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16401_T | Portrait of a Musician | In Portrait of a Musician, how is the Josquin des Prez of the Identity of the sitter elucidated? |
In 1972 the Belgian musicologist Suzanne Clercx-Lejeune proposed the French singer and composer Josquin des Prez (c. 1450–55 – 1521) as the sitter. Josquin worked in the service of the Sforza family during the 1480s, concurrently with Leonardo. Clercx-Lejeune proposed that the words on the sheet music are "Cont" (an abbreviation of "Contratenor"), "Cantuz" (Cantus), and "A Z" (an abbreviation of "Altuz"), and that this meant that they were associated with a song with a descending melodic line, such as masses, motets and songs by Josquin. This theory has since been discredited; the notation is largely illegible and many composers were writing in this manner. As with Gaffurius, other portraits of Josquin do not show a resemblance to the sitter and, as a priest in his mid-thirties, he was unlikely to have been the painting's subject. | [
"Suzanne Clercx-Lejeune",
"masses",
"sheet music",
"Cantus",
"Sforza family",
"motet",
"Josquin des Prez",
"Contratenor",
"Altuz"
] |
|
16401_NT | Portrait of a Musician | In this artwork, how is the Josquin des Prez of the Identity of the sitter elucidated? |
In 1972 the Belgian musicologist Suzanne Clercx-Lejeune proposed the French singer and composer Josquin des Prez (c. 1450–55 – 1521) as the sitter. Josquin worked in the service of the Sforza family during the 1480s, concurrently with Leonardo. Clercx-Lejeune proposed that the words on the sheet music are "Cont" (an abbreviation of "Contratenor"), "Cantuz" (Cantus), and "A Z" (an abbreviation of "Altuz"), and that this meant that they were associated with a song with a descending melodic line, such as masses, motets and songs by Josquin. This theory has since been discredited; the notation is largely illegible and many composers were writing in this manner. As with Gaffurius, other portraits of Josquin do not show a resemblance to the sitter and, as a priest in his mid-thirties, he was unlikely to have been the painting's subject. | [
"Suzanne Clercx-Lejeune",
"masses",
"sheet music",
"Cantus",
"Sforza family",
"motet",
"Josquin des Prez",
"Contratenor",
"Altuz"
] |
|
16402_T | Portrait of a Musician | In the context of Portrait of a Musician, analyze the Gaspar van Weerbeke of the Identity of the sitter. | The art historian Laure Fagnart suggested in 2019 that the sitter is Gaspar van Weerbeke (c. 1445–1516), a Netherlandish composer and singer. Weerbeke worked for the Sforza family at the same time as Leonardo, and so they likely knew each other. This theory cites letters from Galeazzo Maria Sforza to Gotardo Panigarola concerning the attire of musicians for the court, with one stating, "Gotardo. To Weerbeke, our singer, we would like to give a dark velvet robe, such as you have given to the Abbot [Antonio Guinati] and to Cordier, both of them also our singers". As Fagnart pointed out, the letter is too vaguely stated to definitely link Weerbeke to the portrait. Additionally, Weerbeke presents the same issue as Josquin and Gaffurius; Weerbeke would have been in his thirties and probably too old to be the sitter. | [
"Galeazzo Maria Sforza",
"Gaspar van Weerbeke",
"Sforza family",
"Netherlandish"
] |
|
16402_NT | Portrait of a Musician | In the context of this artwork, analyze the Gaspar van Weerbeke of the Identity of the sitter. | The art historian Laure Fagnart suggested in 2019 that the sitter is Gaspar van Weerbeke (c. 1445–1516), a Netherlandish composer and singer. Weerbeke worked for the Sforza family at the same time as Leonardo, and so they likely knew each other. This theory cites letters from Galeazzo Maria Sforza to Gotardo Panigarola concerning the attire of musicians for the court, with one stating, "Gotardo. To Weerbeke, our singer, we would like to give a dark velvet robe, such as you have given to the Abbot [Antonio Guinati] and to Cordier, both of them also our singers". As Fagnart pointed out, the letter is too vaguely stated to definitely link Weerbeke to the portrait. Additionally, Weerbeke presents the same issue as Josquin and Gaffurius; Weerbeke would have been in his thirties and probably too old to be the sitter. | [
"Galeazzo Maria Sforza",
"Gaspar van Weerbeke",
"Sforza family",
"Netherlandish"
] |
|
16403_T | Portrait of a Musician | Describe the characteristics of the Others in Portrait of a Musician's Identity of the sitter. | At the end of the 19th century, the subject of the portrait was identified by Paul Müller-Walde as Galeazzo Sanseverino, Ludovico's son-in-law and captain general of the Sforza militias, a prominent figure of the Milanese court. In support of this thesis, the Italian scholar Piero Misciatelli recalls that Galeazzo had been a patron of Leonardo and was probably passionate about music. Other scholars, such as the French art historian Robert de la Sizeranne, have recognized the traits of his father, Roberto Sanseverino.Gian Galeazzo Sforza (1469–1494) has been proposed, given that the original, vague, description of the portrait stated that it depicted the Duke of Milan. Syson has noted that this identification would be particularly meaningful, as Gian Galeazzo was the rightful heir to the throne before Ludovico took power. However, there is no direct evidence to support this, and the uncovering of the sheet music makes this very unlikely as Gian Galeazzo is not known to have been a musician.Francesco Canova da Milano (1497–1543), an Italian lutenist and composer, and the Flemish singer Giovanni Cordier have been proposed, albeit without substantive evidence. The Dutch illustrator Siegfried Woldhek has suggested that the Portrait of a Musician is one of three self-portraits by Leonardo. | [
"Paul Müller-Walde",
"Duke of Milan",
"Milan",
"Roberto Sanseverino",
"lute",
"Francesco Canova da Milano",
"Siegfried Woldhek",
"right",
"Italian",
"Robert de la Sizeranne",
"sheet music",
"Portrait of a Musician",
"Gian Galeazzo Sforza",
"Galeazzo Sanseverino"
] |
|
16403_NT | Portrait of a Musician | Describe the characteristics of the Others in this artwork's Identity of the sitter. | At the end of the 19th century, the subject of the portrait was identified by Paul Müller-Walde as Galeazzo Sanseverino, Ludovico's son-in-law and captain general of the Sforza militias, a prominent figure of the Milanese court. In support of this thesis, the Italian scholar Piero Misciatelli recalls that Galeazzo had been a patron of Leonardo and was probably passionate about music. Other scholars, such as the French art historian Robert de la Sizeranne, have recognized the traits of his father, Roberto Sanseverino.Gian Galeazzo Sforza (1469–1494) has been proposed, given that the original, vague, description of the portrait stated that it depicted the Duke of Milan. Syson has noted that this identification would be particularly meaningful, as Gian Galeazzo was the rightful heir to the throne before Ludovico took power. However, there is no direct evidence to support this, and the uncovering of the sheet music makes this very unlikely as Gian Galeazzo is not known to have been a musician.Francesco Canova da Milano (1497–1543), an Italian lutenist and composer, and the Flemish singer Giovanni Cordier have been proposed, albeit without substantive evidence. The Dutch illustrator Siegfried Woldhek has suggested that the Portrait of a Musician is one of three self-portraits by Leonardo. | [
"Paul Müller-Walde",
"Duke of Milan",
"Milan",
"Roberto Sanseverino",
"lute",
"Francesco Canova da Milano",
"Siegfried Woldhek",
"right",
"Italian",
"Robert de la Sizeranne",
"sheet music",
"Portrait of a Musician",
"Gian Galeazzo Sforza",
"Galeazzo Sanseverino"
] |
|
16404_T | Portrait of a Musician | Focus on Portrait of a Musician and explore the Critical opinion. | The critical opinion of the Portrait of a Musician has historically been mixed, and negative reactions have given some scholars reluctance to grant it a full attribution to Leonardo. The 19th-century art historian Eugène Müntz complemented its "vigor of modeling worthy of Rembrandt", but criticized the work for a sullen expression, poor coloring and incompleteness. According to Marani, these comments can largely be explained by Müntz's use of a very poor reproduction for analysis. Like Müntz, Zöllner found fault with the work's incompleteness and expression; he also considered its pose inferior to that of Ginevra de' Benci. The art historian Jack Wasserman has stated that the portrait lacks the typical facial intensity of Leonardo's other works; however, Syson and Kemp have praised the sitter's intense stare, and the art historian Alessandro Vezzosi stated that in this work "Leonardo attains an unprecedented level of psychological intensity, which reaches the sublime in Lady with an Ermine". The chiaroscuro has been a point of contention: Zöllner and other scholars have criticized it as "over-emphatic"; Syson considered it dramatic and compelling; whereas Isaacson has criticized the shadowing but praised the lighting of the eyes. Syson has suggested that the work's unfinished state largely accounts for these negative reactions. | [
"Lady with an Ermine",
"Ginevra de' Benci",
"Rembrandt",
"chiaroscuro",
"Alessandro Vezzosi",
"Portrait of a Musician",
"Eugène Müntz"
] |
|
16404_NT | Portrait of a Musician | Focus on this artwork and explore the Critical opinion. | The critical opinion of the Portrait of a Musician has historically been mixed, and negative reactions have given some scholars reluctance to grant it a full attribution to Leonardo. The 19th-century art historian Eugène Müntz complemented its "vigor of modeling worthy of Rembrandt", but criticized the work for a sullen expression, poor coloring and incompleteness. According to Marani, these comments can largely be explained by Müntz's use of a very poor reproduction for analysis. Like Müntz, Zöllner found fault with the work's incompleteness and expression; he also considered its pose inferior to that of Ginevra de' Benci. The art historian Jack Wasserman has stated that the portrait lacks the typical facial intensity of Leonardo's other works; however, Syson and Kemp have praised the sitter's intense stare, and the art historian Alessandro Vezzosi stated that in this work "Leonardo attains an unprecedented level of psychological intensity, which reaches the sublime in Lady with an Ermine". The chiaroscuro has been a point of contention: Zöllner and other scholars have criticized it as "over-emphatic"; Syson considered it dramatic and compelling; whereas Isaacson has criticized the shadowing but praised the lighting of the eyes. Syson has suggested that the work's unfinished state largely accounts for these negative reactions. | [
"Lady with an Ermine",
"Ginevra de' Benci",
"Rembrandt",
"chiaroscuro",
"Alessandro Vezzosi",
"Portrait of a Musician",
"Eugène Müntz"
] |
|
16405_T | Portrait of a Musician | Focus on Portrait of a Musician and explain the Interpretation. | Due to a paucity of contemporary records, some scholars have proposed theories as to the purpose of the painting. Some believe that the tension in the subject's face is intense because he has just finished or is in the process of performing. Other scholars see the painting as a representation of Leonardo's self-proclaimed ideology of the superiority of painting over other art forms such as poetry, sculpture and music. Leonardo declared at the beginning of his incomplete Treatise on Painting:How Music Ought to be Called the Sister and Junior to Painting. Music is to be regarded none other than the sister of painting since it is subject to hearing, a sense second to the eye, and since it composes harmony from the conjunction of its proportional parts operating at the same time. [These parts] are constrained to arise and to die in one or more harmonic tempos which surround a proportionality by its members; such a harmony is composed not differently from the circumferential lines which generate human beauty by its [respective] members. Yet painting excels and rules over music, because it does not immediately die after its creation the way unfortunately music does. To the contrary, painting stays in existence, and will show you as being alive what is, in fact, on a single surface.
These words seemingly disapprove of music's ephemeral nature, in contrast to painting's material and permanent physical qualities. This theory suggests that the sadness in the young man's eyes is due to the idea that music simply disappears after a performance. Another interpretation is that Leonardo was moved to depict the man's beauty. More likely, given the odd and seemingly intimate aesthetic of the painting, is that it was made as a personal gift for a close friend. | [
"superiority of painting over other art forms",
"Treatise on Painting"
] |
|
16405_NT | Portrait of a Musician | Focus on this artwork and explain the Interpretation. | Due to a paucity of contemporary records, some scholars have proposed theories as to the purpose of the painting. Some believe that the tension in the subject's face is intense because he has just finished or is in the process of performing. Other scholars see the painting as a representation of Leonardo's self-proclaimed ideology of the superiority of painting over other art forms such as poetry, sculpture and music. Leonardo declared at the beginning of his incomplete Treatise on Painting:How Music Ought to be Called the Sister and Junior to Painting. Music is to be regarded none other than the sister of painting since it is subject to hearing, a sense second to the eye, and since it composes harmony from the conjunction of its proportional parts operating at the same time. [These parts] are constrained to arise and to die in one or more harmonic tempos which surround a proportionality by its members; such a harmony is composed not differently from the circumferential lines which generate human beauty by its [respective] members. Yet painting excels and rules over music, because it does not immediately die after its creation the way unfortunately music does. To the contrary, painting stays in existence, and will show you as being alive what is, in fact, on a single surface.
These words seemingly disapprove of music's ephemeral nature, in contrast to painting's material and permanent physical qualities. This theory suggests that the sadness in the young man's eyes is due to the idea that music simply disappears after a performance. Another interpretation is that Leonardo was moved to depict the man's beauty. More likely, given the odd and seemingly intimate aesthetic of the painting, is that it was made as a personal gift for a close friend. | [
"superiority of painting over other art forms",
"Treatise on Painting"
] |
|
16406_T | Knife Edge Two Piece 1962–65 | Explore the abstract of this artwork, Knife Edge Two Piece 1962–65. | Knife Edge Two Piece 1962–65 is an abstract bronze sculpture by Henry Moore. It is one of Moore's earliest sculptures in two pieces, a mode that he started to adopt in 1959. Its form was inspired by the shape of a bone fragment. Moore created the sculpture from an edition of 10 working models in 1962; these working models are now in public collections. Moore created four full-size casts between 1962 and 1965, with one retained by him. The three casts are on public display on College Green in Westminster, London; Queen Elizabeth Park in Vancouver; and the garden at Kykuit, the house of the Rockefeller family in Tarrytown, New York. Moore's own cast is on display at his former studio and estate, 'Hoglands' in Perry Green, Hertfordshire in southern England. A similar work, Mirror Knife Edge 1977 (or Knife Edge Mirror Two Piece), is displayed at the entrance to I. M. Pei's east wing of the National Gallery of Art in Washington, D.C. The Westminster cast was donated by Moore through the Contemporary Art Society to what he believed was the City of London, but its actual ownership was undetermined for many years. The Westminster cast subsequently fell into disrepair, and was restored in 2013 after it became part of the British Parliamentary Art Collection; it was granted a Grade II* listing in January 2016. | [
"National Gallery of Art",
"Kykuit",
"Perry Green",
"Contemporary Art Society",
"Tarrytown, New York",
"listing",
"Washington, D.C.",
"Queen Elizabeth Park",
"I. M. Pei",
"Westminster",
"Henry Moore",
"London",
"Rockefeller family",
"Vancouver",
"Parliamentary Art Collection",
"Perry Green, Hertfordshire",
"City of London",
"College Green"
] |
|
16406_NT | Knife Edge Two Piece 1962–65 | Explore the abstract of this artwork. | Knife Edge Two Piece 1962–65 is an abstract bronze sculpture by Henry Moore. It is one of Moore's earliest sculptures in two pieces, a mode that he started to adopt in 1959. Its form was inspired by the shape of a bone fragment. Moore created the sculpture from an edition of 10 working models in 1962; these working models are now in public collections. Moore created four full-size casts between 1962 and 1965, with one retained by him. The three casts are on public display on College Green in Westminster, London; Queen Elizabeth Park in Vancouver; and the garden at Kykuit, the house of the Rockefeller family in Tarrytown, New York. Moore's own cast is on display at his former studio and estate, 'Hoglands' in Perry Green, Hertfordshire in southern England. A similar work, Mirror Knife Edge 1977 (or Knife Edge Mirror Two Piece), is displayed at the entrance to I. M. Pei's east wing of the National Gallery of Art in Washington, D.C. The Westminster cast was donated by Moore through the Contemporary Art Society to what he believed was the City of London, but its actual ownership was undetermined for many years. The Westminster cast subsequently fell into disrepair, and was restored in 2013 after it became part of the British Parliamentary Art Collection; it was granted a Grade II* listing in January 2016. | [
"National Gallery of Art",
"Kykuit",
"Perry Green",
"Contemporary Art Society",
"Tarrytown, New York",
"listing",
"Washington, D.C.",
"Queen Elizabeth Park",
"I. M. Pei",
"Westminster",
"Henry Moore",
"London",
"Rockefeller family",
"Vancouver",
"Parliamentary Art Collection",
"Perry Green, Hertfordshire",
"City of London",
"College Green"
] |
|
16407_T | Knife Edge Two Piece 1962–65 | Focus on Knife Edge Two Piece 1962–65 and discuss the Background. | By 1960 Moore was moving on from his earlier works, directly inspired by the human form and with textured surfaces, such as Draped Seated Woman 1957–58, to more rounded abstract shapes, inspired by the shapes of stones or bones. Moore made a connected work in 1961, also inspired by bone, Standing Figure (Knife Edge) (LH 482). | [
"Standing Figure (Knife Edge)",
"Draped Seated Woman 1957–58"
] |
|
16407_NT | Knife Edge Two Piece 1962–65 | Focus on this artwork and discuss the Background. | By 1960 Moore was moving on from his earlier works, directly inspired by the human form and with textured surfaces, such as Draped Seated Woman 1957–58, to more rounded abstract shapes, inspired by the shapes of stones or bones. Moore made a connected work in 1961, also inspired by bone, Standing Figure (Knife Edge) (LH 482). | [
"Standing Figure (Knife Edge)",
"Draped Seated Woman 1957–58"
] |
|
16408_T | Knife Edge Two Piece 1962–65 | How does Knife Edge Two Piece 1962–65 elucidate its Working model? | In 1962 Moore created an edition of 10 working models (LH 504) for a new two-piece sculpture. The Tate Gallery in London acquired a small working model in 1963. Other working models are in the collections of the Gemeentemuseum in The Hague, the Didrichsen Art Museum in Helsinki, the Memorial Art Gallery of the University of Rochester in Rochester, New York, and the Kunsthaus in Zurich. Moore planned the full-size sculpture to be over 10 feet high, large enough for a person to walk between the two elements. | [
"Gemeentemuseum",
"Kunsthaus",
"Tate",
"Didrichsen Art Museum",
"Helsinki",
"Zurich",
"The Hague",
"Tate Gallery",
"University of Rochester",
"Rochester, New York",
"London",
"Memorial Art Gallery"
] |
|
16408_NT | Knife Edge Two Piece 1962–65 | How does this artwork elucidate its Working model? | In 1962 Moore created an edition of 10 working models (LH 504) for a new two-piece sculpture. The Tate Gallery in London acquired a small working model in 1963. Other working models are in the collections of the Gemeentemuseum in The Hague, the Didrichsen Art Museum in Helsinki, the Memorial Art Gallery of the University of Rochester in Rochester, New York, and the Kunsthaus in Zurich. Moore planned the full-size sculpture to be over 10 feet high, large enough for a person to walk between the two elements. | [
"Gemeentemuseum",
"Kunsthaus",
"Tate",
"Didrichsen Art Museum",
"Helsinki",
"Zurich",
"The Hague",
"Tate Gallery",
"University of Rochester",
"Rochester, New York",
"London",
"Memorial Art Gallery"
] |
|
16409_T | Knife Edge Two Piece 1962–65 | Focus on Knife Edge Two Piece 1962–65 and analyze the Sculpture. | The full-size sculpture, catalogued as "LH 516", was cast in an edition of four (or "3+1"; one being retained by the artist). Moore was inspired by the "lightness and strength of bone fragment" in creating the piece. The full-size sculptures, 366 centimetres (144 in) long and weighing about 3 tonnes (3.3 tons), were cast by Hermann Noack in Berlin.
The second cast of the work is located in Abingdon Street Gardens (better known as College Green) in the City of Westminster. The other full-size casts are located near the fountains next to Bloedel Floral Conservatory in Queen Elizabeth Park in Vancouver, BC, Canada, donated by Prentice Bloedel; near the Rose Garden of the Rockefeller family house at Kykuit at Tarrytown, New York. Moore donated his artist's copy (0/3) to the Henry Moore Foundation in 1977, and it is displayed at Perry Green, Hertfordshire.Moore made a larger and reversed version of the sculpture, Mirror Knife Edge 1977 or Knife Edge Mirror Two Piece (LH 714) – which is 5.34x7.21x3.63m or about 17.5x23.7x11.9 feet and weighs about 15 short tons (14 t) – which was commissioned for the entrance to I. M. Pei's east wing of the National Gallery of Art in Washington, D.C. The work is carefully cleaned and conserved each year to maintain the distinction between its shiny and patinated surfaces, as the artist intended. | [
"National Gallery of Art",
"Hermann Noack",
"Kykuit",
"Perry Green",
"Tarrytown, New York",
"Abingdon Street Gardens",
"Bloedel Floral Conservatory",
"Henry Moore Foundation",
"Washington, D.C.",
"Queen Elizabeth Park",
"I. M. Pei",
"Westminster",
"City of Westminster",
"Henry Moore",
"patina",
"Rockefeller family",
"Vancouver",
"Prentice Bloedel",
"Vancouver, BC, Canada",
"Perry Green, Hertfordshire",
"College Green"
] |
|
16409_NT | Knife Edge Two Piece 1962–65 | Focus on this artwork and analyze the Sculpture. | The full-size sculpture, catalogued as "LH 516", was cast in an edition of four (or "3+1"; one being retained by the artist). Moore was inspired by the "lightness and strength of bone fragment" in creating the piece. The full-size sculptures, 366 centimetres (144 in) long and weighing about 3 tonnes (3.3 tons), were cast by Hermann Noack in Berlin.
The second cast of the work is located in Abingdon Street Gardens (better known as College Green) in the City of Westminster. The other full-size casts are located near the fountains next to Bloedel Floral Conservatory in Queen Elizabeth Park in Vancouver, BC, Canada, donated by Prentice Bloedel; near the Rose Garden of the Rockefeller family house at Kykuit at Tarrytown, New York. Moore donated his artist's copy (0/3) to the Henry Moore Foundation in 1977, and it is displayed at Perry Green, Hertfordshire.Moore made a larger and reversed version of the sculpture, Mirror Knife Edge 1977 or Knife Edge Mirror Two Piece (LH 714) – which is 5.34x7.21x3.63m or about 17.5x23.7x11.9 feet and weighs about 15 short tons (14 t) – which was commissioned for the entrance to I. M. Pei's east wing of the National Gallery of Art in Washington, D.C. The work is carefully cleaned and conserved each year to maintain the distinction between its shiny and patinated surfaces, as the artist intended. | [
"National Gallery of Art",
"Hermann Noack",
"Kykuit",
"Perry Green",
"Tarrytown, New York",
"Abingdon Street Gardens",
"Bloedel Floral Conservatory",
"Henry Moore Foundation",
"Washington, D.C.",
"Queen Elizabeth Park",
"I. M. Pei",
"Westminster",
"City of Westminster",
"Henry Moore",
"patina",
"Rockefeller family",
"Vancouver",
"Prentice Bloedel",
"Vancouver, BC, Canada",
"Perry Green, Hertfordshire",
"College Green"
] |
|
16410_T | Knife Edge Two Piece 1962–65 | In Knife Edge Two Piece 1962–65, how is the Westminster cast discussed? | The second cast of Knife Edge Two Piece is located in Abingdon Street Gardens, also known as College Green, opposite the Palace of Westminster in London. In 1965 Whitney Straight, the chairman of the Contemporary Art Society, wrote to Charles Pannell MP, the Minister of State for Public Buildings and Works to tell him that the society was "considering the possibility of ‘making a gift of a substantial work of art to be erected at some suitable site in London". The Contemporary Art Society met with Henry Moore to discuss their proposal and Moore subsequently chose the site at Abingdon Street Gardens for the sculpture. Moore waived his usual fee, and the Contemporary Art Society paid for the cost of the casting. The sculpture was unveiled by Robert Mellish, the Minister of Public Building and Works, on 1 September 1967.Moore liked the site so much that he did not even visit an alternative site in Hyde Park; he felt that the sculpture might have been lost in such a big park, recalling an experience he had trying to find the sculpture Riva by Jacob Epstein in the park. He welcomed the fact that the sculpture would be next to a public path and would have seating nearby to allow contemplation, and compared the gardens favourably with the setting for Hubert Le Sueur’s equestrian statue of Charles I at Charing Cross, "which, in order to look at closely and appreciate in detail, you have to risk your life in crossing a maze of traffic". The siting of the sculpture was disliked by some, with Neil Marten MP asking Parliament why "this lovely part of Westminster should be littered with something that looks like a crashed unidentified flying object."Moore believed he had donated the work to the City of London, but the Henry Moore Foundation believed it was owned by the City of Westminster, and its delivery was accepted by the Ministry of Public Building and Works. The land where it is situated was a bombsite in the Second World War, and is owned by the Parliamentary Estate; Westminster City Council operates a car park underneath. The sculpture was moved and placed on a plinth in 1969. No formal arrangements were ever made for the ownership and care of Knife Edge Two Piece, and it fell into a state of disrepair. Though it is worth an estimated £5m, no conservation work ever took place on the sculpture, and its ownership was unresolved until the House of Commons agreed to take responsibility for it. Knife Edge Two Piece entered the Parliamentary Art Collection in 2011. It was granted a Grade II* listing in January 2016. | [
"Hyde Park",
"Minister of State for Public Buildings and Works",
"Contemporary Art Society",
"Abingdon Street Gardens",
"listing",
"Henry Moore Foundation",
"Minister of Public Building and Works",
"Ministry of Public Building and Works",
"Westminster",
"equestrian statue of Charles I",
"Robert Mellish",
"City of Westminster",
"House of Commons",
"Whitney Straight",
"Charles Pannell",
"Henry Moore",
"Neil Marten",
"London",
"Jacob Epstein",
"Westminster City Council",
"Parliamentary Art Collection",
"Parliamentary Estate",
"City of London",
"Palace of Westminster",
"College Green",
"Hubert Le Sueur"
] |
|
16410_NT | Knife Edge Two Piece 1962–65 | In this artwork, how is the Westminster cast discussed? | The second cast of Knife Edge Two Piece is located in Abingdon Street Gardens, also known as College Green, opposite the Palace of Westminster in London. In 1965 Whitney Straight, the chairman of the Contemporary Art Society, wrote to Charles Pannell MP, the Minister of State for Public Buildings and Works to tell him that the society was "considering the possibility of ‘making a gift of a substantial work of art to be erected at some suitable site in London". The Contemporary Art Society met with Henry Moore to discuss their proposal and Moore subsequently chose the site at Abingdon Street Gardens for the sculpture. Moore waived his usual fee, and the Contemporary Art Society paid for the cost of the casting. The sculpture was unveiled by Robert Mellish, the Minister of Public Building and Works, on 1 September 1967.Moore liked the site so much that he did not even visit an alternative site in Hyde Park; he felt that the sculpture might have been lost in such a big park, recalling an experience he had trying to find the sculpture Riva by Jacob Epstein in the park. He welcomed the fact that the sculpture would be next to a public path and would have seating nearby to allow contemplation, and compared the gardens favourably with the setting for Hubert Le Sueur’s equestrian statue of Charles I at Charing Cross, "which, in order to look at closely and appreciate in detail, you have to risk your life in crossing a maze of traffic". The siting of the sculpture was disliked by some, with Neil Marten MP asking Parliament why "this lovely part of Westminster should be littered with something that looks like a crashed unidentified flying object."Moore believed he had donated the work to the City of London, but the Henry Moore Foundation believed it was owned by the City of Westminster, and its delivery was accepted by the Ministry of Public Building and Works. The land where it is situated was a bombsite in the Second World War, and is owned by the Parliamentary Estate; Westminster City Council operates a car park underneath. The sculpture was moved and placed on a plinth in 1969. No formal arrangements were ever made for the ownership and care of Knife Edge Two Piece, and it fell into a state of disrepair. Though it is worth an estimated £5m, no conservation work ever took place on the sculpture, and its ownership was unresolved until the House of Commons agreed to take responsibility for it. Knife Edge Two Piece entered the Parliamentary Art Collection in 2011. It was granted a Grade II* listing in January 2016. | [
"Hyde Park",
"Minister of State for Public Buildings and Works",
"Contemporary Art Society",
"Abingdon Street Gardens",
"listing",
"Henry Moore Foundation",
"Minister of Public Building and Works",
"Ministry of Public Building and Works",
"Westminster",
"equestrian statue of Charles I",
"Robert Mellish",
"City of Westminster",
"House of Commons",
"Whitney Straight",
"Charles Pannell",
"Henry Moore",
"Neil Marten",
"London",
"Jacob Epstein",
"Westminster City Council",
"Parliamentary Art Collection",
"Parliamentary Estate",
"City of London",
"Palace of Westminster",
"College Green",
"Hubert Le Sueur"
] |
|
16411_T | Knife Edge Two Piece 1962–65 | In the context of Knife Edge Two Piece 1962–65, explore the Restoration of the Westminster cast. | The Chair of the House of Commons Works of Art Committee, Frank Doran MP, had been concerned by the appearance of the sculpture and enquired of the Minister for Culture, Communications and Creative Industries, Ed Vaizey MP, what plans there were for its care and maintenance. Vaizey replied that the House of Commons should take ownership of the statue and responsibility for its care. Vaizey subsequently described Knife Edge Two Piece as "one of the most televised works of art in London". Restoration work was originally planned to be completed in time for the 2012 Summer Olympics in London, but was not begun until February 2013.Due to a lack of maintenance, the protective lacquer covering Knife Edge Two Piece degraded and exposed the surface of the sculpture to the elements. This resulted in oxidation of the bronze metal. Subsequent deterioration of the patination and years of graffiti scratched into the surface resulted in further corrosion. The conservation aimed to remove the remaining protective lacquer and surface dirt, and to remove the result of corrosion and oxidation from the sculpture, and take the surface back to the bare metal. Following the removal of graffiti the sculpture was repatinated to return it to its original colour. It was finally waxed with a weatherproof surface to protect it from future damage. The conservation work was undertaken by Rupert Harris Conservation, working in consultation with the Henry Moore Foundation. The cost of the conservation was £16,190, with £11,000 contributed by the Henry Moore Foundation. | [
"Henry Moore Foundation",
"Frank Doran",
"Ed Vaizey",
"2012 Summer Olympics",
"House of Commons",
"Henry Moore",
"Minister for Culture, Communications and Creative Industries",
"patina",
"London",
"oxidation",
"graffiti"
] |
|
16411_NT | Knife Edge Two Piece 1962–65 | In the context of this artwork, explore the Restoration of the Westminster cast. | The Chair of the House of Commons Works of Art Committee, Frank Doran MP, had been concerned by the appearance of the sculpture and enquired of the Minister for Culture, Communications and Creative Industries, Ed Vaizey MP, what plans there were for its care and maintenance. Vaizey replied that the House of Commons should take ownership of the statue and responsibility for its care. Vaizey subsequently described Knife Edge Two Piece as "one of the most televised works of art in London". Restoration work was originally planned to be completed in time for the 2012 Summer Olympics in London, but was not begun until February 2013.Due to a lack of maintenance, the protective lacquer covering Knife Edge Two Piece degraded and exposed the surface of the sculpture to the elements. This resulted in oxidation of the bronze metal. Subsequent deterioration of the patination and years of graffiti scratched into the surface resulted in further corrosion. The conservation aimed to remove the remaining protective lacquer and surface dirt, and to remove the result of corrosion and oxidation from the sculpture, and take the surface back to the bare metal. Following the removal of graffiti the sculpture was repatinated to return it to its original colour. It was finally waxed with a weatherproof surface to protect it from future damage. The conservation work was undertaken by Rupert Harris Conservation, working in consultation with the Henry Moore Foundation. The cost of the conservation was £16,190, with £11,000 contributed by the Henry Moore Foundation. | [
"Henry Moore Foundation",
"Frank Doran",
"Ed Vaizey",
"2012 Summer Olympics",
"House of Commons",
"Henry Moore",
"Minister for Culture, Communications and Creative Industries",
"patina",
"London",
"oxidation",
"graffiti"
] |
|
16412_T | Arch of Nero (painting) | Focus on Arch of Nero (painting) and explain the abstract. | Arch of Nero is an 1846 oil on canvas painting by Thomas Cole. It was on display at The Newark Museum of Art, but, as of July 2, 2021, was sold to the Philadelphia Museum of Art, and is currently on loan at the Mint Museum. The painting was sold on May 19, 2021, for $998,000 plus fees at a Sotheby auction, to a private foundation operated by the Florida-based collectors Thomas H. and Diane DeMell Jacobsen. They bought it "with the idea of keeping it on public view—an idea they promptly followed through on with their loan to the Philadelphia Museum of Art." Seventy "top art curators and scholars" sent an open letter to the Newark Museum of Art stating that the Arch of Nero "is an important and urgent address of America’s republicanism. It speaks to the founding ideal of the American nation, refers to America’s failure to live up to its own ideals, and is a clarion call for America to be the best version of itself.... For northeasterners such as Cole, the prime source of corruption of American republicanism was the Southern slavocracy and its unjust influence within the federal government. Cole made explicit his links between the corruption, decline, and fall of the Roman republic, and America’s present by clothing his figures in red, white, and blue." | [
"Mint Museum",
"Thomas Cole",
"America",
"Arch of Nero",
"The Newark Museum of Art",
"Philadelphia Museum of Art"
] |
|
16412_NT | Arch of Nero (painting) | Focus on this artwork and explain the abstract. | Arch of Nero is an 1846 oil on canvas painting by Thomas Cole. It was on display at The Newark Museum of Art, but, as of July 2, 2021, was sold to the Philadelphia Museum of Art, and is currently on loan at the Mint Museum. The painting was sold on May 19, 2021, for $998,000 plus fees at a Sotheby auction, to a private foundation operated by the Florida-based collectors Thomas H. and Diane DeMell Jacobsen. They bought it "with the idea of keeping it on public view—an idea they promptly followed through on with their loan to the Philadelphia Museum of Art." Seventy "top art curators and scholars" sent an open letter to the Newark Museum of Art stating that the Arch of Nero "is an important and urgent address of America’s republicanism. It speaks to the founding ideal of the American nation, refers to America’s failure to live up to its own ideals, and is a clarion call for America to be the best version of itself.... For northeasterners such as Cole, the prime source of corruption of American republicanism was the Southern slavocracy and its unjust influence within the federal government. Cole made explicit his links between the corruption, decline, and fall of the Roman republic, and America’s present by clothing his figures in red, white, and blue." | [
"Mint Museum",
"Thomas Cole",
"America",
"Arch of Nero",
"The Newark Museum of Art",
"Philadelphia Museum of Art"
] |
|
16413_T | Arch of Nero (painting) | Explore the Artist's background of this artwork, Arch of Nero (painting). | Tom Christopher wrote that "[Thomas] Cole’s greatest artistic asset proved to be his untutored eye." Cole emigrated to America with his family in the spring of 1819 at the age of eighteen. As a child, his surroundings were of Lancashire, England, an area known to be an epicenter of Britain’s primarily industrial region. Because of this, Cole was granted an additional clarity of and sensitivity to the vibrancy of American landscapes awash with color, a stark contrast to the bleak and subdued landscapes of the country he left behind. From 1831 to 1832, Cole traversed Italy, where he encountered Roman ruins. | [
"Lancashire",
"America",
"Britain",
"England"
] |
|
16413_NT | Arch of Nero (painting) | Explore the Artist's background of this artwork. | Tom Christopher wrote that "[Thomas] Cole’s greatest artistic asset proved to be his untutored eye." Cole emigrated to America with his family in the spring of 1819 at the age of eighteen. As a child, his surroundings were of Lancashire, England, an area known to be an epicenter of Britain’s primarily industrial region. Because of this, Cole was granted an additional clarity of and sensitivity to the vibrancy of American landscapes awash with color, a stark contrast to the bleak and subdued landscapes of the country he left behind. From 1831 to 1832, Cole traversed Italy, where he encountered Roman ruins. | [
"Lancashire",
"America",
"Britain",
"England"
] |
|
16414_T | Santa Maria dei Fossi Altarpiece | Focus on Santa Maria dei Fossi Altarpiece and discuss the abstract. | The Santa Maria dei Fossi Altarpiece is a 1496-1498 painting by Pinturicchio, now in the Galleria nazionale dell'Umbria in Perugia. Unusually for an altarpiece, it is painted on canvas stretched over wooden panels. | [
"Pinturicchio",
"Perugia",
"Galleria nazionale dell'Umbria"
] |
|
16414_NT | Santa Maria dei Fossi Altarpiece | Focus on this artwork and discuss the abstract. | The Santa Maria dei Fossi Altarpiece is a 1496-1498 painting by Pinturicchio, now in the Galleria nazionale dell'Umbria in Perugia. Unusually for an altarpiece, it is painted on canvas stretched over wooden panels. | [
"Pinturicchio",
"Perugia",
"Galleria nazionale dell'Umbria"
] |
|
16415_T | Santa Maria dei Fossi Altarpiece | In the context of Santa Maria dei Fossi Altarpiece, analyze the Commission of the History. | It was commissioned for the high altar of the church of Santa Maria degli Angeli in Perugia, also known as Santa Maria dei Fossi. The contract for the work is dated 14 February 1496 and contains detailed instructions for its production and for its wooden frame by Mattia di Tommaso da Reggio, which imitated the architecture of the church's facade. The painter was then at the peak of his powers as a favourite of pope Alexander VI, with whom he had signed a contract for painting the Borgia Apartments. | [
"Perugia",
"Borgia Apartments",
"pope Alexander VI"
] |
|
16415_NT | Santa Maria dei Fossi Altarpiece | In the context of this artwork, analyze the Commission of the History. | It was commissioned for the high altar of the church of Santa Maria degli Angeli in Perugia, also known as Santa Maria dei Fossi. The contract for the work is dated 14 February 1496 and contains detailed instructions for its production and for its wooden frame by Mattia di Tommaso da Reggio, which imitated the architecture of the church's facade. The painter was then at the peak of his powers as a favourite of pope Alexander VI, with whom he had signed a contract for painting the Borgia Apartments. | [
"Perugia",
"Borgia Apartments",
"pope Alexander VI"
] |
|
16416_T | Santa Maria dei Fossi Altarpiece | Describe the characteristics of the Production in Santa Maria dei Fossi Altarpiece's History. | The work has seven main panels and two predella panels. The left predella panel has a scene of Augustine's vision of the Christ Child between two tondi of the Evangelists Matthew and Mark, whilst the right predella panel shows Jerome in the desert between tondi of Luke and John.The central panel shows the Madonna and Child with the infant John the Baptist - the Virgin Mary was the church's patron saint. Below John is the Italian inscription "O santo fanciullo, rimetti al Fanciullo questa croce. Non la porterà [Giovanni] a Dio in favore del mondo, ci sarà un altro" (Oh child saint, give the Christ Child back this cross. It shall not bear [John] to God for the world's sake, it shall be for another). The Christ Child holds a pomegranate and fruits are scattered around his mother's feet, all symbolising the Passion. Above these words are the letters B and N, interpreted as the artist's signature, an abbreviation of B[er]N[ardinus]. The reliefs on the Madonna's throne are inspired by those on ancient Roman sarcophagi, then being rediscovered as part of the Italian Renaissance, whilst behind it is an Umbrian landscape.Two main flanking panels show Augustine of Hippo (holding an apple symbolising original sin and the Passion) and Jerome (holding a small model in his hand showing Santa Maria degli Angeli as it was planned to look after a rebuilding project which was never actually completed). They both stand in front of rich trompe-l'œil wall hangings, influenced by the Spanish textiles in Alexander's court. Above these three main panels is another Italian inscription, "Guarda o mortale da quale sangue sei stato redento. Fa' che non sia scorso invano" (See, oh mortal man, that blood by which you have been redeemed. Do not let it have been in vain.). The contract also stipulated figures of Ubald, Bernard of Clairvaux, Joseph, the local saint Dignamerita of Brescia (a martyr in the Hadrianic persecutions) and other popes, cardinals and devotees - it is unclear if those other panels were ever completed or if they were part of the original decoration of the pilasters, lost when the work was split up in the late 18th century.
Two smaller side panels above Augustine and Jerome form a two-part Annunciation, with Gabriel on the left and Mary on the right - her room shows an early use of grotesque decoration, whilst her books are painted in a style influenced by contemporary Flemish still lifes. The central cymatium shows the dead Christ supported by two angels in front of another fictive wall hanging. At the very top is a tympanum showing the Holy Spirit in the form of a dove.
The painter used the figure of the Madonna in this work as the prototype for other simpler works considered to be more or less entirely autograph works, often painted for use in private devotion. These include Madonna and Child (Huntington Library, San Marino, California), a faithful reproduction of the altarpiece's central panel dating to around 1498, the Davanzale Madonna in the Pinacoteca Vaticana, the Visconti-Venosta Tondo in Rome, the small Madonna in the Fitzwilliam Museum in Cambridge, UK and other works in the Ashmolean Museum, National Gallery of Scotland and the Isabella Stewart Gardner Museum in Boston. | [
"Joseph",
"National Gallery of Scotland",
"Annunciation",
"trompe-l'œil",
"tympanum",
"Italian Renaissance",
"Huntington Library",
"Ashmolean Museum",
"grotesque",
"Isabella Stewart Gardner Museum",
"tondi",
"Augustine of Hippo",
"pomegranate",
"Hadrian",
"Fitzwilliam Museum",
"Boston",
"Ubald",
"left",
"San Marino, California",
"Jerome",
"Bernard of Clairvaux",
"Pinacoteca Vaticana",
"Passion",
"Madonna and Child",
"cymatium",
"predella"
] |
|
16416_NT | Santa Maria dei Fossi Altarpiece | Describe the characteristics of the Production in this artwork's History. | The work has seven main panels and two predella panels. The left predella panel has a scene of Augustine's vision of the Christ Child between two tondi of the Evangelists Matthew and Mark, whilst the right predella panel shows Jerome in the desert between tondi of Luke and John.The central panel shows the Madonna and Child with the infant John the Baptist - the Virgin Mary was the church's patron saint. Below John is the Italian inscription "O santo fanciullo, rimetti al Fanciullo questa croce. Non la porterà [Giovanni] a Dio in favore del mondo, ci sarà un altro" (Oh child saint, give the Christ Child back this cross. It shall not bear [John] to God for the world's sake, it shall be for another). The Christ Child holds a pomegranate and fruits are scattered around his mother's feet, all symbolising the Passion. Above these words are the letters B and N, interpreted as the artist's signature, an abbreviation of B[er]N[ardinus]. The reliefs on the Madonna's throne are inspired by those on ancient Roman sarcophagi, then being rediscovered as part of the Italian Renaissance, whilst behind it is an Umbrian landscape.Two main flanking panels show Augustine of Hippo (holding an apple symbolising original sin and the Passion) and Jerome (holding a small model in his hand showing Santa Maria degli Angeli as it was planned to look after a rebuilding project which was never actually completed). They both stand in front of rich trompe-l'œil wall hangings, influenced by the Spanish textiles in Alexander's court. Above these three main panels is another Italian inscription, "Guarda o mortale da quale sangue sei stato redento. Fa' che non sia scorso invano" (See, oh mortal man, that blood by which you have been redeemed. Do not let it have been in vain.). The contract also stipulated figures of Ubald, Bernard of Clairvaux, Joseph, the local saint Dignamerita of Brescia (a martyr in the Hadrianic persecutions) and other popes, cardinals and devotees - it is unclear if those other panels were ever completed or if they were part of the original decoration of the pilasters, lost when the work was split up in the late 18th century.
Two smaller side panels above Augustine and Jerome form a two-part Annunciation, with Gabriel on the left and Mary on the right - her room shows an early use of grotesque decoration, whilst her books are painted in a style influenced by contemporary Flemish still lifes. The central cymatium shows the dead Christ supported by two angels in front of another fictive wall hanging. At the very top is a tympanum showing the Holy Spirit in the form of a dove.
The painter used the figure of the Madonna in this work as the prototype for other simpler works considered to be more or less entirely autograph works, often painted for use in private devotion. These include Madonna and Child (Huntington Library, San Marino, California), a faithful reproduction of the altarpiece's central panel dating to around 1498, the Davanzale Madonna in the Pinacoteca Vaticana, the Visconti-Venosta Tondo in Rome, the small Madonna in the Fitzwilliam Museum in Cambridge, UK and other works in the Ashmolean Museum, National Gallery of Scotland and the Isabella Stewart Gardner Museum in Boston. | [
"Joseph",
"National Gallery of Scotland",
"Annunciation",
"trompe-l'œil",
"tympanum",
"Italian Renaissance",
"Huntington Library",
"Ashmolean Museum",
"grotesque",
"Isabella Stewart Gardner Museum",
"tondi",
"Augustine of Hippo",
"pomegranate",
"Hadrian",
"Fitzwilliam Museum",
"Boston",
"Ubald",
"left",
"San Marino, California",
"Jerome",
"Bernard of Clairvaux",
"Pinacoteca Vaticana",
"Passion",
"Madonna and Child",
"cymatium",
"predella"
] |
|
16417_T | Santa Maria dei Fossi Altarpiece | In the context of Santa Maria dei Fossi Altarpiece, explore the Later history of the History. | Vasari did not see the work, though it was praised by local art historians right up to the 18th century. When the church was suppressed under the Napoleonic occupation, the altarpiece was divided up and the original cornice and decorative panels on the 'pilastrini' were lost. The work was reunited in 1853 and moved into its present home. It was neglected by 20th century art criticism, though in 1960 Carli dated it to the peak of the painter's career and praised the "extraordinary lightness and freshness of its colours". However, he also placed it just before the painter's shift to a less inspired period in which he used compositions from his collection of drawings rather than inventing new ones. | [] |
|
16417_NT | Santa Maria dei Fossi Altarpiece | In the context of this artwork, explore the Later history of the History. | Vasari did not see the work, though it was praised by local art historians right up to the 18th century. When the church was suppressed under the Napoleonic occupation, the altarpiece was divided up and the original cornice and decorative panels on the 'pilastrini' were lost. The work was reunited in 1853 and moved into its present home. It was neglected by 20th century art criticism, though in 1960 Carli dated it to the peak of the painter's career and praised the "extraordinary lightness and freshness of its colours". However, he also placed it just before the painter's shift to a less inspired period in which he used compositions from his collection of drawings rather than inventing new ones. | [] |
|
16418_T | Maman (sculpture) | Focus on Maman (sculpture) and explain the abstract. | Maman (1999) is a bronze, stainless steel, and marble sculpture in several locations by the artist Louise Bourgeois. The sculpture, which depicts a spider, is among the world's largest, measuring over 30 ft high and over 33 ft wide (927 x 891 x 1024 cm). It includes a sac containing 32 marble eggs and its abdomen and thorax are made of rubbed bronze.
The title is the familiar French word for Mother (akin to Mummy). The sculpture was created in 1999 by Bourgeois as a part of her inaugural commission of The Unilever Series (2000), in the Turbine Hall at London's Tate Modern. This original was created in steel, with an edition of six subsequent castings in bronze.Bourgeois chose the Modern Art Foundry to cast the sculpture because of its reputation and work. | [
"thorax",
"Tate Modern",
"Tate",
"Modern Art Foundry",
"London",
"Louise Bourgeois",
"spider"
] |
|
16418_NT | Maman (sculpture) | Focus on this artwork and explain the abstract. | Maman (1999) is a bronze, stainless steel, and marble sculpture in several locations by the artist Louise Bourgeois. The sculpture, which depicts a spider, is among the world's largest, measuring over 30 ft high and over 33 ft wide (927 x 891 x 1024 cm). It includes a sac containing 32 marble eggs and its abdomen and thorax are made of rubbed bronze.
The title is the familiar French word for Mother (akin to Mummy). The sculpture was created in 1999 by Bourgeois as a part of her inaugural commission of The Unilever Series (2000), in the Turbine Hall at London's Tate Modern. This original was created in steel, with an edition of six subsequent castings in bronze.Bourgeois chose the Modern Art Foundry to cast the sculpture because of its reputation and work. | [
"thorax",
"Tate Modern",
"Tate",
"Modern Art Foundry",
"London",
"Louise Bourgeois",
"spider"
] |
|
16419_T | Maman (sculpture) | Explore the Philosophy and meaning of this artwork, Maman (sculpture). | The sculpture picks up the theme of the arachnid that Bourgeois had first contemplated in a small ink and charcoal drawing in 1947, continuing with her 1996 sculpture Spider. It alludes to the strength of Bourgeois' mother, with metaphors of spinning, weaving, nurture and protection. Her mother, Josephine, was a woman who repaired tapestries in her father's textile restoration workshop in Paris. When Bourgeois was twenty-one, she lost her mother to an unknown illness. A few days after her mother's passing, in front of her father (who did not seem to take his daughter's despair seriously), Louise threw herself into the Bièvre River; he swam to her rescue.
The Spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. My family was in the business of tapestry restoration, and my mother was in charge of the workshop. Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. We know that mosquitoes spread diseases and are therefore unwanted. So, spiders are helpful and protective, just like my mother. | [
"Spider",
"Paris",
"spider"
] |
|
16419_NT | Maman (sculpture) | Explore the Philosophy and meaning of this artwork. | The sculpture picks up the theme of the arachnid that Bourgeois had first contemplated in a small ink and charcoal drawing in 1947, continuing with her 1996 sculpture Spider. It alludes to the strength of Bourgeois' mother, with metaphors of spinning, weaving, nurture and protection. Her mother, Josephine, was a woman who repaired tapestries in her father's textile restoration workshop in Paris. When Bourgeois was twenty-one, she lost her mother to an unknown illness. A few days after her mother's passing, in front of her father (who did not seem to take his daughter's despair seriously), Louise threw herself into the Bièvre River; he swam to her rescue.
The Spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. My family was in the business of tapestry restoration, and my mother was in charge of the workshop. Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. We know that mosquitoes spread diseases and are therefore unwanted. So, spiders are helpful and protective, just like my mother. | [
"Spider",
"Paris",
"spider"
] |
|
16420_T | Maman (sculpture) | Focus on Maman (sculpture) and discuss the Permanent locations. | Tate Modern, UK – The permanent acquisition of this sculpture in 2008 is considered one of the Tate Modern's historical moments. Maman was first exhibited in the Turbine Hall and later displayed outside the gallery in 2000. It was received with mixed reactions of amazement and amusement. The sculpture owned by the Tate Modern is the only one made from stainless steel.
National Gallery of Canada, Ottawa, Canada – The National Gallery of Canada acquired the sculpture in 2005 for 3.2 million dollars. The price took around a third of the annual budget of the gallery.
Guggenheim Museum Bilbao, Spain
Mori Art Museum, Tokyo, Japan – On display at the base of Mori Tower, outside the museum.
Crystal Bridges Museum of American Art, Bentonville, Arkansas, United States
Qatar National Convention Center, Doha, Qatar | [
"Crystal Bridges Museum of American Art",
"Bilbao",
"National Gallery",
"Tokyo",
"Tate Modern",
"Tate",
"Tokyo, Japan",
"National Gallery of Canada",
"Mori Art Museum",
"Guggenheim Museum",
"Guggenheim Museum Bilbao",
"Qatar National Convention Center",
"Ottawa"
] |
|
16420_NT | Maman (sculpture) | Focus on this artwork and discuss the Permanent locations. | Tate Modern, UK – The permanent acquisition of this sculpture in 2008 is considered one of the Tate Modern's historical moments. Maman was first exhibited in the Turbine Hall and later displayed outside the gallery in 2000. It was received with mixed reactions of amazement and amusement. The sculpture owned by the Tate Modern is the only one made from stainless steel.
National Gallery of Canada, Ottawa, Canada – The National Gallery of Canada acquired the sculpture in 2005 for 3.2 million dollars. The price took around a third of the annual budget of the gallery.
Guggenheim Museum Bilbao, Spain
Mori Art Museum, Tokyo, Japan – On display at the base of Mori Tower, outside the museum.
Crystal Bridges Museum of American Art, Bentonville, Arkansas, United States
Qatar National Convention Center, Doha, Qatar | [
"Crystal Bridges Museum of American Art",
"Bilbao",
"National Gallery",
"Tokyo",
"Tate Modern",
"Tate",
"Tokyo, Japan",
"National Gallery of Canada",
"Mori Art Museum",
"Guggenheim Museum",
"Guggenheim Museum Bilbao",
"Qatar National Convention Center",
"Ottawa"
] |
|
16421_T | Maman (sculpture) | How does Maman (sculpture) elucidate its Temporary locations? | Tours and featured exhibitions of Maman include:2001: Rockefeller Center Plaza, New York
2001: City Hall, The Hague, The Netherlands
2002: State Hermitage Museum, St. Petersburg, Russia
2003: Nytorv, Copenhagen, Denmark
2005: Havana, Cuba
2006: Mariakerke, Ostend, Belgium
2007: Wanås Castle, Sweden
2008: Jardin des Tuileries, Paris, France
2008: Centre Pompidou, Paris, France
2007-2008: Institute of Contemporary Art, Boston, Massachusetts27 March 2007 – 2 March 2008
2008-2009: Museo di Capodimonte, Naples, Italy 18 October 2008 – 25 January 2009
2011: Fundacion Proa, Buenos Aires, Argentina
2011: Museu de Arte Moderna (MAM), São Paulo, Brasil
2011: Bundesplatz, Bern, Switzerland, 24 May – 7 June
2011 Bürkliplatz, Zürich, Switzerland, 10 June – 2 August
2011 Place Neuve, Geneva, Switzerland, 3 August – 28 August
2011-2012 Beyeler Foundation, Riehen/Basel, Switzerland, 3 September 2011 – 8 January 2012
2012 Hamburger Kunsthalle, Hamburg, Germany, 23 January – 17 June
2012 Qatar National Convention Centre, Qatar – The Maman sculpture; exhibited from 20 January – 1 June, at the Qatar National Convention Centre as the centerpiece of the Conscious and Unconscious exhibition; the first solo exhibit of Bourgeois' work to be displayed in the Middle East. The exhibit was organised by the Qatar Museums Authority.
2012-2013 Roppongi Hills, Tokyo, Japan
2014 Qatar National Convention Centre, Ad-Dawhah, Qatar, February
2013-2014 Palacio de Bellas Artes, Mexico City, Mexico, 15 November 2013 – 2 March 2014
2015 Moderna Museet, Stockholm, Sweden, January 2015 – 17 May
2020 Museum Voorlinden, The Hague, the Netherlands, until 17 May
2020-2021 Fundação de Serralves, Porto, Portugal, December 2020 - February 2021
2022 Stavros Niarchos Foundation Cultural Center, Athens, Greece, 30 March - 6 November
2023 Palace Park in Oslo, Norway, 24 April - August
2023-2024 Art Gallery of New South Wales in Sydney, Australia, 25 November 2023 - 28 April 2024 | [
"Havana",
"State Hermitage Museum",
"Australia",
"Naples",
"The Netherlands",
"Museum Voorlinden",
"City Hall",
"New York",
"Boston",
"Centre Pompidou",
"Palacio de Bellas Artes",
"Rockefeller Center",
"Riehen",
"Beyeler Foundation",
"Qatar Museums Authority",
"Tokyo",
"Norway",
"Stockholm",
"Serralves",
"Geneva",
"São Paulo",
"Museu de Arte Moderna",
"Museo di Capodimonte",
"Bürkliplatz, Zürich",
"Ad-Dawhah",
"Hermitage Museum",
"Tokyo, Japan",
"Buenos Aires",
"Institute of Contemporary Art",
"Institute of Contemporary Art, Boston",
"Bern",
"Fundação de Serralves",
"Copenhagen",
"The Hague",
"Moderna Museet",
"Bundesplatz",
"Wanås Castle",
"Oslo",
"Zürich",
"Sydney",
"Nytorv",
"Palace Park",
"Hamburg",
"Athens",
"Cuba",
"Porto",
"Paris",
"Roppongi Hills",
"Jardin des Tuileries",
"Brasil",
"Art Gallery of New South Wales",
"Basel",
"Rockefeller Center Plaza",
"St. Petersburg, Russia",
"Fundacion Proa",
"Mariakerke",
"Zürich, Switzerland",
"Ostend",
"Qatar National Convention Centre",
"Qatar Museums",
"Hamburger Kunsthalle",
"Stavros Niarchos Foundation Cultural Center",
"Mexico City",
"St. Petersburg",
"Netherlands",
"Massachusetts"
] |
|
16421_NT | Maman (sculpture) | How does this artwork elucidate its Temporary locations? | Tours and featured exhibitions of Maman include:2001: Rockefeller Center Plaza, New York
2001: City Hall, The Hague, The Netherlands
2002: State Hermitage Museum, St. Petersburg, Russia
2003: Nytorv, Copenhagen, Denmark
2005: Havana, Cuba
2006: Mariakerke, Ostend, Belgium
2007: Wanås Castle, Sweden
2008: Jardin des Tuileries, Paris, France
2008: Centre Pompidou, Paris, France
2007-2008: Institute of Contemporary Art, Boston, Massachusetts27 March 2007 – 2 March 2008
2008-2009: Museo di Capodimonte, Naples, Italy 18 October 2008 – 25 January 2009
2011: Fundacion Proa, Buenos Aires, Argentina
2011: Museu de Arte Moderna (MAM), São Paulo, Brasil
2011: Bundesplatz, Bern, Switzerland, 24 May – 7 June
2011 Bürkliplatz, Zürich, Switzerland, 10 June – 2 August
2011 Place Neuve, Geneva, Switzerland, 3 August – 28 August
2011-2012 Beyeler Foundation, Riehen/Basel, Switzerland, 3 September 2011 – 8 January 2012
2012 Hamburger Kunsthalle, Hamburg, Germany, 23 January – 17 June
2012 Qatar National Convention Centre, Qatar – The Maman sculpture; exhibited from 20 January – 1 June, at the Qatar National Convention Centre as the centerpiece of the Conscious and Unconscious exhibition; the first solo exhibit of Bourgeois' work to be displayed in the Middle East. The exhibit was organised by the Qatar Museums Authority.
2012-2013 Roppongi Hills, Tokyo, Japan
2014 Qatar National Convention Centre, Ad-Dawhah, Qatar, February
2013-2014 Palacio de Bellas Artes, Mexico City, Mexico, 15 November 2013 – 2 March 2014
2015 Moderna Museet, Stockholm, Sweden, January 2015 – 17 May
2020 Museum Voorlinden, The Hague, the Netherlands, until 17 May
2020-2021 Fundação de Serralves, Porto, Portugal, December 2020 - February 2021
2022 Stavros Niarchos Foundation Cultural Center, Athens, Greece, 30 March - 6 November
2023 Palace Park in Oslo, Norway, 24 April - August
2023-2024 Art Gallery of New South Wales in Sydney, Australia, 25 November 2023 - 28 April 2024 | [
"Havana",
"State Hermitage Museum",
"Australia",
"Naples",
"The Netherlands",
"Museum Voorlinden",
"City Hall",
"New York",
"Boston",
"Centre Pompidou",
"Palacio de Bellas Artes",
"Rockefeller Center",
"Riehen",
"Beyeler Foundation",
"Qatar Museums Authority",
"Tokyo",
"Norway",
"Stockholm",
"Serralves",
"Geneva",
"São Paulo",
"Museu de Arte Moderna",
"Museo di Capodimonte",
"Bürkliplatz, Zürich",
"Ad-Dawhah",
"Hermitage Museum",
"Tokyo, Japan",
"Buenos Aires",
"Institute of Contemporary Art",
"Institute of Contemporary Art, Boston",
"Bern",
"Fundação de Serralves",
"Copenhagen",
"The Hague",
"Moderna Museet",
"Bundesplatz",
"Wanås Castle",
"Oslo",
"Zürich",
"Sydney",
"Nytorv",
"Palace Park",
"Hamburg",
"Athens",
"Cuba",
"Porto",
"Paris",
"Roppongi Hills",
"Jardin des Tuileries",
"Brasil",
"Art Gallery of New South Wales",
"Basel",
"Rockefeller Center Plaza",
"St. Petersburg, Russia",
"Fundacion Proa",
"Mariakerke",
"Zürich, Switzerland",
"Ostend",
"Qatar National Convention Centre",
"Qatar Museums",
"Hamburger Kunsthalle",
"Stavros Niarchos Foundation Cultural Center",
"Mexico City",
"St. Petersburg",
"Netherlands",
"Massachusetts"
] |
|
16422_T | Reclining Figure: External Form 1953–1954 | Focus on Reclining Figure: External Form 1953–1954 and analyze the abstract. | Reclining Figure: External Form 1953–54 is a bronze sculpture by Henry Moore, catalogued as LH 299. It is approximately 2.1 m long. Casts are owned by Vermögen und Bau, Baden-Württemberg; the National Gallery of Modern Art, Rome; and the National Museum of Fine Arts, Buenos Aires. | [
"Baden-Württemberg",
"Henry Moore",
"National Museum of Fine Arts",
"National Gallery of Modern Art"
] |
|
16422_NT | Reclining Figure: External Form 1953–1954 | Focus on this artwork and analyze the abstract. | Reclining Figure: External Form 1953–54 is a bronze sculpture by Henry Moore, catalogued as LH 299. It is approximately 2.1 m long. Casts are owned by Vermögen und Bau, Baden-Württemberg; the National Gallery of Modern Art, Rome; and the National Museum of Fine Arts, Buenos Aires. | [
"Baden-Württemberg",
"Henry Moore",
"National Museum of Fine Arts",
"National Gallery of Modern Art"
] |
|
16423_T | Esther Before Ahasuerus (Tintoretto) | In Esther Before Ahasuerus (Tintoretto), how is the abstract discussed? | Esther Before Ahasuerus is a large painting of 1546–47 by the Venetian painter Tintoretto showing a scene from the Greek addition to the Book of Esther, in which Queen Esther faints during a bold intervention with her husband King Ahasuerus of Persia. In oil on canvas, it measures 207.7 by 275.5 centimetres (81.8 in × 108.5 in). Since the 1620s it has been in the Royal Collection of the United Kingdom, and in 2019 it hung in the King's Gallery in Kensington Palace, London.The degree of finish varies considerably between different parts of the painting, which, with the intense colours and dramatic contrasts in lighting, is characteristic of Venetian painting. The orange-yellow pigment orpiment in the robe of the king has altered; it would originally have matched the biblical description of his splendid gold robe.The painting is dated, largely on stylistic grounds, to about 1546–47, relatively early in Tintoretto's career, when he was still in his late twenties. It comes shortly before his first major commission, Saint Mark Rescuing the Slave, now in the Accademia, Venice. | [
"Ahasuerus",
"Esther",
"Tintoretto",
"Accademia",
"Kensington Palace",
"Book of Esther",
"Saint Mark Rescuing the Slave",
"Royal Collection",
"orpiment",
"London"
] |
|
16423_NT | Esther Before Ahasuerus (Tintoretto) | In this artwork, how is the abstract discussed? | Esther Before Ahasuerus is a large painting of 1546–47 by the Venetian painter Tintoretto showing a scene from the Greek addition to the Book of Esther, in which Queen Esther faints during a bold intervention with her husband King Ahasuerus of Persia. In oil on canvas, it measures 207.7 by 275.5 centimetres (81.8 in × 108.5 in). Since the 1620s it has been in the Royal Collection of the United Kingdom, and in 2019 it hung in the King's Gallery in Kensington Palace, London.The degree of finish varies considerably between different parts of the painting, which, with the intense colours and dramatic contrasts in lighting, is characteristic of Venetian painting. The orange-yellow pigment orpiment in the robe of the king has altered; it would originally have matched the biblical description of his splendid gold robe.The painting is dated, largely on stylistic grounds, to about 1546–47, relatively early in Tintoretto's career, when he was still in his late twenties. It comes shortly before his first major commission, Saint Mark Rescuing the Slave, now in the Accademia, Venice. | [
"Ahasuerus",
"Esther",
"Tintoretto",
"Accademia",
"Kensington Palace",
"Book of Esther",
"Saint Mark Rescuing the Slave",
"Royal Collection",
"orpiment",
"London"
] |
|
16424_T | Esther Before Ahasuerus (Tintoretto) | Focus on Esther Before Ahasuerus (Tintoretto) and explore the The incident. | The account of the episode including Esther's fainting comes only from the Greek additions to the Book of Esther, or
"Rest of Esther", which are Deuterocanonical books, regarded as canonical by the Catholic Church, though relegated to the Biblical apocrypha by Protestant churches. In the Hebrew Bible and Protestant bibles there is no fainting in the Book of Esther; in the latter the additions made in the Septuagint are relegated to the Rest of Esther placed at the end of the book. The decree at the Catholic Council of Trent confirming their canonical status was passed in April 1546, around the time this painting is thought to have been made, which may have a bearing on the choice of subject. The painting shows the moment from Chapter 9:6–8, when Esther goes to see her husband, King Ahasuerus of Persia (often identified as the historical Xerxes I), to intercede for the Jewish people; going into the inner royal court uninvited is punishable by death:Esther's faint had not often been depicted in art before Tintoretto, although for example it is shown in the series of cassone scenes of the Life of Esther by Sandro Botticelli, from the 1470s. Esther was regarded in Catholic theology as a typological forerunner of the Virgin Mary; among other reasons, because both acted as intercessors, and because Esther being allowed an exception to the strict Persian law on uninvited entry to the king's presence was seen as paralleling the unique Immaculate Conception of Mary. Contemporary viewers would probably have recognised a similarity between the faint and the motif of the Swoon of the Virgin, which was very common in depictions of the Crucifixion of Jesus. The fainting became a much more popular subject in the Baroque painting of the following century, with examples including the Esther Before Ahasuerus by Artemisia Gentileschi. | [
"Artemisia Gentileschi",
"Ahasuerus",
"Septuagint",
"Life of Esther",
"Esther",
"Tintoretto",
"Immaculate Conception",
"Sandro Botticelli",
"cassone",
"Hebrew Bible",
"Council of Trent",
"Deuterocanonical books",
"Book of Esther",
"Greek additions",
"Protestant bible",
"Xerxes I",
"typological",
"Crucifixion of Jesus",
"Virgin Mary",
"Biblical apocrypha",
"Swoon of the Virgin"
] |
|
16424_NT | Esther Before Ahasuerus (Tintoretto) | Focus on this artwork and explore the The incident. | The account of the episode including Esther's fainting comes only from the Greek additions to the Book of Esther, or
"Rest of Esther", which are Deuterocanonical books, regarded as canonical by the Catholic Church, though relegated to the Biblical apocrypha by Protestant churches. In the Hebrew Bible and Protestant bibles there is no fainting in the Book of Esther; in the latter the additions made in the Septuagint are relegated to the Rest of Esther placed at the end of the book. The decree at the Catholic Council of Trent confirming their canonical status was passed in April 1546, around the time this painting is thought to have been made, which may have a bearing on the choice of subject. The painting shows the moment from Chapter 9:6–8, when Esther goes to see her husband, King Ahasuerus of Persia (often identified as the historical Xerxes I), to intercede for the Jewish people; going into the inner royal court uninvited is punishable by death:Esther's faint had not often been depicted in art before Tintoretto, although for example it is shown in the series of cassone scenes of the Life of Esther by Sandro Botticelli, from the 1470s. Esther was regarded in Catholic theology as a typological forerunner of the Virgin Mary; among other reasons, because both acted as intercessors, and because Esther being allowed an exception to the strict Persian law on uninvited entry to the king's presence was seen as paralleling the unique Immaculate Conception of Mary. Contemporary viewers would probably have recognised a similarity between the faint and the motif of the Swoon of the Virgin, which was very common in depictions of the Crucifixion of Jesus. The fainting became a much more popular subject in the Baroque painting of the following century, with examples including the Esther Before Ahasuerus by Artemisia Gentileschi. | [
"Artemisia Gentileschi",
"Ahasuerus",
"Septuagint",
"Life of Esther",
"Esther",
"Tintoretto",
"Immaculate Conception",
"Sandro Botticelli",
"cassone",
"Hebrew Bible",
"Council of Trent",
"Deuterocanonical books",
"Book of Esther",
"Greek additions",
"Protestant bible",
"Xerxes I",
"typological",
"Crucifixion of Jesus",
"Virgin Mary",
"Biblical apocrypha",
"Swoon of the Virgin"
] |
|
16425_T | Esther Before Ahasuerus (Tintoretto) | Focus on Esther Before Ahasuerus (Tintoretto) and explain the Changes to the composition. | The composition has seen a number of changes, the earliest by Tintoretto himself, to the figures behind the king. What appears now probably represents Tintoretto's initial intention, but in the course of painting he abandoned the two figures standing behind the king, a tall twisting one with a long scarf who was presumably Haman, and what is now a very dim outline of a turbaned companion. Instead Tintoretto overpainted these with a boy in armour. This stage can be seen in a workshop copy in El Escorial, and a print made in 1712 after the Royal Collection painting. The Escorial version also extends the composition to both sides, and very slightly at the top and bottom, adding one and a half figures at the right, and showing the full leg and foot of the boy with a dog at left.It appears that at this stage the group of rather distant background figures to the right of the king were added; these appear to be Haman and his companion, with similar scarf and turban to their overpainted figures, standing with soldiers carrying banners.At some point after this a restorer removed the boy in armour, probably damaging the turbaned man. The figures revealed were perhaps thought unsatisfactory, so either this or another restorer re-added the boy in armour, though the new figure was "clearly of inferior quality". This stage can be seen in old photographs. In 1950 a proposal by the restorer Sebastian Isepp to remove the new boy in armour was agreed, leaving the figures as they now appear. Haman is therefore depicted twice in the painting as it now appears. | [
"Haman",
"El Escorial",
"Tintoretto",
"left",
"Royal Collection"
] |
|
16425_NT | Esther Before Ahasuerus (Tintoretto) | Focus on this artwork and explain the Changes to the composition. | The composition has seen a number of changes, the earliest by Tintoretto himself, to the figures behind the king. What appears now probably represents Tintoretto's initial intention, but in the course of painting he abandoned the two figures standing behind the king, a tall twisting one with a long scarf who was presumably Haman, and what is now a very dim outline of a turbaned companion. Instead Tintoretto overpainted these with a boy in armour. This stage can be seen in a workshop copy in El Escorial, and a print made in 1712 after the Royal Collection painting. The Escorial version also extends the composition to both sides, and very slightly at the top and bottom, adding one and a half figures at the right, and showing the full leg and foot of the boy with a dog at left.It appears that at this stage the group of rather distant background figures to the right of the king were added; these appear to be Haman and his companion, with similar scarf and turban to their overpainted figures, standing with soldiers carrying banners.At some point after this a restorer removed the boy in armour, probably damaging the turbaned man. The figures revealed were perhaps thought unsatisfactory, so either this or another restorer re-added the boy in armour, though the new figure was "clearly of inferior quality". This stage can be seen in old photographs. In 1950 a proposal by the restorer Sebastian Isepp to remove the new boy in armour was agreed, leaving the figures as they now appear. Haman is therefore depicted twice in the painting as it now appears. | [
"Haman",
"El Escorial",
"Tintoretto",
"left",
"Royal Collection"
] |
|
16426_T | Meditation by the Sea | Explore the abstract of this artwork, Meditation by the Sea. | Meditation by the Sea is an American folk art oil painting by an unknown artist from the early 1860s.
The painting is derived from a wood engraving of Gay Head, Martha's Vineyard by David H. Strother in the September 21, 1860 issue of Harper's New Monthly. | [
"Martha's Vineyard",
"Harper's",
"Harper's New Monthly",
"oil painting",
"folk art",
"David H. Strother",
"Gay Head"
] |
|
16426_NT | Meditation by the Sea | Explore the abstract of this artwork. | Meditation by the Sea is an American folk art oil painting by an unknown artist from the early 1860s.
The painting is derived from a wood engraving of Gay Head, Martha's Vineyard by David H. Strother in the September 21, 1860 issue of Harper's New Monthly. | [
"Martha's Vineyard",
"Harper's",
"Harper's New Monthly",
"oil painting",
"folk art",
"David H. Strother",
"Gay Head"
] |
|
16427_T | Meditation by the Sea | Focus on Meditation by the Sea and discuss the Description. | Though the receding cliff suggests the artist's familiarity with one-point perspective, the rest of the view is distorted to suggest the vastness of the scene. The artist creates a surreal image by juxtaposing the lone, brooding foreground figure with tiny silhouettes in the distance. Though solitary figures are common in the contemporary luminist paintings of the Hudson River School (to which the artist was likely exposed), the artist's approach to the subject is markedly different. They create a sense of foreboding using a vast horizon and an ominous hanging branch. Based on the date of the Strother engraving, this painting was probably painted near the outbreak of the Civil War; a sense of dread is visible in the figure's "confrontation with the omnipotence of nature and God". | [
"luminist",
"one-point perspective",
"Civil War",
"Hudson River School"
] |
|
16427_NT | Meditation by the Sea | Focus on this artwork and discuss the Description. | Though the receding cliff suggests the artist's familiarity with one-point perspective, the rest of the view is distorted to suggest the vastness of the scene. The artist creates a surreal image by juxtaposing the lone, brooding foreground figure with tiny silhouettes in the distance. Though solitary figures are common in the contemporary luminist paintings of the Hudson River School (to which the artist was likely exposed), the artist's approach to the subject is markedly different. They create a sense of foreboding using a vast horizon and an ominous hanging branch. Based on the date of the Strother engraving, this painting was probably painted near the outbreak of the Civil War; a sense of dread is visible in the figure's "confrontation with the omnipotence of nature and God". | [
"luminist",
"one-point perspective",
"Civil War",
"Hudson River School"
] |
|
16428_T | Meditation by the Sea | How does Meditation by the Sea elucidate its Acquisitions? | Art collector Maxim Karolik bought the painting from J.B. Neumann for $650 in 1943; it was one of the first 19th-century paintings he acquired. In 1945 Karolik donated the piece to the Boston Museum of Fine Arts to inaugurate the M. and M. Karolik Collection of American Art, 1815–1865. | [
"Maxim Karolik",
"Boston",
"Museum of Fine Arts",
"Boston Museum of Fine Arts"
] |
|
16428_NT | Meditation by the Sea | How does this artwork elucidate its Acquisitions? | Art collector Maxim Karolik bought the painting from J.B. Neumann for $650 in 1943; it was one of the first 19th-century paintings he acquired. In 1945 Karolik donated the piece to the Boston Museum of Fine Arts to inaugurate the M. and M. Karolik Collection of American Art, 1815–1865. | [
"Maxim Karolik",
"Boston",
"Museum of Fine Arts",
"Boston Museum of Fine Arts"
] |
|
16429_T | Emancipation Statue (Haggett Hall, Barbados) | Focus on Emancipation Statue (Haggett Hall, Barbados) and analyze the Inscription. | Lick an Lock-up Done Wid, Hurray fuh Jin-Jin [Queen Victoria].
De Queen come from England to set we free
Now Lick an Lock-up Done Wid, Hurray fuh Jin-Jin
This was the chant of thousands of Barbadians when slavery was abolished in 1838, signifying their freedom, joy and happiness. Five years after the passage of the Slavery Abolition Act of 1833. | [
"Slavery Abolition Act of 1833",
"Barbadian"
] |
|
16429_NT | Emancipation Statue (Haggett Hall, Barbados) | Focus on this artwork and analyze the Inscription. | Lick an Lock-up Done Wid, Hurray fuh Jin-Jin [Queen Victoria].
De Queen come from England to set we free
Now Lick an Lock-up Done Wid, Hurray fuh Jin-Jin
This was the chant of thousands of Barbadians when slavery was abolished in 1838, signifying their freedom, joy and happiness. Five years after the passage of the Slavery Abolition Act of 1833. | [
"Slavery Abolition Act of 1833",
"Barbadian"
] |
|
16430_T | Sarcophagus of the Spouses | In Sarcophagus of the Spouses, how is the abstract discussed? | The Sarcophagus of the Spouses (Italian: Sarcofago degli Sposi) is a tomb effigy considered one of the masterpieces of Etruscan art. The Etruscans lived in Italy between two main rivers, the Arno and the Tiber, and were in contact with the Ancient Greeks through trade, mainly during the Orientalizing and Archaic Period. The Etruscans were well known for their terracotta sculptures and funerary art, largely sarcophagi and urns. The sarcophagus is a late sixth-century BCE Etruscan anthropoid sarcophagus that was found at the Banditaccia necropolis in Caere and is now located in the National Etruscan Museum of Villa Giulia, Rome. | [
"Caere",
"Sarcophagus",
"tomb effigy",
"Etruscan art",
"National Etruscan Museum of Villa Giulia",
"Rome",
"urn",
"terracotta",
"National Etruscan Museum",
"Villa Giulia",
"Etruscan",
"sarcophagus",
"sarcophagi",
"Etruscans",
"Banditaccia",
"Tiber",
"Ancient Greeks",
"Orientalizing",
"Arno",
"necropolis",
"Archaic Period"
] |
|
16430_NT | Sarcophagus of the Spouses | In this artwork, how is the abstract discussed? | The Sarcophagus of the Spouses (Italian: Sarcofago degli Sposi) is a tomb effigy considered one of the masterpieces of Etruscan art. The Etruscans lived in Italy between two main rivers, the Arno and the Tiber, and were in contact with the Ancient Greeks through trade, mainly during the Orientalizing and Archaic Period. The Etruscans were well known for their terracotta sculptures and funerary art, largely sarcophagi and urns. The sarcophagus is a late sixth-century BCE Etruscan anthropoid sarcophagus that was found at the Banditaccia necropolis in Caere and is now located in the National Etruscan Museum of Villa Giulia, Rome. | [
"Caere",
"Sarcophagus",
"tomb effigy",
"Etruscan art",
"National Etruscan Museum of Villa Giulia",
"Rome",
"urn",
"terracotta",
"National Etruscan Museum",
"Villa Giulia",
"Etruscan",
"sarcophagus",
"sarcophagi",
"Etruscans",
"Banditaccia",
"Tiber",
"Ancient Greeks",
"Orientalizing",
"Arno",
"necropolis",
"Archaic Period"
] |
|
16431_T | Sarcophagus of the Spouses | Focus on Sarcophagus of the Spouses and explore the Description. | This sarcophagus is made out of terracotta and was once brightly painted. It depicts a man and woman lying on a kline, a dining couch with cushions to help keep the spouses propped up, all of which have been stylized. The body proportions of the man and woman have been elongated as was common in the Archaic period. Their hair has been styled in a plaited fashion, although the woman's braids are hanging over her shoulders while wearing a soft cap, and the man has braids behind that are fanned out over his shoulders and back. The faces of the couple show them smiling, and their eyes are distinctly almond-shaped, giving them a happy look.There is a line across the middle of the sarcophagus that shows that it was made as separate pieces. Their legs and hips have been stylized to fit better as a lid, with the only distinguishing figural features showing up at the end of the lid in the shape of their feet.
The man and woman's feet are distinguished from each other, as the man is shown
barefoot and the woman wearing pointed-toed shoes, which is an Etruscan characteristic. However, the marked contrast between the high-relief busts and the very flattened legs is typically Etruscan, along with the interest of the upper half of the figures with their expressive faces and arms.This sarcophagus was created in four separate pieces that were fired separately and then put together later on. | [
"high-relief",
"Archaic period",
"terracotta",
"Etruscan",
"sarcophagus",
"busts",
"plaited"
] |
|
16431_NT | Sarcophagus of the Spouses | Focus on this artwork and explore the Description. | This sarcophagus is made out of terracotta and was once brightly painted. It depicts a man and woman lying on a kline, a dining couch with cushions to help keep the spouses propped up, all of which have been stylized. The body proportions of the man and woman have been elongated as was common in the Archaic period. Their hair has been styled in a plaited fashion, although the woman's braids are hanging over her shoulders while wearing a soft cap, and the man has braids behind that are fanned out over his shoulders and back. The faces of the couple show them smiling, and their eyes are distinctly almond-shaped, giving them a happy look.There is a line across the middle of the sarcophagus that shows that it was made as separate pieces. Their legs and hips have been stylized to fit better as a lid, with the only distinguishing figural features showing up at the end of the lid in the shape of their feet.
The man and woman's feet are distinguished from each other, as the man is shown
barefoot and the woman wearing pointed-toed shoes, which is an Etruscan characteristic. However, the marked contrast between the high-relief busts and the very flattened legs is typically Etruscan, along with the interest of the upper half of the figures with their expressive faces and arms.This sarcophagus was created in four separate pieces that were fired separately and then put together later on. | [
"high-relief",
"Archaic period",
"terracotta",
"Etruscan",
"sarcophagus",
"busts",
"plaited"
] |
|
16432_T | Sarcophagus of the Spouses | Explore the Cremation about the Historical context of this artwork, Sarcophagus of the Spouses. | Etruscan culture had an appreciation for taking care of the remains of their loved ones; this is seen by how many resources were put into creating their tombs and funerary art, so much so that their cemeteries were often called the 'cities of the dead' or a necropolis. The main funerary practice for the dead was cremation, where they placed their loved one's ashes and bones into a cinerary urn or ash urn.The Villanovans, people who were part of the Etruscan culture, created a different type of urn that was biconical. It has two cones connected together made without a potter's wheel, keeping the clay coarse and unrefined. They also made clay huts to contain their remains, which resemble the houses they lived in that have been found at an important Etruscan site, Cavalupo. They could place personal items with them such as weapons for men and jewelry for women.Archeologists have uncovered different types of Etruscan hut urns that have contained both male and female ashes and bone fragments, so it can be presumed that the Sarcophagus of the Spouses would have contained cremated remains. | [
"cremation",
"Sarcophagus",
"Villanovans",
"Cremation",
"urn",
"Etruscan",
"necropolis"
] |
|
16432_NT | Sarcophagus of the Spouses | Explore the Cremation about the Historical context of this artwork. | Etruscan culture had an appreciation for taking care of the remains of their loved ones; this is seen by how many resources were put into creating their tombs and funerary art, so much so that their cemeteries were often called the 'cities of the dead' or a necropolis. The main funerary practice for the dead was cremation, where they placed their loved one's ashes and bones into a cinerary urn or ash urn.The Villanovans, people who were part of the Etruscan culture, created a different type of urn that was biconical. It has two cones connected together made without a potter's wheel, keeping the clay coarse and unrefined. They also made clay huts to contain their remains, which resemble the houses they lived in that have been found at an important Etruscan site, Cavalupo. They could place personal items with them such as weapons for men and jewelry for women.Archeologists have uncovered different types of Etruscan hut urns that have contained both male and female ashes and bone fragments, so it can be presumed that the Sarcophagus of the Spouses would have contained cremated remains. | [
"cremation",
"Sarcophagus",
"Villanovans",
"Cremation",
"urn",
"Etruscan",
"necropolis"
] |
|
16433_T | Sarcophagus of the Spouses | In the context of Sarcophagus of the Spouses, discuss the Rituals of the Historical context. | The funerary rituals that the Etruscans created ranged from a simple hut and small gathering to those a more elaborate space for loved ones such as a tomb or other funerary art or having mosaics and relief sculptures. One such tomb can be found in the Monterozzi necropolis of Tarquinia, Italy, which is known for its painted walls that inform us what they did for their funerals and society. This subterranean rock-cut tomb was used for holding the remains of the dead as well as for votive offerings for the ones who have died. There is a fresco painting on the back wall, which, even though damaged, shows a banquet dinner party, with people being depicted in similar positions as that depicted in the Sarcophagus of the Spouses. There are three pairs of couples shown enjoying a dinner party and lounging on klines. In Etruscan banquets, it was a common practice to have both men and woman, who had equal status in their society, share this event with each other as it is represented here in the fresco; they are side-by-side and shown in the same proportions and in similar poses. Both parties are smiling and expressing affection toward one another. The fresco relief, which has the same setting as the Spouses, can show that they have a positive outlook on sending their loved ones to the afterlife since they are sharing their last meals with their family members for all eternity. This is also shown through the Etruscans burying parts of the meal with them along with the proper dishes and utensils so they would have that in the afterlife.
The tomb fresco from Monterozzi shows how the couples have bright colorful clothes, which could be compared to the paint that was on the sarcophagus. These bright colors show them as elites. They also have two attendants serving the banqueters, and on the sides of the tomb paintings showcase what entertainment the Etruscans would have participated in; for example, musicians are playing and people dancing. Similar to the Greeks they show what gender is being portrayed by what paint they used for their skin, light colors for females, and dark colors for males. From the fresco of Monterozzi, it can be determined that the Sarcophagus of Spouses depicts a normal occurrence. There is a Banquet Plaque that was found at Poggio Civitate, Murlo, that also has similar iconography of the banquets that the Etruscans held, so another piece that shows these banquets were an important form of ritual for them. | [
"Sarcophagus",
"Tarquinia",
"Monterozzi",
"Etruscan",
"sarcophagus",
"Monterozzi necropolis",
"votive",
"Poggio Civitate",
"Etruscans",
"necropolis",
"fresco"
] |
|
16433_NT | Sarcophagus of the Spouses | In the context of this artwork, discuss the Rituals of the Historical context. | The funerary rituals that the Etruscans created ranged from a simple hut and small gathering to those a more elaborate space for loved ones such as a tomb or other funerary art or having mosaics and relief sculptures. One such tomb can be found in the Monterozzi necropolis of Tarquinia, Italy, which is known for its painted walls that inform us what they did for their funerals and society. This subterranean rock-cut tomb was used for holding the remains of the dead as well as for votive offerings for the ones who have died. There is a fresco painting on the back wall, which, even though damaged, shows a banquet dinner party, with people being depicted in similar positions as that depicted in the Sarcophagus of the Spouses. There are three pairs of couples shown enjoying a dinner party and lounging on klines. In Etruscan banquets, it was a common practice to have both men and woman, who had equal status in their society, share this event with each other as it is represented here in the fresco; they are side-by-side and shown in the same proportions and in similar poses. Both parties are smiling and expressing affection toward one another. The fresco relief, which has the same setting as the Spouses, can show that they have a positive outlook on sending their loved ones to the afterlife since they are sharing their last meals with their family members for all eternity. This is also shown through the Etruscans burying parts of the meal with them along with the proper dishes and utensils so they would have that in the afterlife.
The tomb fresco from Monterozzi shows how the couples have bright colorful clothes, which could be compared to the paint that was on the sarcophagus. These bright colors show them as elites. They also have two attendants serving the banqueters, and on the sides of the tomb paintings showcase what entertainment the Etruscans would have participated in; for example, musicians are playing and people dancing. Similar to the Greeks they show what gender is being portrayed by what paint they used for their skin, light colors for females, and dark colors for males. From the fresco of Monterozzi, it can be determined that the Sarcophagus of Spouses depicts a normal occurrence. There is a Banquet Plaque that was found at Poggio Civitate, Murlo, that also has similar iconography of the banquets that the Etruscans held, so another piece that shows these banquets were an important form of ritual for them. | [
"Sarcophagus",
"Tarquinia",
"Monterozzi",
"Etruscan",
"sarcophagus",
"Monterozzi necropolis",
"votive",
"Poggio Civitate",
"Etruscans",
"necropolis",
"fresco"
] |
|
16434_T | Sarcophagus of the Spouses | How does Sarcophagus of the Spouses elucidate its Family? | Another aspect that the Etruscans were known for is their family ties. Since they made such elaborate tombs for their deceased loved ones, and the sarcophagus is based on a couple, it can be seen that family ties were important in their society. The use of funerary urns and how they were created, such as the spouses, along with the materials, the scale of their urn or sarcophagus, if they add imagery, or how they create the dynamic of their people can show social ties. There could be inscriptions as well, such as family or clan names either located on the outside of the tomb or with their belongings. Another family value that has been touched on earlier in the banquets, which can be seen from the fresco and with the addition with the sarcophagus shows an eternal family dinner.There are other types of sarcophagi that have a family meaning to them such as the rock-carved funerary beds that have been found at Banditaccia, where the Spouses were found. These specific sarcophagi would have identifying features to show who was male and female buried in them. These rock-carved sarcophagi are in the shape of a bed, and if it was placed on the left side of a tomb it was meant for a male and on the right, it was meant for a female. The male sarcophagus was carved to resemble a wooden bed, with the ends laying flat and the legs, if any, were carved in cylinders. That of the females would have the same features as the male, yet they would be enclosed in a house-like structure, with the ends of the bed raised in a triangular shape to resemble roofing. There have also been smaller sarcophagi found near where the women would be buried that have been presumed to be for children. They would indicate the number and gender of people on the outside of the tomb. | [
"urn",
"left",
"Etruscan",
"sarcophagus",
"sarcophagi",
"Etruscans",
"Banditaccia",
"fresco"
] |
|
16434_NT | Sarcophagus of the Spouses | How does this artwork elucidate its Family? | Another aspect that the Etruscans were known for is their family ties. Since they made such elaborate tombs for their deceased loved ones, and the sarcophagus is based on a couple, it can be seen that family ties were important in their society. The use of funerary urns and how they were created, such as the spouses, along with the materials, the scale of their urn or sarcophagus, if they add imagery, or how they create the dynamic of their people can show social ties. There could be inscriptions as well, such as family or clan names either located on the outside of the tomb or with their belongings. Another family value that has been touched on earlier in the banquets, which can be seen from the fresco and with the addition with the sarcophagus shows an eternal family dinner.There are other types of sarcophagi that have a family meaning to them such as the rock-carved funerary beds that have been found at Banditaccia, where the Spouses were found. These specific sarcophagi would have identifying features to show who was male and female buried in them. These rock-carved sarcophagi are in the shape of a bed, and if it was placed on the left side of a tomb it was meant for a male and on the right, it was meant for a female. The male sarcophagus was carved to resemble a wooden bed, with the ends laying flat and the legs, if any, were carved in cylinders. That of the females would have the same features as the male, yet they would be enclosed in a house-like structure, with the ends of the bed raised in a triangular shape to resemble roofing. There have also been smaller sarcophagi found near where the women would be buried that have been presumed to be for children. They would indicate the number and gender of people on the outside of the tomb. | [
"urn",
"left",
"Etruscan",
"sarcophagus",
"sarcophagi",
"Etruscans",
"Banditaccia",
"fresco"
] |
|
16435_T | Sarcophagus of the Spouses | In the context of Sarcophagus of the Spouses, analyze the Etruscan women of the Family. | Limited evidence has been found about what the Etruscans did as a whole but from what has been found from sites dating back to the Orientalizing period, women of higher Etruscan society did have the same status as the men. Seen in burials they have been more lavish, as well with pottery that would have inscriptions of both their individual name (praenomen) and their family name (nomen), although only free women would have a personal name. It has been shown that women of the higher society were literate and that females related to a male by blood ties were respected since they were the ones carrying children through her bloodline. | [
"praenomen",
"nomen",
"Orientalizing period",
"Etruscan",
"Etruscan society",
"Etruscans",
"Orientalizing"
] |
|
16435_NT | Sarcophagus of the Spouses | In the context of this artwork, analyze the Etruscan women of the Family. | Limited evidence has been found about what the Etruscans did as a whole but from what has been found from sites dating back to the Orientalizing period, women of higher Etruscan society did have the same status as the men. Seen in burials they have been more lavish, as well with pottery that would have inscriptions of both their individual name (praenomen) and their family name (nomen), although only free women would have a personal name. It has been shown that women of the higher society were literate and that females related to a male by blood ties were respected since they were the ones carrying children through her bloodline. | [
"praenomen",
"nomen",
"Orientalizing period",
"Etruscan",
"Etruscan society",
"Etruscans",
"Orientalizing"
] |
|
16436_T | Sarcophagus of the Spouses | In Sarcophagus of the Spouses, how is the Similar sarcophagi discussed? | A similar sarcophagus from Caere was found at the Banditaccia necropolis. It also is called the Sarcophagus of the Spouses (Sarcophage des Époux) and is in the Louvre in Paris (Cp 5194). This sarcophagus has similarities that can suggest that they were made in the same studio, from the size, shape, and function of the sarcophagi.A second similar sarcophagus that could have been from the same studio was found in Caere. The urn of Monte Abatone, which is smaller than the other two, is made of terracotta and is in a similar style of laying on a couch or kline. It differs from the other two in that it is a single figure of a woman, as she poses in a way that depicts her pouring a liquid, possibly oil or perfume, in her hand. This work is located at National Etruscan Museum of Villa Giulia, Rome, and in 2021 this urn has been going through restoration by the Museums Restoration Service and the DE.CO.RE Company.Another similar urn exists that has the same dynamic as the Sarcophagus of the Spouses, just a smaller version. This urn also has a couple, the bare chested man embracing the clothed woman, leaning up against pillows, laying on a kline with their legs covered up and feet slightly sticking out. However this man does not have a beard. | [
"Caere",
"Sarcophagus",
"National Etruscan Museum of Villa Giulia",
"Rome",
"urn",
"terracotta",
"National Etruscan Museum",
"Villa Giulia",
"Etruscan",
"sarcophagus",
"Louvre",
"sarcophagi",
"Banditaccia",
"Paris",
"necropolis"
] |
|
16436_NT | Sarcophagus of the Spouses | In this artwork, how is the Similar sarcophagi discussed? | A similar sarcophagus from Caere was found at the Banditaccia necropolis. It also is called the Sarcophagus of the Spouses (Sarcophage des Époux) and is in the Louvre in Paris (Cp 5194). This sarcophagus has similarities that can suggest that they were made in the same studio, from the size, shape, and function of the sarcophagi.A second similar sarcophagus that could have been from the same studio was found in Caere. The urn of Monte Abatone, which is smaller than the other two, is made of terracotta and is in a similar style of laying on a couch or kline. It differs from the other two in that it is a single figure of a woman, as she poses in a way that depicts her pouring a liquid, possibly oil or perfume, in her hand. This work is located at National Etruscan Museum of Villa Giulia, Rome, and in 2021 this urn has been going through restoration by the Museums Restoration Service and the DE.CO.RE Company.Another similar urn exists that has the same dynamic as the Sarcophagus of the Spouses, just a smaller version. This urn also has a couple, the bare chested man embracing the clothed woman, leaning up against pillows, laying on a kline with their legs covered up and feet slightly sticking out. However this man does not have a beard. | [
"Caere",
"Sarcophagus",
"National Etruscan Museum of Villa Giulia",
"Rome",
"urn",
"terracotta",
"National Etruscan Museum",
"Villa Giulia",
"Etruscan",
"sarcophagus",
"Louvre",
"sarcophagi",
"Banditaccia",
"Paris",
"necropolis"
] |
|
16437_T | Sentinels (Hudson) | Focus on Sentinels (Hudson) and explore the abstract. | Sentinels is a public artwork by American artist Jon Barlow Hudson, located at the bottom of the Brady Street pedestrian bridge over North Lincoln Memorial Drive, which is in Milwaukee, Wisconsin, United States. It was commissioned as a part of the Wisconsin Percent for Art Program. | [
"Milwaukee",
"American",
"Jon Barlow Hudson",
"United States",
"Wisconsin"
] |
|
16437_NT | Sentinels (Hudson) | Focus on this artwork and explore the abstract. | Sentinels is a public artwork by American artist Jon Barlow Hudson, located at the bottom of the Brady Street pedestrian bridge over North Lincoln Memorial Drive, which is in Milwaukee, Wisconsin, United States. It was commissioned as a part of the Wisconsin Percent for Art Program. | [
"Milwaukee",
"American",
"Jon Barlow Hudson",
"United States",
"Wisconsin"
] |
|
16438_T | Sentinels (Hudson) | Focus on Sentinels (Hudson) and explain the Description. | Sentinels was constructed in March 2005 out of Wisconsin red granite. It consists of three monoliths with the tallest one being 15 feet high. Each monolith is features its own unique carved design. Hudson drew his inspiration for this sculpture from ts'ung tubes, which are Chinese jade ritual objects. | [
"Wisconsin"
] |
|
16438_NT | Sentinels (Hudson) | Focus on this artwork and explain the Description. | Sentinels was constructed in March 2005 out of Wisconsin red granite. It consists of three monoliths with the tallest one being 15 feet high. Each monolith is features its own unique carved design. Hudson drew his inspiration for this sculpture from ts'ung tubes, which are Chinese jade ritual objects. | [
"Wisconsin"
] |
|
16439_T | The Return of Spring | Explore the abstract of this artwork, The Return of Spring. | The Return of Spring (French: Le Printemps) is a painting by William-Adolphe Bouguereau created in 1886. It is among the more well-known of his works. It is currently in the collection of the Joslyn Art Museum in Omaha, Nebraska, and was acquired in 1951 as the gift of Francis T. B. Martin. The painting was brought to Omaha shortly after it was completed by George W. Lininger. Lininger was an art collector and private gallery owner who routinely opened his gallery to the public for no charge.The painting was physically attacked twice - in 1890 and in 1976. Both times, damages were minimal. The attackers were offended by the painting's overtly sensual nudity.A replica of the painting appeared in the ballroom scene at the Beaufort home in the 1993 film, The Age of Innocence (though the film takes place in the 1870s, years before the painting was created). | [
"Omaha, Nebraska",
"George W. Lininger",
"Nebraska",
"Joslyn Art Museum",
"Omaha",
"painting",
"William-Adolphe Bouguereau"
] |
|
16439_NT | The Return of Spring | Explore the abstract of this artwork. | The Return of Spring (French: Le Printemps) is a painting by William-Adolphe Bouguereau created in 1886. It is among the more well-known of his works. It is currently in the collection of the Joslyn Art Museum in Omaha, Nebraska, and was acquired in 1951 as the gift of Francis T. B. Martin. The painting was brought to Omaha shortly after it was completed by George W. Lininger. Lininger was an art collector and private gallery owner who routinely opened his gallery to the public for no charge.The painting was physically attacked twice - in 1890 and in 1976. Both times, damages were minimal. The attackers were offended by the painting's overtly sensual nudity.A replica of the painting appeared in the ballroom scene at the Beaufort home in the 1993 film, The Age of Innocence (though the film takes place in the 1870s, years before the painting was created). | [
"Omaha, Nebraska",
"George W. Lininger",
"Nebraska",
"Joslyn Art Museum",
"Omaha",
"painting",
"William-Adolphe Bouguereau"
] |
|
16440_T | Portrait of the Infante Don Carlos | Focus on Portrait of the Infante Don Carlos and discuss the abstract. | Portrait of the Infante Don Carlos is a 1626/27 oil painting of Don Carlos of Spain (brother to Philip IV of Spain), produced by Diego Velázquez as one of the first paintings he produced during his stay in Madrid. It is now in the Prado.
Its subject is in a relaxed and elegant pose, wearing a black costume with grey braids and a thick gold shoulder chain with the Order of the Golden Fleece and holding a hat in his left hand and a glove in his right. The figure appears in the darkest point of the space and the artist added a 4 cm strip on each side to add to its sense of authoritarianism. | [
"Don Carlos of Spain",
"Diego Velázquez",
"Prado",
"Philip IV of Spain",
"Order of the Golden Fleece",
"Don Carlos",
"Madrid"
] |
|
16440_NT | Portrait of the Infante Don Carlos | Focus on this artwork and discuss the abstract. | Portrait of the Infante Don Carlos is a 1626/27 oil painting of Don Carlos of Spain (brother to Philip IV of Spain), produced by Diego Velázquez as one of the first paintings he produced during his stay in Madrid. It is now in the Prado.
Its subject is in a relaxed and elegant pose, wearing a black costume with grey braids and a thick gold shoulder chain with the Order of the Golden Fleece and holding a hat in his left hand and a glove in his right. The figure appears in the darkest point of the space and the artist added a 4 cm strip on each side to add to its sense of authoritarianism. | [
"Don Carlos of Spain",
"Diego Velázquez",
"Prado",
"Philip IV of Spain",
"Order of the Golden Fleece",
"Don Carlos",
"Madrid"
] |
|
16441_T | Girls Spinning at the Gate | How does Girls Spinning at the Gate elucidate its abstract? | Girls spinning at the gate (Romanian: Fete lucrând la poartă) is a painting by Romanian painter Nicolae Grigorescu, from the period 1885 to 1890. | [
"Nicolae Grigorescu"
] |
|
16441_NT | Girls Spinning at the Gate | How does this artwork elucidate its abstract? | Girls spinning at the gate (Romanian: Fete lucrând la poartă) is a painting by Romanian painter Nicolae Grigorescu, from the period 1885 to 1890. | [
"Nicolae Grigorescu"
] |
|
16442_T | Girls Spinning at the Gate | Focus on Girls Spinning at the Gate and analyze the Description. | The painting has dimensions of 42.5 x 62.5 centimeters.
The picture belongs to the National Museum of Art of Romania, Bucharest. | [
"Bucharest",
"National Museum of Art of Romania"
] |
|
16442_NT | Girls Spinning at the Gate | Focus on this artwork and analyze the Description. | The painting has dimensions of 42.5 x 62.5 centimeters.
The picture belongs to the National Museum of Art of Romania, Bucharest. | [
"Bucharest",
"National Museum of Art of Romania"
] |
|
16443_T | Girls Spinning at the Gate | In Girls Spinning at the Gate, how is the Analysis discussed? | The picture shows two people in folk costumes sitting on a bench near a gate in a wood fence, and spinning, while light brings the surrounding landscape into the foreground. | [] |
|
16443_NT | Girls Spinning at the Gate | In this artwork, how is the Analysis discussed? | The picture shows two people in folk costumes sitting on a bench near a gate in a wood fence, and spinning, while light brings the surrounding landscape into the foreground. | [] |
|
16444_T | Annunciation with St. Margaret and St. Ansanus | Focus on Annunciation with St. Margaret and St. Ansanus and explore the abstract. | The Annunciation with St. Margaret and St. Ansanus is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral. | [
"St. Ansanus",
"Annunciation",
"Lippo Memmi",
"Florence",
"Ansanus",
"Uffizi",
"Gothic painting",
"Simone Martini",
"Italy",
"Uffizi Gallery",
" ",
"Siena Cathedral",
"triptych",
"Gothic art"
] |
|
16444_NT | Annunciation with St. Margaret and St. Ansanus | Focus on this artwork and explore the abstract. | The Annunciation with St. Margaret and St. Ansanus is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral. | [
"St. Ansanus",
"Annunciation",
"Lippo Memmi",
"Florence",
"Ansanus",
"Uffizi",
"Gothic painting",
"Simone Martini",
"Italy",
"Uffizi Gallery",
" ",
"Siena Cathedral",
"triptych",
"Gothic art"
] |
|
16445_T | Annunciation with St. Margaret and St. Ansanus | Focus on Annunciation with St. Margaret and St. Ansanus and explain the History. | The painting originally decorated the altar of St. Ansanus in the Cathedral of Siena, and had been commissioned as part of a cycle of four altarpieces dedicated to the city's patrons saints (St. Ansanus, St. Sabinus of Spoleto, St. Crescentius and St. Victor) during 1330–1350. These included the Presentation at the Temple by Ambrogio Lorenzetti (altar of St. Crescentius, 1342), the Nativity of the Virgin by Pietro Lorenzetti (1342, Altar of St. Sabinus), and a Nativity, now disassembled, attributed to Bartolomeo Bulgarini from 1351 (altar of St. Victor). All the paintings should represent stories of the Life of the Madonna, and were crowned by Duccio di Buoninsegna's Maestà. The artists' use of expensive lacquer, extensive gold leafing and the difficult to obtain lapis lazuli in the painting demonstrates the communal prestige of the commission.The date of the painting is specified in a fragment of the original frame, now embedded in the 19th-century renovation. It lists the name of Simone Martini and his brother-in-law Lippo Memmi (symon martini et lippvs memmi de senis me pinxervnt anno domini mcccxxxiii), although it is unknown which parts they executed. A hypothesis is that Martini painted the central panel, while Memmi was responsible for the side saints and the tondoes with prophets in the upper part.The work, in both size and style, has no similarities with any other contemporary painting in Italy. It can be compared instead to French illuminated manuscripts of that time, as well as to paintings from Germany or England. His "northern European" style granted Martini a call from the papal court in Avignon, where there were Italian but no Florentine painters, as the Giottesque classical manner was met with little interest by the Gothic culture of the area.The painting remained in the cathedral until 1799, when Grand Duke Peter Leopold had it moved to Florence in exchange of two canvasses by Luca Giordano. The original frame, carved by Paolo di Camporegio and gilt by Memmi, was renovated in 1420 and replaced by a modern one in the 19th century. | [
"Avignon",
"St. Ansanus",
"Lippo Memmi",
"Luca Giordano",
"Florence",
"St. Sabinus of Spoleto",
"Ansanus",
"Giottesque",
"Maestà",
"St. Crescentius",
"Duccio",
"Sabinus of Spoleto",
"Duccio di Buoninsegna",
"Ambrogio Lorenzetti",
"Simone Martini",
"Italy",
"Nativity of the Virgin",
" ",
"Pietro Lorenzetti",
"Bartolomeo Bulgarini",
"Peter Leopold",
"Cathedral of Siena",
"Presentation at the Temple"
] |
|
16445_NT | Annunciation with St. Margaret and St. Ansanus | Focus on this artwork and explain the History. | The painting originally decorated the altar of St. Ansanus in the Cathedral of Siena, and had been commissioned as part of a cycle of four altarpieces dedicated to the city's patrons saints (St. Ansanus, St. Sabinus of Spoleto, St. Crescentius and St. Victor) during 1330–1350. These included the Presentation at the Temple by Ambrogio Lorenzetti (altar of St. Crescentius, 1342), the Nativity of the Virgin by Pietro Lorenzetti (1342, Altar of St. Sabinus), and a Nativity, now disassembled, attributed to Bartolomeo Bulgarini from 1351 (altar of St. Victor). All the paintings should represent stories of the Life of the Madonna, and were crowned by Duccio di Buoninsegna's Maestà. The artists' use of expensive lacquer, extensive gold leafing and the difficult to obtain lapis lazuli in the painting demonstrates the communal prestige of the commission.The date of the painting is specified in a fragment of the original frame, now embedded in the 19th-century renovation. It lists the name of Simone Martini and his brother-in-law Lippo Memmi (symon martini et lippvs memmi de senis me pinxervnt anno domini mcccxxxiii), although it is unknown which parts they executed. A hypothesis is that Martini painted the central panel, while Memmi was responsible for the side saints and the tondoes with prophets in the upper part.The work, in both size and style, has no similarities with any other contemporary painting in Italy. It can be compared instead to French illuminated manuscripts of that time, as well as to paintings from Germany or England. His "northern European" style granted Martini a call from the papal court in Avignon, where there were Italian but no Florentine painters, as the Giottesque classical manner was met with little interest by the Gothic culture of the area.The painting remained in the cathedral until 1799, when Grand Duke Peter Leopold had it moved to Florence in exchange of two canvasses by Luca Giordano. The original frame, carved by Paolo di Camporegio and gilt by Memmi, was renovated in 1420 and replaced by a modern one in the 19th century. | [
"Avignon",
"St. Ansanus",
"Lippo Memmi",
"Luca Giordano",
"Florence",
"St. Sabinus of Spoleto",
"Ansanus",
"Giottesque",
"Maestà",
"St. Crescentius",
"Duccio",
"Sabinus of Spoleto",
"Duccio di Buoninsegna",
"Ambrogio Lorenzetti",
"Simone Martini",
"Italy",
"Nativity of the Virgin",
" ",
"Pietro Lorenzetti",
"Bartolomeo Bulgarini",
"Peter Leopold",
"Cathedral of Siena",
"Presentation at the Temple"
] |
|
16446_T | Vollard Suite | Explore the abstract of this artwork, Vollard Suite. | The Vollard Suite is a set of 100 etchings in the neoclassical style by the Spanish artist Pablo Picasso, produced from 1930-1937. Named after the art dealer who commissioned them, Ambroise Vollard (1866-1939), the suite is in a number of museums, and individual etchings from the suite are collectible. More than 300 sets were created, but many were broken up and the prints sold separately.An earlier Vollard Suite was commissioned from Paul Gauguin in 1898–99, a smaller group in woodcut and monotype, which Vollard did not like. | [
"neoclassical style",
"Paul Gauguin",
"woodcut",
"etching",
"Ambroise Vollard",
"monotype",
"Pablo Picasso"
] |
|
16446_NT | Vollard Suite | Explore the abstract of this artwork. | The Vollard Suite is a set of 100 etchings in the neoclassical style by the Spanish artist Pablo Picasso, produced from 1930-1937. Named after the art dealer who commissioned them, Ambroise Vollard (1866-1939), the suite is in a number of museums, and individual etchings from the suite are collectible. More than 300 sets were created, but many were broken up and the prints sold separately.An earlier Vollard Suite was commissioned from Paul Gauguin in 1898–99, a smaller group in woodcut and monotype, which Vollard did not like. | [
"neoclassical style",
"Paul Gauguin",
"woodcut",
"etching",
"Ambroise Vollard",
"monotype",
"Pablo Picasso"
] |
|
16447_T | Vollard Suite | Focus on Vollard Suite and discuss the History. | In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cézanne.Picasso worked extensively on the set in the spring of 1933, and completed the suite in 1937. It took a further two years for the printmaker Roger Lacourière to finish printing the 230 full sets, but the death of Vollard in 1939 and the Second World War meant that the sets only started coming onto the art market in the 1950s.A 1971 exhibition of the suite in Madrid was attacked by a paramilitary group, the Guerrilleros de Cristo Rey (Warriors of Christ the King) who tore the pictures and poured acid over the prints. The group attacked things associated with Spanish exiles like Picasso who aligned themselves with the Republican cause in the Spanish Civil War.A spinning residential building in Brazil was named Suite Vollard after the suite.A complete set is owned by the National Gallery of Australia and a complete set was acquired by the British Museum in 2011 after a donation of £1 million from financier Hamish Parker, a director of Mondrian Investment Partners. The donation was in memory of Parker's father, Major Horace Parker. It had been the British Museum's ambition to own the set and the acquisition was described by the museum's director, Neil MacGregor, as "one of the institution's most important acquisitions of the past 50 years". | [
"Republican cause",
"Neil MacGregor",
"National Gallery of Australia",
"Suite Vollard",
"Spanish Civil War",
"Pierre-Auguste Renoir",
"paramilitary",
"spinning residential building",
"Warriors of Christ the King",
"etching",
"British Museum",
"Ambroise Vollard",
"Roger Lacourière",
"Paul Cézanne"
] |
|
16447_NT | Vollard Suite | Focus on this artwork and discuss the History. | In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cézanne.Picasso worked extensively on the set in the spring of 1933, and completed the suite in 1937. It took a further two years for the printmaker Roger Lacourière to finish printing the 230 full sets, but the death of Vollard in 1939 and the Second World War meant that the sets only started coming onto the art market in the 1950s.A 1971 exhibition of the suite in Madrid was attacked by a paramilitary group, the Guerrilleros de Cristo Rey (Warriors of Christ the King) who tore the pictures and poured acid over the prints. The group attacked things associated with Spanish exiles like Picasso who aligned themselves with the Republican cause in the Spanish Civil War.A spinning residential building in Brazil was named Suite Vollard after the suite.A complete set is owned by the National Gallery of Australia and a complete set was acquired by the British Museum in 2011 after a donation of £1 million from financier Hamish Parker, a director of Mondrian Investment Partners. The donation was in memory of Parker's father, Major Horace Parker. It had been the British Museum's ambition to own the set and the acquisition was described by the museum's director, Neil MacGregor, as "one of the institution's most important acquisitions of the past 50 years". | [
"Republican cause",
"Neil MacGregor",
"National Gallery of Australia",
"Suite Vollard",
"Spanish Civil War",
"Pierre-Auguste Renoir",
"paramilitary",
"spinning residential building",
"Warriors of Christ the King",
"etching",
"British Museum",
"Ambroise Vollard",
"Roger Lacourière",
"Paul Cézanne"
] |
|
16448_T | Vollard Suite | How does Vollard Suite elucidate its The series? | The works are not based on a literary source, and are not titled, although according to the Fundación Juan March, "Some of the themes have a remote origin in Honoré de Balzac's short story Le Chef-d'œuvre inconnu (The Unknown Masterpiece, 1831), which greatly impressed Picasso. It tells the story of a painter's efforts to capture life itself on canvas through the means of feminine beauty". The works are inscribed by Picasso with the year month and day that he drew the image. Writing in the Daily Telegraph Richard Dorment claims that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe...In the years Picasso worked on the series, fascism spread through Europe, and civil war erupted in Spain. These anxieties also found their way into the Vollard Suite, so that by the time you reach the end of the show and the last images of the blind minotaur, you feel that you are in a different emotional universe from the sunlit arcadia you encountered at the show's beginning".The suite begins with prints exploring the theme of the sculptor's studio, Picasso's mistress, Marie-Thérèse Walter, is portrayed as a model lying in the arms of a bearded sculptor. Picasso had recently been inspired by Marie-Thérèse to create a series of monumental bronze heads in the neoclassical style. Picasso had also recently been commissioned by the publisher Albert Skira in 1928 to create original intaglio prints for his translation of Ovid's Metamorphoses, which appeared in 1931.Dorment comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse. The final three prints from the suite are portraits of Vollard.Picasso learned new techniques of etching during the suite, from relatively simple line etchings, through burin, dry point, aquatinting and sugar aquatinting learnt through Roger Lacourière in his workshop, this enabled him to achieve more painterly effects. Most of the prints were completed to Picasso's satisfaction in a single state, but others, especially the erotic compositions, exist in several states, fourteen in one case. | [
"Fundación Juan March",
"neoclassical style",
"arcadia",
"Ovid",
"aquatinting",
"Daily Telegraph",
"Marie-Thérèse Walter",
"burin",
"Le Chef-d'œuvre inconnu",
"intaglio",
"minotaur",
"state",
"Honoré de Balzac",
"Albert Skira",
"etching",
"Roger Lacourière",
"Metamorphoses",
"dry point"
] |
|
16448_NT | Vollard Suite | How does this artwork elucidate its The series? | The works are not based on a literary source, and are not titled, although according to the Fundación Juan March, "Some of the themes have a remote origin in Honoré de Balzac's short story Le Chef-d'œuvre inconnu (The Unknown Masterpiece, 1831), which greatly impressed Picasso. It tells the story of a painter's efforts to capture life itself on canvas through the means of feminine beauty". The works are inscribed by Picasso with the year month and day that he drew the image. Writing in the Daily Telegraph Richard Dorment claims that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe...In the years Picasso worked on the series, fascism spread through Europe, and civil war erupted in Spain. These anxieties also found their way into the Vollard Suite, so that by the time you reach the end of the show and the last images of the blind minotaur, you feel that you are in a different emotional universe from the sunlit arcadia you encountered at the show's beginning".The suite begins with prints exploring the theme of the sculptor's studio, Picasso's mistress, Marie-Thérèse Walter, is portrayed as a model lying in the arms of a bearded sculptor. Picasso had recently been inspired by Marie-Thérèse to create a series of monumental bronze heads in the neoclassical style. Picasso had also recently been commissioned by the publisher Albert Skira in 1928 to create original intaglio prints for his translation of Ovid's Metamorphoses, which appeared in 1931.Dorment comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse. The final three prints from the suite are portraits of Vollard.Picasso learned new techniques of etching during the suite, from relatively simple line etchings, through burin, dry point, aquatinting and sugar aquatinting learnt through Roger Lacourière in his workshop, this enabled him to achieve more painterly effects. Most of the prints were completed to Picasso's satisfaction in a single state, but others, especially the erotic compositions, exist in several states, fourteen in one case. | [
"Fundación Juan March",
"neoclassical style",
"arcadia",
"Ovid",
"aquatinting",
"Daily Telegraph",
"Marie-Thérèse Walter",
"burin",
"Le Chef-d'œuvre inconnu",
"intaglio",
"minotaur",
"state",
"Honoré de Balzac",
"Albert Skira",
"etching",
"Roger Lacourière",
"Metamorphoses",
"dry point"
] |
|
16449_T | Vollard Suite | Focus on Vollard Suite and analyze the Collections with complete sets. | Bibliothèque nationale de France, département des Estampes
British Museum
Colby College Museum of Art
Fundación MAPFRE, Madrid
Harry Ransom Center
Hood Museum of Art, Hanover, New Hampshire
Kunstmuseum Pablo Picasso Münster
Modern Art Museum of Fort Worth
Museum Ludwig, Cologne
Museo de Arte Contemporáneo de Caracas (MACC)
National Gallery of Australia
National Gallery of Canada
Philadelphia Museum of Art | [
"Colby College Museum of Art",
"Kunstmuseum Pablo Picasso Münster",
"Museum Ludwig",
"National Gallery of Australia",
"Cologne",
"Harry Ransom Center",
"Philadelphia Museum of Art",
"Hood Museum of Art",
"Hanover, New Hampshire",
"Modern Art Museum of Fort Worth",
"National Gallery of Canada",
"British Museum",
"Fundación MAPFRE",
"Bibliothèque nationale de France",
"Pablo Picasso"
] |
|
16449_NT | Vollard Suite | Focus on this artwork and analyze the Collections with complete sets. | Bibliothèque nationale de France, département des Estampes
British Museum
Colby College Museum of Art
Fundación MAPFRE, Madrid
Harry Ransom Center
Hood Museum of Art, Hanover, New Hampshire
Kunstmuseum Pablo Picasso Münster
Modern Art Museum of Fort Worth
Museum Ludwig, Cologne
Museo de Arte Contemporáneo de Caracas (MACC)
National Gallery of Australia
National Gallery of Canada
Philadelphia Museum of Art | [
"Colby College Museum of Art",
"Kunstmuseum Pablo Picasso Münster",
"Museum Ludwig",
"National Gallery of Australia",
"Cologne",
"Harry Ransom Center",
"Philadelphia Museum of Art",
"Hood Museum of Art",
"Hanover, New Hampshire",
"Modern Art Museum of Fort Worth",
"National Gallery of Canada",
"British Museum",
"Fundación MAPFRE",
"Bibliothèque nationale de France",
"Pablo Picasso"
] |
|
16450_T | Serenity (Clara) | In Serenity (Clara), how is the abstract discussed? | Serenity is a public artwork by Catalan artist Josep Clarà i Ayats, (1878, Olot, Girona, Spain – 1958, Barcelona, Spain) located at Meridian Hill Park in Washington, D.C., United States. Serenity was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. | [
"Washington, D.C.",
"Josep Clarà i Ayats",
"Barcelona",
"Meridian Hill Park",
"Smithsonian's",
"Olot",
"United States",
"Josep Clarà",
"Save Outdoor Sculpture!",
"Spain",
"Catalan",
"Girona"
] |
|
16450_NT | Serenity (Clara) | In this artwork, how is the abstract discussed? | Serenity is a public artwork by Catalan artist Josep Clarà i Ayats, (1878, Olot, Girona, Spain – 1958, Barcelona, Spain) located at Meridian Hill Park in Washington, D.C., United States. Serenity was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. | [
"Washington, D.C.",
"Josep Clarà i Ayats",
"Barcelona",
"Meridian Hill Park",
"Smithsonian's",
"Olot",
"United States",
"Josep Clarà",
"Save Outdoor Sculpture!",
"Spain",
"Catalan",
"Girona"
] |
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