique",
"Boulevard Haussmann",
"oil-on-canvas",
"Louvre Abu Dhabi",
"Abu Dhabi"
] |
|
16377_T | Roaring Forties (Frederick Judd Waugh) | Focus on Roaring Forties (Frederick Judd Waugh) and explore the abstract. | The Roaring Forties is a 1908 oil painting by Frederick Judd Waugh. The painting depicts a turbulent seascape in the Roaring Forties, the part of the Southern Hemispheric Ocean between the latitudes of 40 and 50 degrees famed for its dangerous storms. Along with Wild Weather, the work is one of two seascape paintings by Waugh on display at the Metropolitan Museum of Art. | [
"Metropolitan Museum of Art",
"Roaring Forties",
"Southern Hemispheric Ocean",
"Frederick Judd Waugh",
"seascape"
] |
|
16377_NT | Roaring Forties (Frederick Judd Waugh) | Focus on this artwork and explore the abstract. | The Roaring Forties is a 1908 oil painting by Frederick Judd Waugh. The painting depicts a turbulent seascape in the Roaring Forties, the part of the Southern Hemispheric Ocean between the latitudes of 40 and 50 degrees famed for its dangerous storms. Along with Wild Weather, the work is one of two seascape paintings by Waugh on display at the Metropolitan Museum of Art. | [
"Metropolitan Museum of Art",
"Roaring Forties",
"Southern Hemispheric Ocean",
"Frederick Judd Waugh",
"seascape"
] |
|
16378_T | Fox (Marc) | Focus on Fox (Marc) and explain the abstract. | Fox, also known as Blue and Black Fox or Blue Fox, is an oil on canvas painting by Franz Marc, from 1911. It is part of the collection of the Von der Heydt Museum in Wuppertal. | [
"Franz Marc",
"Von der Heydt Museum",
"Wuppertal"
] |
|
16378_NT | Fox (Marc) | Focus on this artwork and explain the abstract. | Fox, also known as Blue and Black Fox or Blue Fox, is an oil on canvas painting by Franz Marc, from 1911. It is part of the collection of the Von der Heydt Museum in Wuppertal. | [
"Franz Marc",
"Von der Heydt Museum",
"Wuppertal"
] |
|
16379_T | Fox (Marc) | Explore the Origin and classification of this artwork, Fox (Marc). | The painting was created in July 1911 in fellow painter August Macke's studio in Bonn, when Marc was returning from a trip to England. A few months later, on December 18, 1911, the exhibition group Der Blaue Reiter, founded by Franz Marc and Wassily Kandinsky, had its first exhibition, in Munich. Marc quickly created Fox, together with the work Red Dog. The Fox was offered to the curator of the Barmer Kunstverein, Richart Reiche, who was exhibiting Marc's works. Reiche was able to find a buyer for the Red Dog. These two paintings belong to his early group of animal representations in which pure colors were used, in the function of symbols or the so-called essential colors. With the colors red / yellow / blue (primary colors) and orange / green / violet (secondary colors), Marc used the system of spectral colors as a basis in this painting.The Fox is an example often used to illustrate the color contrasts. | [
"Franz Marc",
"Wassily Kandinsky",
"August Macke",
"Bonn",
"Munich",
"England",
"Der Blaue Reiter"
] |
|
16379_NT | Fox (Marc) | Explore the Origin and classification of this artwork. | The painting was created in July 1911 in fellow painter August Macke's studio in Bonn, when Marc was returning from a trip to England. A few months later, on December 18, 1911, the exhibition group Der Blaue Reiter, founded by Franz Marc and Wassily Kandinsky, had its first exhibition, in Munich. Marc quickly created Fox, together with the work Red Dog. The Fox was offered to the curator of the Barmer Kunstverein, Richart Reiche, who was exhibiting Marc's works. Reiche was able to find a buyer for the Red Dog. These two paintings belong to his early group of animal representations in which pure colors were used, in the function of symbols or the so-called essential colors. With the colors red / yellow / blue (primary colors) and orange / green / violet (secondary colors), Marc used the system of spectral colors as a basis in this painting.The Fox is an example often used to illustrate the color contrasts. | [
"Franz Marc",
"Wassily Kandinsky",
"August Macke",
"Bonn",
"Munich",
"England",
"Der Blaue Reiter"
] |
|
16380_T | Fox (Marc) | Focus on Fox (Marc) and discuss the Provenance. | The work came into the possession of the Von der Heydt Museum in 1952 through a donation by Eduard von der Heydt from a collection that his father August von der Heydt had started. | [
"Von der Heydt Museum"
] |
|
16380_NT | Fox (Marc) | Focus on this artwork and discuss the Provenance. | The work came into the possession of the Von der Heydt Museum in 1952 through a donation by Eduard von der Heydt from a collection that his father August von der Heydt had started. | [
"Von der Heydt Museum"
] |
|
16381_T | Portrait of Doña Antonia Zárate (1810–1811) | How does Portrait of Doña Antonia Zárate (1810–1811) elucidate its abstract? | The Portrait of Doña Antonia Zárate is an 1810–1811 painting of the actress Antonia Zárate by Francisco Goya or his studio. It is now in the Hermitage Museum, and if it is an autograph work, it is the only painting by Goya in a Russian collection.
It seems to have been commissioned by the subject's son Antonio Gil y Zárate in 1811 after her death and probably forms a reworking of Goya's earlier larger 1805 portrait of her. It remained in Spain until 1900, when it was sold in New York City. It passed through various dealers and owners before being acquired by the Knoedler Gallery for $60,000 from an heir of Marshall Field, a department-store magnate in Chicago. That gallery was owned by Armand Hammer, who then used a Liechtenstein front to sell it to his own Armand Hammer Foundation for $160,000. In 1972, Hammer donated it to the Hermitage, claiming it was worth $1,000,000. | [
"Antonio Gil y Zárate",
"Francisco Goya",
"Marshall Field",
"New York City",
"earlier larger 1805 portrait of her",
"Zárate",
"Hermitage Museum",
"Antonia Zárate",
"Armand Hammer"
] |
|
16381_NT | Portrait of Doña Antonia Zárate (1810–1811) | How does this artwork elucidate its abstract? | The Portrait of Doña Antonia Zárate is an 1810–1811 painting of the actress Antonia Zárate by Francisco Goya or his studio. It is now in the Hermitage Museum, and if it is an autograph work, it is the only painting by Goya in a Russian collection.
It seems to have been commissioned by the subject's son Antonio Gil y Zárate in 1811 after her death and probably forms a reworking of Goya's earlier larger 1805 portrait of her. It remained in Spain until 1900, when it was sold in New York City. It passed through various dealers and owners before being acquired by the Knoedler Gallery for $60,000 from an heir of Marshall Field, a department-store magnate in Chicago. That gallery was owned by Armand Hammer, who then used a Liechtenstein front to sell it to his own Armand Hammer Foundation for $160,000. In 1972, Hammer donated it to the Hermitage, claiming it was worth $1,000,000. | [
"Antonio Gil y Zárate",
"Francisco Goya",
"Marshall Field",
"New York City",
"earlier larger 1805 portrait of her",
"Zárate",
"Hermitage Museum",
"Antonia Zárate",
"Armand Hammer"
] |
|
16382_T | Salome with the Head of John the Baptist (Caravaggio, London) | Focus on Salome with the Head of John the Baptist (Caravaggio, London) and analyze the abstract. | Salome with the Head of John the Baptist (London), c. 1607/1610, is a painting by the Italian master Caravaggio now in the collection of the National Gallery in London. | [
"Salome with the Head of John the Baptist",
"Caravaggio",
"Italian",
"National Gallery",
"London"
] |
|
16382_NT | Salome with the Head of John the Baptist (Caravaggio, London) | Focus on this artwork and analyze the abstract. | Salome with the Head of John the Baptist (London), c. 1607/1610, is a painting by the Italian master Caravaggio now in the collection of the National Gallery in London. | [
"Salome with the Head of John the Baptist",
"Caravaggio",
"Italian",
"National Gallery",
"London"
] |
|
16383_T | Salome with the Head of John the Baptist (Caravaggio, London) | In Salome with the Head of John the Baptist (Caravaggio, London), how is the History discussed? | The painting was discovered in a private collection in 1959. The early Caravaggio biographer Giovanni Bellori, writing in 1673, mentions a Salome with the Head of John the Baptist sent by the artist to the Grand Master of the Knights of Malta in the hope of regaining favour after having been expelled from the Order in 1608. It seems likely, however, that Bellori was referring to a different painting by Caravaggio of the same subject (see Salome with the Head of John the Baptist at the Royal Palace of Madrid). The handling and the raking light link this painting to works done in Naples during the artist's brief stay in the city during 1606–1607, an impression confirmed by the balances between Salome and the Virgin in the Madonna of the Rosary, and between the executioner holding the head of the Baptist and one of the two torturers in Christ at the Column and The Flagellation of Christ. From November to February 2012–2013, this painting was part of the exhibition "Bodies and Shadows: Caravaggio and His Legacy" at the LACMA. | [
"Salome with the Head of John the Baptist",
"LACMA",
"Giovanni Bellori",
"Caravaggio",
"Christ at the Column",
"Royal Palace of Madrid",
"Madonna of the Rosary",
"The Flagellation of Christ"
] |
|
16383_NT | Salome with the Head of John the Baptist (Caravaggio, London) | In this artwork, how is the History discussed? | The painting was discovered in a private collection in 1959. The early Caravaggio biographer Giovanni Bellori, writing in 1673, mentions a Salome with the Head of John the Baptist sent by the artist to the Grand Master of the Knights of Malta in the hope of regaining favour after having been expelled from the Order in 1608. It seems likely, however, that Bellori was referring to a different painting by Caravaggio of the same subject (see Salome with the Head of John the Baptist at the Royal Palace of Madrid). The handling and the raking light link this painting to works done in Naples during the artist's brief stay in the city during 1606–1607, an impression confirmed by the balances between Salome and the Virgin in the Madonna of the Rosary, and between the executioner holding the head of the Baptist and one of the two torturers in Christ at the Column and The Flagellation of Christ. From November to February 2012–2013, this painting was part of the exhibition "Bodies and Shadows: Caravaggio and His Legacy" at the LACMA. | [
"Salome with the Head of John the Baptist",
"LACMA",
"Giovanni Bellori",
"Caravaggio",
"Christ at the Column",
"Royal Palace of Madrid",
"Madonna of the Rosary",
"The Flagellation of Christ"
] |
|
16384_T | 7000 Oaks | Focus on 7000 Oaks and explore the abstract. | 7000 Oaks – City Forestation Instead of City Administration (German: 7000 Eichen – Stadtverwaldung statt Stadtverwaltung) is a work of land art by the German artist Joseph Beuys. It was first publicly presented in 1982 at documenta 7. | [
"land art",
"Oak",
"Joseph Beuys",
"German",
"documenta",
"documenta 7"
] |
|
16384_NT | 7000 Oaks | Focus on this artwork and explore the abstract. | 7000 Oaks – City Forestation Instead of City Administration (German: 7000 Eichen – Stadtverwaldung statt Stadtverwaltung) is a work of land art by the German artist Joseph Beuys. It was first publicly presented in 1982 at documenta 7. | [
"land art",
"Oak",
"Joseph Beuys",
"German",
"documenta",
"documenta 7"
] |
|
16385_T | 7000 Oaks | Focus on 7000 Oaks and explain the The project. | With the help of volunteers, Beuys planted 7,000 oak trees over five years in Kassel, Germany, each with an accompanying basalt stone. The black stones were initially piled outside the Fridericianum museum, only being removed as each tree was planted.In response to the extensive urbanization of the setting the work was a long-term and large-scale artistic and ecological intervention with the goal of enduringly altering the living space of the city. The project, though at first controversial, has become an important part of Kassel's cityscape.The project was of enormous scope, and met with some controversy. While the biggest difficulty of the project was raising the money, the project had its share of opponents. Much of it was political, from the conservative state government dominated by the Christian Democrats. (The mayor of Kassel was a social democrat who stood by Beuys). Some people thought the black stone markers were ugly, even piling pink stones on the sites in 1982 as a prank. Also, a motorcyclist had died as a result of one of the stone markers. However, as more trees were planted people's perception of the project as a parking lot destroyer had met with increasing tolerance.
I think the tree is an element of regeneration which in itself is a concept of time. The oak is especially so because it is a slowly growing tree with a kind of really solid heart wood. It has always been a form of sculpture, a symbol for this planet ever since the Druids, who are called after the oak. Druid means oak. They used their oaks to define their holy places. I can see such a use for the future .... The tree planting enterprise provides a very simple but radical possibility for this when we start with the seven thousand oaks.
"The planting of seven thousand oak trees is only a symbolic beginning. Contrary to its initiative, progressive features such a symbolic beginning requires a marker, in this instance a basalt column. Future goals for the project included: a) an ongoing scheme of tree planting to be extended throughout the world as part of a global mission to effect environmental & social change "the purpose of educational activities"; b) a growth of awareness within the urban environment of the human dependence on the larger ecosystem educational outreach ; and c) an ongoing process whereby the society would be activated by means of human creative will social sculpture."
Beuys' art works and performances are not about entertaining and amusing the audience. It is an awakening message from the tradition, a recognition of the whole based upon a new concept of beauty that extends beyond the instant gratification."I not only want to stimulate people, I want to provoke them." (Bastian, Heines and Jeannot Simmen, "Interview with Joseph Beuys," in the catalog exhibition, Joseph Beuys, Drawings, Victoria and Albert Museum, Westerham Press, 1983, no folio)
It is a movement from the tradition, the expected, and the established for an inclusive openness. Completed in 1987 by his son, Wenzel, on the first anniversary of his father's death (and included in documenta 8), the project is still maintained by the city. | [
"documenta 8",
"oak",
"Kassel",
"Joseph Beuys",
"basalt",
"Fridericianum",
"German",
"documenta",
"Germany"
] |
|
16385_NT | 7000 Oaks | Focus on this artwork and explain the The project. | With the help of volunteers, Beuys planted 7,000 oak trees over five years in Kassel, Germany, each with an accompanying basalt stone. The black stones were initially piled outside the Fridericianum museum, only being removed as each tree was planted.In response to the extensive urbanization of the setting the work was a long-term and large-scale artistic and ecological intervention with the goal of enduringly altering the living space of the city. The project, though at first controversial, has become an important part of Kassel's cityscape.The project was of enormous scope, and met with some controversy. While the biggest difficulty of the project was raising the money, the project had its share of opponents. Much of it was political, from the conservative state government dominated by the Christian Democrats. (The mayor of Kassel was a social democrat who stood by Beuys). Some people thought the black stone markers were ugly, even piling pink stones on the sites in 1982 as a prank. Also, a motorcyclist had died as a result of one of the stone markers. However, as more trees were planted people's perception of the project as a parking lot destroyer had met with increasing tolerance.
I think the tree is an element of regeneration which in itself is a concept of time. The oak is especially so because it is a slowly growing tree with a kind of really solid heart wood. It has always been a form of sculpture, a symbol for this planet ever since the Druids, who are called after the oak. Druid means oak. They used their oaks to define their holy places. I can see such a use for the future .... The tree planting enterprise provides a very simple but radical possibility for this when we start with the seven thousand oaks.
"The planting of seven thousand oak trees is only a symbolic beginning. Contrary to its initiative, progressive features such a symbolic beginning requires a marker, in this instance a basalt column. Future goals for the project included: a) an ongoing scheme of tree planting to be extended throughout the world as part of a global mission to effect environmental & social change "the purpose of educational activities"; b) a growth of awareness within the urban environment of the human dependence on the larger ecosystem educational outreach ; and c) an ongoing process whereby the society would be activated by means of human creative will social sculpture."
Beuys' art works and performances are not about entertaining and amusing the audience. It is an awakening message from the tradition, a recognition of the whole based upon a new concept of beauty that extends beyond the instant gratification."I not only want to stimulate people, I want to provoke them." (Bastian, Heines and Jeannot Simmen, "Interview with Joseph Beuys," in the catalog exhibition, Joseph Beuys, Drawings, Victoria and Albert Museum, Westerham Press, 1983, no folio)
It is a movement from the tradition, the expected, and the established for an inclusive openness. Completed in 1987 by his son, Wenzel, on the first anniversary of his father's death (and included in documenta 8), the project is still maintained by the city. | [
"documenta 8",
"oak",
"Kassel",
"Joseph Beuys",
"basalt",
"Fridericianum",
"German",
"documenta",
"Germany"
] |
|
16386_T | 7000 Oaks | Explore the Legacy about the The project of this artwork, 7000 Oaks. | Beuys' 7000 Oaks work is an example of the thread that links the Situationist International's approach to art and its re-creation by new groups continues to evolve through a new generation of socially conscious organizations that merge art, education, and environmental issues in their work. In 2000, the Center for Art, Design and Visual Culture (out of the University of Maryland, Baltimore County) developed the Joseph Beuys Sculpture Park and Joseph Beuys Tree Partnership and planted over 350 trees in various parks in Baltimore Parks with the help of over 500 volunteers including children from local schools. The project was organized around Beuys' philosophy that 'everyone can be an artist' by acknowledging the creativity inherent in volunteers planting trees on their own. The goal of the project was also to "extend the traditional role of the art gallery so the gallery extends out into the city". The Dia Art Foundation maintain 37 trees paired with stones in New York City and consider this installation of 7000 Oaks one of their 12 locations and sites they manage. In 2007 the artists Ackroyd & Harvey visited Kassel to collect acorns from the original oaks. 100 trees grown from these acorns were exhibited at Tate Modern in London, UK in 2021. | [
"oak",
"New York City",
"Situationist International's",
"Kassel",
"Situationist International",
"Oak",
"Joseph Beuys",
"12 locations and sites",
"Dia Art Foundation",
"University of Maryland, Baltimore County",
"Joseph Beuys Sculpture Park",
"Center for Art, Design and Visual Culture"
] |
|
16386_NT | 7000 Oaks | Explore the Legacy about the The project of this artwork. | Beuys' 7000 Oaks work is an example of the thread that links the Situationist International's approach to art and its re-creation by new groups continues to evolve through a new generation of socially conscious organizations that merge art, education, and environmental issues in their work. In 2000, the Center for Art, Design and Visual Culture (out of the University of Maryland, Baltimore County) developed the Joseph Beuys Sculpture Park and Joseph Beuys Tree Partnership and planted over 350 trees in various parks in Baltimore Parks with the help of over 500 volunteers including children from local schools. The project was organized around Beuys' philosophy that 'everyone can be an artist' by acknowledging the creativity inherent in volunteers planting trees on their own. The goal of the project was also to "extend the traditional role of the art gallery so the gallery extends out into the city". The Dia Art Foundation maintain 37 trees paired with stones in New York City and consider this installation of 7000 Oaks one of their 12 locations and sites they manage. In 2007 the artists Ackroyd & Harvey visited Kassel to collect acorns from the original oaks. 100 trees grown from these acorns were exhibited at Tate Modern in London, UK in 2021. | [
"oak",
"New York City",
"Situationist International's",
"Kassel",
"Situationist International",
"Oak",
"Joseph Beuys",
"12 locations and sites",
"Dia Art Foundation",
"University of Maryland, Baltimore County",
"Joseph Beuys Sculpture Park",
"Center for Art, Design and Visual Culture"
] |
|
16387_T | Black Lives Matter street mural (Portland, Oregon) | Focus on Black Lives Matter street mural (Portland, Oregon) and discuss the abstract. | On June 18, 2020, Nick Lloyd painted the phrase "Black Lives Matter" in large bright yellow block letters on North Edison Street in Portland, Oregon's St. Johns neighborhood. | [
"Portland, Oregon",
"St. Johns",
"Black Lives Matter"
] |
|
16387_NT | Black Lives Matter street mural (Portland, Oregon) | Focus on this artwork and discuss the abstract. | On June 18, 2020, Nick Lloyd painted the phrase "Black Lives Matter" in large bright yellow block letters on North Edison Street in Portland, Oregon's St. Johns neighborhood. | [
"Portland, Oregon",
"St. Johns",
"Black Lives Matter"
] |
|
16388_T | Black Lives Matter street mural (Portland, Oregon) | How does Black Lives Matter street mural (Portland, Oregon) elucidate its Description and history? | Inspired by Washington, D.C.'s Black Lives Matter Plaza, the 336-foot (102 m) mural spanned an entire block, and had "detailed historic facts about the treatment of minorities in Portland" written in smaller text within individual letters. The following text appeared within the letter "B": 1800 – The Cowlitz people live nearby when the first Black visitor arrives in 1802. His name is York. He's on the Lewis and Clark expedition, and he's enslaved – William Clark has owned him since birth. These roads 1st appear on a map in 1865 – While Oregon has an annual tax on every nonwhite resident. Those who can't pay are forced to work for the state.
Written on the letter "A" was "1923 — This neighborhood is 100% White. Over 9,000 belong to the KKK. The state bans Japanese and Chinese immigrants from owning property". A statement about when voters changed the Constitution of Oregon to eliminate the original ban on Black residents (2001) was written on one of the "T" letters, and another letter displayed the text "In 1988, PDX banks make only 9 mortgage loans in the district from Irvington to Woodlawn."
Lloyd did not seek permission to paint the mural, and city officials did not plan to remove the artwork, as of June 25. He said of his work: We are all a part of history you can find your birth date somewhere between these letters and see that the story continues... I think we all make history, whether we mean to or not. All of us are part of the story of the rest of us. By relating the events of this area and this region to this very bit of ground, it highlights how much each of us has a choice in what we be a part of. We are all a part of a longer story. It started before us, it will continue after us and we only can control the portion that's in front of us.
The mural was vandalized in July 2020. | [
"Black Lives Matter Plaza",
"Washington, D.C.",
"Black Lives Matter",
"Constitution of Oregon"
] |
|
16388_NT | Black Lives Matter street mural (Portland, Oregon) | How does this artwork elucidate its Description and history? | Inspired by Washington, D.C.'s Black Lives Matter Plaza, the 336-foot (102 m) mural spanned an entire block, and had "detailed historic facts about the treatment of minorities in Portland" written in smaller text within individual letters. The following text appeared within the letter "B": 1800 – The Cowlitz people live nearby when the first Black visitor arrives in 1802. His name is York. He's on the Lewis and Clark expedition, and he's enslaved – William Clark has owned him since birth. These roads 1st appear on a map in 1865 – While Oregon has an annual tax on every nonwhite resident. Those who can't pay are forced to work for the state.
Written on the letter "A" was "1923 — This neighborhood is 100% White. Over 9,000 belong to the KKK. The state bans Japanese and Chinese immigrants from owning property". A statement about when voters changed the Constitution of Oregon to eliminate the original ban on Black residents (2001) was written on one of the "T" letters, and another letter displayed the text "In 1988, PDX banks make only 9 mortgage loans in the district from Irvington to Woodlawn."
Lloyd did not seek permission to paint the mural, and city officials did not plan to remove the artwork, as of June 25. He said of his work: We are all a part of history you can find your birth date somewhere between these letters and see that the story continues... I think we all make history, whether we mean to or not. All of us are part of the story of the rest of us. By relating the events of this area and this region to this very bit of ground, it highlights how much each of us has a choice in what we be a part of. We are all a part of a longer story. It started before us, it will continue after us and we only can control the portion that's in front of us.
The mural was vandalized in July 2020. | [
"Black Lives Matter Plaza",
"Washington, D.C.",
"Black Lives Matter",
"Constitution of Oregon"
] |
|
16389_T | Adoration of the Kings (Bruegel) | Focus on Adoration of the Kings (Bruegel) and analyze the abstract. | The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London.
It is one of very few paintings by Pieter Bruegel the Elder in the portrait format, rather than his usual landscape format. Two other paintings of the Adoration by Brueghel survive: an earlier The Adoration of the Kings in tempera on canvas, dated to c.1556 (Royal Museums of Fine Arts of Belgium, Brussels); and another oil on panel painting, Adoration of the Magi in a Winter Landscape, dated to 1563 or 1567 (Oskar Reinhart Collection 'Am Römerholz', Winterthur). | [
"Pieter Bruegel the Elder",
"Oskar Reinhart Collection 'Am Römerholz'",
"Adoration of the Magi in a Winter Landscape",
"Netherlandish Renaissance",
"Am Römerholz",
"tempera",
"panel painting",
"Bruegel",
"portrait format",
"Royal Museums of Fine Arts of Belgium",
"Magi",
"The Adoration of the Kings",
"National Gallery",
"London",
"Adoration of the Magi",
"landscape format"
] |
|
16389_NT | Adoration of the Kings (Bruegel) | Focus on this artwork and analyze the abstract. | The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London.
It is one of very few paintings by Pieter Bruegel the Elder in the portrait format, rather than his usual landscape format. Two other paintings of the Adoration by Brueghel survive: an earlier The Adoration of the Kings in tempera on canvas, dated to c.1556 (Royal Museums of Fine Arts of Belgium, Brussels); and another oil on panel painting, Adoration of the Magi in a Winter Landscape, dated to 1563 or 1567 (Oskar Reinhart Collection 'Am Römerholz', Winterthur). | [
"Pieter Bruegel the Elder",
"Oskar Reinhart Collection 'Am Römerholz'",
"Adoration of the Magi in a Winter Landscape",
"Netherlandish Renaissance",
"Am Römerholz",
"tempera",
"panel painting",
"Bruegel",
"portrait format",
"Royal Museums of Fine Arts of Belgium",
"Magi",
"The Adoration of the Kings",
"National Gallery",
"London",
"Adoration of the Magi",
"landscape format"
] |
|
16390_T | Adoration of the Kings (Bruegel) | In Adoration of the Kings (Bruegel), how is the Description discussed? | In the chronological sequence of Bruegel's work, this painting of 1564 marks an important departure as the first to be composed almost exclusively of large figures. The grouping of people, an idea taken from Italian mannerist painters like Parmigianino, permits Bruegel to concentrate on differences between individual faces, giving each face a quite distinct, and sometimes grotesque, expression, quite different to the usual Catholic religious images.This emphasis on the uniqueness of each figure, and Bruegel's lack of interest in depicting ideal beauty in the Italian manner, makes it clear that although borrowing an Italian compositional scheme, Bruegel is putting it to quite a different use. In this treatment, the painter's first purpose is to record the range and intensity of individual reactions to the sacred event.The work depicts the Adoration of the Magi, with the three Magi presenting their gifts to the Christ Child: the elderly Caspar kneeling, the middle aged Melchior bowing to the left, and the white-robed Balthazar standing to the right, all dressed richly but somewhat disheveled from their long journey. The three Magi represent the three ages of man - old, middle aged and young - and the three continents known at that time - Europe, Asia and Africa. Caspar, the white-haired old man representing Europe, is wearing a green robe with pink jacket trimmed with gold and ermine, and presenting a trefoil gold vessel with its three-lobed lid removed to display gold coins within. Middle-aged Melchior, representing Asia, has a red jacket over his blue robe: his elaborately-chased gold vessel containing frankincense is still lidded. Balthazar, traditionally a black man representing Africa, stands to the right in a long white robe, pointed red boots, and with a makeshift radiate crown tied around his head. His gift of myrrh is contained in a gold vessel fashioned into a sailing ship with a long gold chain, built around a spiraling green nautilus shell.
At the centre of the scene, the baby Jesus is naked but loosely shrouded with a white cloth, resting on the lap of his mother the Virgin Mary, sitting in her characteristic blue cloak before a dilapidated stable. A donkey is eating straw in the shadows within. Behind Mary stands the elderly Joseph, listening to one of three men standing to his left (perhaps the shepherds: the face and headdress of one speaking to Joseph resembles the donkey; the one to the far right one is wearing a pair of spectacles). Unusually, the scene also includes a crowd of soldiers, perhaps echoing the political situation in the Netherlands. To Joseph's right stands two menacing soldiers, a helmeted one carrying a Lucerne hammer and wearing chainmail covered by a leather jerkin, and the other holding a crossbow with a quarrel through his hat. Behind them are a bewildered crowd of on-lookers, many with metal helmets, with an array of bladed polearms. The presence of the soldiers, the cross-shaped bow, and the child's shroud, may foreshadow the Crucifixion.
It is a cold winter's day, as demonstrated by the warm clothing worn by the subjects, such as the fur lining on Mary's sleeves. Many of the figures are slightly elongated, their faces caricatured or even grotesque, though Mary is shown naturally and not idealised. Bruegel treats his theme quite differently from depictions of the biblical scene by other painters.The picture gives a claustrophobic impression with the figures crowded together and the viewer looking down from a slightly elevated position. The colours are bold, although the blue sky has faded to a dull grey. The technique is masterly, although the work was made very quickly, leaving an irregular ground with brushstrokes of the priming that remain visible through the paint layer, and visible underdrawing. The design principally draws inspiration from a c.1485-1500 Adoration of the Magi triptych by Hieronymus Bosch (Prado, Madrid), but also in parts from the c.1510-1515 The Adoration of the Kings by Jan Gossaert (National Gallery, London). Similar figures appear in Brueghel's Adoration of the Magi in a Winter Landscape (Oskar Reinhart Collection, Winterthur).
The work is painted on an oak panel, signed and dated to the lower right: "BRVEGEL M.D.LXIIII". It was made in Brussels, in the tense period of the Spanish Netherlands shortly before the outbreak of the Eighty Years' War. It was probably made as an altarpiece, perhaps for Nicholas Jongelink. It was bought by Archduke Ernest of Austria in 1594, and entered the Hapsburg Imperial Collection. It was sold to a private collector, and was bought by the National Gallery in 1920, with funding provided by the Art Fund and the shipbroker Arthur Serena. | [
"Arthur Serena",
"Spanish Netherlands",
"Joseph",
"Jan Gossaert",
"trefoil",
"myrrh",
"Adoration of the Magi in a Winter Landscape",
"Parmigianino",
"three ages of man",
"Mary",
"Christ Child",
"Archduke Ernest of Austria",
"radiate crown",
"Hieronymus Bosch",
"three continents",
"quarrel",
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"Melchior",
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"Magi",
"Nicholas Jongelink",
"mannerist",
"The Adoration of the Kings",
"Lucerne hammer",
"National Gallery",
"frankincense",
"Art Fund",
"Virgin Mary",
"London",
"Balthazar",
"nautilus shell",
"Caspar",
"Adoration of the Magi"
] |
|
16390_NT | Adoration of the Kings (Bruegel) | In this artwork, how is the Description discussed? | In the chronological sequence of Bruegel's work, this painting of 1564 marks an important departure as the first to be composed almost exclusively of large figures. The grouping of people, an idea taken from Italian mannerist painters like Parmigianino, permits Bruegel to concentrate on differences between individual faces, giving each face a quite distinct, and sometimes grotesque, expression, quite different to the usual Catholic religious images.This emphasis on the uniqueness of each figure, and Bruegel's lack of interest in depicting ideal beauty in the Italian manner, makes it clear that although borrowing an Italian compositional scheme, Bruegel is putting it to quite a different use. In this treatment, the painter's first purpose is to record the range and intensity of individual reactions to the sacred event.The work depicts the Adoration of the Magi, with the three Magi presenting their gifts to the Christ Child: the elderly Caspar kneeling, the middle aged Melchior bowing to the left, and the white-robed Balthazar standing to the right, all dressed richly but somewhat disheveled from their long journey. The three Magi represent the three ages of man - old, middle aged and young - and the three continents known at that time - Europe, Asia and Africa. Caspar, the white-haired old man representing Europe, is wearing a green robe with pink jacket trimmed with gold and ermine, and presenting a trefoil gold vessel with its three-lobed lid removed to display gold coins within. Middle-aged Melchior, representing Asia, has a red jacket over his blue robe: his elaborately-chased gold vessel containing frankincense is still lidded. Balthazar, traditionally a black man representing Africa, stands to the right in a long white robe, pointed red boots, and with a makeshift radiate crown tied around his head. His gift of myrrh is contained in a gold vessel fashioned into a sailing ship with a long gold chain, built around a spiraling green nautilus shell.
At the centre of the scene, the baby Jesus is naked but loosely shrouded with a white cloth, resting on the lap of his mother the Virgin Mary, sitting in her characteristic blue cloak before a dilapidated stable. A donkey is eating straw in the shadows within. Behind Mary stands the elderly Joseph, listening to one of three men standing to his left (perhaps the shepherds: the face and headdress of one speaking to Joseph resembles the donkey; the one to the far right one is wearing a pair of spectacles). Unusually, the scene also includes a crowd of soldiers, perhaps echoing the political situation in the Netherlands. To Joseph's right stands two menacing soldiers, a helmeted one carrying a Lucerne hammer and wearing chainmail covered by a leather jerkin, and the other holding a crossbow with a quarrel through his hat. Behind them are a bewildered crowd of on-lookers, many with metal helmets, with an array of bladed polearms. The presence of the soldiers, the cross-shaped bow, and the child's shroud, may foreshadow the Crucifixion.
It is a cold winter's day, as demonstrated by the warm clothing worn by the subjects, such as the fur lining on Mary's sleeves. Many of the figures are slightly elongated, their faces caricatured or even grotesque, though Mary is shown naturally and not idealised. Bruegel treats his theme quite differently from depictions of the biblical scene by other painters.The picture gives a claustrophobic impression with the figures crowded together and the viewer looking down from a slightly elevated position. The colours are bold, although the blue sky has faded to a dull grey. The technique is masterly, although the work was made very quickly, leaving an irregular ground with brushstrokes of the priming that remain visible through the paint layer, and visible underdrawing. The design principally draws inspiration from a c.1485-1500 Adoration of the Magi triptych by Hieronymus Bosch (Prado, Madrid), but also in parts from the c.1510-1515 The Adoration of the Kings by Jan Gossaert (National Gallery, London). Similar figures appear in Brueghel's Adoration of the Magi in a Winter Landscape (Oskar Reinhart Collection, Winterthur).
The work is painted on an oak panel, signed and dated to the lower right: "BRVEGEL M.D.LXIIII". It was made in Brussels, in the tense period of the Spanish Netherlands shortly before the outbreak of the Eighty Years' War. It was probably made as an altarpiece, perhaps for Nicholas Jongelink. It was bought by Archduke Ernest of Austria in 1594, and entered the Hapsburg Imperial Collection. It was sold to a private collector, and was bought by the National Gallery in 1920, with funding provided by the Art Fund and the shipbroker Arthur Serena. | [
"Arthur Serena",
"Spanish Netherlands",
"Joseph",
"Jan Gossaert",
"trefoil",
"myrrh",
"Adoration of the Magi in a Winter Landscape",
"Parmigianino",
"three ages of man",
"Mary",
"Christ Child",
"Archduke Ernest of Austria",
"radiate crown",
"Hieronymus Bosch",
"three continents",
"quarrel",
"Bruegel",
"Italian",
"Eighty Years' War",
"Melchior",
"oak panel",
"Magi",
"Nicholas Jongelink",
"mannerist",
"The Adoration of the Kings",
"Lucerne hammer",
"National Gallery",
"frankincense",
"Art Fund",
"Virgin Mary",
"London",
"Balthazar",
"nautilus shell",
"Caspar",
"Adoration of the Magi"
] |
|
16391_T | Adoration of the Kings (Bruegel) | Focus on Adoration of the Kings (Bruegel) and explore the Detail gallery. | Below a series of images detailing Bruegel's painting: | [
"Bruegel"
] |
|
16391_NT | Adoration of the Kings (Bruegel) | Focus on this artwork and explore the Detail gallery. | Below a series of images detailing Bruegel's painting: | [
"Bruegel"
] |
|
16392_T | Portrait of a Musician | Focus on Portrait of a Musician and explain the abstract. | The Portrait of a Musician is an unfinished painting widely attributed to the Italian Renaissance artist Leonardo da Vinci, dated to c. 1483–1487. Produced while Leonardo was in Milan, the work is painted in oils, and perhaps tempera, on a small panel of walnut wood. It is his only known male portrait painting, and the identity of its sitter has been closely debated among scholars.
Perhaps influenced by Antonello da Messina's introduction of the Early Netherlandish style of portrait painting to Italy, the work marks a dramatic shift from the profile portraiture that predominated in 15th-century Milan. It shares many similarities with other paintings Leonardo executed there, such as the Louvre Virgin of the Rocks and the Lady with an Ermine, but the Portrait of a Musician is his only panel painting remaining in the city, where it has been in the Pinacoteca Ambrosiana since at least 1672. One of Leonardo's best preserved paintings, there are no extant contemporary records of the commission. Based on stylistic resemblances to other works by Leonardo, virtually all current scholarship attributes at least the sitter's face to him. Uncertainty over the rest of the painting arises from the stiff and rigid qualities of the body, which are uncharacteristic of Leonardo's work. While this may be explained by the painting's unfinished state, some scholars believe that Leonardo was assisted by one of his students.
The portrait's intimacy indicates a private commission, or one by a personal friend. Until the 20th century it was thought to show Ludovico Sforza, a Duke of Milan and employer of Leonardo. During a 1904–1905 restoration, the removal of overpainting revealed a hand holding sheet music, indicating that the sitter was a musician. Many musicians active in Milan have been proposed as the sitter; Franchinus Gaffurius was the most favored candidate throughout the 20th century, but in the 21st century scholarly opinion shifted towards Atalante Migliorotti. Other notable suggestions include Josquin des Prez and Gaspar van Weerbeke, but there is no historical evidence to substantiate any of these claims. The work has been criticized for its stoic and wooden qualities, but noted for its intensity and the high level of detail in the subject's face. Scholarly interpretations range from the painting depicting a musician mid-performance, to representing Leonardo's self-proclaimed ideology of the superiority of painting over other art forms, such as music. | [
"Early Netherlandish",
"oils",
"Duke of Milan",
"Milan",
"superiority of painting over other art forms",
"Ludovico Sforza",
"Antonello da Messina",
"portrait painting",
"Leonardo da Vinci",
"walnut wood",
"other works by Leonardo",
"Atalante Migliorotti",
"overpainting",
"tempera",
"panel painting",
"commission",
"Italian",
"overpaint",
"Louvre",
"Gaspar van Weerbeke",
"Lady with an Ermine",
"restoration",
"Italian Renaissance",
"sheet music",
"profile portrait",
"Pinacoteca Ambrosiana",
"profile",
"Josquin des Prez",
"Netherlandish",
"Portrait of a Musician",
"Virgin of the Rocks",
"panel",
"unfinished painting",
"Franchinus Gaffurius",
"walnut",
"his students"
] |
|
16392_NT | Portrait of a Musician | Focus on this artwork and explain the abstract. | The Portrait of a Musician is an unfinished painting widely attributed to the Italian Renaissance artist Leonardo da Vinci, dated to c. 1483–1487. Produced while Leonardo was in Milan, the work is painted in oils, and perhaps tempera, on a small panel of walnut wood. It is his only known male portrait painting, and the identity of its sitter has been closely debated among scholars.
Perhaps influenced by Antonello da Messina's introduction of the Early Netherlandish style of portrait painting to Italy, the work marks a dramatic shift from the profile portraiture that predominated in 15th-century Milan. It shares many similarities with other paintings Leonardo executed there, such as the Louvre Virgin of the Rocks and the Lady with an Ermine, but the Portrait of a Musician is his only panel painting remaining in the city, where it has been in the Pinacoteca Ambrosiana since at least 1672. One of Leonardo's best preserved paintings, there are no extant contemporary records of the commission. Based on stylistic resemblances to other works by Leonardo, virtually all current scholarship attributes at least the sitter's face to him. Uncertainty over the rest of the painting arises from the stiff and rigid qualities of the body, which are uncharacteristic of Leonardo's work. While this may be explained by the painting's unfinished state, some scholars believe that Leonardo was assisted by one of his students.
The portrait's intimacy indicates a private commission, or one by a personal friend. Until the 20th century it was thought to show Ludovico Sforza, a Duke of Milan and employer of Leonardo. During a 1904–1905 restoration, the removal of overpainting revealed a hand holding sheet music, indicating that the sitter was a musician. Many musicians active in Milan have been proposed as the sitter; Franchinus Gaffurius was the most favored candidate throughout the 20th century, but in the 21st century scholarly opinion shifted towards Atalante Migliorotti. Other notable suggestions include Josquin des Prez and Gaspar van Weerbeke, but there is no historical evidence to substantiate any of these claims. The work has been criticized for its stoic and wooden qualities, but noted for its intensity and the high level of detail in the subject's face. Scholarly interpretations range from the painting depicting a musician mid-performance, to representing Leonardo's self-proclaimed ideology of the superiority of painting over other art forms, such as music. | [
"Early Netherlandish",
"oils",
"Duke of Milan",
"Milan",
"superiority of painting over other art forms",
"Ludovico Sforza",
"Antonello da Messina",
"portrait painting",
"Leonardo da Vinci",
"walnut wood",
"other works by Leonardo",
"Atalante Migliorotti",
"overpainting",
"tempera",
"panel painting",
"commission",
"Italian",
"overpaint",
"Louvre",
"Gaspar van Weerbeke",
"Lady with an Ermine",
"restoration",
"Italian Renaissance",
"sheet music",
"profile portrait",
"Pinacoteca Ambrosiana",
"profile",
"Josquin des Prez",
"Netherlandish",
"Portrait of a Musician",
"Virgin of the Rocks",
"panel",
"unfinished painting",
"Franchinus Gaffurius",
"walnut",
"his students"
] |
|
16393_T | Portrait of a Musician | In the context of Portrait of a Musician, discuss the Composition of the Description. | This painting was executed in oils and perhaps tempera on a small, 44.7 cm × 32 cm (17.6 in × 12.6 in) walnut wood panel. It depicts a young man in bust length and three-quarter view, whose right hand holds a folded piece of sheet music. The painting is largely unfinished save for the face and hair, but is in good condition overall, with only the bottom right corner suffering damage. The art historian Kenneth Clark noted that out of Leonardo's surviving works, the Musician is perhaps the best preserved, despite the fading of colors over time.The bottom of the work may have been slightly trimmed. There is a small amount of retouching, especially towards the back of the head; the art historian Frank Zöllner has noted that this retouching introduced the somewhat unsuccessful shading of the neck and the left side of the lips. With its black background, the portrait is reminiscent of Leonardo's later portraits, the Lady with an Ermine and La Belle Ferronnière, but differs from them in that the sitter's body and head face the same direction. The biographer Walter Isaacson has noted that due to the work's unfinished state, the portrait's shadows are overtly harsh, and the portrait itself features fewer of the thin layers of oil paint typically found in Leonardo's paintings. | [
"oils",
"La Belle Ferronnière",
"walnut wood",
"right",
"tempera",
"Leonardo's surviving works",
"Clark",
"Lady with an Ermine",
"Walter Isaacson",
"sheet music",
"panel",
"Frank Zöllner",
"left",
"Kenneth Clark",
"walnut"
] |
|
16393_NT | Portrait of a Musician | In the context of this artwork, discuss the Composition of the Description. | This painting was executed in oils and perhaps tempera on a small, 44.7 cm × 32 cm (17.6 in × 12.6 in) walnut wood panel. It depicts a young man in bust length and three-quarter view, whose right hand holds a folded piece of sheet music. The painting is largely unfinished save for the face and hair, but is in good condition overall, with only the bottom right corner suffering damage. The art historian Kenneth Clark noted that out of Leonardo's surviving works, the Musician is perhaps the best preserved, despite the fading of colors over time.The bottom of the work may have been slightly trimmed. There is a small amount of retouching, especially towards the back of the head; the art historian Frank Zöllner has noted that this retouching introduced the somewhat unsuccessful shading of the neck and the left side of the lips. With its black background, the portrait is reminiscent of Leonardo's later portraits, the Lady with an Ermine and La Belle Ferronnière, but differs from them in that the sitter's body and head face the same direction. The biographer Walter Isaacson has noted that due to the work's unfinished state, the portrait's shadows are overtly harsh, and the portrait itself features fewer of the thin layers of oil paint typically found in Leonardo's paintings. | [
"oils",
"La Belle Ferronnière",
"walnut wood",
"right",
"tempera",
"Leonardo's surviving works",
"Clark",
"Lady with an Ermine",
"Walter Isaacson",
"sheet music",
"panel",
"Frank Zöllner",
"left",
"Kenneth Clark",
"walnut"
] |
|
16394_T | Portrait of a Musician | In Portrait of a Musician, how is the The musician of the Description elucidated? | The sitter has curly shoulder-length hair, wears a red cap, and stares intently at something outside the viewer's field of vision. His stare is intensified by careful lighting that focuses attention on his face, especially on his large glassy eyes. He wears a tight white undershirt. The painting of his black doublet is unfinished and his brownish-orange stole is only underpainted. The colors are faded, probably due to minor repainting and poor conservation. Technical examination of the work has revealed that the doublet was probably originally dark red, and the stole bright yellow.The mouth hints at a smile, or suggests that the man is about to sing or has just sung. A notable feature of his face is the effect on his eyes from the light outside the frame. The light dilates the pupils of both eyes, but the proper right far more than the left, something that is not possible. Some have argued that this is simply for dramatic effect, so that the viewer feels a sense of motion from the musician's left to right side of his face. The art historian Luke Syson has written that "the eyes are perhaps the most striking feature of the Musician, sight given primacy as the noblest sense and the most important tool of the painter". | [
"proper right",
"underpaint",
"doublet",
"right",
"conservation",
"stole",
"Luke Syson",
"left"
] |
|
16394_NT | Portrait of a Musician | In this artwork, how is the The musician of the Description elucidated? | The sitter has curly shoulder-length hair, wears a red cap, and stares intently at something outside the viewer's field of vision. His stare is intensified by careful lighting that focuses attention on his face, especially on his large glassy eyes. He wears a tight white undershirt. The painting of his black doublet is unfinished and his brownish-orange stole is only underpainted. The colors are faded, probably due to minor repainting and poor conservation. Technical examination of the work has revealed that the doublet was probably originally dark red, and the stole bright yellow.The mouth hints at a smile, or suggests that the man is about to sing or has just sung. A notable feature of his face is the effect on his eyes from the light outside the frame. The light dilates the pupils of both eyes, but the proper right far more than the left, something that is not possible. Some have argued that this is simply for dramatic effect, so that the viewer feels a sense of motion from the musician's left to right side of his face. The art historian Luke Syson has written that "the eyes are perhaps the most striking feature of the Musician, sight given primacy as the noblest sense and the most important tool of the painter". | [
"proper right",
"underpaint",
"doublet",
"right",
"conservation",
"stole",
"Luke Syson",
"left"
] |
|
16395_T | Portrait of a Musician | In the context of Portrait of a Musician, analyze the Sheet music of the Description. | The stiffly folded piece of paper, which is held in an odd and delicate manner, is a piece of sheet music with musical notes and letters written on it. Due to the poor condition of the lower part of the painting, the notes and letters are largely illegible. This has not stopped some scholars from hypothesizing what the letters say, often using their interpretations to support their theory of the musician's identity. The partially erased letters can be made out as "Cant" and "An" and are usually read as "Cantum Angelicum", Latin for 'angelic song', although the art historian Martin Kemp notes that it could be "Cantore Angelico", Italian for 'angelic singer'. The notes have offered little clarity into the painting, other than strongly suggesting that the subject is a musician. They are in mensural notation and therefore probably show polyphonic music. Leonardo's surviving drawings of rebuses with musical notation in the Print Room of Windsor Castle do not resemble the music in the painting. This suggests that this musical composition is not by Leonardo, which leaves the composer and the significance of the music unknown. | [
"Print Room",
"Latin",
"Sheet music",
"musical notes",
"Martin Kemp",
"Italian",
"rebus",
"sheet music",
"polyphonic music",
"mensural notation",
"Windsor Castle"
] |
|
16395_NT | Portrait of a Musician | In the context of this artwork, analyze the Sheet music of the Description. | The stiffly folded piece of paper, which is held in an odd and delicate manner, is a piece of sheet music with musical notes and letters written on it. Due to the poor condition of the lower part of the painting, the notes and letters are largely illegible. This has not stopped some scholars from hypothesizing what the letters say, often using their interpretations to support their theory of the musician's identity. The partially erased letters can be made out as "Cant" and "An" and are usually read as "Cantum Angelicum", Latin for 'angelic song', although the art historian Martin Kemp notes that it could be "Cantore Angelico", Italian for 'angelic singer'. The notes have offered little clarity into the painting, other than strongly suggesting that the subject is a musician. They are in mensural notation and therefore probably show polyphonic music. Leonardo's surviving drawings of rebuses with musical notation in the Print Room of Windsor Castle do not resemble the music in the painting. This suggests that this musical composition is not by Leonardo, which leaves the composer and the significance of the music unknown. | [
"Print Room",
"Latin",
"Sheet music",
"musical notes",
"Martin Kemp",
"Italian",
"rebus",
"sheet music",
"polyphonic music",
"mensural notation",
"Windsor Castle"
] |
|
16396_T | Portrait of a Musician | In Portrait of a Musician, how is the Attribution discussed? | Although the attribution to Leonardo had been controversial in earlier centuries, modern art historians now regard the Portrait of a Musician as one of his original works. Doubts about ascribing the work to Leonardo have existed for almost as long as the painting has been known. Its first appearance in a 1672 catalog for the Pinacoteca Ambrosiana listed it as by Leonardo, but a 1686 inventory of the collection attributed it to Bernardino Luini. This was quickly crossed out and changed to "or rather by Leonardo". In 1798, the Ambrosiana attributed the portrait to the "school of Luini", but it was soon relisted as by Leonardo. When first listed in 1672, it was described as having "all the elegance that might be expected of a ducal commission", which implies that the subject was thought to be Ludovico Sforza, Duke of Milan, who was Leonardo's employer when the painting was executed. This was accepted until the 20th century, when scholars believed it to be a pendant to the Portrait of a Lady in the Ambrosiana, now attributed to Giovanni Ambrogio de Predis but at the time thought to be a portrait by Leonardo of Beatrice d'Este, Ludovico's wife. In the mid-20th century, the Leonardo specialist Angela Ottino della Chiesa identified eleven scholars who supported an attribution to Leonardo; eight who ascribed the work to Ambrogio de Predis; two who were undecided and one who considered it the work of Giovanni Antonio Boltraffio, another of Leonardo's students.There is no extant record of the portrait's commission. Its attribution to Leonardo is based on stylistic and technical similarities to other works by him, notably the face of the angel in the Louvre Virgin of the Rocks and that of the titular figure in Saint Jerome in the Wilderness. The dark background of the portrait, a style popularized by Leonardo, furthers this attribution as it appears in later paintings by him, such as the Lady with an Ermine, La Belle Ferronnière and Saint John the Baptist. The Lady with an Ermine in particular has shown many stylistic similarities to the Musician from X-ray testing. Other characteristics typical of Leonardo's style include the melancholic atmosphere, the sensitive eyes, the ambiguous mouth (which seems to have just closed or is about to open), and curly hair reminiscent of his earlier portrait, Ginevra de' Benci. Also characteristic of Leonardo is the use of walnut wood, a medium he favored and recommended, but which was not commonly used by other artists in Lombardy at the time. The attribution is further supported by a comparison of the pupils of the musician's eyes, which dilate to different degrees; a connection has been noted to the following passage in Leonardo's notebooks:
The pupil dilates and contracts according to the brightness or darkness of the objects [in its sight]; and since it takes some time to dilate and contract, it cannot see immediately on going out of the light and into the shade, nor, in the same way, out of the shade and into the light, and this very thing has already deceived me in the painting of an eye, and that is how I learned it.
Challenge to the painting's attribution stems from its rigid and stoic demeanor, which is uncharacteristic of Leonardo's usual paintings. While some scholars consider this a result of the painting's unfinished state, others have proposed that the clothing and torso were painted by a student. If Leonardo was assisted by another artist, the most frequently cited candidates are Boltraffio and Ambrogio de Predis, due to their style being closer to the hard and rigid qualities of the portrait. According to the art historian Carlo Pedretti, Boltraffio and Marco d'Oggiono, another student of Leonardo, depict eyes in the same way as the portrait, suggesting that either might have collaborated with Leonardo on the work. The art historian Pietro C. Marani noted that it is unlikely that Leonardo would have had assistants in the mid-1480s, and even if so, they would not likely have assisted on a portrait for an official or a personal friend. Despite Marani's claims, the modern scholarly consensus on whether Leonardo was assisted remains unclear: Zöllner stated that it is "now accepted that Leonardo executed the face, while Boltraffio is credited with the entire upper body", whereas according to Syson only a "substantial minority" of scholars disagreed with a full attribution. While there is debate on the authorship of the painting as a whole, most scholars are agreed that the face, at least, is entirely Leonardo's work. | [
"Duke of Milan",
"Milan",
"Giovanni Antonio Boltraffio",
"Giovanni Ambrogio de Predis",
"Ludovico Sforza",
"Bernardino Luini",
"Lombardy",
"Marco d'Oggiono",
"La Belle Ferronnière",
"walnut wood",
"Saint Jerome in the Wilderness",
"right",
"commission",
"Carlo Pedretti",
"Beatrice d'Este",
"Louvre",
"pendant",
"Lady with an Ermine",
"Ginevra de' Benci",
"Leonardo's students",
"X-ray testing",
"Pinacoteca Ambrosiana",
"Portrait of a Musician",
"Pietro C. Marani",
"Virgin of the Rocks",
"Saint John the Baptist",
"walnut"
] |
|
16396_NT | Portrait of a Musician | In this artwork, how is the Attribution discussed? | Although the attribution to Leonardo had been controversial in earlier centuries, modern art historians now regard the Portrait of a Musician as one of his original works. Doubts about ascribing the work to Leonardo have existed for almost as long as the painting has been known. Its first appearance in a 1672 catalog for the Pinacoteca Ambrosiana listed it as by Leonardo, but a 1686 inventory of the collection attributed it to Bernardino Luini. This was quickly crossed out and changed to "or rather by Leonardo". In 1798, the Ambrosiana attributed the portrait to the "school of Luini", but it was soon relisted as by Leonardo. When first listed in 1672, it was described as having "all the elegance that might be expected of a ducal commission", which implies that the subject was thought to be Ludovico Sforza, Duke of Milan, who was Leonardo's employer when the painting was executed. This was accepted until the 20th century, when scholars believed it to be a pendant to the Portrait of a Lady in the Ambrosiana, now attributed to Giovanni Ambrogio de Predis but at the time thought to be a portrait by Leonardo of Beatrice d'Este, Ludovico's wife. In the mid-20th century, the Leonardo specialist Angela Ottino della Chiesa identified eleven scholars who supported an attribution to Leonardo; eight who ascribed the work to Ambrogio de Predis; two who were undecided and one who considered it the work of Giovanni Antonio Boltraffio, another of Leonardo's students.There is no extant record of the portrait's commission. Its attribution to Leonardo is based on stylistic and technical similarities to other works by him, notably the face of the angel in the Louvre Virgin of the Rocks and that of the titular figure in Saint Jerome in the Wilderness. The dark background of the portrait, a style popularized by Leonardo, furthers this attribution as it appears in later paintings by him, such as the Lady with an Ermine, La Belle Ferronnière and Saint John the Baptist. The Lady with an Ermine in particular has shown many stylistic similarities to the Musician from X-ray testing. Other characteristics typical of Leonardo's style include the melancholic atmosphere, the sensitive eyes, the ambiguous mouth (which seems to have just closed or is about to open), and curly hair reminiscent of his earlier portrait, Ginevra de' Benci. Also characteristic of Leonardo is the use of walnut wood, a medium he favored and recommended, but which was not commonly used by other artists in Lombardy at the time. The attribution is further supported by a comparison of the pupils of the musician's eyes, which dilate to different degrees; a connection has been noted to the following passage in Leonardo's notebooks:
The pupil dilates and contracts according to the brightness or darkness of the objects [in its sight]; and since it takes some time to dilate and contract, it cannot see immediately on going out of the light and into the shade, nor, in the same way, out of the shade and into the light, and this very thing has already deceived me in the painting of an eye, and that is how I learned it.
Challenge to the painting's attribution stems from its rigid and stoic demeanor, which is uncharacteristic of Leonardo's usual paintings. While some scholars consider this a result of the painting's unfinished state, others have proposed that the clothing and torso were painted by a student. If Leonardo was assisted by another artist, the most frequently cited candidates are Boltraffio and Ambrogio de Predis, due to their style being closer to the hard and rigid qualities of the portrait. According to the art historian Carlo Pedretti, Boltraffio and Marco d'Oggiono, another student of Leonardo, depict eyes in the same way as the portrait, suggesting that either might have collaborated with Leonardo on the work. The art historian Pietro C. Marani noted that it is unlikely that Leonardo would have had assistants in the mid-1480s, and even if so, they would not likely have assisted on a portrait for an official or a personal friend. Despite Marani's claims, the modern scholarly consensus on whether Leonardo was assisted remains unclear: Zöllner stated that it is "now accepted that Leonardo executed the face, while Boltraffio is credited with the entire upper body", whereas according to Syson only a "substantial minority" of scholars disagreed with a full attribution. While there is debate on the authorship of the painting as a whole, most scholars are agreed that the face, at least, is entirely Leonardo's work. | [
"Duke of Milan",
"Milan",
"Giovanni Antonio Boltraffio",
"Giovanni Ambrogio de Predis",
"Ludovico Sforza",
"Bernardino Luini",
"Lombardy",
"Marco d'Oggiono",
"La Belle Ferronnière",
"walnut wood",
"Saint Jerome in the Wilderness",
"right",
"commission",
"Carlo Pedretti",
"Beatrice d'Este",
"Louvre",
"pendant",
"Lady with an Ermine",
"Ginevra de' Benci",
"Leonardo's students",
"X-ray testing",
"Pinacoteca Ambrosiana",
"Portrait of a Musician",
"Pietro C. Marani",
"Virgin of the Rocks",
"Saint John the Baptist",
"walnut"
] |
|
16397_T | Portrait of a Musician | Focus on Portrait of a Musician and explore the Dating. | Art historians place the work within Leonardo's first Milanese period (c. 1482–1499), due to similarities with other works from this time, including stylistic resemblances to the Lady with an Ermine found via X-ray testing, as well as the treatment of chiaroscuro in the Louvre Virgin of the Rocks, and his sketches for a bronze horse sculpture. Older sources dated the work to the middle of this period, with dates of 1485–1490 and 1490 given.Modern scholars, including Syson and Marani, have observed that Leonardo could not have executed the portrait much later than 1487, as it is considered to lack the refinement and realism of later works informed by his anatomical studies, such as the Lady with an Ermine. It was not until 1489 that Leonardo engaged in a study of human anatomy, particularly that of the skull. Because of this, the painting is now thought to have been completed earlier in the period, during the mid-1480s, usually between 1483 and 1487. | [
"Milan",
"first Milanese period",
"bronze horse sculpture",
"Louvre",
"Lady with an Ermine",
"chiaroscuro",
"X-ray testing",
"Virgin of the Rocks"
] |
|
16397_NT | Portrait of a Musician | Focus on this artwork and explore the Dating. | Art historians place the work within Leonardo's first Milanese period (c. 1482–1499), due to similarities with other works from this time, including stylistic resemblances to the Lady with an Ermine found via X-ray testing, as well as the treatment of chiaroscuro in the Louvre Virgin of the Rocks, and his sketches for a bronze horse sculpture. Older sources dated the work to the middle of this period, with dates of 1485–1490 and 1490 given.Modern scholars, including Syson and Marani, have observed that Leonardo could not have executed the portrait much later than 1487, as it is considered to lack the refinement and realism of later works informed by his anatomical studies, such as the Lady with an Ermine. It was not until 1489 that Leonardo engaged in a study of human anatomy, particularly that of the skull. Because of this, the painting is now thought to have been completed earlier in the period, during the mid-1480s, usually between 1483 and 1487. | [
"Milan",
"first Milanese period",
"bronze horse sculpture",
"Louvre",
"Lady with an Ermine",
"chiaroscuro",
"X-ray testing",
"Virgin of the Rocks"
] |
|
16398_T | Portrait of a Musician | Focus on Portrait of a Musician and explain the Identity of the sitter. | The identification of the sitter as Ludovico was accepted until a 1904–1905 restoration by Luigi Cavenaghi and Antonio Grandi removed a layer of overpaint and revealed a hand holding sheet music. This led scholars to believe that the subject was not Ludovico, but a musician in Milan at the same time as Leonardo. Since this discovery, numerous candidates have been proposed as the sitter; however, his identity remains uncertain. The man may have appeared in other works by Leonardo and his studio. Scholars at the National Gallery have suggested that Francesco Napoletano's Portrait of a Youth in Profile and Leonardo's drawing of a Bust of a Youth in Profile are of the same person. Various historical candidates have been proposed, but without firm evidence. | [
"Milan",
"National Gallery",
"other works by Leonardo",
"Francesco Napoletano's",
"Luigi Cavenaghi",
"overpaint",
"restoration",
"sheet music",
"Francesco Napoletano"
] |
|
16398_NT | Portrait of a Musician | Focus on this artwork and explain the Identity of the sitter. | The identification of the sitter as Ludovico was accepted until a 1904–1905 restoration by Luigi Cavenaghi and Antonio Grandi removed a layer of overpaint and revealed a hand holding sheet music. This led scholars to believe that the subject was not Ludovico, but a musician in Milan at the same time as Leonardo. Since this discovery, numerous candidates have been proposed as the sitter; however, his identity remains uncertain. The man may have appeared in other works by Leonardo and his studio. Scholars at the National Gallery have suggested that Francesco Napoletano's Portrait of a Youth in Profile and Leonardo's drawing of a Bust of a Youth in Profile are of the same person. Various historical candidates have been proposed, but without firm evidence. | [
"Milan",
"National Gallery",
"other works by Leonardo",
"Francesco Napoletano's",
"Luigi Cavenaghi",
"overpaint",
"restoration",
"sheet music",
"Francesco Napoletano"
] |
|
16399_T | Portrait of a Musician | Explore the Franchinus Gaffurius about the Identity of the sitter of this artwork, Portrait of a Musician. | The architectural historian Luca Beltrami's proposition of Franchinus Gaffurius (1451–1522) became the leading candidate in the early 20th century. Gaffurius was a priest and a prominent music theorist in Milan, court musician for Ludovico Sforza, and maestro di cappella of Milan Cathedral. He is sure to have been acquainted with Leonardo, since—in addition to their shared employer—Gaffurius's 1496 music treatise, Practica Musicae, contains various woodcuts by Leonardo. Additionally, Beltrami proposed that the letters "Cant" and "Ang" were abbreviated from the Latin "Cantum Angelicum" and a reference to Angelicum ac divinum opus, another music treatise by Gaffurius.Doubt has been cast upon this theory since the iconographic evidence does not match Gaffurius to the sitter. Kemp has noted that the letters "Cant" and "Ang" could just as easily stand for "Cantore Angelico", Italian for 'angelic singer'. The subject of the painting was not depicted in a clerical robe, which would have properly identified him as a priest, and the subject of the painting is a young man, whereas Gaffurius would have been in his early thirties at the time of the painting's creation. | [
"Milan",
"Ludovico Sforza",
"Latin",
"iconographic",
"Italian",
"maestro di cappella",
"Luca Beltrami",
"Milan Cathedral",
"clerical robe",
"woodcut",
"Franchinus Gaffurius",
"Beltrami"
] |
|
16399_NT | Portrait of a Musician | Explore the Franchinus Gaffurius about the Identity of the sitter of this artwork. | The architectural historian Luca Beltrami's proposition of Franchinus Gaffurius (1451–1522) became the leading candidate in the early 20th century. Gaffurius was a priest and a prominent music theorist in Milan, court musician for Ludovico Sforza, and maestro di cappella of Milan Cathedral. He is sure to have been acquainted with Leonardo, since—in addition to their shared employer—Gaffurius's 1496 music treatise, Practica Musicae, contains various woodcuts by Leonardo. Additionally, Beltrami proposed that the letters "Cant" and "Ang" were abbreviated from the Latin "Cantum Angelicum" and a reference to Angelicum ac divinum opus, another music treatise by Gaffurius.Doubt has been cast upon this theory since the iconographic evidence does not match Gaffurius to the sitter. Kemp has noted that the letters "Cant" and "Ang" could just as easily stand for "Cantore Angelico", Italian for 'angelic singer'. The subject of the painting was not depicted in a clerical robe, which would have properly identified him as a priest, and the subject of the painting is a young man, whereas Gaffurius would have been in his early thirties at the time of the painting's creation. | [
"Milan",
"Ludovico Sforza",
"Latin",
"iconographic",
"Italian",
"maestro di cappella",
"Luca Beltrami",
"Milan Cathedral",
"clerical robe",
"woodcut",
"Franchinus Gaffurius",
"Beltrami"
] |
|
16400_T | Portrait of a Musician | In the context of Portrait of a Musician, discuss the Atalante Migliorotti of the Identity of the sitter. | Marani's 1999 treatise suggests the Tuscan musician Atalante Migliorotti (1466–1532), and since then many commentators have supported the theory. In 1482, Migliorotti and Leonardo left Florence for the court of Ludovico Sforza in Milan. They were known to be friends and Leonardo is believed to have taught Migliorotti the lute. During the painting's conception, Migliorotti would have been in his late teens or early twenties, making him a plausible candidate. Additionally, in a 1482 inventory from the Codex Atlanticus, Leonardo listed "a portrait of Atalante with his face raised". This is thought to have been a study for, or an earlier version of, the Portrait of a Musician. The intimate nature of the present portrait makes it especially likely that the subject was a personal friend.The main argument against this theory is that the subject's face is not raised as described in the 1482 note. However, Marani noted that while the musician's face is not raised in a literal sense, "the expression seems uplifted, suggesting a singer who has just raised his face from the sheet of music". Since the widespread rejection of Franchinus Gaffurius as the leading candidate, Migliorotti is now favored by many commentators. | [
"Milan",
"lute",
"Ludovico Sforza",
"Codex Atlanticus",
"Florence",
"Atalante Migliorotti",
"Portrait of a Musician",
"Tuscan",
"left",
"Franchinus Gaffurius"
] |
|
16400_NT | Portrait of a Musician | In the context of this artwork, discuss the Atalante Migliorotti of the Identity of the sitter. | Marani's 1999 treatise suggests the Tuscan musician Atalante Migliorotti (1466–1532), and since then many commentators have supported the theory. In 1482, Migliorotti and Leonardo left Florence for the court of Ludovico Sforza in Milan. They were known to be friends and Leonardo is believed to have taught Migliorotti the lute. During the painting's conception, Migliorotti would have been in his late teens or early twenties, making him a plausible candidate. Additionally, in a 1482 inventory from the Codex Atlanticus, Leonardo listed "a portrait of Atalante with his face raised". This is thought to have been a study for, or an earlier version of, the Portrait of a Musician. The intimate nature of the present portrait makes it especially likely that the subject was a personal friend.The main argument against this theory is that the subject's face is not raised as described in the 1482 note. However, Marani noted that while the musician's face is not raised in a literal sense, "the expression seems uplifted, suggesting a singer who has just raised his face from the sheet of music". Since the widespread rejection of Franchinus Gaffurius as the leading candidate, Migliorotti is now favored by many commentators. | [
"Milan",
"lute",
"Ludovico Sforza",
"Codex Atlanticus",
"Florence",
"Atalante Migliorotti",
"Portrait of a Musician",
"Tuscan",
"left",
"Franchinus Gaffurius"
] |
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