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16501_T | Portrait of a Young Man holding a Roundel | Focus on Portrait of a Young Man holding a Roundel and explain the abstract. | The Portrait of a Young Man Holding a Roundel (also known as Portrait of a Young Man holding a Trecento Medallion) is a painting attributed to Sandro Botticelli. Due to its style it has been estimated to have been painted around 1480. The identity of the portrait's subject is unknown, but analysts suggest it could be someone from the Medici family, as Lorenzo de' Medici was one of Botticelli's main benefactors. | [
"Sandro Botticelli",
"Trecento",
"Medici family",
"Lorenzo de' Medici"
] |
|
16501_NT | Portrait of a Young Man holding a Roundel | Focus on this artwork and explain the abstract. | The Portrait of a Young Man Holding a Roundel (also known as Portrait of a Young Man holding a Trecento Medallion) is a painting attributed to Sandro Botticelli. Due to its style it has been estimated to have been painted around 1480. The identity of the portrait's subject is unknown, but analysts suggest it could be someone from the Medici family, as Lorenzo de' Medici was one of Botticelli's main benefactors. | [
"Sandro Botticelli",
"Trecento",
"Medici family",
"Lorenzo de' Medici"
] |
|
16502_T | Portrait of a Young Man holding a Roundel | Explore the Description of the painting of this artwork, Portrait of a Young Man holding a Roundel. | The painting, thought to have been completed c. 1480, is believed to represent the beauty ideals of Renaissance Florentine high society. The young man's tunic is of a simple, fine quality with a blue color very rare at the time. The work was painted in tempera on poplar wood with a width of 38.9 cm and a height of 58.7 cm. The figure of the bearded saint in the trecento medallion was added after the portrait was completed and is believed to be an original by Bartolomeo Bulgarini, also known as the "Ovile Master". The medallion is very similar to other works by Bulgarini with a presumption that it was originally trimmed from a rectangular trecento. The young man is portrayed in front of a window frame in which the artist has fashioned a series of color planes. The inner frame is a uniform grey color, and appears to have a bright blueish tone to the left with a darker grey one in the right so the colors seem to change from left to right. One of the young man's fingers, supporting the medallion from below, rests on a bright grey strip at the bottom of the painting. The hand acts as a repoussoir that provides the illusion that the medallion is in another level within the painting. | [
"tunic",
"Florentine",
"trecento",
"Renaissance",
"Bartolomeo Bulgarini",
"repoussoir"
] |
|
16502_NT | Portrait of a Young Man holding a Roundel | Explore the Description of the painting of this artwork. | The painting, thought to have been completed c. 1480, is believed to represent the beauty ideals of Renaissance Florentine high society. The young man's tunic is of a simple, fine quality with a blue color very rare at the time. The work was painted in tempera on poplar wood with a width of 38.9 cm and a height of 58.7 cm. The figure of the bearded saint in the trecento medallion was added after the portrait was completed and is believed to be an original by Bartolomeo Bulgarini, also known as the "Ovile Master". The medallion is very similar to other works by Bulgarini with a presumption that it was originally trimmed from a rectangular trecento. The young man is portrayed in front of a window frame in which the artist has fashioned a series of color planes. The inner frame is a uniform grey color, and appears to have a bright blueish tone to the left with a darker grey one in the right so the colors seem to change from left to right. One of the young man's fingers, supporting the medallion from below, rests on a bright grey strip at the bottom of the painting. The hand acts as a repoussoir that provides the illusion that the medallion is in another level within the painting. | [
"tunic",
"Florentine",
"trecento",
"Renaissance",
"Bartolomeo Bulgarini",
"repoussoir"
] |
|
16503_T | Portrait of a Young Man holding a Roundel | Focus on Portrait of a Young Man holding a Roundel and discuss the History and ownership. | The first modern record of the painting was in 1938, when it was owned by Baron Newborough of Caernarvon. At the time, the art dealer Frank Sabin visited the Newborough estate and appraised the painting's value. Lord Newborough was ignorant of the true value of the painting, so Sabin managed to buy the piece for a relatively low price. Art historians assumed that the painting came into the possession of the Newborough family when the 1st Baron Newborough, Thomas Winn, lived in Florence, Italy between 1782 and 1791.Sabin sold the portrait to the collector Sir Thomas Merton in 1941 for a five-figure sum. During Merton's ownership the portrait was first described as a work by Botticelli. The attribution to Botticelli was doubted later, as prominent monographs on Botticelli did not include the portrait as one of his. Currently a majority of the art historians accept the attribution to Botticelli. While the Merton family owned the portrait, it became the subject of a poster for a Royal Academy of Arts Exhibition of Italian Art in 1960. In 1982, Merton's descendants sold the painting for £ 810,000 at an auction at Christie's.After Sheldon Solow bought the piece in 1982, the portrait was loaned to major museums including the Metropolitan Museum of Art in New York, the National Gallery in London, and the Städel Museum in Frankfurt, where it was displayed in a Botticelli exhibition in 2009–2010. In January 2021, the portrait was sold at an auction at Sotheby's New York for more than US$92.2 million to a Russian-speaking collector. The price for the painting was the highest paid for a Botticelli and the highest for an Old Master work since Leonardo Da Vinci's Salvator Mundi sold in 2017. | [
"Städel Museum",
"Royal Academy of Arts",
"Sir Thomas Merton",
"Florence",
"Salvator Mundi",
"Royal Academy of Arts Exhibition of Italian Art",
"monographs",
"Leonardo Da Vinci's",
"Städel",
"New York",
"Italy",
"Christie's",
"Sotheby's",
"Sheldon Solow",
"National Gallery",
"Old Master",
"Thomas Winn",
"London",
"Baron Newborough",
"US$",
"Metropolitan Museum of Art"
] |
|
16503_NT | Portrait of a Young Man holding a Roundel | Focus on this artwork and discuss the History and ownership. | The first modern record of the painting was in 1938, when it was owned by Baron Newborough of Caernarvon. At the time, the art dealer Frank Sabin visited the Newborough estate and appraised the painting's value. Lord Newborough was ignorant of the true value of the painting, so Sabin managed to buy the piece for a relatively low price. Art historians assumed that the painting came into the possession of the Newborough family when the 1st Baron Newborough, Thomas Winn, lived in Florence, Italy between 1782 and 1791.Sabin sold the portrait to the collector Sir Thomas Merton in 1941 for a five-figure sum. During Merton's ownership the portrait was first described as a work by Botticelli. The attribution to Botticelli was doubted later, as prominent monographs on Botticelli did not include the portrait as one of his. Currently a majority of the art historians accept the attribution to Botticelli. While the Merton family owned the portrait, it became the subject of a poster for a Royal Academy of Arts Exhibition of Italian Art in 1960. In 1982, Merton's descendants sold the painting for £ 810,000 at an auction at Christie's.After Sheldon Solow bought the piece in 1982, the portrait was loaned to major museums including the Metropolitan Museum of Art in New York, the National Gallery in London, and the Städel Museum in Frankfurt, where it was displayed in a Botticelli exhibition in 2009–2010. In January 2021, the portrait was sold at an auction at Sotheby's New York for more than US$92.2 million to a Russian-speaking collector. The price for the painting was the highest paid for a Botticelli and the highest for an Old Master work since Leonardo Da Vinci's Salvator Mundi sold in 2017. | [
"Städel Museum",
"Royal Academy of Arts",
"Sir Thomas Merton",
"Florence",
"Salvator Mundi",
"Royal Academy of Arts Exhibition of Italian Art",
"monographs",
"Leonardo Da Vinci's",
"Städel",
"New York",
"Italy",
"Christie's",
"Sotheby's",
"Sheldon Solow",
"National Gallery",
"Old Master",
"Thomas Winn",
"London",
"Baron Newborough",
"US$",
"Metropolitan Museum of Art"
] |
|
16504_T | Jupiter and Callisto (Boucher, 1744) | How does Jupiter and Callisto (Boucher, 1744) elucidate its abstract? | Jupiter and Callisto is a 1744 oil-on-canvas painting by François Boucher, now in the Pushkin Museum in Moscow. It shows Jupiter disguised as Diana to seduce Callisto. | [
"Jupiter",
"Callisto",
"François Boucher",
"Moscow",
"Diana",
"Pushkin Museum"
] |
|
16504_NT | Jupiter and Callisto (Boucher, 1744) | How does this artwork elucidate its abstract? | Jupiter and Callisto is a 1744 oil-on-canvas painting by François Boucher, now in the Pushkin Museum in Moscow. It shows Jupiter disguised as Diana to seduce Callisto. | [
"Jupiter",
"Callisto",
"François Boucher",
"Moscow",
"Diana",
"Pushkin Museum"
] |
|
16505_T | Jupiter and Callisto (Boucher, 1744) | Focus on Jupiter and Callisto (Boucher, 1744) and analyze the Mythological theme. | Jupiter, who is in love with Callisto, takes on the appearance of Diana to seduce her. The painting depicts the flirtation between Jupiter, under the disguise of the goddess of the hunt, and her favorite nymph. | [
"Jupiter",
"Callisto",
"Diana"
] |
|
16505_NT | Jupiter and Callisto (Boucher, 1744) | Focus on this artwork and analyze the Mythological theme. | Jupiter, who is in love with Callisto, takes on the appearance of Diana to seduce her. The painting depicts the flirtation between Jupiter, under the disguise of the goddess of the hunt, and her favorite nymph. | [
"Jupiter",
"Callisto",
"Diana"
] |
|
16506_T | Portrait of a Young Woman (La Muta) | In Portrait of a Young Woman (La Muta), how is the abstract discussed? | The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.
The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.
The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.
Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications. | [
"Leonardesque",
"Galleria Nazionale delle Marche",
"Raphael",
"Renaissance",
"Caravaggio",
"Urbino",
"Italian",
"Young Woman",
"Ingrid D. Rowland"
] |
|
16506_NT | Portrait of a Young Woman (La Muta) | In this artwork, how is the abstract discussed? | The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.
The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.
The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.
Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications. | [
"Leonardesque",
"Galleria Nazionale delle Marche",
"Raphael",
"Renaissance",
"Caravaggio",
"Urbino",
"Italian",
"Young Woman",
"Ingrid D. Rowland"
] |
|
16507_T | Hula Hooping Girl | Focus on Hula Hooping Girl and explore the abstract. | Hula Hooping Girl is a piece of street art, created by Banksy. On 13 October 2020, it appeared on a wall in Nottingham, England. Media reports followed the appearance of the artwork that is had been created by Banksy. On October 17, Banksy claimed the artwork after posting a picture of it on his Instagram account. | [
"Banksy",
"Nottingham",
"Instagram",
"England"
] |
|
16507_NT | Hula Hooping Girl | Focus on this artwork and explore the abstract. | Hula Hooping Girl is a piece of street art, created by Banksy. On 13 October 2020, it appeared on a wall in Nottingham, England. Media reports followed the appearance of the artwork that is had been created by Banksy. On October 17, Banksy claimed the artwork after posting a picture of it on his Instagram account. | [
"Banksy",
"Nottingham",
"Instagram",
"England"
] |
|
16508_T | Hula Hooping Girl | Focus on Hula Hooping Girl and explain the Artwork. | The work is painted onto a wall at the side of a beauty salon in Nottingham. It depicts a young girl hula-hooping with a bicycle tire, next to a bicycle that is missing its rear wheel, attached to a nearby signpost.As with many Banksy artworks, it was vandalised a couple of days after the artist posted it on his Instagram. On 22 November 2020, the bicycle that made up part of the work had been removed from the signpost. By the next day, it had been replaced with a different bicycle, without a rear wheel, in the same location. | [
"Banksy",
"Nottingham",
"Instagram",
"hula-hoop"
] |
|
16508_NT | Hula Hooping Girl | Focus on this artwork and explain the Artwork. | The work is painted onto a wall at the side of a beauty salon in Nottingham. It depicts a young girl hula-hooping with a bicycle tire, next to a bicycle that is missing its rear wheel, attached to a nearby signpost.As with many Banksy artworks, it was vandalised a couple of days after the artist posted it on his Instagram. On 22 November 2020, the bicycle that made up part of the work had been removed from the signpost. By the next day, it had been replaced with a different bicycle, without a rear wheel, in the same location. | [
"Banksy",
"Nottingham",
"Instagram",
"hula-hoop"
] |
|
16509_T | Badia Polyptych | Explore the abstract of this artwork, Badia Polyptych. | The Badia Polyptych (Italian: Polittico di Badia) is a painting by the Italian artist Giotto, painted around 1300 and housed in the Uffizi Gallery of Florence. | [
"Florence",
"Uffizi",
"Uffizi Gallery",
"Giotto"
] |
|
16509_NT | Badia Polyptych | Explore the abstract of this artwork. | The Badia Polyptych (Italian: Polittico di Badia) is a painting by the Italian artist Giotto, painted around 1300 and housed in the Uffizi Gallery of Florence. | [
"Florence",
"Uffizi",
"Uffizi Gallery",
"Giotto"
] |
|
16510_T | Badia Polyptych | Focus on Badia Polyptych and discuss the History. | Earlier sources such as Lorenzo Ghiberti's Commentarii and Giorgio Vasari's Lives agree in mentioning the presence of a polyptych by Giotto at the high altar in the Badia Fiorentina. However, the work was not documented anymore for centuries, and was considered to be lost. In the 19th century, however, it was found in the archives of the Museum of Santa Croce of Florence, and identified thanks to a cartouche on it saying "Badia di Firenze", which was added in 1810. The dating of the work is disputed, ranging from the early 14th century to a period following Giotto's work in the Cappella degli Scrovegni.when?In 1940, during the safe hiding of various works during World War II, Ugo Procacci noticed the polyptych being carried out of the Santa Croce basilica. He reasoned that it had been removed from the Badia Fiorentina during the Napoleonic occupation and accidentally re-installed at Santa Croce. Procacci also realized that the altarpiece was too large for the site of the altar then at the Badia. He discovered that a 1628 renovation had resulted in a change of the altar's location, leading to his discovery of a hidden fresco in the Badia. The polyptych was restored in 1958, with layers of overpaint and a later top (concealing the gables) removed. After surviving the 1966 flood of the Arno, the polyptych was again restored in 2000. | [
"Napoleon",
"Giorgio Vasari",
"1966 flood of the Arno",
"Florence",
"Santa Croce of Florence",
"Badia Fiorentina",
"Cappella degli Scrovegni",
"Giotto",
"Lorenzo Ghiberti",
"World War II"
] |
|
16510_NT | Badia Polyptych | Focus on this artwork and discuss the History. | Earlier sources such as Lorenzo Ghiberti's Commentarii and Giorgio Vasari's Lives agree in mentioning the presence of a polyptych by Giotto at the high altar in the Badia Fiorentina. However, the work was not documented anymore for centuries, and was considered to be lost. In the 19th century, however, it was found in the archives of the Museum of Santa Croce of Florence, and identified thanks to a cartouche on it saying "Badia di Firenze", which was added in 1810. The dating of the work is disputed, ranging from the early 14th century to a period following Giotto's work in the Cappella degli Scrovegni.when?In 1940, during the safe hiding of various works during World War II, Ugo Procacci noticed the polyptych being carried out of the Santa Croce basilica. He reasoned that it had been removed from the Badia Fiorentina during the Napoleonic occupation and accidentally re-installed at Santa Croce. Procacci also realized that the altarpiece was too large for the site of the altar then at the Badia. He discovered that a 1628 renovation had resulted in a change of the altar's location, leading to his discovery of a hidden fresco in the Badia. The polyptych was restored in 1958, with layers of overpaint and a later top (concealing the gables) removed. After surviving the 1966 flood of the Arno, the polyptych was again restored in 2000. | [
"Napoleon",
"Giorgio Vasari",
"1966 flood of the Arno",
"Florence",
"Santa Croce of Florence",
"Badia Fiorentina",
"Cappella degli Scrovegni",
"Giotto",
"Lorenzo Ghiberti",
"World War II"
] |
|
16511_T | Badia Polyptych | How does Badia Polyptych elucidate its Description? | The work is composed by five framed paintings with a triangular cusp, and portrays the busts of the Virgin Mary (center) and, from the left, Saints Nicholas of Bari, John the Evangelist, Peter and Benedict, identified by their names below and their traditional attributes.
Giotto made an extensive use of chiaroscuro. Details include the rich garments and the crosier of St. Nicholas, the gesture of the Child grasping at his mother's neckline and St. Peter's stole. Similar details were used by Giotto also in Rimini Crucifix and the Stigmata of St. Francis, and have led to the 14th century dating.. | [
"Rimini Crucifix",
"Nicholas of Bari",
"Benedict",
"Stigmata of St. Francis",
"chiaroscuro",
"Peter",
"Giotto",
"crosier",
"Virgin Mary",
"John the Evangelist"
] |
|
16511_NT | Badia Polyptych | How does this artwork elucidate its Description? | The work is composed by five framed paintings with a triangular cusp, and portrays the busts of the Virgin Mary (center) and, from the left, Saints Nicholas of Bari, John the Evangelist, Peter and Benedict, identified by their names below and their traditional attributes.
Giotto made an extensive use of chiaroscuro. Details include the rich garments and the crosier of St. Nicholas, the gesture of the Child grasping at his mother's neckline and St. Peter's stole. Similar details were used by Giotto also in Rimini Crucifix and the Stigmata of St. Francis, and have led to the 14th century dating.. | [
"Rimini Crucifix",
"Nicholas of Bari",
"Benedict",
"Stigmata of St. Francis",
"chiaroscuro",
"Peter",
"Giotto",
"crosier",
"Virgin Mary",
"John the Evangelist"
] |
|
16512_T | Statue of Christopher Columbus (Central Park) | Focus on Statue of Christopher Columbus (Central Park) and analyze the History. | In 1892, the Statue of Christopher Columbus was donated to Central Park by the New York Genealogical and Biographical Society in commemoration of the 400th anniversary of his arrival in the Americas. The statue replicates one made by Jeronimo Suñol in 1892, located at the Plaza de Colon, in Madrid. The New York version was placed in the park in 1894 at the foot of the Mall, and is today one of two monuments of Columbus found in the park's environs, the other being the statue surmounting the column at Columbus Circle. The sculpture depicts the explorer standing with outstretched arms, looking towards the heavens in gratitude for his successful voyage.
The statue was created to commemorate the 400th anniversary, in 1892, of Columbus's arrival in the Americas. It was unveiled in Central Park on May 12, 1894.In August 2017, the statue was vandalized with red paint and graffiti reading "Hate will not be tolerated" and '#somethingscoming". The statue was restored shortly thereafter. The statue was vandalized again in February 2023 with red paint and graffiti reading "land back" and "murderer". | [
"New York",
"New York Genealogical and Biographical Society",
"Christopher Columbus",
"Jeronimo Suñol",
"Central Park",
"Columbus Circle",
"Madrid"
] |
|
16512_NT | Statue of Christopher Columbus (Central Park) | Focus on this artwork and analyze the History. | In 1892, the Statue of Christopher Columbus was donated to Central Park by the New York Genealogical and Biographical Society in commemoration of the 400th anniversary of his arrival in the Americas. The statue replicates one made by Jeronimo Suñol in 1892, located at the Plaza de Colon, in Madrid. The New York version was placed in the park in 1894 at the foot of the Mall, and is today one of two monuments of Columbus found in the park's environs, the other being the statue surmounting the column at Columbus Circle. The sculpture depicts the explorer standing with outstretched arms, looking towards the heavens in gratitude for his successful voyage.
The statue was created to commemorate the 400th anniversary, in 1892, of Columbus's arrival in the Americas. It was unveiled in Central Park on May 12, 1894.In August 2017, the statue was vandalized with red paint and graffiti reading "Hate will not be tolerated" and '#somethingscoming". The statue was restored shortly thereafter. The statue was vandalized again in February 2023 with red paint and graffiti reading "land back" and "murderer". | [
"New York",
"New York Genealogical and Biographical Society",
"Christopher Columbus",
"Jeronimo Suñol",
"Central Park",
"Columbus Circle",
"Madrid"
] |
|
16513_T | Seaport with the Embarkation of Saint Ursula | In Seaport with the Embarkation of Saint Ursula, how is the abstract discussed? | Seaport with the Embarkation of Saint Ursula is an oil painting on canvas of 1641 by Claude Lorrain, signed and dated by the artist. The work was produced for Fausto Poli, who two years later was made a cardinal by Pope Urban VIII. It is now in the National Gallery in London, which acquired it in 1824 as part of the collection of John Julius Angerstein. | [
"National Gallery",
"London",
"Claude Lorrain",
"Fausto Poli",
"John Julius Angerstein",
"Pope Urban VIII"
] |
|
16513_NT | Seaport with the Embarkation of Saint Ursula | In this artwork, how is the abstract discussed? | Seaport with the Embarkation of Saint Ursula is an oil painting on canvas of 1641 by Claude Lorrain, signed and dated by the artist. The work was produced for Fausto Poli, who two years later was made a cardinal by Pope Urban VIII. It is now in the National Gallery in London, which acquired it in 1824 as part of the collection of John Julius Angerstein. | [
"National Gallery",
"London",
"Claude Lorrain",
"Fausto Poli",
"John Julius Angerstein",
"Pope Urban VIII"
] |
|
16514_T | Statue of Jeannette Rankin | Focus on Statue of Jeannette Rankin and explore the abstract. | Jeannette Rankin is a bronze sculpture depicting the American politician and women's rights advocate of the same name by Terry Mimnaugh, installed in the United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Montana in 1985. | [
"United States Capitol Visitor Center",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"Rankin",
"American politician and women's rights advocate of the same name",
"Montana",
"U.S. state",
"Terry Mimnaugh",
"United States Capitol",
"Jeannette Rankin"
] |
|
16514_NT | Statue of Jeannette Rankin | Focus on this artwork and explore the abstract. | Jeannette Rankin is a bronze sculpture depicting the American politician and women's rights advocate of the same name by Terry Mimnaugh, installed in the United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Montana in 1985. | [
"United States Capitol Visitor Center",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"Rankin",
"American politician and women's rights advocate of the same name",
"Montana",
"U.S. state",
"Terry Mimnaugh",
"United States Capitol",
"Jeannette Rankin"
] |
|
16515_T | Stars (M. C. Escher) | Focus on Stars (M. C. Escher) and explain the abstract. | Stars is a wood engraving print created by the Dutch artist M. C. Escher in 1948, depicting two chameleons in a polyhedral cage floating through space.
The compound of three octahedra used for the central cage in Stars had been studied before in mathematics, and Escher likely learned of it from the book Vielecke und Vielflache by Max Brückner. Escher used similar compound polyhedral forms in several other works, including Crystal (1947), Study for Stars (1948), Double Planetoid (1949), and Waterfall (1961).
The design for Stars was likely influenced by Escher's own interest in both geometry and astronomy, by a long history of using geometric forms to model the heavens, and by a drawing style used by Leonardo da Vinci. Commentators have interpreted the cage's compound shape as a reference to double and triple stars in astronomy, or to twinned crystals in crystallography. The image contrasts the celestial order of its polyhedral shapes with the more chaotic forms of biology.
Prints of Stars belong to the permanent collections of major museums including the Rijksmuseum, the National Gallery of Art, and the National Gallery of Canada. | [
"astronomy",
"National Gallery of Art",
"biology",
"compound of three octahedra",
"print",
"Waterfall",
"Max Brückner",
"crystallography",
"polyhedra",
"wood engraving",
"Rijksmuseum",
"Leonardo da Vinci",
"chameleon",
"polyhedral",
"Double Planetoid",
"National Gallery of Canada",
"M. C. Escher"
] |
|
16515_NT | Stars (M. C. Escher) | Focus on this artwork and explain the abstract. | Stars is a wood engraving print created by the Dutch artist M. C. Escher in 1948, depicting two chameleons in a polyhedral cage floating through space.
The compound of three octahedra used for the central cage in Stars had been studied before in mathematics, and Escher likely learned of it from the book Vielecke und Vielflache by Max Brückner. Escher used similar compound polyhedral forms in several other works, including Crystal (1947), Study for Stars (1948), Double Planetoid (1949), and Waterfall (1961).
The design for Stars was likely influenced by Escher's own interest in both geometry and astronomy, by a long history of using geometric forms to model the heavens, and by a drawing style used by Leonardo da Vinci. Commentators have interpreted the cage's compound shape as a reference to double and triple stars in astronomy, or to twinned crystals in crystallography. The image contrasts the celestial order of its polyhedral shapes with the more chaotic forms of biology.
Prints of Stars belong to the permanent collections of major museums including the Rijksmuseum, the National Gallery of Art, and the National Gallery of Canada. | [
"astronomy",
"National Gallery of Art",
"biology",
"compound of three octahedra",
"print",
"Waterfall",
"Max Brückner",
"crystallography",
"polyhedra",
"wood engraving",
"Rijksmuseum",
"Leonardo da Vinci",
"chameleon",
"polyhedral",
"Double Planetoid",
"National Gallery of Canada",
"M. C. Escher"
] |
|
16516_T | Stars (M. C. Escher) | Explore the Description of this artwork, Stars (M. C. Escher). | Stars is a wood engraving print; that is, it was produced by carving the artwork into the end grain of a block of wood (unlike a woodcut which uses the side grain), and then using this block to print the image. It was created by Escher in October 1948. Although most published copies of Stars are monochromatic, with white artwork against a black background, the copy in the National Gallery of Canada is tinted in different shades of turquoise, yellow, green, and pale pink.The print depicts a hollowed-out compound of three octahedra, a polyhedral compound composed of three interlocking regular octahedra, floating in space. Numerous other polyhedra and polyhedral compounds float in the background; the four largest are, on the upper left, the compound of cube and octahedron; on the upper right, the stella octangula; on the lower left, a compound of two cubes; and on the lower right, a solid version of the same octahedron 3-compound. The smaller polyhedra visible within the print also include all of the five Platonic solids and the rhombic dodecahedron. In order to depict polyhedra accurately, Escher made models of them from cardboard.Two chameleons are contained within the cage-like shape of the central compound; Escher writes that they were chosen as its inhabitants "because they are able to cling by their legs and tails to the beams of their cage as it swirls through space". The chameleon on the left sticks out his tongue, perhaps in commentary; H. S. M. Coxeter observes that the tongue has an unusual spiral-shaped tip. | [
"regular octahedra",
"spiral",
"polyhedral compound",
"compound of three octahedra",
"print",
"stella octangula",
"octahedron",
"compound of cube and octahedron",
"H. S. M. Coxeter",
"rhombic dodecahedron",
"monochromatic",
"woodcut",
"Plato",
"polyhedra",
"wood engraving",
"chameleon",
"polyhedral",
"Platonic solid",
"National Gallery of Canada",
"compound of two cubes"
] |
|
16516_NT | Stars (M. C. Escher) | Explore the Description of this artwork. | Stars is a wood engraving print; that is, it was produced by carving the artwork into the end grain of a block of wood (unlike a woodcut which uses the side grain), and then using this block to print the image. It was created by Escher in October 1948. Although most published copies of Stars are monochromatic, with white artwork against a black background, the copy in the National Gallery of Canada is tinted in different shades of turquoise, yellow, green, and pale pink.The print depicts a hollowed-out compound of three octahedra, a polyhedral compound composed of three interlocking regular octahedra, floating in space. Numerous other polyhedra and polyhedral compounds float in the background; the four largest are, on the upper left, the compound of cube and octahedron; on the upper right, the stella octangula; on the lower left, a compound of two cubes; and on the lower right, a solid version of the same octahedron 3-compound. The smaller polyhedra visible within the print also include all of the five Platonic solids and the rhombic dodecahedron. In order to depict polyhedra accurately, Escher made models of them from cardboard.Two chameleons are contained within the cage-like shape of the central compound; Escher writes that they were chosen as its inhabitants "because they are able to cling by their legs and tails to the beams of their cage as it swirls through space". The chameleon on the left sticks out his tongue, perhaps in commentary; H. S. M. Coxeter observes that the tongue has an unusual spiral-shaped tip. | [
"regular octahedra",
"spiral",
"polyhedral compound",
"compound of three octahedra",
"print",
"stella octangula",
"octahedron",
"compound of cube and octahedron",
"H. S. M. Coxeter",
"rhombic dodecahedron",
"monochromatic",
"woodcut",
"Plato",
"polyhedra",
"wood engraving",
"chameleon",
"polyhedral",
"Platonic solid",
"National Gallery of Canada",
"compound of two cubes"
] |
|
16517_T | Stars (M. C. Escher) | Focus on Stars (M. C. Escher) and discuss the Influences. | Escher's interest in geometry is well known, but he was also an avid amateur astronomer, and in the early 1940s he became a member of the Dutch Association for Meteorology and Astronomy. He owned a 6 cm refracting telescope, and recorded several observations of binary stars.The use of polyhedra to model heavenly bodies can be traced back to Plato, who in the Timaeus identified the regular dodecahedron with the shape of the heavens and its 12 faces with the constellations of the zodiac. Later, Johannes Kepler theorized that the distribution of distances of the planets from the sun could be explained by the shapes of the five Platonic solids, nested within each other. Escher kept a model of this system of nested polyhedra, and regularly depicted polyhedra in his artworks relating to astronomy and other worlds.Escher learned his wood engraving technique from Samuel Jessurun de Mesquita. He illustrated the octahedral compound of Stars in the beveled wire-frame style that had been used by Leonardo da Vinci in his illustrations for Luca Pacioli's 1509 book, De divina proportione.The stella octangula (Latin for "eight-pointed star") in the upper right of Stars was first described by Pacioli, and later rediscovered by Kepler, who gave it its astronomical name. H. S. M. Coxeter reports that the shape of the central chameleon cage in Stars had previously been described in 1900 by Max Brückner, whose book Vielecke und Vielflache includes a photograph of a model of the same shape. Coxeter, believing that Escher was not aware of this reference, wrote "It is remarkable that Escher, without any knowledge of algebra or analytic geometry, was able to rediscover this highly symmetrical figure." However, George W. Hart has documented that Escher was familiar with Brückner's book and based much of his knowledge of stellated polyhedra and polyhedral compounds on it. | [
"Samuel Jessurun de Mesquita",
"zodiac",
"George W. Hart",
"astronomy",
"polyhedral compound",
"refracting telescope",
"Astronomy",
"Johannes Kepler",
"stella octangula",
"Timaeus",
"Max Brückner",
"Luca Pacioli",
"H. S. M. Coxeter",
"De divina proportione",
"Plato",
"polyhedra",
"regular dodecahedron",
"constellation",
"wood engraving",
"binary star",
"Leonardo da Vinci",
"chameleon",
"polyhedral",
"Platonic solid",
"wire-frame"
] |
|
16517_NT | Stars (M. C. Escher) | Focus on this artwork and discuss the Influences. | Escher's interest in geometry is well known, but he was also an avid amateur astronomer, and in the early 1940s he became a member of the Dutch Association for Meteorology and Astronomy. He owned a 6 cm refracting telescope, and recorded several observations of binary stars.The use of polyhedra to model heavenly bodies can be traced back to Plato, who in the Timaeus identified the regular dodecahedron with the shape of the heavens and its 12 faces with the constellations of the zodiac. Later, Johannes Kepler theorized that the distribution of distances of the planets from the sun could be explained by the shapes of the five Platonic solids, nested within each other. Escher kept a model of this system of nested polyhedra, and regularly depicted polyhedra in his artworks relating to astronomy and other worlds.Escher learned his wood engraving technique from Samuel Jessurun de Mesquita. He illustrated the octahedral compound of Stars in the beveled wire-frame style that had been used by Leonardo da Vinci in his illustrations for Luca Pacioli's 1509 book, De divina proportione.The stella octangula (Latin for "eight-pointed star") in the upper right of Stars was first described by Pacioli, and later rediscovered by Kepler, who gave it its astronomical name. H. S. M. Coxeter reports that the shape of the central chameleon cage in Stars had previously been described in 1900 by Max Brückner, whose book Vielecke und Vielflache includes a photograph of a model of the same shape. Coxeter, believing that Escher was not aware of this reference, wrote "It is remarkable that Escher, without any knowledge of algebra or analytic geometry, was able to rediscover this highly symmetrical figure." However, George W. Hart has documented that Escher was familiar with Brückner's book and based much of his knowledge of stellated polyhedra and polyhedral compounds on it. | [
"Samuel Jessurun de Mesquita",
"zodiac",
"George W. Hart",
"astronomy",
"polyhedral compound",
"refracting telescope",
"Astronomy",
"Johannes Kepler",
"stella octangula",
"Timaeus",
"Max Brückner",
"Luca Pacioli",
"H. S. M. Coxeter",
"De divina proportione",
"Plato",
"polyhedra",
"regular dodecahedron",
"constellation",
"wood engraving",
"binary star",
"Leonardo da Vinci",
"chameleon",
"polyhedral",
"Platonic solid",
"wire-frame"
] |
|
16518_T | Stars (M. C. Escher) | How does Stars (M. C. Escher) elucidate its Analysis? | Martin Beech interprets the many polyhedral compounds within Stars as corresponding to double stars and triple star systems in astronomy. Beech writes that, for Escher, the mathematical orderliness of polyhedra depicts the "stability and timeless quality" of the heavens, and similarly
Marianne L. Teuber writes that Stars "celebrates Escher's identification with Johannes Kepler's neo-Platonic belief in an underlying mathematical order in the universe".Alternatively, Howard W. Jaffe interprets the polyhedral forms in Stars crystallographically, as "brilliantly faceted jewels" floating through space, with its compound polyhedra representing crystal twinning.
However, R. A. Dunlap points out the contrast between the order of the polyhedral forms and the more chaotic biological nature of the chameleons inhabiting them. In the same vein, Beech observes that the stars themselves convey tension between order and chaos: despite their symmetric shapes, the stars are scattered apparently at random, and vary haphazardly from each other. As Escher himself wrote about the central chameleon cage, "I shouldn't be surprised if it wobbles a bit." | [
"double star",
"astronomy",
"polyhedral compound",
"Johannes Kepler",
"triple star systems",
"crystallographically",
"Plato",
"polyhedra",
"chameleon",
"polyhedral",
"crystal twinning"
] |
|
16518_NT | Stars (M. C. Escher) | How does this artwork elucidate its Analysis? | Martin Beech interprets the many polyhedral compounds within Stars as corresponding to double stars and triple star systems in astronomy. Beech writes that, for Escher, the mathematical orderliness of polyhedra depicts the "stability and timeless quality" of the heavens, and similarly
Marianne L. Teuber writes that Stars "celebrates Escher's identification with Johannes Kepler's neo-Platonic belief in an underlying mathematical order in the universe".Alternatively, Howard W. Jaffe interprets the polyhedral forms in Stars crystallographically, as "brilliantly faceted jewels" floating through space, with its compound polyhedra representing crystal twinning.
However, R. A. Dunlap points out the contrast between the order of the polyhedral forms and the more chaotic biological nature of the chameleons inhabiting them. In the same vein, Beech observes that the stars themselves convey tension between order and chaos: despite their symmetric shapes, the stars are scattered apparently at random, and vary haphazardly from each other. As Escher himself wrote about the central chameleon cage, "I shouldn't be surprised if it wobbles a bit." | [
"double star",
"astronomy",
"polyhedral compound",
"Johannes Kepler",
"triple star systems",
"crystallographically",
"Plato",
"polyhedra",
"chameleon",
"polyhedral",
"crystal twinning"
] |
|
16519_T | Stars (M. C. Escher) | Focus on Stars (M. C. Escher) and analyze the Related works. | A closely related woodcut, Study for Stars, completed in August 1948, depicts wireframe versions of several of the same polyhedra and polyhedral compounds, floating in black within a square composition, but without the chameleons. The largest polyhedron shown in Study for Stars, a stellated rhombic dodecahedron, is also one of two polyhedra depicted prominently in Escher's 1961 print Waterfall.The stella octangula, a compound of two tetrahedra that appears in the upper right of Stars, also forms the central shape of another of Escher's astronomical works, Double Planetoid (1949). The compound of cube and octahedron in the upper left was used earlier by Escher, in Crystal (1947).Escher's later work Four Regular Solids (Stereometric Figure) returned to the theme of polyhedral compounds, depicting a more explicitly Keplerian form in which the compound of the cube and octahedron is nested within the compound of the dodecahedron and icosahedron. | [
"polyhedral compound",
"stellated rhombic dodecahedron",
"print",
"Waterfall",
"stella octangula",
"octahedron",
"compound of cube and octahedron",
"rhombic dodecahedron",
"woodcut",
"polyhedra",
"polyhedron",
"chameleon",
"polyhedral",
"Double Planetoid"
] |
|
16519_NT | Stars (M. C. Escher) | Focus on this artwork and analyze the Related works. | A closely related woodcut, Study for Stars, completed in August 1948, depicts wireframe versions of several of the same polyhedra and polyhedral compounds, floating in black within a square composition, but without the chameleons. The largest polyhedron shown in Study for Stars, a stellated rhombic dodecahedron, is also one of two polyhedra depicted prominently in Escher's 1961 print Waterfall.The stella octangula, a compound of two tetrahedra that appears in the upper right of Stars, also forms the central shape of another of Escher's astronomical works, Double Planetoid (1949). The compound of cube and octahedron in the upper left was used earlier by Escher, in Crystal (1947).Escher's later work Four Regular Solids (Stereometric Figure) returned to the theme of polyhedral compounds, depicting a more explicitly Keplerian form in which the compound of the cube and octahedron is nested within the compound of the dodecahedron and icosahedron. | [
"polyhedral compound",
"stellated rhombic dodecahedron",
"print",
"Waterfall",
"stella octangula",
"octahedron",
"compound of cube and octahedron",
"rhombic dodecahedron",
"woodcut",
"polyhedra",
"polyhedron",
"chameleon",
"polyhedral",
"Double Planetoid"
] |
|
16520_T | Stars (M. C. Escher) | In Stars (M. C. Escher), how is the Collections and publications discussed? | Stars was used as cover art for the 1962 anthology Best Fantasy Stories edited by Brian Aldiss,
and for a 1971 Italian edition of occult guidebook The Morning of the Magicians. It also formed the frontispiece for a 1996 textbook on crystallography.As well as being exhibited in the Escher Museum, copies of Stars are in the permanent collections of the Rijksmuseum, National Gallery of Art,Mildred Lane Kemper Art Museum,Boston Public Library,
and the National Gallery of Canada. | [
"Boston Public Library",
"cover art",
"Brian Aldiss",
"The Morning of the Magicians",
"National Gallery of Art",
"crystallography",
"Escher Museum",
"Mildred Lane Kemper Art Museum",
"anthology",
"Rijksmuseum",
"National Gallery of Canada"
] |
|
16520_NT | Stars (M. C. Escher) | In this artwork, how is the Collections and publications discussed? | Stars was used as cover art for the 1962 anthology Best Fantasy Stories edited by Brian Aldiss,
and for a 1971 Italian edition of occult guidebook The Morning of the Magicians. It also formed the frontispiece for a 1996 textbook on crystallography.As well as being exhibited in the Escher Museum, copies of Stars are in the permanent collections of the Rijksmuseum, National Gallery of Art,Mildred Lane Kemper Art Museum,Boston Public Library,
and the National Gallery of Canada. | [
"Boston Public Library",
"cover art",
"Brian Aldiss",
"The Morning of the Magicians",
"National Gallery of Art",
"crystallography",
"Escher Museum",
"Mildred Lane Kemper Art Museum",
"anthology",
"Rijksmuseum",
"National Gallery of Canada"
] |
|
16521_T | Head of Christ (Correggio) | Focus on Head of Christ (Correggio) and explore the abstract. | Head of Christ is a painting in oil on panel by the Italian Renaissance painter Correggio, dated 1521. It depicts the head of Christ, wearing the crown of thorns. In the background there is a white cloth showing that the image represents the Veil of Veronica, but Christ's head is given volume through alternate use of light and dark shadows. The painting is in the J. Paul Getty Museum in Malibu, Los Angeles. Correggio was known for creating some of the most sumptuous religious paintings of the period. The Getty Museum considers this artwork as one of the masterpieces of painting held by the museum. | [
"light",
"Italian Renaissance",
"Malibu",
"Los Angeles",
"Christ",
"Correggio",
"J. Paul Getty Museum",
"crown of thorns",
"Veil of Veronica",
"painting",
"Getty Museum"
] |
|
16521_NT | Head of Christ (Correggio) | Focus on this artwork and explore the abstract. | Head of Christ is a painting in oil on panel by the Italian Renaissance painter Correggio, dated 1521. It depicts the head of Christ, wearing the crown of thorns. In the background there is a white cloth showing that the image represents the Veil of Veronica, but Christ's head is given volume through alternate use of light and dark shadows. The painting is in the J. Paul Getty Museum in Malibu, Los Angeles. Correggio was known for creating some of the most sumptuous religious paintings of the period. The Getty Museum considers this artwork as one of the masterpieces of painting held by the museum. | [
"light",
"Italian Renaissance",
"Malibu",
"Los Angeles",
"Christ",
"Correggio",
"J. Paul Getty Museum",
"crown of thorns",
"Veil of Veronica",
"painting",
"Getty Museum"
] |
|
16522_T | Head of Christ (Correggio) | Focus on Head of Christ (Correggio) and explain the Painting. | The painting is a small artwork, probably intended for private devotion, which depicts the head of Christ crowned with thorns, in half profile turning his head towards the viewer. Through the use of the alternate use of light and shade; the chiaroscuro technique is used by the artist to highlight the line of the nose, cheekbones and the neck. All this, however, is softened by the muted tones of the nuances he used when depicting the color of the body. The strong shadows and the sculptural treatment of the head make this one of the most distinguishable representations on the Veil of Veronica. According to legend, Christ stumbled on his way to Golgotha carrying the cross. Veronica took off her own veil, and wiped his face with it. Christ's features were miraculously imprinted on the veil.In the early 1520s, Correggio was particularly interested in the study of the characters of the sacred history. Christ has his lips slightly parted, as if he would like to speak to the viewer. Correggio's bold reassessment of the theme filled the face of Christ an intense pathos. He looks at the viewers, as if to implore their mercy. According to art historian John Shearman this kind of depiction is a typical example of a "transitive work", i.e. a work that requires the emotional participation of the viewer and that can only be completed through being in the physical presence of the image. | [
"Golgotha",
"art historian",
"light",
"shade",
"John Shearman",
"sacred history",
"color",
"Painting",
"Christ",
"Correggio",
"chiaroscuro",
"crowned with thorns",
"legend",
"Veil of Veronica",
"painting",
"tones"
] |
|
16522_NT | Head of Christ (Correggio) | Focus on this artwork and explain the Painting. | The painting is a small artwork, probably intended for private devotion, which depicts the head of Christ crowned with thorns, in half profile turning his head towards the viewer. Through the use of the alternate use of light and shade; the chiaroscuro technique is used by the artist to highlight the line of the nose, cheekbones and the neck. All this, however, is softened by the muted tones of the nuances he used when depicting the color of the body. The strong shadows and the sculptural treatment of the head make this one of the most distinguishable representations on the Veil of Veronica. According to legend, Christ stumbled on his way to Golgotha carrying the cross. Veronica took off her own veil, and wiped his face with it. Christ's features were miraculously imprinted on the veil.In the early 1520s, Correggio was particularly interested in the study of the characters of the sacred history. Christ has his lips slightly parted, as if he would like to speak to the viewer. Correggio's bold reassessment of the theme filled the face of Christ an intense pathos. He looks at the viewers, as if to implore their mercy. According to art historian John Shearman this kind of depiction is a typical example of a "transitive work", i.e. a work that requires the emotional participation of the viewer and that can only be completed through being in the physical presence of the image. | [
"Golgotha",
"art historian",
"light",
"shade",
"John Shearman",
"sacred history",
"color",
"Painting",
"Christ",
"Correggio",
"chiaroscuro",
"crowned with thorns",
"legend",
"Veil of Veronica",
"painting",
"tones"
] |
|
16523_T | The Kentuckian (painting) | Explore the abstract of this artwork, The Kentuckian (painting). | The Kentuckian is a 1954 painting by American artist Thomas Hart Benton. It is based on a scene from the film The Kentuckian, where the backwoodsman Big Eli Wakefield (played by Burt Lancaster) and his son Little Eli (played by Donald MacDonald) encounter a frontier village. The painting belongs to the Los Angeles County Museum of Art. | [
"The Kentuckian",
"Los Angeles County Museum of Art",
"Los Angeles",
"Burt Lancaster",
"Thomas Hart Benton"
] |
|
16523_NT | The Kentuckian (painting) | Explore the abstract of this artwork. | The Kentuckian is a 1954 painting by American artist Thomas Hart Benton. It is based on a scene from the film The Kentuckian, where the backwoodsman Big Eli Wakefield (played by Burt Lancaster) and his son Little Eli (played by Donald MacDonald) encounter a frontier village. The painting belongs to the Los Angeles County Museum of Art. | [
"The Kentuckian",
"Los Angeles County Museum of Art",
"Los Angeles",
"Burt Lancaster",
"Thomas Hart Benton"
] |
|
16524_T | The Kentuckian (painting) | Focus on The Kentuckian (painting) and discuss the Creation. | The painting was commissioned by the film studio Norma Productions to help promote the film The Kentuckian, directed by and starring Burt Lancaster. Both Lancaster and the producer Harold Hecht were admirers of Benton and took the initiative for the commission. Among Benton's sketches for the painting is one version where the characters are drawn as cube-figures. | [
"The Kentuckian",
"Harold Hecht",
"Norma Productions",
"Burt Lancaster"
] |
|
16524_NT | The Kentuckian (painting) | Focus on this artwork and discuss the Creation. | The painting was commissioned by the film studio Norma Productions to help promote the film The Kentuckian, directed by and starring Burt Lancaster. Both Lancaster and the producer Harold Hecht were admirers of Benton and took the initiative for the commission. Among Benton's sketches for the painting is one version where the characters are drawn as cube-figures. | [
"The Kentuckian",
"Harold Hecht",
"Norma Productions",
"Burt Lancaster"
] |
|
16525_T | The Kentuckian (painting) | How does The Kentuckian (painting) elucidate its Provenance? | The painting was exhibited at the film's premiere in Washington, DC. It was later used on the label of a brand of whiskey. The painting belonged to Lancaster and was not exhibited in public again until he gave it to the Los Angeles County Museum of Art in 1978. As of 2017, it is not on public view at the museum. | [
"Washington, DC",
"Los Angeles County Museum of Art",
"Los Angeles",
"whiskey"
] |
|
16525_NT | The Kentuckian (painting) | How does this artwork elucidate its Provenance? | The painting was exhibited at the film's premiere in Washington, DC. It was later used on the label of a brand of whiskey. The painting belonged to Lancaster and was not exhibited in public again until he gave it to the Los Angeles County Museum of Art in 1978. As of 2017, it is not on public view at the museum. | [
"Washington, DC",
"Los Angeles County Museum of Art",
"Los Angeles",
"whiskey"
] |
|
16526_T | Bust of Giovanni Battista Santoni | Focus on Bust of Giovanni Battista Santoni and analyze the abstract. | The Bust of Giovanni Battisti Santoni is a sculptural portrait by the Italian artist Gian Lorenzo Bernini. Believed to be one of the artist's earliest works, the bust forms part of a tomb for Santoni, who was majordomo to Pope Sixtus V from 1590 to 1592. The work was executed sometime between 1613 and 1616, although some have dated the work as early as 1609 (when Bernini was ten years old), including Filippo Baldinucci. The work remains in its original setting in the church of Santa Prassede in Rome. | [
"Filippo Baldinucci",
"Gian Lorenzo Bernini",
"majordomo",
"Pope Sixtus V",
"Rome",
"Santa Prassede"
] |
|
16526_NT | Bust of Giovanni Battista Santoni | Focus on this artwork and analyze the abstract. | The Bust of Giovanni Battisti Santoni is a sculptural portrait by the Italian artist Gian Lorenzo Bernini. Believed to be one of the artist's earliest works, the bust forms part of a tomb for Santoni, who was majordomo to Pope Sixtus V from 1590 to 1592. The work was executed sometime between 1613 and 1616, although some have dated the work as early as 1609 (when Bernini was ten years old), including Filippo Baldinucci. The work remains in its original setting in the church of Santa Prassede in Rome. | [
"Filippo Baldinucci",
"Gian Lorenzo Bernini",
"majordomo",
"Pope Sixtus V",
"Rome",
"Santa Prassede"
] |
|
16527_T | Bust of Giovanni Battista Santoni | In Bust of Giovanni Battista Santoni, how is the Background discussed? | In 1568, Santoni was consecrated Bishop of Alife. In 1586, he was appointed the Bishop of Tricarico. In 1590, immediately after ascending the papal throne, Pope Sixtus V appointed Santoni his majordomo. Two years later, Santoni died. When Santoni's nephew was appointed to the bishopric in 1610, he commissioned the posthumous portrait of his uncle. | [
"majordomo",
"Pope Sixtus V"
] |
|
16527_NT | Bust of Giovanni Battista Santoni | In this artwork, how is the Background discussed? | In 1568, Santoni was consecrated Bishop of Alife. In 1586, he was appointed the Bishop of Tricarico. In 1590, immediately after ascending the papal throne, Pope Sixtus V appointed Santoni his majordomo. Two years later, Santoni died. When Santoni's nephew was appointed to the bishopric in 1610, he commissioned the posthumous portrait of his uncle. | [
"majordomo",
"Pope Sixtus V"
] |
|
16528_T | Bust of Giovanni Battista Santoni | Focus on Bust of Giovanni Battista Santoni and explore the Description. | The life-size marble bust is set in an oval frame with Mannerist mouldings behind and in between a broken pediment. The oval frame crowns an elaborate frame ornamented by three cherubim, also created by Bernini. These cherubim may have served as models for the artist's early mythological statues of putti. | [
"putti",
"cherubim"
] |
|
16528_NT | Bust of Giovanni Battista Santoni | Focus on this artwork and explore the Description. | The life-size marble bust is set in an oval frame with Mannerist mouldings behind and in between a broken pediment. The oval frame crowns an elaborate frame ornamented by three cherubim, also created by Bernini. These cherubim may have served as models for the artist's early mythological statues of putti. | [
"putti",
"cherubim"
] |
|
16529_T | Saint Augustine in His Study (Botticelli, Uffizi) | Focus on Saint Augustine in His Study (Botticelli, Uffizi) and explain the abstract. | Saint Augustine in His Study, is a painting by the Italian Renaissance master Sandro Botticelli, finished around 1490–1494. It is housed in the Uffizi, in Florence.
This work was probably executed for an Augustinian hermit of Santo Spirito, as shown by the fact the saint wears both episcopal and hermit garments.
As many of Botticelli's late works, it is inspired by the preaching of Savonarola. | [
"Savonarola",
"Santo Spirito",
"Renaissance",
"Florence",
"Sandro Botticelli",
"Augustinian hermit",
"Uffizi"
] |
|
16529_NT | Saint Augustine in His Study (Botticelli, Uffizi) | Focus on this artwork and explain the abstract. | Saint Augustine in His Study, is a painting by the Italian Renaissance master Sandro Botticelli, finished around 1490–1494. It is housed in the Uffizi, in Florence.
This work was probably executed for an Augustinian hermit of Santo Spirito, as shown by the fact the saint wears both episcopal and hermit garments.
As many of Botticelli's late works, it is inspired by the preaching of Savonarola. | [
"Savonarola",
"Santo Spirito",
"Renaissance",
"Florence",
"Sandro Botticelli",
"Augustinian hermit",
"Uffizi"
] |
|
16530_T | In the Loge | Explore the abstract of this artwork, In the Loge. | In The Loge, also known as At The Opera, is an 1878 Impressionist painting by the American artist Mary Cassatt. The oil-on-canvas painting is currently in the Museum of Fine Arts, Boston, which also holds a preliminary drawing for the work. The painting displays a bourgeois woman at the opera house looking through her opera glasses, while a man in the background looks at her. The woman's costume and fan make clear her upper class status. Art historians see the painting as commentary on the role of gender, looking, and power in the social spaces of the nineteenth century. | [
"Mary Cassatt",
"Boston",
"Impressionist",
"Museum of Fine Arts",
"oil-on-canvas",
"Museum of Fine Arts, Boston",
"bourgeois"
] |
|
16530_NT | In the Loge | Explore the abstract of this artwork. | In The Loge, also known as At The Opera, is an 1878 Impressionist painting by the American artist Mary Cassatt. The oil-on-canvas painting is currently in the Museum of Fine Arts, Boston, which also holds a preliminary drawing for the work. The painting displays a bourgeois woman at the opera house looking through her opera glasses, while a man in the background looks at her. The woman's costume and fan make clear her upper class status. Art historians see the painting as commentary on the role of gender, looking, and power in the social spaces of the nineteenth century. | [
"Mary Cassatt",
"Boston",
"Impressionist",
"Museum of Fine Arts",
"oil-on-canvas",
"Museum of Fine Arts, Boston",
"bourgeois"
] |
|
16531_T | In the Loge | In In the Loge, how is the Personal identity of the Background elucidated? | Cassatt's female subjects are often seen as an extension of her personal life. Cassatt had an early passion for painting and convinced her father to allow her to attend art school at a time when it was unusual for women to do so. After her father gave her permission to study at the Pennsylvania Academy of the Fine Arts, she moved to Paris, where she practiced as a painter and exhibited with the Impressionists. The art historian Susan Yeh has argued that Cassatt's female subjects, like Cassatt herself, overcome gender stereotypes and pursue independence. | [
"Pennsylvania Academy of the Fine Arts",
"Impressionist"
] |
|
16531_NT | In the Loge | In this artwork, how is the Personal identity of the Background elucidated? | Cassatt's female subjects are often seen as an extension of her personal life. Cassatt had an early passion for painting and convinced her father to allow her to attend art school at a time when it was unusual for women to do so. After her father gave her permission to study at the Pennsylvania Academy of the Fine Arts, she moved to Paris, where she practiced as a painter and exhibited with the Impressionists. The art historian Susan Yeh has argued that Cassatt's female subjects, like Cassatt herself, overcome gender stereotypes and pursue independence. | [
"Pennsylvania Academy of the Fine Arts",
"Impressionist"
] |
|
16532_T | In the Loge | In the context of In the Loge, analyze the Impressionism of the Background. | Cassatt was introduced to Impressionism by Edgar Degas. Impressionist painters often painted social settings such as cafes, popular boulevards, and opera houses. This new movement satisfied Cassatt's desire to make art that was relevant to modern life. Like other Impressionist painters, Cassatt used loose brushstrokes to capture fleeting moments in time. Cassatt was empowered by the Impressionists to choose her own subject matter, ignoring the historical genres favored by the French Academy. | [
"Impressionism",
"Edgar Degas",
"French Academy",
"Impressionist"
] |
|
16532_NT | In the Loge | In the context of this artwork, analyze the Impressionism of the Background. | Cassatt was introduced to Impressionism by Edgar Degas. Impressionist painters often painted social settings such as cafes, popular boulevards, and opera houses. This new movement satisfied Cassatt's desire to make art that was relevant to modern life. Like other Impressionist painters, Cassatt used loose brushstrokes to capture fleeting moments in time. Cassatt was empowered by the Impressionists to choose her own subject matter, ignoring the historical genres favored by the French Academy. | [
"Impressionism",
"Edgar Degas",
"French Academy",
"Impressionist"
] |
|
16533_T | In the Loge | In In the Loge, how is the The Opera House discussed? | In the Loge takes place in an elevated floor of an opera house. During the 19th century, the opera house was not only a place to watch a performance, but also a social gathering where high-class and bourgeois people would mingle. It served as one of the only social settings that women could freely attend. Cassatt's choice of setting for In the Loge has been interpreted by scholars as a means of highlighting the growing agency of women in nineteenth-century society. | [
"bourgeois"
] |
|
16533_NT | In the Loge | In this artwork, how is the The Opera House discussed? | In the Loge takes place in an elevated floor of an opera house. During the 19th century, the opera house was not only a place to watch a performance, but also a social gathering where high-class and bourgeois people would mingle. It served as one of the only social settings that women could freely attend. Cassatt's choice of setting for In the Loge has been interpreted by scholars as a means of highlighting the growing agency of women in nineteenth-century society. | [
"bourgeois"
] |
|
16534_T | In the Loge | In the context of In the Loge, explore the Similar paintings of the The Opera House. | Mary Cassatt produced several other paintings depicting scenes in the opera house, such as The Loge and Woman with a Pearl Necklace in a Loge. Pierre Auguste Renoir also depicted a similar subject in La Loge (The Theatre Box), but his approach to the subject differs from Cassatt's. While Renoir paints his female subjects in order to display their physical features, Cassatt gives her female subject a more active role. | [
"La Loge",
"Mary Cassatt",
"Woman with a Pearl Necklace in a Loge",
"Pierre Auguste Renoir"
] |
|
16534_NT | In the Loge | In the context of this artwork, explore the Similar paintings of the The Opera House. | Mary Cassatt produced several other paintings depicting scenes in the opera house, such as The Loge and Woman with a Pearl Necklace in a Loge. Pierre Auguste Renoir also depicted a similar subject in La Loge (The Theatre Box), but his approach to the subject differs from Cassatt's. While Renoir paints his female subjects in order to display their physical features, Cassatt gives her female subject a more active role. | [
"La Loge",
"Mary Cassatt",
"Woman with a Pearl Necklace in a Loge",
"Pierre Auguste Renoir"
] |
|
16535_T | In the Loge | Focus on In the Loge and explain the Feminism. | Women were almost exclusively the subject for Cassatt's paintings and she became known for her representation of females.While femininity during the nineteenth century was frequently associated with domestic space, Cassatt sometimes depicted the movement of women into public space, capturing the evolution of gender norms. Though permitted, it was a risk for a woman's reputation to enter spaces like an opera house. Cassatt engaged with this modern reality by painting women in the few public spaces that were accessible to them. | [] |
|
16535_NT | In the Loge | Focus on this artwork and explain the Feminism. | Women were almost exclusively the subject for Cassatt's paintings and she became known for her representation of females.While femininity during the nineteenth century was frequently associated with domestic space, Cassatt sometimes depicted the movement of women into public space, capturing the evolution of gender norms. Though permitted, it was a risk for a woman's reputation to enter spaces like an opera house. Cassatt engaged with this modern reality by painting women in the few public spaces that were accessible to them. | [] |
|
16536_T | In the Loge | Explore the Body language about the Feminism of this artwork, In the Loge. | In In the Loge, the woman is seen sitting up straight, taking up most of the foreground of the image. Her elbow rests against the railing as she holds up her opera glasses. Her body language is confident, suggesting power. Her facial expression is alert, demonstrating her curiosity. The woman may be aware of the man staring at her, yet does not let that distract from what she is watching. | [] |
|
16536_NT | In the Loge | Explore the Body language about the Feminism of this artwork. | In In the Loge, the woman is seen sitting up straight, taking up most of the foreground of the image. Her elbow rests against the railing as she holds up her opera glasses. Her body language is confident, suggesting power. Her facial expression is alert, demonstrating her curiosity. The woman may be aware of the man staring at her, yet does not let that distract from what she is watching. | [] |
|
16537_T | In the Loge | In the context of In the Loge, discuss the Power of the gaze of the Feminism. | The woman continues to actively look through her glasses despite the man in her side view. Refusing to look in his direction, the female protagonist is asserting her independence in the space. The two figures looking through their opera glasses reflects the broader dynamics of gender in public space.
The audience also plays a unique role in the painting. As one looks at the painting, one stares at the woman, much like the man in the back. | [] |
|
16537_NT | In the Loge | In the context of this artwork, discuss the Power of the gaze of the Feminism. | The woman continues to actively look through her glasses despite the man in her side view. Refusing to look in his direction, the female protagonist is asserting her independence in the space. The two figures looking through their opera glasses reflects the broader dynamics of gender in public space.
The audience also plays a unique role in the painting. As one looks at the painting, one stares at the woman, much like the man in the back. | [] |
|
16538_T | In the Loge | How does In the Loge elucidate its Commissioning? | In the Loge was one of Cassatt's first pieces to be presented in the United States, when it was exhibited in Boston in 1878. The work remained in the possession of the artist's family until 1893 or 1894, when Cassatt sold it to Martin, Camentron, and Company in Paris. The painting entered the Museum of Fine Arts, Boston in 1910. | [
"Boston",
"Museum of Fine Arts",
"Museum of Fine Arts, Boston"
] |
|
16538_NT | In the Loge | How does this artwork elucidate its Commissioning? | In the Loge was one of Cassatt's first pieces to be presented in the United States, when it was exhibited in Boston in 1878. The work remained in the possession of the artist's family until 1893 or 1894, when Cassatt sold it to Martin, Camentron, and Company in Paris. The painting entered the Museum of Fine Arts, Boston in 1910. | [
"Boston",
"Museum of Fine Arts",
"Museum of Fine Arts, Boston"
] |
|
16539_T | Christ Among the Doctors (Veronese) | Focus on Christ Among the Doctors (Veronese) and analyze the abstract. | Christ Among the Doctors is a painting in oils on canvas by Paolo Veronese, now in the Museo del Prado in Madrid. Its dating has been the subject of debate – the date 1548 appears on a book held by a figure seated on the stairs in the foreground, but in 1976 Diana Gisolfi Pechukas posited 1565 as the earliest possible date for the painting's production.
The work was recorded as being in the Casa Contarini in Padua in 1648, but by 1686 it was in the Real Alcázar di Madrid, having possibly been brought back between 1649 and 1651 by Diego Velázquez after his second trip to Italy. It was later moved to the Buen Retiro Palace.The painting depicts an episode of biblical history, Christ among the doctors. It is a typical canvas by Veronese showing his preference for large compositions and numerous characters integrated into monumental architecture, as seen – for example – in his Feast in the House of Levi or in The Wedding at Cana. In Christ Among the Doctors twenty-five human figures in different poses and perspectives, dressed in rich clothes, display Veronese's skill in arranging a great variety of colors. The gestural expression of the characters reveals Veronese's study of classical statuary. Relegated to the background, Joseph and Mary, accompanied by the common people, search for their son.
The architectural setting recalls the style of Andrea Palladio, which is one of the arguments invoked in favour of a later creation date as the architectural designs could not be earlier than 1556, the year in which they appeared in an edition of Vitruvius's treatise De architectura.
In this work Veronese follows the typical characteristics of Venetian painting, primarily through his concern for the treatment of light and the harmony of colors.
The head of the assembly may be represented by one of the bearded sages, who listens to Christ and wears the black knight's robe of the Order of the Holy Sepulcher and holds a staff of pilgrimage; this could indicate that the painting was commissioned as a reminder of a pilgrimage made to Jerusalem. | [
"Joseph",
"Order of the Holy Sepulcher",
"Mary",
"Contarini",
"style of Andrea Palladio",
"Real Alcázar di Madrid",
"Jerusalem",
"Paolo Veronese",
"Christ among the doctors",
"The Wedding at Cana",
"De architectura",
"Venetian painting",
"Padua",
"Museo del Prado",
"Vitruvius",
"classical statuary",
"Buen Retiro Palace",
"Diego Velázquez",
"Feast in the House of Levi",
"Madrid"
] |
|
16539_NT | Christ Among the Doctors (Veronese) | Focus on this artwork and analyze the abstract. | Christ Among the Doctors is a painting in oils on canvas by Paolo Veronese, now in the Museo del Prado in Madrid. Its dating has been the subject of debate – the date 1548 appears on a book held by a figure seated on the stairs in the foreground, but in 1976 Diana Gisolfi Pechukas posited 1565 as the earliest possible date for the painting's production.
The work was recorded as being in the Casa Contarini in Padua in 1648, but by 1686 it was in the Real Alcázar di Madrid, having possibly been brought back between 1649 and 1651 by Diego Velázquez after his second trip to Italy. It was later moved to the Buen Retiro Palace.The painting depicts an episode of biblical history, Christ among the doctors. It is a typical canvas by Veronese showing his preference for large compositions and numerous characters integrated into monumental architecture, as seen – for example – in his Feast in the House of Levi or in The Wedding at Cana. In Christ Among the Doctors twenty-five human figures in different poses and perspectives, dressed in rich clothes, display Veronese's skill in arranging a great variety of colors. The gestural expression of the characters reveals Veronese's study of classical statuary. Relegated to the background, Joseph and Mary, accompanied by the common people, search for their son.
The architectural setting recalls the style of Andrea Palladio, which is one of the arguments invoked in favour of a later creation date as the architectural designs could not be earlier than 1556, the year in which they appeared in an edition of Vitruvius's treatise De architectura.
In this work Veronese follows the typical characteristics of Venetian painting, primarily through his concern for the treatment of light and the harmony of colors.
The head of the assembly may be represented by one of the bearded sages, who listens to Christ and wears the black knight's robe of the Order of the Holy Sepulcher and holds a staff of pilgrimage; this could indicate that the painting was commissioned as a reminder of a pilgrimage made to Jerusalem. | [
"Joseph",
"Order of the Holy Sepulcher",
"Mary",
"Contarini",
"style of Andrea Palladio",
"Real Alcázar di Madrid",
"Jerusalem",
"Paolo Veronese",
"Christ among the doctors",
"The Wedding at Cana",
"De architectura",
"Venetian painting",
"Padua",
"Museo del Prado",
"Vitruvius",
"classical statuary",
"Buen Retiro Palace",
"Diego Velázquez",
"Feast in the House of Levi",
"Madrid"
] |
|
16540_T | The Copper Horse | In The Copper Horse, how is the abstract discussed? | The Copper Horse is an 1831 equestrian statue of George III. The monumental bronze statue by Richard Westmacott stands on a stone plinth at Snow Hill in Windsor Great Park in the English county of Berkshire, at the southern end of the Long Walk, a tree-lined avenue which leads in a straight line about 2.65 mi (4.26 km) from the George IV Gateway at Windsor Castle. It became a Grade I listed building in 1972. | [
"George IV",
"Berkshire",
"listed building",
"George III",
"equestrian statue",
"Richard Westmacott",
"Windsor Great Park",
"Windsor Castle"
] |
|
16540_NT | The Copper Horse | In this artwork, how is the abstract discussed? | The Copper Horse is an 1831 equestrian statue of George III. The monumental bronze statue by Richard Westmacott stands on a stone plinth at Snow Hill in Windsor Great Park in the English county of Berkshire, at the southern end of the Long Walk, a tree-lined avenue which leads in a straight line about 2.65 mi (4.26 km) from the George IV Gateway at Windsor Castle. It became a Grade I listed building in 1972. | [
"George IV",
"Berkshire",
"listed building",
"George III",
"equestrian statue",
"Richard Westmacott",
"Windsor Great Park",
"Windsor Castle"
] |
|
16541_T | The Copper Horse | Focus on The Copper Horse and explore the Background. | The statue was announced in January 1821 by George IV, to commemorate his late father George III, who had died one year before. George IV had visited Westmacott's studio in December 1820, where he saw a smaller equestrian statue of George III that had been commissioned by the Liverpool Corporation to celebrate the Golden Jubilee of George III, ten years earlier, delayed through very slow collection of public subscriptions. That smaller statue, now displayed in Monument Place, Liverpool, depicts George III in classical garb, mounted on a horse, with his right arm outstretched, in the manner of the second century Equestrian Statue of Marcus Aurelius in Rome. Westmacott had studied in Rome in the 1790s under Antonio Canova.
The avenue of trees of the Long Walk, leading from Windsor Castle to Snow Hill, was created by Charles II. The hilltop was the proposed site for several earlier monument - the Duke of Cumberland planned to reconstruct the Holbein Gate from Whitehall there, and Charles Kelsall proposed a new Temple of Diana – but none came to fruition, so the site was still vacant. According to contemporary newspapers in January 1821, George IV ordered "a full length statue in bronze of George III to be erected on the top of Snow Hill, Windsor Park, with his hand pointing towards his favourite residence, Windsor Castle". | [
"George IV",
"Duke of Cumberland",
"George III",
"Charles Kelsall",
"equestrian statue",
"Diana",
"Golden Jubilee of George III",
"Equestrian Statue of Marcus Aurelius",
"Holbein Gate",
"Windsor Castle",
"Charles II",
"Antonio Canova"
] |
|
16541_NT | The Copper Horse | Focus on this artwork and explore the Background. | The statue was announced in January 1821 by George IV, to commemorate his late father George III, who had died one year before. George IV had visited Westmacott's studio in December 1820, where he saw a smaller equestrian statue of George III that had been commissioned by the Liverpool Corporation to celebrate the Golden Jubilee of George III, ten years earlier, delayed through very slow collection of public subscriptions. That smaller statue, now displayed in Monument Place, Liverpool, depicts George III in classical garb, mounted on a horse, with his right arm outstretched, in the manner of the second century Equestrian Statue of Marcus Aurelius in Rome. Westmacott had studied in Rome in the 1790s under Antonio Canova.
The avenue of trees of the Long Walk, leading from Windsor Castle to Snow Hill, was created by Charles II. The hilltop was the proposed site for several earlier monument - the Duke of Cumberland planned to reconstruct the Holbein Gate from Whitehall there, and Charles Kelsall proposed a new Temple of Diana – but none came to fruition, so the site was still vacant. According to contemporary newspapers in January 1821, George IV ordered "a full length statue in bronze of George III to be erected on the top of Snow Hill, Windsor Park, with his hand pointing towards his favourite residence, Windsor Castle". | [
"George IV",
"Duke of Cumberland",
"George III",
"Charles Kelsall",
"equestrian statue",
"Diana",
"Golden Jubilee of George III",
"Equestrian Statue of Marcus Aurelius",
"Holbein Gate",
"Windsor Castle",
"Charles II",
"Antonio Canova"
] |
|
16542_T | Landscape with Animals | Focus on Landscape with Animals and explain the abstract. | Landscape with Animals is a 1767 painting by Philip James de Loutherbourg. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1062. The painting was much admired by Denis Diderot, an early patron of Loutherbourg, when it was shown at the Paris Salon of 1767. Although Diderot found the clouds unconvincing – as heavy and solid as lapis lazuli – he heaped enormous praise on the depiction of the animals, especially the white cow at the centre of the composition. | [
"Denis Diderot",
"Paris Salon",
"Musée des Beaux-Arts",
"Philip James de Loutherbourg",
"Strasbourg",
"composition",
"lapis lazuli"
] |
|
16542_NT | Landscape with Animals | Focus on this artwork and explain the abstract. | Landscape with Animals is a 1767 painting by Philip James de Loutherbourg. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1062. The painting was much admired by Denis Diderot, an early patron of Loutherbourg, when it was shown at the Paris Salon of 1767. Although Diderot found the clouds unconvincing – as heavy and solid as lapis lazuli – he heaped enormous praise on the depiction of the animals, especially the white cow at the centre of the composition. | [
"Denis Diderot",
"Paris Salon",
"Musée des Beaux-Arts",
"Philip James de Loutherbourg",
"Strasbourg",
"composition",
"lapis lazuli"
] |
|
16543_T | Right and Left | Explore the abstract of this artwork, Right and Left. | Right and Left is a 1909 oil on canvas painting by the American artist Winslow Homer. It depicts a pair of common goldeneye ducks at the moment they are hit by a hunter's shotgun blast as they attempt to take flight. Completed less than two years before his death, it was Homer's last great painting, and has been the subject of a variety of interpretations regarding its origin, composition and meaning. As with his other late masterworks, it represents a return to the sporting and hunting subjects of Homer's earlier years, and was to be his final engagement with the theme. Its design recalls that of Japanese art, and the composition resembles that of a colored engraving by John James Audubon. | [
"common goldeneye",
"Winslow Homer",
"John James Audubon",
"Japanese art"
] |
|
16543_NT | Right and Left | Explore the abstract of this artwork. | Right and Left is a 1909 oil on canvas painting by the American artist Winslow Homer. It depicts a pair of common goldeneye ducks at the moment they are hit by a hunter's shotgun blast as they attempt to take flight. Completed less than two years before his death, it was Homer's last great painting, and has been the subject of a variety of interpretations regarding its origin, composition and meaning. As with his other late masterworks, it represents a return to the sporting and hunting subjects of Homer's earlier years, and was to be his final engagement with the theme. Its design recalls that of Japanese art, and the composition resembles that of a colored engraving by John James Audubon. | [
"common goldeneye",
"Winslow Homer",
"John James Audubon",
"Japanese art"
] |
|
16544_T | Right and Left | Focus on Right and Left and discuss the Background. | In May 1908 Homer suffered temporary impairment of his speech and muscular control as the effects of a mild stroke; on June 4 he wrote his brother Charles that "I can paint as well as ever. I think my pictures better for having one eye in the pot and one eye up a chimney— a new departure in the art world." By July 18 he was able to write that he had regained his abilities with the exception of tying "my neck tie in the way that I have done for the past 20 years....Every four or five days I try to do it but....it has been of no use." Although he never completely recovered, Homer was well enough to attempt a major work, and it is probably Right and Left that he referred to in a letter to his brother Charles dated December 8, 1908: "I am painting when it is light enough on a most surprising picture".
Homer's biographers offer varying accounts of the events surrounding both the painting's conception and initial development. Homer's first biographer, William Howe Downes, wrote that the ducks used for the painting had been purchased by the artist for his Thanksgiving dinner; he so admired their plumage that he painted them instead. Homer's nephew told another of Homer's biographers, Philip Beam, that a friend of the artist named Phineas W. Sprague shot the birds in Prouts Neck that autumn and hung them on Homer's studio door, and the arrangement inspired the painting's design. Given the goldeneye's taste— Audubon called the duck "fishy, and in my opinion unfit for being eaten"— insofar as the implication is that the ducks were intended for food, neither story is altogether credible.Likewise there are different versions regarding Homer's preparatory methods. Downes recounted that Homer took to sea in a boat, accompanied by a man with a double-barreled shotgun, and studied the movements of birds as they were shot. In Beam's telling, Homer stood atop a cliff at Prouts Neck while his neighbor Will Googins, fired blank charges in his direction from a rowboat offshore. However, Homer was already familiar with this angle of shotgun blast, having in 1864 painted Defiance, a Civil War subject of a soldier being shot at, and in 1892 A Good Shot, Adirondacks, which shows the puff of distant rifle smoke and a mortally wounded deer hit in the foreground; the latter especially anticipates the composition and intent of Right and Left. | [
"Will Googins",
"Prouts Neck",
"plumage",
"Civil War",
"double-barreled shotgun"
] |
|
16544_NT | Right and Left | Focus on this artwork and discuss the Background. | In May 1908 Homer suffered temporary impairment of his speech and muscular control as the effects of a mild stroke; on June 4 he wrote his brother Charles that "I can paint as well as ever. I think my pictures better for having one eye in the pot and one eye up a chimney— a new departure in the art world." By July 18 he was able to write that he had regained his abilities with the exception of tying "my neck tie in the way that I have done for the past 20 years....Every four or five days I try to do it but....it has been of no use." Although he never completely recovered, Homer was well enough to attempt a major work, and it is probably Right and Left that he referred to in a letter to his brother Charles dated December 8, 1908: "I am painting when it is light enough on a most surprising picture".
Homer's biographers offer varying accounts of the events surrounding both the painting's conception and initial development. Homer's first biographer, William Howe Downes, wrote that the ducks used for the painting had been purchased by the artist for his Thanksgiving dinner; he so admired their plumage that he painted them instead. Homer's nephew told another of Homer's biographers, Philip Beam, that a friend of the artist named Phineas W. Sprague shot the birds in Prouts Neck that autumn and hung them on Homer's studio door, and the arrangement inspired the painting's design. Given the goldeneye's taste— Audubon called the duck "fishy, and in my opinion unfit for being eaten"— insofar as the implication is that the ducks were intended for food, neither story is altogether credible.Likewise there are different versions regarding Homer's preparatory methods. Downes recounted that Homer took to sea in a boat, accompanied by a man with a double-barreled shotgun, and studied the movements of birds as they were shot. In Beam's telling, Homer stood atop a cliff at Prouts Neck while his neighbor Will Googins, fired blank charges in his direction from a rowboat offshore. However, Homer was already familiar with this angle of shotgun blast, having in 1864 painted Defiance, a Civil War subject of a soldier being shot at, and in 1892 A Good Shot, Adirondacks, which shows the puff of distant rifle smoke and a mortally wounded deer hit in the foreground; the latter especially anticipates the composition and intent of Right and Left. | [
"Will Googins",
"Prouts Neck",
"plumage",
"Civil War",
"double-barreled shotgun"
] |
|
16545_T | Right and Left | How does Right and Left elucidate its Painting? | For its "restrained color and extraordinary composition" the painting's debt to Japanese art has been noted by art historians. It has been compared to avian subjects by Okyo Maruyama, Hiroshige, and Hokusai, and was included in a major Japonisme exhibition in Paris in 1988. As well, it resembles John James Audubon's plate Golden-Eye Duck.
Against the tradition of birds painted as dead still life objects, Right and Left is unique for its depiction of the very moment of death. Despite their rapid movement, the birds are seen as if frozen in a snapshot, and the viewer is literally afforded a bird's eye view, in the line of the hunter's fire. Though the painting represents violent action, its formal aesthetic is that of sharply focused detachment, and has been described by Nicolai Cikovsky, Jr. of the National Gallery of Art as "a staggeringly beautiful and almost oriental arrangement of birds--just abstract shapes against bands of the subtlest cream and grey".The design consists of four horizontal bands of sea and sky which are connected by a series of vertical and diagonal shapes formed by the ducks' bodies— the one at left (male) struggling to ascend, its partner in a similar position but turned 90 degrees, already falling limp— and wave crests. Additionally, the birds' webbed feet and beaks and the boat's bow repeat the jagged contours of the waves. Half hidden, the hunters occupy an ambiguous position, and it is uncertain whether the line above them denotes the horizon or a fog bank. Atop this line is the rim of the sun, depicted as a red sliver. At the right is a stray feather which "serves as an exclamation point for the whole composition."The painting was received by Knoedler & Co. gallery in New York by January 30, 1909, and was described by the gallery as The Golden Eye or Whistler Duck. According to Downes the painting was initially exhibited without Homer's having titled it, and received its name from a hunter who shouted appreciatively "Right and left!", the term for a rifleman's accomplishment in taking down two birds in quick succession with a double-barreled shotgun. Upon viewing the painting in New York, its first owner, Randal Morgan, asked several questions regarding Homer's intent: he inquired as to the direction of the largest wave, and the cause of the disturbance in the water at the front of the picture, which he believed was the impetus for the ducks' movement to leave their feeding. The questions were forwarded to the artist, but his reply is unknown. On August 3, 1909 Morgan bought the painting for $5,000, $4,000 of which went to Homer. | [
"still life",
"Japonisme",
"Knoedler",
"National Gallery of Art",
"Hokusai",
"Hiroshige",
"Knoedler & Co.",
"left",
"Okyo Maruyama",
"John James Audubon",
"Japanese art",
"double-barreled shotgun"
] |
|
16545_NT | Right and Left | How does this artwork elucidate its Painting? | For its "restrained color and extraordinary composition" the painting's debt to Japanese art has been noted by art historians. It has been compared to avian subjects by Okyo Maruyama, Hiroshige, and Hokusai, and was included in a major Japonisme exhibition in Paris in 1988. As well, it resembles John James Audubon's plate Golden-Eye Duck.
Against the tradition of birds painted as dead still life objects, Right and Left is unique for its depiction of the very moment of death. Despite their rapid movement, the birds are seen as if frozen in a snapshot, and the viewer is literally afforded a bird's eye view, in the line of the hunter's fire. Though the painting represents violent action, its formal aesthetic is that of sharply focused detachment, and has been described by Nicolai Cikovsky, Jr. of the National Gallery of Art as "a staggeringly beautiful and almost oriental arrangement of birds--just abstract shapes against bands of the subtlest cream and grey".The design consists of four horizontal bands of sea and sky which are connected by a series of vertical and diagonal shapes formed by the ducks' bodies— the one at left (male) struggling to ascend, its partner in a similar position but turned 90 degrees, already falling limp— and wave crests. Additionally, the birds' webbed feet and beaks and the boat's bow repeat the jagged contours of the waves. Half hidden, the hunters occupy an ambiguous position, and it is uncertain whether the line above them denotes the horizon or a fog bank. Atop this line is the rim of the sun, depicted as a red sliver. At the right is a stray feather which "serves as an exclamation point for the whole composition."The painting was received by Knoedler & Co. gallery in New York by January 30, 1909, and was described by the gallery as The Golden Eye or Whistler Duck. According to Downes the painting was initially exhibited without Homer's having titled it, and received its name from a hunter who shouted appreciatively "Right and left!", the term for a rifleman's accomplishment in taking down two birds in quick succession with a double-barreled shotgun. Upon viewing the painting in New York, its first owner, Randal Morgan, asked several questions regarding Homer's intent: he inquired as to the direction of the largest wave, and the cause of the disturbance in the water at the front of the picture, which he believed was the impetus for the ducks' movement to leave their feeding. The questions were forwarded to the artist, but his reply is unknown. On August 3, 1909 Morgan bought the painting for $5,000, $4,000 of which went to Homer. | [
"still life",
"Japonisme",
"Knoedler",
"National Gallery of Art",
"Hokusai",
"Hiroshige",
"Knoedler & Co.",
"left",
"Okyo Maruyama",
"John James Audubon",
"Japanese art",
"double-barreled shotgun"
] |
|
16546_T | Right and Left | Focus on Right and Left and analyze the Meaning. | Although it is a painting of a sporting subject, and thus was part of a popular anecdotal tradition, given both the violence of the subject and the fact that it was painted the year before Homer's death, Right and Left has invited metaphysical interpretation. For art historian John Wilmerding, the painting embodied "a sense of the momentary and the universal, mortality illuminated by showing these creatures at the juncture of life and death". It represents the summation of Homer's sporting pictures, and presents its subject with an "almost testamentary finality".It has also been suggested that in addition to summarizing interests that were lifelong for Homer, as well as referring to the works of previous artists, a modern and ironic meaning may have been intended as well: in 1908 air travel was a novel and transforming human achievement, one fraught with the adventure and danger of flight. Considering his worldly and pictorial intelligence, it is possible that Homer intended Right and Left as an oblique reference to this aspect of modern life. | [
"John Wilmerding"
] |
|
16546_NT | Right and Left | Focus on this artwork and analyze the Meaning. | Although it is a painting of a sporting subject, and thus was part of a popular anecdotal tradition, given both the violence of the subject and the fact that it was painted the year before Homer's death, Right and Left has invited metaphysical interpretation. For art historian John Wilmerding, the painting embodied "a sense of the momentary and the universal, mortality illuminated by showing these creatures at the juncture of life and death". It represents the summation of Homer's sporting pictures, and presents its subject with an "almost testamentary finality".It has also been suggested that in addition to summarizing interests that were lifelong for Homer, as well as referring to the works of previous artists, a modern and ironic meaning may have been intended as well: in 1908 air travel was a novel and transforming human achievement, one fraught with the adventure and danger of flight. Considering his worldly and pictorial intelligence, it is possible that Homer intended Right and Left as an oblique reference to this aspect of modern life. | [
"John Wilmerding"
] |
|
16547_T | La Chasse (Gleizes) | In La Chasse (Gleizes), how is the abstract discussed? | La Chasse, also referred to as The Hunt, is a painting created in 1911 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the 1911 Salon d'Automne (no. 610); Jack of Diamonds, Moscow, 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; the Salon de la Section d'Or, Galerie La Boétie, 1912 (no. 37), Le Cubisme, Musée National d'Art Moderne, Paris, 1953 (no. 64 bis), and several major exhibitions during subsequent years.
In 1913 the painting was reproduced in Les Peintres Cubistes, Méditations esthétiques by Guillaume Apollinaire.
Executed in a highly dynamic Cubist style, with multiple faceted views, the work nevertheless retains recognizable elements relative to its subject matter. | [
"Albert Gleizes",
"Cubism",
"Guillaume Apollinaire",
"Musée National d'Art Moderne",
"Salon d'Automne",
"Section d'Or",
"Société Normande de Peinture Moderne"
] |
|
16547_NT | La Chasse (Gleizes) | In this artwork, how is the abstract discussed? | La Chasse, also referred to as The Hunt, is a painting created in 1911 by the French artist, theorist and writer Albert Gleizes. The work was exhibited at the 1911 Salon d'Automne (no. 610); Jack of Diamonds, Moscow, 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; the Salon de la Section d'Or, Galerie La Boétie, 1912 (no. 37), Le Cubisme, Musée National d'Art Moderne, Paris, 1953 (no. 64 bis), and several major exhibitions during subsequent years.
In 1913 the painting was reproduced in Les Peintres Cubistes, Méditations esthétiques by Guillaume Apollinaire.
Executed in a highly dynamic Cubist style, with multiple faceted views, the work nevertheless retains recognizable elements relative to its subject matter. | [
"Albert Gleizes",
"Cubism",
"Guillaume Apollinaire",
"Musée National d'Art Moderne",
"Salon d'Automne",
"Section d'Or",
"Société Normande de Peinture Moderne"
] |
|
16548_T | La Chasse (Gleizes) | Focus on La Chasse (Gleizes) and explore the Description. | La Chasse is an oil painting on canvas with dimensions 123.2 by 99 cm (48.5 x 39 inches) signed "Albert Gleizes", lower right. Painted in 1911.In this outdoor hunting scene the horizon line is almost on top of the canvas. Seven people are present, along with numerous animals. A man with a hunting horn (Cor de chasse, la trompe du piqueur) can be seen in the foreground, his back turned to the viewer, with a group of hunting dogs to his right. Men on horses prepare for departure. Tension is in the air as the hunters and animals interact with one another. Another hunter on foot holds a gun in the background with a woman and child nearby and a village beyond. Spatial depth is minimized, the overall composition flattened, yet distances to the viewer are determined by the relationship of size; the further the object, the smaller in appearance. The faceting however does not partake in the size-distance relation, as one would expect. The hunting dogs to the lower right, for example, are treated with similar sized 'cubes' as the elements in the upper portions of the canvas; corresponding to the background. The hunting horn in the foreground is almost identical in size and in faceting to the trees in the distance. The same rounded shapes espouse the spherical surfaces formed by the horses heads. This serves to counter the illusion of depth; each portion of the canvas equally important in the overall composition.With its epic subject matter—far removed from neutral themes of the fruit dish, violin, and seated nudes exhibited by Picasso and Braque in the private boutique of Kahnweiler—The Hunt was destined form its very inception to be exhibited at the 1911 Salon d'Automne, at the Grand Palais des Champs-Élysées; a huge public venue where several thousand viewers would see the works exhibited. Gleizes rarely painted still lifes, his epic interests usually finding sympathetic echos in more inclusive themes, such as La Chasse (The Hunt) and the monumental Harvest Threshing (Le Dépiquage des Moissons) of 1912. He wished to create a heroic art, stripped of ornament and obscure allegory, an art dealing on the one hand with relevant subjects of modern life: crowds, man and machines, and ultimately, the city itself (based on observations of the real world). And on the other, he wished to project tradition and accumulated cultural thought (based on memory).Gleizes continually stressed subjects of vast scale and of provocative social and cultural meaning. He regarded the painting as a manifold where subjective consciousness and the objective nature of the physical world could not only coincide but also be resolved.
Here Gleizes not only created a synthetic landscape, in which elements are placed in unreal but symbolic relationships to each other, but also created a synthesis of social experience, showing two distinct types of human use of the land. Le Fauconnier painted a similar subject [Le Chasseur] the following year. Dorival has suggested that the treatment of the horses may well be an important source for those of Duchamp-Villon in 1914. [...] In his [1916] attempt to organize in plastic terms the abstract equivalent of his earlier broad panoramas, Gleizes reverted to the tilting planes reminiscent of smaller ones in such volumetric cubist works as The Hunt and Jacques Nayral, both of 1911. (Daniel Robbins, Guggenheim, 1964) | [
"Albert Gleizes",
"Harvest Threshing",
"Salon d'Automne"
] |
|
16548_NT | La Chasse (Gleizes) | Focus on this artwork and explore the Description. | La Chasse is an oil painting on canvas with dimensions 123.2 by 99 cm (48.5 x 39 inches) signed "Albert Gleizes", lower right. Painted in 1911.In this outdoor hunting scene the horizon line is almost on top of the canvas. Seven people are present, along with numerous animals. A man with a hunting horn (Cor de chasse, la trompe du piqueur) can be seen in the foreground, his back turned to the viewer, with a group of hunting dogs to his right. Men on horses prepare for departure. Tension is in the air as the hunters and animals interact with one another. Another hunter on foot holds a gun in the background with a woman and child nearby and a village beyond. Spatial depth is minimized, the overall composition flattened, yet distances to the viewer are determined by the relationship of size; the further the object, the smaller in appearance. The faceting however does not partake in the size-distance relation, as one would expect. The hunting dogs to the lower right, for example, are treated with similar sized 'cubes' as the elements in the upper portions of the canvas; corresponding to the background. The hunting horn in the foreground is almost identical in size and in faceting to the trees in the distance. The same rounded shapes espouse the spherical surfaces formed by the horses heads. This serves to counter the illusion of depth; each portion of the canvas equally important in the overall composition.With its epic subject matter—far removed from neutral themes of the fruit dish, violin, and seated nudes exhibited by Picasso and Braque in the private boutique of Kahnweiler—The Hunt was destined form its very inception to be exhibited at the 1911 Salon d'Automne, at the Grand Palais des Champs-Élysées; a huge public venue where several thousand viewers would see the works exhibited. Gleizes rarely painted still lifes, his epic interests usually finding sympathetic echos in more inclusive themes, such as La Chasse (The Hunt) and the monumental Harvest Threshing (Le Dépiquage des Moissons) of 1912. He wished to create a heroic art, stripped of ornament and obscure allegory, an art dealing on the one hand with relevant subjects of modern life: crowds, man and machines, and ultimately, the city itself (based on observations of the real world). And on the other, he wished to project tradition and accumulated cultural thought (based on memory).Gleizes continually stressed subjects of vast scale and of provocative social and cultural meaning. He regarded the painting as a manifold where subjective consciousness and the objective nature of the physical world could not only coincide but also be resolved.
Here Gleizes not only created a synthetic landscape, in which elements are placed in unreal but symbolic relationships to each other, but also created a synthesis of social experience, showing two distinct types of human use of the land. Le Fauconnier painted a similar subject [Le Chasseur] the following year. Dorival has suggested that the treatment of the horses may well be an important source for those of Duchamp-Villon in 1914. [...] In his [1916] attempt to organize in plastic terms the abstract equivalent of his earlier broad panoramas, Gleizes reverted to the tilting planes reminiscent of smaller ones in such volumetric cubist works as The Hunt and Jacques Nayral, both of 1911. (Daniel Robbins, Guggenheim, 1964) | [
"Albert Gleizes",
"Harvest Threshing",
"Salon d'Automne"
] |
|
16549_T | La Chasse (Gleizes) | Focus on La Chasse (Gleizes) and explain the 1911 in brief. | Meetings at the studio of Henri Le Fauconnier include young painters who want to emphasise a research into form, in opposition to the Divisionist, or Neo-Impressionist emphasis on color. The hanging committee of the Salon des Indépendants ensure that the works of these painters with similar ambitions be shown together. Albert Gleizes, Jean Metzinger, Henri Le Fauconnier, Robert Delaunay, Fernand Léger and Marie Laurencin are shown together in Room 41 (Salle 41). Guillaume Apollinaire has become an enthusiastic supporter of the new group. The result of the exhibition is a major scandal.The public is outraged by the apparent obscurity of the subject matter, and the predominance of the elementary geometrical shapes, which give rise to the term 'Cubism'. Although the term 'cube' has been used before with respect to the works of Metzinger (1906), Delaunay and Metzinger (1907), and Georges Braque (1908), this is the first time the word 'Cubism' is used. The designation becomes widespread as an artistic movement.
The term "Cubisme" is accepted in June 1911 as the name of the new school by Guillaume Apollinaire, speaking in the context of the Brussels Indépendants which includes works by Gleizes, Delaunay, Léger, Le Fauconnier and André Dunoyer de Segonzac.
Over the Summer of 1911, Gleizes, living and working in Courbevoie, is in close contact with Metzinger, who has recently moved to Meudon. Gleizes paints Le Chemin, Paysage à Meudon. The two have extensive conversations about the nature of form and perception. Both are discontent with classical perspective, which they feel give only a partial idea of the subject matter as experienced in life, seen in movement and from many different angles. | [
"Albert Gleizes",
"André Dunoyer de Segonzac",
"Cubism",
"Fernand Léger",
"Georges Braque",
"Guillaume Apollinaire",
"Henri Le Fauconnier",
"Jean Metzinger",
"Le Chemin, Paysage à Meudon",
"Marie Laurencin",
"Robert Delaunay",
"Salon des Indépendants"
] |
|
16549_NT | La Chasse (Gleizes) | Focus on this artwork and explain the 1911 in brief. | Meetings at the studio of Henri Le Fauconnier include young painters who want to emphasise a research into form, in opposition to the Divisionist, or Neo-Impressionist emphasis on color. The hanging committee of the Salon des Indépendants ensure that the works of these painters with similar ambitions be shown together. Albert Gleizes, Jean Metzinger, Henri Le Fauconnier, Robert Delaunay, Fernand Léger and Marie Laurencin are shown together in Room 41 (Salle 41). Guillaume Apollinaire has become an enthusiastic supporter of the new group. The result of the exhibition is a major scandal.The public is outraged by the apparent obscurity of the subject matter, and the predominance of the elementary geometrical shapes, which give rise to the term 'Cubism'. Although the term 'cube' has been used before with respect to the works of Metzinger (1906), Delaunay and Metzinger (1907), and Georges Braque (1908), this is the first time the word 'Cubism' is used. The designation becomes widespread as an artistic movement.
The term "Cubisme" is accepted in June 1911 as the name of the new school by Guillaume Apollinaire, speaking in the context of the Brussels Indépendants which includes works by Gleizes, Delaunay, Léger, Le Fauconnier and André Dunoyer de Segonzac.
Over the Summer of 1911, Gleizes, living and working in Courbevoie, is in close contact with Metzinger, who has recently moved to Meudon. Gleizes paints Le Chemin, Paysage à Meudon. The two have extensive conversations about the nature of form and perception. Both are discontent with classical perspective, which they feel give only a partial idea of the subject matter as experienced in life, seen in movement and from many different angles. | [
"Albert Gleizes",
"André Dunoyer de Segonzac",
"Cubism",
"Fernand Léger",
"Georges Braque",
"Guillaume Apollinaire",
"Henri Le Fauconnier",
"Jean Metzinger",
"Le Chemin, Paysage à Meudon",
"Marie Laurencin",
"Robert Delaunay",
"Salon des Indépendants"
] |
|
16550_T | La Chasse (Gleizes) | Explore the 1911 Salon d'Automne about the 1911 in brief of this artwork, La Chasse (Gleizes). | Following the Salon des Indépendants of early 1911, a new scandal is produced; this time in the Cubist room at the Salon d'Automne. Gleizes shows his Portrait de Jacques Nayral and La Chasse (The Hunt). Metzinger exhibits Le goûter (Tea Time). Other artists join the Salle 41 group: Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Alexander Archipenko, Joseph Csaky and Francis Picabia, occupying rooms 7 and 8 of the salon. At about the time of this exhibition, through the intermediary of Apollinaire, Gleizes meets Picasso and sees his work along with that of Braque for the first time. He gives his reaction in an essay published in La Revue Indépendante. He considers that Picasso and Braque, despite the great value of their work, are engaged in an Impressionism of Form, i.e., they give an appearance of formal construction which does not rest on any clearly comprehensible principle. [...] We went to Kahnweiler's for the first time and saw the canvasses of Braque and Picasso which, rightly or wrongly, did not thrill us. Their spirit, being the opposite of our own. [...] And as far as Kahnweiler is concerned I never again put my foot in his boutique after this first visit in 1911.Through the Salon d'Automne, Gleizes becomes associated with the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp. The studios of Jacques Villon and Raymond Duchamp-Villon at 7 rue Lemaître in the Parisian suburb Puteaux, become, together with Gleizes' studio at Courbevoie, a regular meeting places for the Cubist group. The Puteaux studios share a garden with the studio of František Kupka, the Czech painter who is developing a non-representational style based on music and the progressive abstraction of a subject in motion.The critic Jean Claude writes, in a review of the 1911 Salon d'Automne titled Cubistes, Triangulistes, Trapézoïdistes et Intentionnistes, published in Le Petit Journal:There is a cubist art... Those who doubt can go into the room where enclosed are the productions of wild beasts [fauves] who practice it...
You will see there the Paysage lacustre, by Le Fauconnier, the Jeune homme et Jeune fille dans le printemps, mosaic of yellow, green, brown and pink, represented by small trapezoids of color, juxtaposed, the Paysage and Goûter by Jean Metzinger, classic cubist... A Marine by Lhote who invented the cubistic water. A figure nue by de la Fresnaye, which seems made with wooden bricks, and a mind-boggling Essai pour trois portraits by Fernand Léger. There too, Gleizes, a Chasse and a Portrait, which I find deeply regrettable, because the author, once, proved he had talent.Non of this would have any importance if these horrors did not take up space that could be usefully occupied by other works, and if, above all, a few snobs did not offer them to the crowds as the last canons of modern beauty. But, really, extravagance, has it ever been art? And can art survive without beauty and without nobility? The Cubists and other "artists" will hardly make us forget Ingres, Courbet or Delacroix. So much for them. To be continued. (Jean Claude)
Gleizes later recalled of the two major 1911 Salons:It was at the Salon des Indépendants in Paris in 1911 that, for the first time, the public was confronted with a collection of paintings which still did not have any label attached to them. [...]Never had the critics been so violent as they were at that time. From which it became clear that these paintings—and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself—appeared as a threat to an order that everyone thought had been established forever. [...]With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants. I remember this Room 8 in the Grand Palais on the opening day. People were crushed together, shouting, laughing, calling for our heads. And what had we hung? Metzinger his lovely canvas entitled Le Goûter; Léger his sombre Nus dans un Paysage; Le Fauconnier, landscapes done in the Savoie; myself La Chasse and the Portrait de Jacques Nayral. How distant it all seems now! But I can still see the crowd gathering together in the doors of the room, pushing at those who were already pressed into it, wanting to get in to see for themselves the monsters that we were.The winter season in Paris profited from all this to add a little spice to its pleasures. While the newspapers sounded the alarm to alert people to the danger, and while appeals were made to the public authorities to do something about it, song-writers, satirists and other men of wit and spirit, provoked great pleasure among the leisured classes by playing with the word 'cube', discovering that it was a very suitable means of inducing laughter which, as we all know, is the principle characteristic that distinguishes man from the animals.
The contagion, naturally, spread in proportion to the violence of the effort that was being put into stopping it. It quickly went beyond the frontiers of its country of origin. Public opinion throughout the world was occupied with Cubism. As people wanted to see what all the fuss was about, invitations to exhibit multiplied. From Germany, from Russia, from Belgium, from Switzerland, from Holland, from Austro-Hungary, from Bohemia, they came in great numbers. The painters accepted some of them and writers like Guillaume Apollinaire, Maurice Raynal, André Salmon, Alexandre Mercereau, the advocate-general Granié, supported them in their writings and in the talks they gave. (Albert Gleizes, 1925)
In his review of the 1911 Salon d'Automne published in L'Intransigeant, written more as a counterattack in defense of Cubism, Guillaume Apollinaire expressed his views on the entries of Metzinger and Gleizes:The imagination of Metzinger gave us this year two elegant canvases of tones and drawing that attest, at the very least, to a great culture... His art belongs to him now. He has vacated influences and his palette is of a refined richness. Gleizes shows us the two sides of his great talent: invention and observation. Take the example of Portrait de Jacques Nayral, there is good resemblance, but there is not one form or color in this impressive painting that has not been invented by the artist. The portrait has a grandiose appearance that should not escape the notice of connoisseurs. This portrait covers [revêt] a grandiose appearance that should not elude connoisseurs... It is time that young painters turn towards the sublime in their art. La Chasse, by Gleizes, is well composed and of beautiful colors and sings [chantant]. | [
"Albert Gleizes",
"Alexander Archipenko",
"André Lhote",
"André Salmon",
"Cubism",
"Fernand Léger",
"Francis Picabia",
"František Kupka",
"Guillaume Apollinaire",
"Jacques Villon",
"Jean Metzinger",
"Joseph Csaky",
"Le goûter",
"Le goûter (Tea Time)",
"Marcel Duchamp",
"Maurice Raynal",
"Raymond Duchamp-Villon",
"Robert Delaunay",
"Roger de La Fresnaye",
"Salon d'Automne",
"Salon des Indépendants"
] |
|
16550_NT | La Chasse (Gleizes) | Explore the 1911 Salon d'Automne about the 1911 in brief of this artwork. | Following the Salon des Indépendants of early 1911, a new scandal is produced; this time in the Cubist room at the Salon d'Automne. Gleizes shows his Portrait de Jacques Nayral and La Chasse (The Hunt). Metzinger exhibits Le goûter (Tea Time). Other artists join the Salle 41 group: Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Alexander Archipenko, Joseph Csaky and Francis Picabia, occupying rooms 7 and 8 of the salon. At about the time of this exhibition, through the intermediary of Apollinaire, Gleizes meets Picasso and sees his work along with that of Braque for the first time. He gives his reaction in an essay published in La Revue Indépendante. He considers that Picasso and Braque, despite the great value of their work, are engaged in an Impressionism of Form, i.e., they give an appearance of formal construction which does not rest on any clearly comprehensible principle. [...] We went to Kahnweiler's for the first time and saw the canvasses of Braque and Picasso which, rightly or wrongly, did not thrill us. Their spirit, being the opposite of our own. [...] And as far as Kahnweiler is concerned I never again put my foot in his boutique after this first visit in 1911.Through the Salon d'Automne, Gleizes becomes associated with the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp. The studios of Jacques Villon and Raymond Duchamp-Villon at 7 rue Lemaître in the Parisian suburb Puteaux, become, together with Gleizes' studio at Courbevoie, a regular meeting places for the Cubist group. The Puteaux studios share a garden with the studio of František Kupka, the Czech painter who is developing a non-representational style based on music and the progressive abstraction of a subject in motion.The critic Jean Claude writes, in a review of the 1911 Salon d'Automne titled Cubistes, Triangulistes, Trapézoïdistes et Intentionnistes, published in Le Petit Journal:There is a cubist art... Those who doubt can go into the room where enclosed are the productions of wild beasts [fauves] who practice it...
You will see there the Paysage lacustre, by Le Fauconnier, the Jeune homme et Jeune fille dans le printemps, mosaic of yellow, green, brown and pink, represented by small trapezoids of color, juxtaposed, the Paysage and Goûter by Jean Metzinger, classic cubist... A Marine by Lhote who invented the cubistic water. A figure nue by de la Fresnaye, which seems made with wooden bricks, and a mind-boggling Essai pour trois portraits by Fernand Léger. There too, Gleizes, a Chasse and a Portrait, which I find deeply regrettable, because the author, once, proved he had talent.Non of this would have any importance if these horrors did not take up space that could be usefully occupied by other works, and if, above all, a few snobs did not offer them to the crowds as the last canons of modern beauty. But, really, extravagance, has it ever been art? And can art survive without beauty and without nobility? The Cubists and other "artists" will hardly make us forget Ingres, Courbet or Delacroix. So much for them. To be continued. (Jean Claude)
Gleizes later recalled of the two major 1911 Salons:It was at the Salon des Indépendants in Paris in 1911 that, for the first time, the public was confronted with a collection of paintings which still did not have any label attached to them. [...]Never had the critics been so violent as they were at that time. From which it became clear that these paintings—and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself—appeared as a threat to an order that everyone thought had been established forever. [...]With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants. I remember this Room 8 in the Grand Palais on the opening day. People were crushed together, shouting, laughing, calling for our heads. And what had we hung? Metzinger his lovely canvas entitled Le Goûter; Léger his sombre Nus dans un Paysage; Le Fauconnier, landscapes done in the Savoie; myself La Chasse and the Portrait de Jacques Nayral. How distant it all seems now! But I can still see the crowd gathering together in the doors of the room, pushing at those who were already pressed into it, wanting to get in to see for themselves the monsters that we were.The winter season in Paris profited from all this to add a little spice to its pleasures. While the newspapers sounded the alarm to alert people to the danger, and while appeals were made to the public authorities to do something about it, song-writers, satirists and other men of wit and spirit, provoked great pleasure among the leisured classes by playing with the word 'cube', discovering that it was a very suitable means of inducing laughter which, as we all know, is the principle characteristic that distinguishes man from the animals.
The contagion, naturally, spread in proportion to the violence of the effort that was being put into stopping it. It quickly went beyond the frontiers of its country of origin. Public opinion throughout the world was occupied with Cubism. As people wanted to see what all the fuss was about, invitations to exhibit multiplied. From Germany, from Russia, from Belgium, from Switzerland, from Holland, from Austro-Hungary, from Bohemia, they came in great numbers. The painters accepted some of them and writers like Guillaume Apollinaire, Maurice Raynal, André Salmon, Alexandre Mercereau, the advocate-general Granié, supported them in their writings and in the talks they gave. (Albert Gleizes, 1925)
In his review of the 1911 Salon d'Automne published in L'Intransigeant, written more as a counterattack in defense of Cubism, Guillaume Apollinaire expressed his views on the entries of Metzinger and Gleizes:The imagination of Metzinger gave us this year two elegant canvases of tones and drawing that attest, at the very least, to a great culture... His art belongs to him now. He has vacated influences and his palette is of a refined richness. Gleizes shows us the two sides of his great talent: invention and observation. Take the example of Portrait de Jacques Nayral, there is good resemblance, but there is not one form or color in this impressive painting that has not been invented by the artist. The portrait has a grandiose appearance that should not escape the notice of connoisseurs. This portrait covers [revêt] a grandiose appearance that should not elude connoisseurs... It is time that young painters turn towards the sublime in their art. La Chasse, by Gleizes, is well composed and of beautiful colors and sings [chantant]. | [
"Albert Gleizes",
"Alexander Archipenko",
"André Lhote",
"André Salmon",
"Cubism",
"Fernand Léger",
"Francis Picabia",
"František Kupka",
"Guillaume Apollinaire",
"Jacques Villon",
"Jean Metzinger",
"Joseph Csaky",
"Le goûter",
"Le goûter (Tea Time)",
"Marcel Duchamp",
"Maurice Raynal",
"Raymond Duchamp-Villon",
"Robert Delaunay",
"Roger de La Fresnaye",
"Salon d'Automne",
"Salon des Indépendants"
] |
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