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16451_T | Serenity (Clara) | Focus on Serenity (Clara) and explore the Description. | This large sculpture is of an allegorical woman wearing long, flowing classical robes which are tied at her waist. She has long hair and stares intensely in front of her. "Serenity" sits on a rocky ledge with her arms casually resting on the rocks behind her. Her left foot rested on a broken sword.
The sculpture is signed on the proper left side: Jose Clara.
The front of the base is inscribed:SERENITY
IN REMEMBRANCE OF WILLIAM HENRY SCHEVTZE
LIEVTENANT COMMANDER VNITED STATES NAVY
MDCCCLIII–MCMIIThe name of William Henry Schuetze is spelled wrong on the monument per a government source at the time.The statue is an outstanding example of the avantgarde classical style, which became popular in Europe and the US around 1910, following the work of French sculptor Aristide Maillol (1861–1944). Serenity's classical features and its archaic volumes are characteristics of this style, which became particularly important in Catalonia, where Clarà was born, through the Noucentista movement, spanning from 1910 to 1936. | [
"1910",
"French",
"avantgarde",
"Catalonia",
"Aristide Maillol",
"allegorical",
"1936",
"Noucentista"
] |
|
16451_NT | Serenity (Clara) | Focus on this artwork and explore the Description. | This large sculpture is of an allegorical woman wearing long, flowing classical robes which are tied at her waist. She has long hair and stares intensely in front of her. "Serenity" sits on a rocky ledge with her arms casually resting on the rocks behind her. Her left foot rested on a broken sword.
The sculpture is signed on the proper left side: Jose Clara.
The front of the base is inscribed:SERENITY
IN REMEMBRANCE OF WILLIAM HENRY SCHEVTZE
LIEVTENANT COMMANDER VNITED STATES NAVY
MDCCCLIII–MCMIIThe name of William Henry Schuetze is spelled wrong on the monument per a government source at the time.The statue is an outstanding example of the avantgarde classical style, which became popular in Europe and the US around 1910, following the work of French sculptor Aristide Maillol (1861–1944). Serenity's classical features and its archaic volumes are characteristics of this style, which became particularly important in Catalonia, where Clarà was born, through the Noucentista movement, spanning from 1910 to 1936. | [
"1910",
"French",
"avantgarde",
"Catalonia",
"Aristide Maillol",
"allegorical",
"1936",
"Noucentista"
] |
|
16452_T | Serenity (Clara) | Focus on Serenity (Clara) and explain the Background. | Serenity was bought by Charles Deering in Sitges, a town near Barcelona, Spain. Deering had a unique art collection that included many works by Catalan artists. In 1916 he commissioned sculptor Josep Clarà i Ayats (1878–1958) to sculpt a version of Serenity for the main patio of his villa in Sitges, known as Palau de Maricel. However, later changes in the building forced Deering to change his mind so to locate the statue at Meridian Hill Park as a tribute to his friend and classmate from the U.S. Naval Academy – William Henry Scheutze (1853–1902).The sculpture was dedicated on March 12, 1924. Schuetze was a naval officer from the academy who graduated in 1873 and went on to serve as a navigator on the U.S.S. Iowa during the Spanish–American War. He was active in the U.S. Naval White Squadron in Chicago. Earlier in his naval career (1882-84), as mentioned in President Chester A. Arthur's second State of the Union address (also with Schuetze misspelled per that linked source), he was a lieutenant on missions in the aftermath of the disastrous Jeannette expedition in the Arctic Ocean. Before his death in 1927, Schuetze became president of the International Harvester Company.The sculpture is similar to the one located at the Miramar Gardens in Montjuïc, Barcelona. The Museu de la Garrotxa d'Olot holds other versions of this work. | [
"1916",
"Chester A. Arthur",
"Spanish–American War",
"Josep Clarà i Ayats",
"U.S. Naval Academy",
"Barcelona",
"Meridian Hill Park",
"Olot",
"Charles Deering",
"second State of the Union address",
"Josep Clarà",
"International Harvester Company",
"U.S.S. Iowa",
"Spain",
"International Harvester",
"Sitges",
"Jeannette expedition",
"Miramar Gardens in Montjuïc",
"Catalan"
] |
|
16452_NT | Serenity (Clara) | Focus on this artwork and explain the Background. | Serenity was bought by Charles Deering in Sitges, a town near Barcelona, Spain. Deering had a unique art collection that included many works by Catalan artists. In 1916 he commissioned sculptor Josep Clarà i Ayats (1878–1958) to sculpt a version of Serenity for the main patio of his villa in Sitges, known as Palau de Maricel. However, later changes in the building forced Deering to change his mind so to locate the statue at Meridian Hill Park as a tribute to his friend and classmate from the U.S. Naval Academy – William Henry Scheutze (1853–1902).The sculpture was dedicated on March 12, 1924. Schuetze was a naval officer from the academy who graduated in 1873 and went on to serve as a navigator on the U.S.S. Iowa during the Spanish–American War. He was active in the U.S. Naval White Squadron in Chicago. Earlier in his naval career (1882-84), as mentioned in President Chester A. Arthur's second State of the Union address (also with Schuetze misspelled per that linked source), he was a lieutenant on missions in the aftermath of the disastrous Jeannette expedition in the Arctic Ocean. Before his death in 1927, Schuetze became president of the International Harvester Company.The sculpture is similar to the one located at the Miramar Gardens in Montjuïc, Barcelona. The Museu de la Garrotxa d'Olot holds other versions of this work. | [
"1916",
"Chester A. Arthur",
"Spanish–American War",
"Josep Clarà i Ayats",
"U.S. Naval Academy",
"Barcelona",
"Meridian Hill Park",
"Olot",
"Charles Deering",
"second State of the Union address",
"Josep Clarà",
"International Harvester Company",
"U.S.S. Iowa",
"Spain",
"International Harvester",
"Sitges",
"Jeannette expedition",
"Miramar Gardens in Montjuïc",
"Catalan"
] |
|
16453_T | Serenity (Clara) | Explore the Condition of this artwork, Serenity (Clara). | When the sculpture was installed at Meridian Hill Park in 1925, the public opposed it. A petition was created opposing its placement, citing that the subject's "thighs were too big." Community members took hammers to the sculpture, creating small craters, which remain today, on the woman's face.In 1960 the piece was reported as having a missing nose. This sculpture was surveyed in 1993 for its condition and it was described as needing treatment. By 2009, press reports indicate it was also missing her left hand and a big toe. As of 2018, one of the sculpture's hands is missing. | [
"Meridian Hill Park"
] |
|
16453_NT | Serenity (Clara) | Explore the Condition of this artwork. | When the sculpture was installed at Meridian Hill Park in 1925, the public opposed it. A petition was created opposing its placement, citing that the subject's "thighs were too big." Community members took hammers to the sculpture, creating small craters, which remain today, on the woman's face.In 1960 the piece was reported as having a missing nose. This sculpture was surveyed in 1993 for its condition and it was described as needing treatment. By 2009, press reports indicate it was also missing her left hand and a big toe. As of 2018, one of the sculpture's hands is missing. | [
"Meridian Hill Park"
] |
|
16454_T | Saint Longinus (Bernini) | Focus on Saint Longinus (Bernini) and discuss the abstract. | Saint Longinus is a sculpture by the Italian artist Gian Lorenzo Bernini. Completed in 1638, the marble sculpture sits in the north-eastern niche in the crossing of St. Peter's Basilica in Vatican City. It is over four meters high and was commissioned by Pope Urban VIII, a great patron of Bernini. | [
"St. Peter's Basilica",
"crossing",
"Vatican City",
"Bernini",
"Longinus",
"Saint Longinus",
"Gian Lorenzo Bernini",
"Pope Urban VIII"
] |
|
16454_NT | Saint Longinus (Bernini) | Focus on this artwork and discuss the abstract. | Saint Longinus is a sculpture by the Italian artist Gian Lorenzo Bernini. Completed in 1638, the marble sculpture sits in the north-eastern niche in the crossing of St. Peter's Basilica in Vatican City. It is over four meters high and was commissioned by Pope Urban VIII, a great patron of Bernini. | [
"St. Peter's Basilica",
"crossing",
"Vatican City",
"Bernini",
"Longinus",
"Saint Longinus",
"Gian Lorenzo Bernini",
"Pope Urban VIII"
] |
|
16455_T | Saint Longinus (Bernini) | How does Saint Longinus (Bernini) elucidate its Commission? | In 1627 Bernini replaced Carlo Maderno as the chief architect for St. Peter's Basilica and was given complete control over any new projects in St. Peter's until 1647, three years after the Pope's death. Bernini not only oversaw the addition of interior decoration in St. Peter's but he was responsible for the creation of several works, including Saint Longinus.Saint Longinus was one of four massive statues commissioned for the niches under the crossing of St Peter's, along with statues of St Andrew, St Helen, and St Veronica, all of whom have relics associated with them in the basilica. Small models were created by various artists, including one of St Andrew by Bernini. After various discussions with the committee selecting the works, Bernini was then appointed to create St Longinus. Bernini was paid 3,300 Roman scudi for the work, the same as each of the other sculptors producing statues for the niche. | [
"St. Peter's Basilica",
"St Veronica",
"crossing",
"relics",
"St Andrew",
"St Helen",
"Roman",
"Bernini",
"Carlo Maderno",
"scudi",
"Longinus",
"Saint Longinus"
] |
|
16455_NT | Saint Longinus (Bernini) | How does this artwork elucidate its Commission? | In 1627 Bernini replaced Carlo Maderno as the chief architect for St. Peter's Basilica and was given complete control over any new projects in St. Peter's until 1647, three years after the Pope's death. Bernini not only oversaw the addition of interior decoration in St. Peter's but he was responsible for the creation of several works, including Saint Longinus.Saint Longinus was one of four massive statues commissioned for the niches under the crossing of St Peter's, along with statues of St Andrew, St Helen, and St Veronica, all of whom have relics associated with them in the basilica. Small models were created by various artists, including one of St Andrew by Bernini. After various discussions with the committee selecting the works, Bernini was then appointed to create St Longinus. Bernini was paid 3,300 Roman scudi for the work, the same as each of the other sculptors producing statues for the niche. | [
"St. Peter's Basilica",
"St Veronica",
"crossing",
"relics",
"St Andrew",
"St Helen",
"Roman",
"Bernini",
"Carlo Maderno",
"scudi",
"Longinus",
"Saint Longinus"
] |
|
16456_T | Saint Longinus (Bernini) | Focus on Saint Longinus (Bernini) and analyze the Preparatory studies. | It is likely that the early bozzetto (a rough model made in terracotta), held in the Fogg Art Museum and dated to ca. 1631, was done by Bernini as he continued to work through various concepts for the final statue. However, the design used in the Harvard bozzetto was not the one used in the final statue; changes to the Baldacchino - the immense four pillared arch built in the centre of the crossing - influenced the Longinus design. "Instead of a figure of the Risen Christ," CD Dickerson writes, "the Baldacchino was now to carry a simple globe and cross. Therefore, as Bernini grasped, it no longer made sense for the Longinus to be looking up at the Baldacchino in a worshipful pose."A later terracotta sketch, held in the Museo di Roma, and rescued during excavation in the 1980s, is closer to the final design. The Museo di Roma model has been cut up into various pieces; the places of the cuts (along the right arm, drapery and torso) are the same as the divisions in the marble block on the final sculpture. This indicates Bernini used the model to calculate how the various blocks of marble could be brought to together to form a physically robust and seemingly complete whole.Bernini and his assistants are likely to have produced many more preparatory designs. The German artist Joachim von Sandrart counted 22 small models for Saint Longinus when he visited Bernini's studio in 1635. Additionally, there are another set of eight drawings in the Düsseldorf Museum Kunstpalast. Once the model had been agreed by the relevant parties, Bernini set to work on the sculpture, taking three years to produce the final design. | [
"crossing",
"bozzetto",
"Harvard",
"Baldacchino",
"terracotta",
"Museo di Roma",
"Fogg Art Museum",
"Bernini",
"German",
"Longinus",
"Saint Longinus",
"Joachim von Sandrart"
] |
|
16456_NT | Saint Longinus (Bernini) | Focus on this artwork and analyze the Preparatory studies. | It is likely that the early bozzetto (a rough model made in terracotta), held in the Fogg Art Museum and dated to ca. 1631, was done by Bernini as he continued to work through various concepts for the final statue. However, the design used in the Harvard bozzetto was not the one used in the final statue; changes to the Baldacchino - the immense four pillared arch built in the centre of the crossing - influenced the Longinus design. "Instead of a figure of the Risen Christ," CD Dickerson writes, "the Baldacchino was now to carry a simple globe and cross. Therefore, as Bernini grasped, it no longer made sense for the Longinus to be looking up at the Baldacchino in a worshipful pose."A later terracotta sketch, held in the Museo di Roma, and rescued during excavation in the 1980s, is closer to the final design. The Museo di Roma model has been cut up into various pieces; the places of the cuts (along the right arm, drapery and torso) are the same as the divisions in the marble block on the final sculpture. This indicates Bernini used the model to calculate how the various blocks of marble could be brought to together to form a physically robust and seemingly complete whole.Bernini and his assistants are likely to have produced many more preparatory designs. The German artist Joachim von Sandrart counted 22 small models for Saint Longinus when he visited Bernini's studio in 1635. Additionally, there are another set of eight drawings in the Düsseldorf Museum Kunstpalast. Once the model had been agreed by the relevant parties, Bernini set to work on the sculpture, taking three years to produce the final design. | [
"crossing",
"bozzetto",
"Harvard",
"Baldacchino",
"terracotta",
"Museo di Roma",
"Fogg Art Museum",
"Bernini",
"German",
"Longinus",
"Saint Longinus",
"Joachim von Sandrart"
] |
|
16457_T | Saint Longinus (Bernini) | In Saint Longinus (Bernini), how is the Historical context discussed? | Begun in 1545, the Council of Trent impacted the content of religious art throughout sixteenth and seventeenth century. The Council of Trent, which reaffirmed basic Catholic doctrine in response to the Protestant Reformation, clarified what elements should be considered in all religious artwork. It was determined religious artwork should depict key aspects of Catholic doctrine, including the saints and sacraments. The art produced during this time was supposed to be clear, accurate, show decorum, and have emotional accessibility. In creating any religious work of art, including Saint Longinus, these guidelines were to be followed. | [
"Reformation",
"Catholic doctrine",
"Council of Trent",
"Catholic",
"Longinus",
"Saint Longinus",
"Protestant Reformation",
"the Council of Trent"
] |
|
16457_NT | Saint Longinus (Bernini) | In this artwork, how is the Historical context discussed? | Begun in 1545, the Council of Trent impacted the content of religious art throughout sixteenth and seventeenth century. The Council of Trent, which reaffirmed basic Catholic doctrine in response to the Protestant Reformation, clarified what elements should be considered in all religious artwork. It was determined religious artwork should depict key aspects of Catholic doctrine, including the saints and sacraments. The art produced during this time was supposed to be clear, accurate, show decorum, and have emotional accessibility. In creating any religious work of art, including Saint Longinus, these guidelines were to be followed. | [
"Reformation",
"Catholic doctrine",
"Council of Trent",
"Catholic",
"Longinus",
"Saint Longinus",
"Protestant Reformation",
"the Council of Trent"
] |
|
16458_T | Saint Longinus (Bernini) | Focus on Saint Longinus (Bernini) and explore the Religious context. | Longinus was the blind Roman soldier who speared Jesus in the side during the crucifixion. He was alleged to have converted to Christianity after the event, having realized Jesus was the son of God. When converting to Christianity, Longinus was cured of his blindness and regained his sight, experiencing not only a spiritual awakening but a physical one as well. | [
"God",
"Jesus",
"crucifixion",
"Christianity",
"Roman",
"Longinus"
] |
|
16458_NT | Saint Longinus (Bernini) | Focus on this artwork and explore the Religious context. | Longinus was the blind Roman soldier who speared Jesus in the side during the crucifixion. He was alleged to have converted to Christianity after the event, having realized Jesus was the son of God. When converting to Christianity, Longinus was cured of his blindness and regained his sight, experiencing not only a spiritual awakening but a physical one as well. | [
"God",
"Jesus",
"crucifixion",
"Christianity",
"Roman",
"Longinus"
] |
|
16459_T | Saint Longinus (Bernini) | Focus on Saint Longinus (Bernini) and explain the Composition. | Bernini captures the moment when Longinus experiences his spiritual awakening. His face looks up towards the sky with a partially open mouth to indicate his spiritual awakening. The Holy Lance is thrust to the side and his armor and military apparatus lay behind him, a symbol of his revocation of his career as a Roman soldier. Longinus, with his arms extended, receives the divine light. This divine light, in practice, would come through the windows of St. Peter's Basilica. | [
"St. Peter's Basilica",
"Holy Lance",
"Roman",
"Bernini",
"Longinus"
] |
|
16459_NT | Saint Longinus (Bernini) | Focus on this artwork and explain the Composition. | Bernini captures the moment when Longinus experiences his spiritual awakening. His face looks up towards the sky with a partially open mouth to indicate his spiritual awakening. The Holy Lance is thrust to the side and his armor and military apparatus lay behind him, a symbol of his revocation of his career as a Roman soldier. Longinus, with his arms extended, receives the divine light. This divine light, in practice, would come through the windows of St. Peter's Basilica. | [
"St. Peter's Basilica",
"Holy Lance",
"Roman",
"Bernini",
"Longinus"
] |
|
16460_T | Saint Longinus (Bernini) | Explore the Artistic style of this artwork, Saint Longinus (Bernini). | Bernini is known for using intense emotion to communicate a psychological or spiritual awakening in his subject. The way in which he depicted a subject's fabric was often manipulated by Bernini to enhance the drama of the scene. Longinus's clothes twist and billow around him with great intensity, acting as a visual representation of Longinus's spiritual moment converting to Christianity. The billowing fabric also suggests another important trait of Baroque sculpture and Bernini's work, namely movement. Bernini has composed the scene as if the viewer has stumbled upon Longinus, frozen in time at the exact moment of his spiritual transformation. The fabric, depicted in what would otherwise be an unrealistic placement, suggests movement and that the viewer has just stumbled upon Longinus in his exact moment of spiritual awakening.Bernini has also elevated the drama of the scene by manipulating the construction of the sculpture to create sharp contrasts between light and dark. An iconic visual element of the Baroque era is chiaroscuro, or the contrast between light and dark, which served to heighten the drama of a scene. Bernini uses two techniques in this sculpture to facilitate this contrast and add more drama to the scene. Using a claw chisel, Bernini has created large and small linear patterns across the sculpture, or hatching effect commonly seen in drawings. Areas of the sculpture, especially in the fabric, are also heavily undercut to create pockets of shadow. These two techniques create more darker shadows in the sculpture that are juxtaposed against the bright white marble, thus enhancing the dramatic effect of light and shade. | [
"Baroque sculpture",
"Baroque",
"Christianity",
"chiaroscuro",
"Bernini",
"Longinus"
] |
|
16460_NT | Saint Longinus (Bernini) | Explore the Artistic style of this artwork. | Bernini is known for using intense emotion to communicate a psychological or spiritual awakening in his subject. The way in which he depicted a subject's fabric was often manipulated by Bernini to enhance the drama of the scene. Longinus's clothes twist and billow around him with great intensity, acting as a visual representation of Longinus's spiritual moment converting to Christianity. The billowing fabric also suggests another important trait of Baroque sculpture and Bernini's work, namely movement. Bernini has composed the scene as if the viewer has stumbled upon Longinus, frozen in time at the exact moment of his spiritual transformation. The fabric, depicted in what would otherwise be an unrealistic placement, suggests movement and that the viewer has just stumbled upon Longinus in his exact moment of spiritual awakening.Bernini has also elevated the drama of the scene by manipulating the construction of the sculpture to create sharp contrasts between light and dark. An iconic visual element of the Baroque era is chiaroscuro, or the contrast between light and dark, which served to heighten the drama of a scene. Bernini uses two techniques in this sculpture to facilitate this contrast and add more drama to the scene. Using a claw chisel, Bernini has created large and small linear patterns across the sculpture, or hatching effect commonly seen in drawings. Areas of the sculpture, especially in the fabric, are also heavily undercut to create pockets of shadow. These two techniques create more darker shadows in the sculpture that are juxtaposed against the bright white marble, thus enhancing the dramatic effect of light and shade. | [
"Baroque sculpture",
"Baroque",
"Christianity",
"chiaroscuro",
"Bernini",
"Longinus"
] |
|
16461_T | Saint Longinus (Bernini) | In the context of Saint Longinus (Bernini), discuss the Physiognomy of the Artistic style. | Manipulating a subject's facial expression to depict their inner feelings and personality was a common technique employed by Bernini and other Baroque artists. In 1593, Italian iconographer Cesare Ripa published Iconologia, a book dealing with the idea of physiognomy. Physiognomy was a popular concept throughout the early seventeenth century and was heavily employed by Baroque artists. Longinus's upward glancing eyes and his parted mouth is an example of physiognomy. The expression of his face is meant to symbolize his inner feelings, specifically his spiritual enlightenment. The head is undoubtedly imitated by a Hellenistic model, the Borghese centaur (Louvre). This technique can also be seen in Bernini's Ecstasy of Saint Theresa, where Saint Theresa looks up to the sky with her mouth partly open, similar to what is seen in Saint Longinus. | [
"Cesare Ripa",
"physiognomy",
"Iconologia",
"Baroque",
"Ecstasy of Saint Theresa",
"Bernini",
"Physiognomy",
"Longinus",
"Saint Longinus",
"Saint Theresa"
] |
|
16461_NT | Saint Longinus (Bernini) | In the context of this artwork, discuss the Physiognomy of the Artistic style. | Manipulating a subject's facial expression to depict their inner feelings and personality was a common technique employed by Bernini and other Baroque artists. In 1593, Italian iconographer Cesare Ripa published Iconologia, a book dealing with the idea of physiognomy. Physiognomy was a popular concept throughout the early seventeenth century and was heavily employed by Baroque artists. Longinus's upward glancing eyes and his parted mouth is an example of physiognomy. The expression of his face is meant to symbolize his inner feelings, specifically his spiritual enlightenment. The head is undoubtedly imitated by a Hellenistic model, the Borghese centaur (Louvre). This technique can also be seen in Bernini's Ecstasy of Saint Theresa, where Saint Theresa looks up to the sky with her mouth partly open, similar to what is seen in Saint Longinus. | [
"Cesare Ripa",
"physiognomy",
"Iconologia",
"Baroque",
"Ecstasy of Saint Theresa",
"Bernini",
"Physiognomy",
"Longinus",
"Saint Longinus",
"Saint Theresa"
] |
|
16462_T | Saint Longinus (Bernini) | In Saint Longinus (Bernini), how is the References to Catholic Christianity of the Artistic style elucidated? | When Longinus pierced the side of Christ both blood and water came from the wound. The mixing of blood and water symbolizes the sacraments of the Eucharist and baptism, two important components of the Catholic faith during the Counter-Reformation. By depicting Longinus with the lance, Bernini is referencing these two important Catholic beliefs. | [
"Reformation",
"Eucharist",
"Christianity",
"Catholic",
"Bernini",
"Longinus",
"baptism",
"Counter-Reformation"
] |
|
16462_NT | Saint Longinus (Bernini) | In this artwork, how is the References to Catholic Christianity of the Artistic style elucidated? | When Longinus pierced the side of Christ both blood and water came from the wound. The mixing of blood and water symbolizes the sacraments of the Eucharist and baptism, two important components of the Catholic faith during the Counter-Reformation. By depicting Longinus with the lance, Bernini is referencing these two important Catholic beliefs. | [
"Reformation",
"Eucharist",
"Christianity",
"Catholic",
"Bernini",
"Longinus",
"baptism",
"Counter-Reformation"
] |
|
16463_T | Saint Longinus (Bernini) | Focus on Saint Longinus (Bernini) and analyze the Later engravings. | An engraving by H Frezza, created in 1696, exists in the Wellcome Library, London. | [
"Wellcome Library",
"London"
] |
|
16463_NT | Saint Longinus (Bernini) | Focus on this artwork and analyze the Later engravings. | An engraving by H Frezza, created in 1696, exists in the Wellcome Library, London. | [
"Wellcome Library",
"London"
] |
|
16464_T | Trompe-l'œil (mural) | In Trompe-l'œil (mural), how is the abstract discussed? | Trompe-l'œil is a 112-meter-long color field painting created in 1998 by Maria Bettina Cogliatti. It overlooks the Katastrophenbucht ("disaster bay") in Zug, Switzerland. | [
"Trompe-l'œil",
"Zug",
"Katastrophenbucht",
"color field",
"color field painting"
] |
|
16464_NT | Trompe-l'œil (mural) | In this artwork, how is the abstract discussed? | Trompe-l'œil is a 112-meter-long color field painting created in 1998 by Maria Bettina Cogliatti. It overlooks the Katastrophenbucht ("disaster bay") in Zug, Switzerland. | [
"Trompe-l'œil",
"Zug",
"Katastrophenbucht",
"color field",
"color field painting"
] |
|
16465_T | Trompe-l'œil (mural) | Focus on Trompe-l'œil (mural) and explore the Description. | Cogliatti painted Trompe-l'œil in 1998 with acrylic paint on the concrete wall of the Zug Vorstadtbrücke bridge.
In this artwork, she juxtaposed three warm and two cold color fields (or vice versa). 21 color tones are set in contrast to one another in such a way that the colors run from warm yellow-orange on the side of the Vorstadtquai to rich purple, green and red, and finally towards the Alpenquai into a cool blue. Thus, they simulate a colored sky, from dusk to dawn. Cogliatti arranged the colored surfaces in order to create illusionistic interruptions, niches and windows in the wall and thus create an imaginary living space, a “colorful city”.Trompe-l'œil complements the color of the colorful Vorstadt houses that are still standing (since the 1887 Vorstadtkatastrophe) and thus brings the sunken row of houses to new life. "The colorful reflections from the wall to the ceiling and to the floor create an aquarium feeling on hot days ..." The sequence of colors is also reminiscent of the course of the day, from dusk to dawn. "The large open areas on the mural [...] form an ideal platform for various messages." "There is a place in Zug that leads directly into the soul of young people. A kind of physical Facebook [...] - the great colorful wall in the disaster bay, between Rössliwiese and Alpenquai." | [
"cold color",
"dusk",
"warm",
"Trompe-l'œil",
"yellow-orange",
"Vorstadtkatastrophe",
"Zug",
"acrylic paint",
"dawn",
"fields",
"color field",
"Facebook"
] |
|
16465_NT | Trompe-l'œil (mural) | Focus on this artwork and explore the Description. | Cogliatti painted Trompe-l'œil in 1998 with acrylic paint on the concrete wall of the Zug Vorstadtbrücke bridge.
In this artwork, she juxtaposed three warm and two cold color fields (or vice versa). 21 color tones are set in contrast to one another in such a way that the colors run from warm yellow-orange on the side of the Vorstadtquai to rich purple, green and red, and finally towards the Alpenquai into a cool blue. Thus, they simulate a colored sky, from dusk to dawn. Cogliatti arranged the colored surfaces in order to create illusionistic interruptions, niches and windows in the wall and thus create an imaginary living space, a “colorful city”.Trompe-l'œil complements the color of the colorful Vorstadt houses that are still standing (since the 1887 Vorstadtkatastrophe) and thus brings the sunken row of houses to new life. "The colorful reflections from the wall to the ceiling and to the floor create an aquarium feeling on hot days ..." The sequence of colors is also reminiscent of the course of the day, from dusk to dawn. "The large open areas on the mural [...] form an ideal platform for various messages." "There is a place in Zug that leads directly into the soul of young people. A kind of physical Facebook [...] - the great colorful wall in the disaster bay, between Rössliwiese and Alpenquai." | [
"cold color",
"dusk",
"warm",
"Trompe-l'œil",
"yellow-orange",
"Vorstadtkatastrophe",
"Zug",
"acrylic paint",
"dawn",
"fields",
"color field",
"Facebook"
] |
|
16466_T | Trompe-l'œil (mural) | Focus on Trompe-l'œil (mural) and explain the History. | In the 1970s, Hans Potthof painted the 112-meter concrete wall of the Vorstadtbrücke bridge with the assistance of children; but graffiti destroyed the painting during decades.
In 1995, Cogliatti instructed 55 children to paint the same concrete wall on behalf of the Zuger Schul– und Stadtbauamt (″Zug school and municipal building authorities″). The leitmotiv theme for the painting work was "Living space", the painting was mainly in shades of blue – allusions to the houses that had sunk into the lake there in 1887. The wall painting was inaugurated on July 6, 1995, one day after the complete renovation of the Rigiplatz above, which is reminiscent of the same disaster.After the painting had been repeatedly covered in graffiti, the city commissioned Cogliatti to redesign the wall in 1998. With the help of a flat painter and over a period of approximately 140 hours, the artist implemented “her own sculptural and color visions”. One of Cogliatti's artistic goals, among others, was to use painterly means to give the impression of a third dimension. She therefore gave her work the name Trompe-l'œil, which means "eye delusion"; for this, the dominance of the window hatches in the wall had to be broken. Cogliatti completed the work in early August 1998. | [
"Hans Potthof",
"shades of blue",
"Trompe-l'œil",
"Zug",
"Living space",
"graffiti",
"houses that had sunk into the lake there in 1887"
] |
|
16466_NT | Trompe-l'œil (mural) | Focus on this artwork and explain the History. | In the 1970s, Hans Potthof painted the 112-meter concrete wall of the Vorstadtbrücke bridge with the assistance of children; but graffiti destroyed the painting during decades.
In 1995, Cogliatti instructed 55 children to paint the same concrete wall on behalf of the Zuger Schul– und Stadtbauamt (″Zug school and municipal building authorities″). The leitmotiv theme for the painting work was "Living space", the painting was mainly in shades of blue – allusions to the houses that had sunk into the lake there in 1887. The wall painting was inaugurated on July 6, 1995, one day after the complete renovation of the Rigiplatz above, which is reminiscent of the same disaster.After the painting had been repeatedly covered in graffiti, the city commissioned Cogliatti to redesign the wall in 1998. With the help of a flat painter and over a period of approximately 140 hours, the artist implemented “her own sculptural and color visions”. One of Cogliatti's artistic goals, among others, was to use painterly means to give the impression of a third dimension. She therefore gave her work the name Trompe-l'œil, which means "eye delusion"; for this, the dominance of the window hatches in the wall had to be broken. Cogliatti completed the work in early August 1998. | [
"Hans Potthof",
"shades of blue",
"Trompe-l'œil",
"Zug",
"Living space",
"graffiti",
"houses that had sunk into the lake there in 1887"
] |
|
16467_T | Oops, Missed | Explore the abstract of this artwork, Oops, Missed. | Oops, Missed is a public artwork by American Bernard Peck located at 1515 West Canal Street, just off the 16th street viaduct, in Milwaukee, Wisconsin, United States. It was dedicated in July 1987. It is made of brick and stainless steel. | [
"Milwaukee",
"American",
"Milwaukee, Wisconsin",
"United States"
] |
|
16467_NT | Oops, Missed | Explore the abstract of this artwork. | Oops, Missed is a public artwork by American Bernard Peck located at 1515 West Canal Street, just off the 16th street viaduct, in Milwaukee, Wisconsin, United States. It was dedicated in July 1987. It is made of brick and stainless steel. | [
"Milwaukee",
"American",
"Milwaukee, Wisconsin",
"United States"
] |
|
16468_T | Oops, Missed | Focus on Oops, Missed and discuss the Historical information. | The sculpture is located in Menomonee Valley. which at one time was home to white settlers who lived off fish and waterfowl from the Milwaukee water systems. Docks were built along the Great Lakes for shipping. Tanneries, slaughterhouses, and coal yards were moved west of 27th Street in the valley. This was done to keep all businesses in a central location, out of city limits. | [
"Milwaukee"
] |
|
16468_NT | Oops, Missed | Focus on this artwork and discuss the Historical information. | The sculpture is located in Menomonee Valley. which at one time was home to white settlers who lived off fish and waterfowl from the Milwaukee water systems. Docks were built along the Great Lakes for shipping. Tanneries, slaughterhouses, and coal yards were moved west of 27th Street in the valley. This was done to keep all businesses in a central location, out of city limits. | [
"Milwaukee"
] |
|
16469_T | Oops, Missed | How does Oops, Missed elucidate its Artist? | Bernard Peck, at the time of the completed sculpture was vice president of Peck Meat Packing company. During this time he became friends with sculptors Joseph Mendla and Hilary Goldblatt. Friends of Mr. Peck think the sculpture is a self-portrait. | [] |
|
16469_NT | Oops, Missed | How does this artwork elucidate its Artist? | Bernard Peck, at the time of the completed sculpture was vice president of Peck Meat Packing company. During this time he became friends with sculptors Joseph Mendla and Hilary Goldblatt. Friends of Mr. Peck think the sculpture is a self-portrait. | [] |
|
16470_T | Brutus, Lucretia and Collatinus | Focus on Brutus, Lucretia and Collatinus and analyze the abstract. | Brutus, Lucretia and Collatinus is a painting of c. 1490–1493 in tempera on panel, attributed to Giovan Francesco Maineri but from preparatory drawings by Ercole de' Roberti. It is in the Galleria Estense in Modena.This panel, The Wife of Hasdrubal and Her Children and Brutus and Portia were originally part of a series of works depicting famous women of antiquity, probably commissioned by Ercole I d'Este's wife Eleanor of Aragon and referring back to the motto of her father, Ferdinand I of Naples: "Preferisco la morte al disonore" ('I prefer death to dishonour'). | [
"Brutus and Portia",
"panel",
"Giovan Francesco Maineri",
"tempera",
"Galleria Estense",
"Ferdinand I of Naples",
"Modena",
"Ercole I d'Este",
"The Wife of Hasdrubal and Her Children",
"Ercole de' Roberti",
"Eleanor of Aragon"
] |
|
16470_NT | Brutus, Lucretia and Collatinus | Focus on this artwork and analyze the abstract. | Brutus, Lucretia and Collatinus is a painting of c. 1490–1493 in tempera on panel, attributed to Giovan Francesco Maineri but from preparatory drawings by Ercole de' Roberti. It is in the Galleria Estense in Modena.This panel, The Wife of Hasdrubal and Her Children and Brutus and Portia were originally part of a series of works depicting famous women of antiquity, probably commissioned by Ercole I d'Este's wife Eleanor of Aragon and referring back to the motto of her father, Ferdinand I of Naples: "Preferisco la morte al disonore" ('I prefer death to dishonour'). | [
"Brutus and Portia",
"panel",
"Giovan Francesco Maineri",
"tempera",
"Galleria Estense",
"Ferdinand I of Naples",
"Modena",
"Ercole I d'Este",
"The Wife of Hasdrubal and Her Children",
"Ercole de' Roberti",
"Eleanor of Aragon"
] |
|
16471_T | Portrait of Cornelius Smelt | In Portrait of Cornelius Smelt, how is the History discussed? | A meeting, chaired by Colonel Mark Wilks, was held at the George Hotel, Castletown, Isle of Man, on August 10, 1826, at which it was decided to commission a portrait of Governor Smelt to be hung in the House of Keys.Smelt's governorship is remembered as one in which he displayed great moral courage in difficult circumstances notably his wisdom and fortitude in the long period when the House of Keys and the Duke of Atholl fought their historic political battles.A subscription was opened which raised £52, and the renowned portrait artist Thomas Barber was commissioned. Governor Smelt, however, did not desire that his memory be "transmitted to posterity in this way," and in a letter to Colonel Wilks he declined the honour of having the portrait placed in the Keys Chamber.Consequently, Capt. Cesar Bacon, husband of Smelt's daughter, bought the painting where it was hung at his newly built home, Seafield, in the parish of Santon.The portrait remained the property of Capt. Bacon's descendants until it was presented to the Manx Museum in 1925.Following Governor Smelt's death in 1832 the Smelt Monument was erected in Castletown in his memory.
Until its refurbishment in 2018, a copy of the Smelt portrait could be seen in the George Hotel, Castletown, Isle of Man. | [
"Colonel Wilks",
"Keys Chamber",
"Manx Museum",
"Mark Wilks",
"Castletown",
"House of Keys",
"Thomas Barber",
"Colonel",
"Smelt Monument",
"Castletown, Isle of Man",
"Duke of Atholl",
"Santon"
] |
|
16471_NT | Portrait of Cornelius Smelt | In this artwork, how is the History discussed? | A meeting, chaired by Colonel Mark Wilks, was held at the George Hotel, Castletown, Isle of Man, on August 10, 1826, at which it was decided to commission a portrait of Governor Smelt to be hung in the House of Keys.Smelt's governorship is remembered as one in which he displayed great moral courage in difficult circumstances notably his wisdom and fortitude in the long period when the House of Keys and the Duke of Atholl fought their historic political battles.A subscription was opened which raised £52, and the renowned portrait artist Thomas Barber was commissioned. Governor Smelt, however, did not desire that his memory be "transmitted to posterity in this way," and in a letter to Colonel Wilks he declined the honour of having the portrait placed in the Keys Chamber.Consequently, Capt. Cesar Bacon, husband of Smelt's daughter, bought the painting where it was hung at his newly built home, Seafield, in the parish of Santon.The portrait remained the property of Capt. Bacon's descendants until it was presented to the Manx Museum in 1925.Following Governor Smelt's death in 1832 the Smelt Monument was erected in Castletown in his memory.
Until its refurbishment in 2018, a copy of the Smelt portrait could be seen in the George Hotel, Castletown, Isle of Man. | [
"Colonel Wilks",
"Keys Chamber",
"Manx Museum",
"Mark Wilks",
"Castletown",
"House of Keys",
"Thomas Barber",
"Colonel",
"Smelt Monument",
"Castletown, Isle of Man",
"Duke of Atholl",
"Santon"
] |
|
16472_T | Siegessäulen | Focus on Siegessäulen and explore the abstract. | The two Siegessäulen (English: Two Victory Columns) is a pair of outdoor columns surmounted by bronze statues of Victoria, the goddess of victory. They were made in 1840 by the German sculptor Christian Daniel Rauch and installed in the park of Charlottenburg Palace in Berlin, Germany, in front of the west façade of the Neuer Pavillon. | [
"Christian Daniel Rauch",
"bronze",
"Victoria",
"Berlin",
"Charlottenburg Palace"
] |
|
16472_NT | Siegessäulen | Focus on this artwork and explore the abstract. | The two Siegessäulen (English: Two Victory Columns) is a pair of outdoor columns surmounted by bronze statues of Victoria, the goddess of victory. They were made in 1840 by the German sculptor Christian Daniel Rauch and installed in the park of Charlottenburg Palace in Berlin, Germany, in front of the west façade of the Neuer Pavillon. | [
"Christian Daniel Rauch",
"bronze",
"Victoria",
"Berlin",
"Charlottenburg Palace"
] |
|
16473_T | Statue of Philip Kearny | Focus on Statue of Philip Kearny and explain the abstract. | Philip Kearny is an 1888 bronze sculpture of Philip Kearny by Henry Kirke Brown, installed in the United States Capitol, in Washington, D.C., as part of the National Statuary Hall Collection. It is one of two statues donated by the state of New Jersey. | [
"New Jersey",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"Philip Kearny",
"United States Capitol",
"Henry Kirke Brown"
] |
|
16473_NT | Statue of Philip Kearny | Focus on this artwork and explain the abstract. | Philip Kearny is an 1888 bronze sculpture of Philip Kearny by Henry Kirke Brown, installed in the United States Capitol, in Washington, D.C., as part of the National Statuary Hall Collection. It is one of two statues donated by the state of New Jersey. | [
"New Jersey",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"Philip Kearny",
"United States Capitol",
"Henry Kirke Brown"
] |
|
16474_T | Statue of Philip Kearny | Explore the Description and history of this artwork, Statue of Philip Kearny. | The statue portrays Kearny dressed in the uniform of a Civil War general, holding a sword in his right hand. His coat draped over his left shoulder covers the fact that his left arm had been amputated following the Battle of Churubusco.Although the statue entered the Hall in 1888 it is dated "1873" on the base. Kearny, described by William Walter Phelps while accepting the statue into the collection on August 21, 1888, called Kearny "the perfect soldier . . .brave as a lion, tender as a woman." A bill to replace the statue in the Capitol with one of suffragist Alice Paul passed the New Jersey Senate on February 10, 2020.There are at least three other castings of the statue. One done in 1901 is located in Kearny Park, Muskegon, Michigan.Another was dedicated in 1880 in Trenton, New Jersey and then relocated several times, finally to Military Park in Newark, New Jersey. The Archives of American Art traced the somewhat complicated history of the statue. "In March 1868, the New Jersey legislature approved funding for a bronze portrait of Major General Philip Kearny to be placed in Statuary Hall at the U.S. Capitol. The cast was finished in 1873, but on its way to Washington, the statue was diverted to the State House in Trenton where it ended up in an obscure hallway. In 1880, the mistake was discovered and concerned citizens of Newark petitioned to relocate the sculpture to its original destination in Statuary Hall, and if not there, then to a suitable location in Newark, where Kearney was born and raised. The petition was successful and in 1880, the statue was installed to Newark's Military Park on a Quincy granite base designed by Henry Kirke Brown and architect Paul G. Botticher to resemble an embankment in a war fortification." It was added as a key contributing object to the Military Park Commons Historic District on June 18, 2004.In 1993, the Newark statue was knocked off its base. In the process of restoring it a cast was taken and another version of the work was created, this one placed in Kearny, New Jersey, a town named after the general and dedicated on September 10, 1993. | [
"Trenton, New Jersey",
"Kearny, New Jersey",
"New Jersey",
"Battle of Churubusco",
"Muskegon, Michigan",
"left",
"Philip Kearny",
"William Walter Phelps",
"Civil War",
"Newark, New Jersey",
"Military Park",
"Military Park Commons Historic District",
"Alice Paul",
"Henry Kirke Brown"
] |
|
16474_NT | Statue of Philip Kearny | Explore the Description and history of this artwork. | The statue portrays Kearny dressed in the uniform of a Civil War general, holding a sword in his right hand. His coat draped over his left shoulder covers the fact that his left arm had been amputated following the Battle of Churubusco.Although the statue entered the Hall in 1888 it is dated "1873" on the base. Kearny, described by William Walter Phelps while accepting the statue into the collection on August 21, 1888, called Kearny "the perfect soldier . . .brave as a lion, tender as a woman." A bill to replace the statue in the Capitol with one of suffragist Alice Paul passed the New Jersey Senate on February 10, 2020.There are at least three other castings of the statue. One done in 1901 is located in Kearny Park, Muskegon, Michigan.Another was dedicated in 1880 in Trenton, New Jersey and then relocated several times, finally to Military Park in Newark, New Jersey. The Archives of American Art traced the somewhat complicated history of the statue. "In March 1868, the New Jersey legislature approved funding for a bronze portrait of Major General Philip Kearny to be placed in Statuary Hall at the U.S. Capitol. The cast was finished in 1873, but on its way to Washington, the statue was diverted to the State House in Trenton where it ended up in an obscure hallway. In 1880, the mistake was discovered and concerned citizens of Newark petitioned to relocate the sculpture to its original destination in Statuary Hall, and if not there, then to a suitable location in Newark, where Kearney was born and raised. The petition was successful and in 1880, the statue was installed to Newark's Military Park on a Quincy granite base designed by Henry Kirke Brown and architect Paul G. Botticher to resemble an embankment in a war fortification." It was added as a key contributing object to the Military Park Commons Historic District on June 18, 2004.In 1993, the Newark statue was knocked off its base. In the process of restoring it a cast was taken and another version of the work was created, this one placed in Kearny, New Jersey, a town named after the general and dedicated on September 10, 1993. | [
"Trenton, New Jersey",
"Kearny, New Jersey",
"New Jersey",
"Battle of Churubusco",
"Muskegon, Michigan",
"left",
"Philip Kearny",
"William Walter Phelps",
"Civil War",
"Newark, New Jersey",
"Military Park",
"Military Park Commons Historic District",
"Alice Paul",
"Henry Kirke Brown"
] |
|
16475_T | Cradle (sculpture) | Focus on Cradle (sculpture) and discuss the abstract. | Cradle is a 2010 sculpture by Ball-Nogues Studio, installed in Santa Monica, California, United States. The artwork was commissioned by the City of Santa Monica, and assembled in Burbank. James Jones was the project's lead fabricator. | [
"Santa Monica, California"
] |
|
16475_NT | Cradle (sculpture) | Focus on this artwork and discuss the abstract. | Cradle is a 2010 sculpture by Ball-Nogues Studio, installed in Santa Monica, California, United States. The artwork was commissioned by the City of Santa Monica, and assembled in Burbank. James Jones was the project's lead fabricator. | [
"Santa Monica, California"
] |
|
16476_T | Portrait of Massimiliano II Stampa | How does Portrait of Massimiliano II Stampa elucidate its abstract? | Portrait of Massimiliano II Stampa is a c.1558 oil-on-canvas painting by the Italian Renaissance painter Sofonisba Anguissola, now in the Walters Art Museum, Baltimore, USA. It was previously misattributed to Giovan Battista Moroni, possibly due to stylistic similarities with Moroni's The Knight in Black.One of Anguissola's most important commissions, it shows Massimiliano II Stampa, 3rd Marquess of Soncino, then aged around nine. The Stampa family commissioned the portrait to commemorate Massimiliano's inheritance of the title on the death of his father in 1557.
His dress is clearly influenced by the Spanish dominance of Lombardy at that time and the painting's style is also influenced by Spanish portraitists of the time in its aristocratically cold pose and allegorical symbols of wealth and social success. | [
"Giovan Battista Moroni",
"Lombardy",
"Sofonisba Anguissola",
"The Knight in Black",
"Walters Art Museum",
"Massimiliano II Stampa",
"Italian Renaissance",
"Baltimore"
] |
|
16476_NT | Portrait of Massimiliano II Stampa | How does this artwork elucidate its abstract? | Portrait of Massimiliano II Stampa is a c.1558 oil-on-canvas painting by the Italian Renaissance painter Sofonisba Anguissola, now in the Walters Art Museum, Baltimore, USA. It was previously misattributed to Giovan Battista Moroni, possibly due to stylistic similarities with Moroni's The Knight in Black.One of Anguissola's most important commissions, it shows Massimiliano II Stampa, 3rd Marquess of Soncino, then aged around nine. The Stampa family commissioned the portrait to commemorate Massimiliano's inheritance of the title on the death of his father in 1557.
His dress is clearly influenced by the Spanish dominance of Lombardy at that time and the painting's style is also influenced by Spanish portraitists of the time in its aristocratically cold pose and allegorical symbols of wealth and social success. | [
"Giovan Battista Moroni",
"Lombardy",
"Sofonisba Anguissola",
"The Knight in Black",
"Walters Art Museum",
"Massimiliano II Stampa",
"Italian Renaissance",
"Baltimore"
] |
|
16477_T | Saint Rosalie Interceding for the Plague-stricken of Palermo | Focus on Saint Rosalie Interceding for the Plague-stricken of Palermo and analyze the abstract. | Saint Rosalie Interceding for the Plague-stricken of Palermo is a painting of 1624 by Anthony van Dyck, in the Metropolitan Museum of Art in New York since 1871.The painting depicts Saint Rosalia, the patron saint of Palermo, interceding for the city during an outbreak of the plague. In the background can be seen the port of Palermo and Monte Pellegrino.
The painting was one of six of Saint Rosalia produced in Palermo by van Dyck in the late summer of 1624 and early 1625, when the city was quarantined. He returned to the subject in 1629 with Coronation of Saint Rosalia (Vienna) and Saint Rosalia Interceding for the City of Palermo (Ponce, Puerto Rico).
The work is currently (2020) on view at the Metropolitan Museum of Art. It was an early acquisition by the institution, whose curators initially mistook it for an Assumption of the Virgin. An undated but probably autograph copy of the work is now in the Alte Pinakothek in Munich. | [
"Assumption of the Virgin",
"Anthony van Dyck",
"Saint Rosalia Interceding for the City of Palermo",
"New York",
"Monte Pellegrino",
"Palermo",
"Alte Pinakothek",
"Coronation of Saint Rosalia",
"plague",
"Metropolitan Museum of Art",
"Saint Rosalia"
] |
|
16477_NT | Saint Rosalie Interceding for the Plague-stricken of Palermo | Focus on this artwork and analyze the abstract. | Saint Rosalie Interceding for the Plague-stricken of Palermo is a painting of 1624 by Anthony van Dyck, in the Metropolitan Museum of Art in New York since 1871.The painting depicts Saint Rosalia, the patron saint of Palermo, interceding for the city during an outbreak of the plague. In the background can be seen the port of Palermo and Monte Pellegrino.
The painting was one of six of Saint Rosalia produced in Palermo by van Dyck in the late summer of 1624 and early 1625, when the city was quarantined. He returned to the subject in 1629 with Coronation of Saint Rosalia (Vienna) and Saint Rosalia Interceding for the City of Palermo (Ponce, Puerto Rico).
The work is currently (2020) on view at the Metropolitan Museum of Art. It was an early acquisition by the institution, whose curators initially mistook it for an Assumption of the Virgin. An undated but probably autograph copy of the work is now in the Alte Pinakothek in Munich. | [
"Assumption of the Virgin",
"Anthony van Dyck",
"Saint Rosalia Interceding for the City of Palermo",
"New York",
"Monte Pellegrino",
"Palermo",
"Alte Pinakothek",
"Coronation of Saint Rosalia",
"plague",
"Metropolitan Museum of Art",
"Saint Rosalia"
] |
|
16478_T | The Natchez | In The Natchez, how is the abstract discussed? | The Natchez is an oil-on-canvas painting executed ca. 1834–35 by the French Romantic artist Eugène Delacroix. It depicts a Native American couple with their newborn child. The painting was inspired by a passage in Chateaubriand's Atala, which describes the family as the last members of the Natchez tribe after a massacre committed by the French. Delacroix referred to the figures in the painting as "savages", yet he also showed an admiration for the beauty of the cultural objects surrounding them, such as jewelry, tools, and clothing. The painting reflects Delacroix's recurring fascination with the persecution of the innocent, a theme he had previously explored in The Massacre at Chios. | [
"The Massacre at Chios",
"Chateaubriand's",
"Eugène Delacroix",
"Natchez",
"Atala"
] |
|
16478_NT | The Natchez | In this artwork, how is the abstract discussed? | The Natchez is an oil-on-canvas painting executed ca. 1834–35 by the French Romantic artist Eugène Delacroix. It depicts a Native American couple with their newborn child. The painting was inspired by a passage in Chateaubriand's Atala, which describes the family as the last members of the Natchez tribe after a massacre committed by the French. Delacroix referred to the figures in the painting as "savages", yet he also showed an admiration for the beauty of the cultural objects surrounding them, such as jewelry, tools, and clothing. The painting reflects Delacroix's recurring fascination with the persecution of the innocent, a theme he had previously explored in The Massacre at Chios. | [
"The Massacre at Chios",
"Chateaubriand's",
"Eugène Delacroix",
"Natchez",
"Atala"
] |
|
16479_T | The Ascension of the Elect | Focus on The Ascension of the Elect and explore the Subject and source material. | The subjects of the two wings (as well as hinges and locks on the side panels) imply a missing center panel of a Last Judgment scene. Hilde Claes writes that "the relationship between The Road to Heaven and the Fall of the Damned is worked out so ingeniously that both compositions almost certainly belonged together."Catheline Périer-D’Ieteren writes that while traditionally "the elect" ascend a stairway to heaven, here they walk on a path rich and lyrical in plant and animal life toward a terrestrial paradise. An angel in a red robe guides them toward the "fountain of life" described in Revelation.
While Bouts reorganized and separated the content, the artists likely drew upon Jan van Eyck's Last Judgement, now in the Metropolitan Museum of Art, and Rogier van der Weyden's treatment of the subject at Beaune. The treatment of vegetation in the foreground recalls the painting in oil by the brothers Jan and Hubert van Eyck at Ghent. | [
"the painting",
"treatment",
"Ghent",
"Hubert van Eyck",
"Last Judgment",
"Last Judgement",
"Jan van Eyck",
"fountain of life",
"Rogier van der Weyden",
"angel",
"Beaune",
"Hubert",
"Metropolitan Museum of Art"
] |
|
16479_NT | The Ascension of the Elect | Focus on this artwork and explore the Subject and source material. | The subjects of the two wings (as well as hinges and locks on the side panels) imply a missing center panel of a Last Judgment scene. Hilde Claes writes that "the relationship between The Road to Heaven and the Fall of the Damned is worked out so ingeniously that both compositions almost certainly belonged together."Catheline Périer-D’Ieteren writes that while traditionally "the elect" ascend a stairway to heaven, here they walk on a path rich and lyrical in plant and animal life toward a terrestrial paradise. An angel in a red robe guides them toward the "fountain of life" described in Revelation.
While Bouts reorganized and separated the content, the artists likely drew upon Jan van Eyck's Last Judgement, now in the Metropolitan Museum of Art, and Rogier van der Weyden's treatment of the subject at Beaune. The treatment of vegetation in the foreground recalls the painting in oil by the brothers Jan and Hubert van Eyck at Ghent. | [
"the painting",
"treatment",
"Ghent",
"Hubert van Eyck",
"Last Judgment",
"Last Judgement",
"Jan van Eyck",
"fountain of life",
"Rogier van der Weyden",
"angel",
"Beaune",
"Hubert",
"Metropolitan Museum of Art"
] |
|
16480_T | The Ascension of the Elect | Focus on The Ascension of the Elect and explain the Patronage and function. | A contract between the town of Leuven and Bouts signed in 1468 documents the commissioning of two painting projects—the Justice of Emperor Otto for the town hall and an altarpiece on the subject of the Last Judgement. From the 15th century to 1899, however, the attribution of the work had been uncertain. | [
"Leuven",
"Last Judgement"
] |
|
16480_NT | The Ascension of the Elect | Focus on this artwork and explain the Patronage and function. | A contract between the town of Leuven and Bouts signed in 1468 documents the commissioning of two painting projects—the Justice of Emperor Otto for the town hall and an altarpiece on the subject of the Last Judgement. From the 15th century to 1899, however, the attribution of the work had been uncertain. | [
"Leuven",
"Last Judgement"
] |
|
16481_T | The Ascension of the Elect | Explore the Condition and conservation of this artwork, The Ascension of the Elect. | The frame is original. There is evidence of a former hinge on the left, and hardware for a lock on the right. The picture received restoration in 1543 and 1628, and conservation treatments in 1965 and 1997.The panel was included in exhibitions in 1918 at Valenciennes, in 1947 at Paris, in 1970 in Lille, and 1998 in Louvain. | [
"Valenciennes",
"Lille",
"treatment",
"Louvain"
] |
|
16481_NT | The Ascension of the Elect | Explore the Condition and conservation of this artwork. | The frame is original. There is evidence of a former hinge on the left, and hardware for a lock on the right. The picture received restoration in 1543 and 1628, and conservation treatments in 1965 and 1997.The panel was included in exhibitions in 1918 at Valenciennes, in 1947 at Paris, in 1970 in Lille, and 1998 in Louvain. | [
"Valenciennes",
"Lille",
"treatment",
"Louvain"
] |
|
16482_T | United Earth | Focus on United Earth and discuss the abstract. | United Earth (Polish: Zjednoczony Świat) is a public artwork by Tomasz Urbanowicz and Beata Urbanowicz in the Agora of the Seat of the European Parliament in Strasbourg. The glass sculpture has a diameter of 180 cm (71 in) and symbolizes the idea of openness to further expansion of the European Union in order to create a united world. | [
"Beata Urbanowicz",
"Beata",
"European Parliament",
"European Union",
"European Parliament in Strasbourg",
"sculpture",
"Strasbourg",
"Seat of the European Parliament in Strasbourg",
"Tomasz Urbanowicz"
] |
|
16482_NT | United Earth | Focus on this artwork and discuss the abstract. | United Earth (Polish: Zjednoczony Świat) is a public artwork by Tomasz Urbanowicz and Beata Urbanowicz in the Agora of the Seat of the European Parliament in Strasbourg. The glass sculpture has a diameter of 180 cm (71 in) and symbolizes the idea of openness to further expansion of the European Union in order to create a united world. | [
"Beata Urbanowicz",
"Beata",
"European Parliament",
"European Union",
"European Parliament in Strasbourg",
"sculpture",
"Strasbourg",
"Seat of the European Parliament in Strasbourg",
"Tomasz Urbanowicz"
] |
|
16483_T | United Earth | How does United Earth elucidate its History? | The sculpture was first created in 1999 as part of the "Urbanowicz - Glass" exhibition in the Museum of Architecture in Wrocław, which represented the glass art portfolio of Beata and Tomasz Urbanowicz. The artwork represented Poland at the international exhibition EXPO 2000 in Hanover, as part of the regional presentation of Lower Silesia. The glass sphere was recognized by The Corning Museum of Glass in New York as one of the hundred most outstanding glass works in the world in New Glass Review 21. In 2003 the artwork, also called "Archikula", was exhibited at the "Glass Universe" exhibition in the gardens of the Polish Embassy in Prague. The following year sculpture took part in the "ST'ART" art fair in Strasbourg. Since 2004, the glass sphere has been a permanent element of the European Parliament's agora in Strasbourg, after approval by the Louise Weiss building's architects - Architecture-Studio from Paris. The sculpture is a gift from the City of Wrocław to the European Parliament after Poland's accession to the European Union. | [
"The Corning Museum of Glass",
"EXPO 2000",
"Beata",
"Polish Embassy in Prague",
"European Parliament",
"European Union",
"Lower Silesia",
"Architecture-Studio",
"Corning Museum of Glass",
"sculpture",
"New York",
"Hanover",
"Strasbourg",
"glass art",
"Tomasz Urbanowicz",
"Museum of Architecture in Wrocław",
"European Parliament's agora in Strasbourg",
"Paris",
"Wrocław"
] |
|
16483_NT | United Earth | How does this artwork elucidate its History? | The sculpture was first created in 1999 as part of the "Urbanowicz - Glass" exhibition in the Museum of Architecture in Wrocław, which represented the glass art portfolio of Beata and Tomasz Urbanowicz. The artwork represented Poland at the international exhibition EXPO 2000 in Hanover, as part of the regional presentation of Lower Silesia. The glass sphere was recognized by The Corning Museum of Glass in New York as one of the hundred most outstanding glass works in the world in New Glass Review 21. In 2003 the artwork, also called "Archikula", was exhibited at the "Glass Universe" exhibition in the gardens of the Polish Embassy in Prague. The following year sculpture took part in the "ST'ART" art fair in Strasbourg. Since 2004, the glass sphere has been a permanent element of the European Parliament's agora in Strasbourg, after approval by the Louise Weiss building's architects - Architecture-Studio from Paris. The sculpture is a gift from the City of Wrocław to the European Parliament after Poland's accession to the European Union. | [
"The Corning Museum of Glass",
"EXPO 2000",
"Beata",
"Polish Embassy in Prague",
"European Parliament",
"European Union",
"Lower Silesia",
"Architecture-Studio",
"Corning Museum of Glass",
"sculpture",
"New York",
"Hanover",
"Strasbourg",
"glass art",
"Tomasz Urbanowicz",
"Museum of Architecture in Wrocław",
"European Parliament's agora in Strasbourg",
"Paris",
"Wrocław"
] |
|
16484_T | United Earth | Focus on United Earth and analyze the Artist. | I have a great satisfaction because the architects from the Architecture-Studio in Paris, who designed the building first thought it was already a finished work and nothing could possibly be added to it. When the idea of placing the glass sphere in the very center of Agora arose, they were surprisingly quite enthusiastic about this project. The glass sphere, together with the circular illumination turned out to be the missing complement to the work of architects. | [
"Architecture-Studio",
"Paris"
] |
|
16484_NT | United Earth | Focus on this artwork and analyze the Artist. | I have a great satisfaction because the architects from the Architecture-Studio in Paris, who designed the building first thought it was already a finished work and nothing could possibly be added to it. When the idea of placing the glass sphere in the very center of Agora arose, they were surprisingly quite enthusiastic about this project. The glass sphere, together with the circular illumination turned out to be the missing complement to the work of architects. | [
"Architecture-Studio",
"Paris"
] |
|
16485_T | Weighing the Fleece | In Weighing the Fleece, how is the abstract discussed? | Weighing the Fleece is a 1921 painting by Australian artist George Washington Lambert. It is part of the collection of the National Gallery of Australia in Canberra. | [
"1921",
"National Gallery of Australia",
"George Washington Lambert",
"Canberra"
] |
|
16485_NT | Weighing the Fleece | In this artwork, how is the abstract discussed? | Weighing the Fleece is a 1921 painting by Australian artist George Washington Lambert. It is part of the collection of the National Gallery of Australia in Canberra. | [
"1921",
"National Gallery of Australia",
"George Washington Lambert",
"Canberra"
] |
|
16486_T | Weighing the Fleece | Focus on Weighing the Fleece and explore the Composition. | The painting depicts "the interior of a woolshed with the owner and his wife watching the fleece being weighed, a shorn stud ram and an unshorn one." The painting has a basic triangular form—"almost a frieze inside a pediment"—with the scales at the apex of the triangle.
The calibrating needle is followed by the eyes of all those present, save for the two men handling sheep. On one side of the scales stand the woolbuyer and his assistants, while on the other the dominant figures are the station owner and his wife. He has his hand half in pocket as he assumes a haughty mien — casual proprietorship — while his wife is placed, seated, on an adjacent bag of wool.
Lambert claimed to have had the painting in mind for 25 years, a period that suggests it may be a riposte to Tom Roberts' Shearing the Rams. Jim Davidson stated that "Certainly it could not be more different in spirit: instead of the celebration of strong masculine labour, this painting endorses wealth and the social order."Lambert painted the work in 8 days. Despite this Lambert was proud of the attention to detail in the work such as the "beams and the swallow droppings on the beams, corrugated iron, oil drum, kerosene tin, wool bale, brand on the wool bale" that created "a masterpiece of small portrait grouping". | [
"pediment",
"station",
"frieze",
"Shearing the Rams"
] |
|
16486_NT | Weighing the Fleece | Focus on this artwork and explore the Composition. | The painting depicts "the interior of a woolshed with the owner and his wife watching the fleece being weighed, a shorn stud ram and an unshorn one." The painting has a basic triangular form—"almost a frieze inside a pediment"—with the scales at the apex of the triangle.
The calibrating needle is followed by the eyes of all those present, save for the two men handling sheep. On one side of the scales stand the woolbuyer and his assistants, while on the other the dominant figures are the station owner and his wife. He has his hand half in pocket as he assumes a haughty mien — casual proprietorship — while his wife is placed, seated, on an adjacent bag of wool.
Lambert claimed to have had the painting in mind for 25 years, a period that suggests it may be a riposte to Tom Roberts' Shearing the Rams. Jim Davidson stated that "Certainly it could not be more different in spirit: instead of the celebration of strong masculine labour, this painting endorses wealth and the social order."Lambert painted the work in 8 days. Despite this Lambert was proud of the attention to detail in the work such as the "beams and the swallow droppings on the beams, corrugated iron, oil drum, kerosene tin, wool bale, brand on the wool bale" that created "a masterpiece of small portrait grouping". | [
"pediment",
"station",
"frieze",
"Shearing the Rams"
] |
|
16487_T | Weighing the Fleece | Focus on Weighing the Fleece and explain the Provenance. | The painting was commissioned by Leigh Sadlier Falkiner, the owner of Wanganella station, near Deniliquin in the Riverina region of New South Wales. The locality of Wanganella was later named for the station. Despite commissioning the work, Falkiner disliked the way he and his wife, Beatrice, were portrayed by Lambert and declined to purchase the painting. The painting was later sold to Sir Baldwin Spencer for £600.It was acquired by the National Gallery of Australia in 1966. | [
"station",
"National Gallery of Australia",
"Wanganella",
"Baldwin Spencer",
"Riverina",
"Deniliquin",
"£"
] |
|
16487_NT | Weighing the Fleece | Focus on this artwork and explain the Provenance. | The painting was commissioned by Leigh Sadlier Falkiner, the owner of Wanganella station, near Deniliquin in the Riverina region of New South Wales. The locality of Wanganella was later named for the station. Despite commissioning the work, Falkiner disliked the way he and his wife, Beatrice, were portrayed by Lambert and declined to purchase the painting. The painting was later sold to Sir Baldwin Spencer for £600.It was acquired by the National Gallery of Australia in 1966. | [
"station",
"National Gallery of Australia",
"Wanganella",
"Baldwin Spencer",
"Riverina",
"Deniliquin",
"£"
] |
|
16488_T | Cherry (Moiseyenko painting) | Explore the abstract of this artwork, Cherry (Moiseyenko painting). | Cherry (Russian: «Черешня») is an oil painting on canvas painted in 1969 by Russian artist Yevsey Moiseyenko (1916–1988). | [
"Yevsey Moiseyenko"
] |
|
16488_NT | Cherry (Moiseyenko painting) | Explore the abstract of this artwork. | Cherry (Russian: «Черешня») is an oil painting on canvas painted in 1969 by Russian artist Yevsey Moiseyenko (1916–1988). | [
"Yevsey Moiseyenko"
] |
|
16489_T | Cherry (Moiseyenko painting) | Focus on Cherry (Moiseyenko painting) and discuss the History. | Cherry has been described as a philosophical essay about evil and good of the war. It is one of the most important works by Moiseyenko. It belongs to the series called "Years of Fighting" – a historical epopee, which brought the Lenin Prize to the artist in 1974. It was again a theme of Russian Civil War in this painting (before there were Cavalry the First (1957), Here Reds are (1961), Friends (1964), Son (1969) and others). Moiseyenko began to make studies for his painting from 1967. He made a few variants of Cherry. The last one took a year. Cherry was presented for the first time at the largest exhibition, the "Fine Arts of Leningrad" in Moscow, 1976. The Russian Museum has Cherry in its collection.
As a subject Moiseyenko selected a very peaceable and idyllic episode of war in which it seems as if the soldiers have forgotten about death, which was not far from them. There are not the sabres in their hands but cherry. Moiseyenko allocated his main heroes in the top of the hill and divided the composition to the separate scenes, dissolving the border between an external space and a lyric reflection. There is a ring of friendship in the circular position of their figures. All of them are very young but their faces show strength of mind and courage. The foreground and background are from different times: There is a peaceful life of towns and villages in a condensed space of the background. It belongs to the time of dreams. "Silence. Pause. Maybe, at noon there, behind the hill, they will lie down into this caressing grass... They are pure-minded dreamers and with a great idea," the author explained his message. | [
"Leningrad",
"Russian Civil War",
"Russian Museum",
"Lenin Prize"
] |
|
16489_NT | Cherry (Moiseyenko painting) | Focus on this artwork and discuss the History. | Cherry has been described as a philosophical essay about evil and good of the war. It is one of the most important works by Moiseyenko. It belongs to the series called "Years of Fighting" – a historical epopee, which brought the Lenin Prize to the artist in 1974. It was again a theme of Russian Civil War in this painting (before there were Cavalry the First (1957), Here Reds are (1961), Friends (1964), Son (1969) and others). Moiseyenko began to make studies for his painting from 1967. He made a few variants of Cherry. The last one took a year. Cherry was presented for the first time at the largest exhibition, the "Fine Arts of Leningrad" in Moscow, 1976. The Russian Museum has Cherry in its collection.
As a subject Moiseyenko selected a very peaceable and idyllic episode of war in which it seems as if the soldiers have forgotten about death, which was not far from them. There are not the sabres in their hands but cherry. Moiseyenko allocated his main heroes in the top of the hill and divided the composition to the separate scenes, dissolving the border between an external space and a lyric reflection. There is a ring of friendship in the circular position of their figures. All of them are very young but their faces show strength of mind and courage. The foreground and background are from different times: There is a peaceful life of towns and villages in a condensed space of the background. It belongs to the time of dreams. "Silence. Pause. Maybe, at noon there, behind the hill, they will lie down into this caressing grass... They are pure-minded dreamers and with a great idea," the author explained his message. | [
"Leningrad",
"Russian Civil War",
"Russian Museum",
"Lenin Prize"
] |
|
16490_T | Horsewoman (painting) | How does Horsewoman (painting) elucidate its abstract? | Horsewoman is a painting by Russian painter Rudolf Frentz (Russian: Рудольф Рудольфович Френц) (1888-1956). The picture is a portrait of an equestrian of the artist's wife Catherine Anisimovna Stulovskaya (née Frentz). | [
"Rudolf Frentz",
"Russia"
] |
|
16490_NT | Horsewoman (painting) | How does this artwork elucidate its abstract? | Horsewoman is a painting by Russian painter Rudolf Frentz (Russian: Рудольф Рудольфович Френц) (1888-1956). The picture is a portrait of an equestrian of the artist's wife Catherine Anisimovna Stulovskaya (née Frentz). | [
"Rudolf Frentz",
"Russia"
] |
|
16491_T | Horsewoman (painting) | Focus on Horsewoman (painting) and analyze the History. | Painted about 1925, the portrait represents a young woman astride on a horse in a suit for riding. In a picturesque and composition relation a portrait exudes between works of artist of 1920th and does not have analogues in collections of the largest Russian Art museums. A portrait is an extraordinarily rare for the soviet painting genre of woman's equestrian portrait.
Horsewoman was first showed on the personal exhibition of Rudolf Frentz in 1928 in Leningrad. In 1970 after a long interruption a portrait was again demonstrated in Leningrad on the exhibition of works of Rudolf Frentz in the Leningrad Union of Artists. In 2007 the painting «Horsewoman» was reproduced and described among 350 art works by Leningrad artists in the book «Unknown Socialist Realism. The Leningrad School», published in Russian and English. | [
"Rudolf Frentz",
"equestrian portrait",
"Leningrad Union of Artists",
"Russia"
] |
|
16491_NT | Horsewoman (painting) | Focus on this artwork and analyze the History. | Painted about 1925, the portrait represents a young woman astride on a horse in a suit for riding. In a picturesque and composition relation a portrait exudes between works of artist of 1920th and does not have analogues in collections of the largest Russian Art museums. A portrait is an extraordinarily rare for the soviet painting genre of woman's equestrian portrait.
Horsewoman was first showed on the personal exhibition of Rudolf Frentz in 1928 in Leningrad. In 1970 after a long interruption a portrait was again demonstrated in Leningrad on the exhibition of works of Rudolf Frentz in the Leningrad Union of Artists. In 2007 the painting «Horsewoman» was reproduced and described among 350 art works by Leningrad artists in the book «Unknown Socialist Realism. The Leningrad School», published in Russian and English. | [
"Rudolf Frentz",
"equestrian portrait",
"Leningrad Union of Artists",
"Russia"
] |
|
16492_T | Portrait of a Musician (Pontormo) | In Portrait of a Musician (Pontormo), how is the abstract discussed? | Portrait of a Musician is an oil painting on panel by Pontormo in the Uffizi. It is dated on stylistic grounds to c. 1518–1519; the art historian Luciano Berti places it in Pontormo's youthful phase alongside his Pucci Altarpiece, Saint John the Evangelist and Michael the Archangel.The portrait is recorded in Cardinal Leopoldo de' Medici's collection, and formerly appeared in its catalogue attributed to Andrea del Sarto with the subject identified as Francesco dell'Ajolle. Carlo Gamba restored the present attribution, which came to be universally accepted by other art historians. In 1959 Keutner removed the identification of the subject as Francesco dell'Ajolle, who he instead argued was the subject of Rosso Fiorentino's Portrait of a Man in the National Gallery of Art in Washington, D.C. | [
"National Gallery of Art",
"Saint John the Evangelist and Michael the Archangel",
"Leopoldo de' Medici",
"Uffizi",
"panel",
"Pucci Altarpiece",
"Portrait of a Man",
"Washington, D.C.",
"Pontormo",
"oil painting",
"Rosso Fiorentino",
"Andrea del Sarto",
"Musician"
] |
|
16492_NT | Portrait of a Musician (Pontormo) | In this artwork, how is the abstract discussed? | Portrait of a Musician is an oil painting on panel by Pontormo in the Uffizi. It is dated on stylistic grounds to c. 1518–1519; the art historian Luciano Berti places it in Pontormo's youthful phase alongside his Pucci Altarpiece, Saint John the Evangelist and Michael the Archangel.The portrait is recorded in Cardinal Leopoldo de' Medici's collection, and formerly appeared in its catalogue attributed to Andrea del Sarto with the subject identified as Francesco dell'Ajolle. Carlo Gamba restored the present attribution, which came to be universally accepted by other art historians. In 1959 Keutner removed the identification of the subject as Francesco dell'Ajolle, who he instead argued was the subject of Rosso Fiorentino's Portrait of a Man in the National Gallery of Art in Washington, D.C. | [
"National Gallery of Art",
"Saint John the Evangelist and Michael the Archangel",
"Leopoldo de' Medici",
"Uffizi",
"panel",
"Pucci Altarpiece",
"Portrait of a Man",
"Washington, D.C.",
"Pontormo",
"oil painting",
"Rosso Fiorentino",
"Andrea del Sarto",
"Musician"
] |
|
16493_T | David with the Head of Goliath (Caravaggio, Rome) | Focus on David with the Head of Goliath (Caravaggio, Rome) and explore the abstract. | David with the Head of Goliath is a painting by the Italian Baroque artist Caravaggio. It is housed in the Galleria Borghese, Rome. The painting, which was in the collection of Cardinal Scipione Borghese in 1650, has been dated as early as 1605 and as late as 1609–1610, with more recent scholars tending towards the former.Caravaggio also treated this subject in a work dated c. 1607 in the Kunsthistorisches Museum in Vienna, and in an early work dated c. 1600 in the Prado in Madrid.The immediate inspiration for Caravaggio was a work by a follower of Giorgione, c.1510, but Caravaggio captures the drama more effectively by having the head dangling from David's hand and dripped out blood, rather than resting on a ledge. The sword in David's hand carries an abbreviated inscription H-AS OS; this has been interpreted as an abbreviation of the Latin phrase humilitas occidit superbiam ("humility kills pride").David is perturbed, "his expression mingling sadness and compassion." The decision to depict him as pensive rather than jubilant creates an unusual psychological bond between him and Goliath. This bond is further complicated by the fact that Caravaggio has depicted himself as Goliath, while the model for David is il suo Caravaggino ("his own little Caravaggio"). This most plausibly refers to Cecco del Caravaggio, the artist's studio assistant in Rome some years previously, recorded as the boy "who lay with him." No independent portraits of Cecco are known, making the identification impossible to verify, but "[a] sexual intimacy between David/model and Goliath/painter seems an inescapable conclusion, however, given that Caravaggio made David's sword appear to project upward, suggestively, between his legs and at an angle that echoes the diagonal linking of the protagonist's gaze to his victim." Alternatively, based on the portrait of Caravaggio done by Ottavio Leoni, this may be a double self-portrait. The young Caravaggio (his own little Caravaggio) wistfully holds the head of the adult Caravaggio. The wild and riotous behavior of the young Caravaggio essentially had destroyed his life as a mature adult, and he reflects with a familiar hermeticism on his own condition in a painting of a related religious subject.
The masterpiece in Rome is a "twin" of a second artwork on the same subject, David and Goliath, as reported in the inventory of the Galleria Borghese dated 1693, where is found that one was located in the first room, and the other in the fourth room. According to his biographer Bellori, the artwork had been commissioned to Caravaggio by Cardinal Scipione Borghese in 1606, a work that is possibly performed on a double easel, thus generating two twin masterpieces.
The biographical interest of the painting adds another layer of meaning to an already complex work, David and Goliath standing for Christ and Satan and the triumph of good over evil in orthodox Christian iconography of the period, and also as the cold-hearted beloved who "kills" and his lover according to contemporary literary conceit. An example of the genre can be seen in the contemporary Judith and Holofernes of Cristofano Allori in the Pitti Palace, where Allori depicts himself as Holofernes, although Caravaggio has depicted David not as cruel and indifferent but as deeply moved by Goliath's death.If the painting was a gift to Cardinal Borghese, the papal official with the power to grant Caravaggio a pardon for murder, it can also be interpreted as a personal plea for mercy. "David with the Head of Goliath [thus] demonstrates Caravaggio's gift for distilling his own experiences into an original sacred imagery that transcends the personal to become a searing statement of the human condition." Here the complicated relationship between Caravaggio and his acquired child lover is on display. Not only is Caravaggio at this point a hunted murderer but also in a relationship with a man who Caravaggio procured and no doubt raped as a child. Caravaggio's self loathing is palpable. | [
"Prado",
"work",
"Bellori",
"Scipione Borghese",
"Galleria Borghese",
"Baroque",
"Kunsthistorisches Museum",
"Caravaggio",
"Pitti Palace",
"Vienna",
"Cristofano Allori",
"Giorgione",
"early work",
"Cecco del Caravaggio"
] |
|
16493_NT | David with the Head of Goliath (Caravaggio, Rome) | Focus on this artwork and explore the abstract. | David with the Head of Goliath is a painting by the Italian Baroque artist Caravaggio. It is housed in the Galleria Borghese, Rome. The painting, which was in the collection of Cardinal Scipione Borghese in 1650, has been dated as early as 1605 and as late as 1609–1610, with more recent scholars tending towards the former.Caravaggio also treated this subject in a work dated c. 1607 in the Kunsthistorisches Museum in Vienna, and in an early work dated c. 1600 in the Prado in Madrid.The immediate inspiration for Caravaggio was a work by a follower of Giorgione, c.1510, but Caravaggio captures the drama more effectively by having the head dangling from David's hand and dripped out blood, rather than resting on a ledge. The sword in David's hand carries an abbreviated inscription H-AS OS; this has been interpreted as an abbreviation of the Latin phrase humilitas occidit superbiam ("humility kills pride").David is perturbed, "his expression mingling sadness and compassion." The decision to depict him as pensive rather than jubilant creates an unusual psychological bond between him and Goliath. This bond is further complicated by the fact that Caravaggio has depicted himself as Goliath, while the model for David is il suo Caravaggino ("his own little Caravaggio"). This most plausibly refers to Cecco del Caravaggio, the artist's studio assistant in Rome some years previously, recorded as the boy "who lay with him." No independent portraits of Cecco are known, making the identification impossible to verify, but "[a] sexual intimacy between David/model and Goliath/painter seems an inescapable conclusion, however, given that Caravaggio made David's sword appear to project upward, suggestively, between his legs and at an angle that echoes the diagonal linking of the protagonist's gaze to his victim." Alternatively, based on the portrait of Caravaggio done by Ottavio Leoni, this may be a double self-portrait. The young Caravaggio (his own little Caravaggio) wistfully holds the head of the adult Caravaggio. The wild and riotous behavior of the young Caravaggio essentially had destroyed his life as a mature adult, and he reflects with a familiar hermeticism on his own condition in a painting of a related religious subject.
The masterpiece in Rome is a "twin" of a second artwork on the same subject, David and Goliath, as reported in the inventory of the Galleria Borghese dated 1693, where is found that one was located in the first room, and the other in the fourth room. According to his biographer Bellori, the artwork had been commissioned to Caravaggio by Cardinal Scipione Borghese in 1606, a work that is possibly performed on a double easel, thus generating two twin masterpieces.
The biographical interest of the painting adds another layer of meaning to an already complex work, David and Goliath standing for Christ and Satan and the triumph of good over evil in orthodox Christian iconography of the period, and also as the cold-hearted beloved who "kills" and his lover according to contemporary literary conceit. An example of the genre can be seen in the contemporary Judith and Holofernes of Cristofano Allori in the Pitti Palace, where Allori depicts himself as Holofernes, although Caravaggio has depicted David not as cruel and indifferent but as deeply moved by Goliath's death.If the painting was a gift to Cardinal Borghese, the papal official with the power to grant Caravaggio a pardon for murder, it can also be interpreted as a personal plea for mercy. "David with the Head of Goliath [thus] demonstrates Caravaggio's gift for distilling his own experiences into an original sacred imagery that transcends the personal to become a searing statement of the human condition." Here the complicated relationship between Caravaggio and his acquired child lover is on display. Not only is Caravaggio at this point a hunted murderer but also in a relationship with a man who Caravaggio procured and no doubt raped as a child. Caravaggio's self loathing is palpable. | [
"Prado",
"work",
"Bellori",
"Scipione Borghese",
"Galleria Borghese",
"Baroque",
"Kunsthistorisches Museum",
"Caravaggio",
"Pitti Palace",
"Vienna",
"Cristofano Allori",
"Giorgione",
"early work",
"Cecco del Caravaggio"
] |
|
16494_T | Birth of Mani | Focus on Birth of Mani and explain the Description. | According to the research of the Hungarian Asian religious art historian Zsuzsanna Gulácsi , this painting mainly presents three themes: glory, incarnation , and birth celebration. The top of the center of the picture depicts ten Ji Letian in brightly colored costumes, driving two colorful auspicious clouds from the sky. Their position in the picture and the headlights behind their heads indicate their extraordinary identities. On each side of Ji Letian, there are four gods dressed as generals, wearing gold armor and black boots, standing on the colorful clouds and fog. They are holding tributes or banners. They may be the eight heavenly soldiers (English: soldierly angels ; Latin: angelorum exercitibus ) appearing in Manichae literature and art , belonging to the King of Glory. The image of these generals is also seen in the seventh heaven in the " Manichaean Diagram of the Universe ".There is a transparent sphere suspended on the lotus stand directly below Ji Le Tian, surrounded by ten flying flowers. The sphere is in the very center of the painting, with a female supporter holding a tribute on each side. The image in the sphere is damaged, but it can still be seen that the original depiction is a figure sitting on a lotus position, with head light and aureola. Given the position of the sphere in the picture, the portrait is likely to represent the baby Mani. Below the sphere can be seen a red lacquer box (baby crib) under the canopy. The newly born Mani slept in it. Around it were live musicians and dancers, as well as dignitaries who came to celebrate.On the left of the picture is a luxurious mansion, which depicts two scenes: Mani’s mother is full of beauty before and after Mani’s birth. Man Yan was dressed in a white dress and blue dress, wearing a high crown, and surrounded by maids. The scene facing the viewer is before birth, and the scene on the right side of the stairs is after birth. It can be seen that the baby Mani is born on the cloud from his mother's chest. There are six lotus seats and three gems in front of the baby . Other patterns scattered on the green ground include a golden cross, located on the lower right side of the transparent sphere, which should symbolize the "Cross of Light". At the bottom of the mansion on the left, three noble women led two maids to the paint box where Mani was asleep. The lower right portrays three groups of people, all men, among them nobles wearing white, red, and blue robes, followed by an attendant holding a white canopy in their hands. Behind the dignitaries is a man in a blue robe, surrounded by five standard bearers . He is most likely Mani's father Badi . Above them, in the middle part on the far right side, three demons can be seen standing on a dark cloud. | [
"incarnation",
"Manichaean Diagram of the Universe",
"head light",
"lotus position",
"three gems",
"Hungarian",
"Mani",
"aureola",
"standard bearers",
"Zsuzsanna Gulácsi"
] |
|
16494_NT | Birth of Mani | Focus on this artwork and explain the Description. | According to the research of the Hungarian Asian religious art historian Zsuzsanna Gulácsi , this painting mainly presents three themes: glory, incarnation , and birth celebration. The top of the center of the picture depicts ten Ji Letian in brightly colored costumes, driving two colorful auspicious clouds from the sky. Their position in the picture and the headlights behind their heads indicate their extraordinary identities. On each side of Ji Letian, there are four gods dressed as generals, wearing gold armor and black boots, standing on the colorful clouds and fog. They are holding tributes or banners. They may be the eight heavenly soldiers (English: soldierly angels ; Latin: angelorum exercitibus ) appearing in Manichae literature and art , belonging to the King of Glory. The image of these generals is also seen in the seventh heaven in the " Manichaean Diagram of the Universe ".There is a transparent sphere suspended on the lotus stand directly below Ji Le Tian, surrounded by ten flying flowers. The sphere is in the very center of the painting, with a female supporter holding a tribute on each side. The image in the sphere is damaged, but it can still be seen that the original depiction is a figure sitting on a lotus position, with head light and aureola. Given the position of the sphere in the picture, the portrait is likely to represent the baby Mani. Below the sphere can be seen a red lacquer box (baby crib) under the canopy. The newly born Mani slept in it. Around it were live musicians and dancers, as well as dignitaries who came to celebrate.On the left of the picture is a luxurious mansion, which depicts two scenes: Mani’s mother is full of beauty before and after Mani’s birth. Man Yan was dressed in a white dress and blue dress, wearing a high crown, and surrounded by maids. The scene facing the viewer is before birth, and the scene on the right side of the stairs is after birth. It can be seen that the baby Mani is born on the cloud from his mother's chest. There are six lotus seats and three gems in front of the baby . Other patterns scattered on the green ground include a golden cross, located on the lower right side of the transparent sphere, which should symbolize the "Cross of Light". At the bottom of the mansion on the left, three noble women led two maids to the paint box where Mani was asleep. The lower right portrays three groups of people, all men, among them nobles wearing white, red, and blue robes, followed by an attendant holding a white canopy in their hands. Behind the dignitaries is a man in a blue robe, surrounded by five standard bearers . He is most likely Mani's father Badi . Above them, in the middle part on the far right side, three demons can be seen standing on a dark cloud. | [
"incarnation",
"Manichaean Diagram of the Universe",
"head light",
"lotus position",
"three gems",
"Hungarian",
"Mani",
"aureola",
"standard bearers",
"Zsuzsanna Gulácsi"
] |
|
16495_T | Birth of Mani | Explore the Excursus of this artwork, Birth of Mani. | Eight silk hanging scrolls with Manichaean didactic images from southern China from between the 12th and the 15th centuries, which can be divided into four categories:Two single portraits (depicting Mani and Jesus)Icon of Mani
Manichaean Painting of the Buddha JesusOne scroll depicting Salvation Theory (Soteriology)Sermon on Mani's Teaching of SalvationFour scrolls depicting Prophetology (Prophetology)Mani's Parents
Birth of Mani
Episodes from Mani's Missionary Work
Mani's Community EstablishedOne scroll depicting Cosmology (Cosmology)Manichaean Diagram of the Universe | [
"Sermon on Mani's Teaching of Salvation",
"Mani's Community Established",
"Manichaean Diagram of the Universe",
"Cosmology",
"Icon of Mani",
"Mani",
"Mani's Parents",
"Episodes from Mani's Missionary Work",
"Salvation Theory",
"Manichaean Painting of the Buddha Jesus"
] |
|
16495_NT | Birth of Mani | Explore the Excursus of this artwork. | Eight silk hanging scrolls with Manichaean didactic images from southern China from between the 12th and the 15th centuries, which can be divided into four categories:Two single portraits (depicting Mani and Jesus)Icon of Mani
Manichaean Painting of the Buddha JesusOne scroll depicting Salvation Theory (Soteriology)Sermon on Mani's Teaching of SalvationFour scrolls depicting Prophetology (Prophetology)Mani's Parents
Birth of Mani
Episodes from Mani's Missionary Work
Mani's Community EstablishedOne scroll depicting Cosmology (Cosmology)Manichaean Diagram of the Universe | [
"Sermon on Mani's Teaching of Salvation",
"Mani's Community Established",
"Manichaean Diagram of the Universe",
"Cosmology",
"Icon of Mani",
"Mani",
"Mani's Parents",
"Episodes from Mani's Missionary Work",
"Salvation Theory",
"Manichaean Painting of the Buddha Jesus"
] |
|
16496_T | Saint Matthew and the Angel | Focus on Saint Matthew and the Angel and discuss the abstract. | Saint Matthew and the Angel (1602) is a painting from the Italian master Caravaggio (1571–1610), completed for the Contarelli Chapel in the church of San Luigi dei Francesi in Rome. It was destroyed in Berlin in 1945 and is now known only from black-and-white photographs and enhanced color reproductions. | [
"Berlin",
"Saint Matthew",
"Angel",
"Rome",
"Caravaggio",
"San Luigi dei Francesi",
"Contarelli Chapel"
] |
|
16496_NT | Saint Matthew and the Angel | Focus on this artwork and discuss the abstract. | Saint Matthew and the Angel (1602) is a painting from the Italian master Caravaggio (1571–1610), completed for the Contarelli Chapel in the church of San Luigi dei Francesi in Rome. It was destroyed in Berlin in 1945 and is now known only from black-and-white photographs and enhanced color reproductions. | [
"Berlin",
"Saint Matthew",
"Angel",
"Rome",
"Caravaggio",
"San Luigi dei Francesi",
"Contarelli Chapel"
] |
|
16497_T | Saint Matthew and the Angel | How does Saint Matthew and the Angel elucidate its Style? | Caravaggio was known for painting very realistically, using models instead of standard convention and idealization. He made his figures lifelike and relatable, as opposed to portraying unrealistic or phony poses. In this instance, however, the patrons wanted an idealization of the beloved Saint, someone who its viewers could admire and strain to be like. They did not want a bumbling peasant who looked as if he just walked in off the street. With the angel sweeping down and the Saint's stool teetering in movement, it is arguably one of Caravaggio's earliest examples of his dynamic style. It was a much more exciting composition than his first submission. Even though Caravaggio changed the composition to suit the desires of the patron, you can still see his own style under the more refined subject of Saint Matthew. | [
"Saint Matthew",
"Caravaggio",
"angel"
] |
|
16497_NT | Saint Matthew and the Angel | How does this artwork elucidate its Style? | Caravaggio was known for painting very realistically, using models instead of standard convention and idealization. He made his figures lifelike and relatable, as opposed to portraying unrealistic or phony poses. In this instance, however, the patrons wanted an idealization of the beloved Saint, someone who its viewers could admire and strain to be like. They did not want a bumbling peasant who looked as if he just walked in off the street. With the angel sweeping down and the Saint's stool teetering in movement, it is arguably one of Caravaggio's earliest examples of his dynamic style. It was a much more exciting composition than his first submission. Even though Caravaggio changed the composition to suit the desires of the patron, you can still see his own style under the more refined subject of Saint Matthew. | [
"Saint Matthew",
"Caravaggio",
"angel"
] |
|
16498_T | Saint Matthew and the Angel | Focus on Saint Matthew and the Angel and analyze the History. | Saint Matthew and the Angel was completed in 1602. A part of the collection of the former Kaiser Friedrich Museum, it was moved to a flak tower for safety but was destroyed by fire at the end of World War II while stored in an anti-aircraft bunker in Berlin. This work, by a pillar of the Baroque movement, might have provided new information about the artist and patron. Reproductions of the original still survive. | [
"Kaiser Friedrich Museum",
"Berlin",
"Saint Matthew",
"Baroque",
"Angel",
"flak tower",
"World War II"
] |
|
16498_NT | Saint Matthew and the Angel | Focus on this artwork and analyze the History. | Saint Matthew and the Angel was completed in 1602. A part of the collection of the former Kaiser Friedrich Museum, it was moved to a flak tower for safety but was destroyed by fire at the end of World War II while stored in an anti-aircraft bunker in Berlin. This work, by a pillar of the Baroque movement, might have provided new information about the artist and patron. Reproductions of the original still survive. | [
"Kaiser Friedrich Museum",
"Berlin",
"Saint Matthew",
"Baroque",
"Angel",
"flak tower",
"World War II"
] |
|
16499_T | Saint Matthew and the Angel | In Saint Matthew and the Angel, how is the Commission discussed? | Saint Matthew and the Angel was created as a commission for the Contarelli Chapel. Caravaggio was previously commissioned to paint two scenes of the saint's life, and after the patrons were satisfied with them, a third was commissioned.
The Contarelli Chapel was dedicated to Saint Matthew. With funds left for its building in 1585, it was completed in 1600. Cardinal Del Monte played a major part in orchestrating the decoration of its interior, and was the one who suggested Caravaggio as the painter of the scenes of Saint Matthew's life. The altar was to be composed of two Caravaggio paintings as well as a statue of the saint by Flemish artist Jacob Cobaert. However, the church was not pleased with the statue and Caravaggio was re-hired to do another piece as the center for the altar, to show Saint Matthew writing the Gospel under the guidance of an angel. Caravaggio depicted the Saint as an unlearned peasant, gaping in the presence of the angel. The church rejected Caravaggio's irreverent presentation of the saint, and Caravaggio replaced it with a more glorifying image, The Inspiration of Saint Matthew, which remains in the Chapel today. | [
"Saint Matthew",
"The Inspiration of Saint Matthew",
"Angel",
"Caravaggio",
"Gospel",
"Jacob Cobaert",
"dedicated",
"angel",
"Contarelli Chapel"
] |
|
16499_NT | Saint Matthew and the Angel | In this artwork, how is the Commission discussed? | Saint Matthew and the Angel was created as a commission for the Contarelli Chapel. Caravaggio was previously commissioned to paint two scenes of the saint's life, and after the patrons were satisfied with them, a third was commissioned.
The Contarelli Chapel was dedicated to Saint Matthew. With funds left for its building in 1585, it was completed in 1600. Cardinal Del Monte played a major part in orchestrating the decoration of its interior, and was the one who suggested Caravaggio as the painter of the scenes of Saint Matthew's life. The altar was to be composed of two Caravaggio paintings as well as a statue of the saint by Flemish artist Jacob Cobaert. However, the church was not pleased with the statue and Caravaggio was re-hired to do another piece as the center for the altar, to show Saint Matthew writing the Gospel under the guidance of an angel. Caravaggio depicted the Saint as an unlearned peasant, gaping in the presence of the angel. The church rejected Caravaggio's irreverent presentation of the saint, and Caravaggio replaced it with a more glorifying image, The Inspiration of Saint Matthew, which remains in the Chapel today. | [
"Saint Matthew",
"The Inspiration of Saint Matthew",
"Angel",
"Caravaggio",
"Gospel",
"Jacob Cobaert",
"dedicated",
"angel",
"Contarelli Chapel"
] |
|
16500_T | Saint Matthew and the Angel | Focus on Saint Matthew and the Angel and explore the Comparison. | The comparison is not perfect because the only images available of the lost Saint Matthew and the Angel are black and white photographs that were taken before World War II. The lost painting showed Saint Matthew as poorly groomed, with dirty feet. Although this was the style of Caravaggio, the church leaders thought it was too crude and did not want to have what looked like a peasant hanging in their sacred altarpiece. In addition, they thought that this Matthew did not match the other two paintings that Caravaggio had already done. It was apparently disconnected and therefore had no place with the others. The second piece keeps true to the same subject, but with a few changes. Matthew looks more like the other two Matthews in the altar. The Saint is now more serious and in control in the presence of the angel. Instead of being fully controlled by the angel, Saint Matthew is only encouraged by the angel in the second one. He is working more on his own accord. Nevertheless, the surviving version loses the touching directness of the first - the childlike angel patiently guiding the Saint's hand on the page as though he were the child. | [
"Saint Matthew",
"Angel",
"Caravaggio",
"angel",
"World War II"
] |
|
16500_NT | Saint Matthew and the Angel | Focus on this artwork and explore the Comparison. | The comparison is not perfect because the only images available of the lost Saint Matthew and the Angel are black and white photographs that were taken before World War II. The lost painting showed Saint Matthew as poorly groomed, with dirty feet. Although this was the style of Caravaggio, the church leaders thought it was too crude and did not want to have what looked like a peasant hanging in their sacred altarpiece. In addition, they thought that this Matthew did not match the other two paintings that Caravaggio had already done. It was apparently disconnected and therefore had no place with the others. The second piece keeps true to the same subject, but with a few changes. Matthew looks more like the other two Matthews in the altar. The Saint is now more serious and in control in the presence of the angel. Instead of being fully controlled by the angel, Saint Matthew is only encouraged by the angel in the second one. He is working more on his own accord. Nevertheless, the surviving version loses the touching directness of the first - the childlike angel patiently guiding the Saint's hand on the page as though he were the child. | [
"Saint Matthew",
"Angel",
"Caravaggio",
"angel",
"World War II"
] |
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