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16551_T | La Chasse (Gleizes) | Focus on La Chasse (Gleizes) and discuss the Art market. | Gleizes had always detested the art market falsified by a speculation on works of art imposed by the fantasy of fictitious bids to push up the prices in the public sales. When Léonce Rosenberg, whom Gleizes found the most sympathetic of the art dealers, offered to push up the price of his pre-war painting La Chasse, which was coming up for auction. Gleizes replied that he preferred to buy it himself and therefore wanted the price to be as low as possible. | [
"Léonce Rosenberg"
] |
|
16551_NT | La Chasse (Gleizes) | Focus on this artwork and discuss the Art market. | Gleizes had always detested the art market falsified by a speculation on works of art imposed by the fantasy of fictitious bids to push up the prices in the public sales. When Léonce Rosenberg, whom Gleizes found the most sympathetic of the art dealers, offered to push up the price of his pre-war painting La Chasse, which was coming up for auction. Gleizes replied that he preferred to buy it himself and therefore wanted the price to be as low as possible. | [
"Léonce Rosenberg"
] |
|
16552_T | La Chasse (Gleizes) | Focus on La Chasse (Gleizes) and analyze the Provenance. | René Gaffé, Brussels.
Edouard Labouchère, Paris, until at least 1965. | [] |
|
16552_NT | La Chasse (Gleizes) | Focus on this artwork and analyze the Provenance. | René Gaffé, Brussels.
Edouard Labouchère, Paris, until at least 1965. | [] |
|
16553_T | La Chasse (Gleizes) | In La Chasse (Gleizes), how is the Exhibitions discussed? | Paris, Salon d'Automne, October - November 1911, no. 610.
Moscow, Valet de Carreau (Jack of Diamonds), January 1912, no. 42.
Rouen, Société Normande de Peinture Moderne, June - July 1912, no. 89.
Paris, Galerie de la Boétie, Salon de la Section d'Or, October 1912, no. 37.
La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris
Paris, Musée National d'Art Moderne, Le Cubisme, 1953, no. 64bis.
Paris, Galerie Knoedler, Les Soirées de Paris, 1958, no. 13.
Munich, Haus der Kunst, Von Bonnard bis heute, les Chefs d'Oeuvre des collections privées françaises, 1961, no. 51.
Grenoble, Musée de Peinture et de Sculpture, Albert Gleizes et Tempête dans les Salons, 1910-1914, June - August 1963, no. 5 (illustrated in the catalogue).
New York, Solomon R. Guggenheim Museum, Albert Gleizes, 1881-1953, A Retrospective Exhibition, 1964, no. 28 (illustrated in the catalogue).
Paris, Musée National d'Art Moderne, Albert Gleizes, 1881-1953, Exposition rétrospective, December 1964 - January 1965, no. 12 (illustrated in the catalogue); this exhibition later travelled to Dortmund, Museum am Ostwall. | [
"Albert Gleizes",
"Cubism",
"Les Soirées de Paris",
"Musée National d'Art Moderne",
"Salon d'Automne",
"Section d'Or",
"Société Normande de Peinture Moderne",
"Solomon R. Guggenheim Museum"
] |
|
16553_NT | La Chasse (Gleizes) | In this artwork, how is the Exhibitions discussed? | Paris, Salon d'Automne, October - November 1911, no. 610.
Moscow, Valet de Carreau (Jack of Diamonds), January 1912, no. 42.
Rouen, Société Normande de Peinture Moderne, June - July 1912, no. 89.
Paris, Galerie de la Boétie, Salon de la Section d'Or, October 1912, no. 37.
La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris
Paris, Musée National d'Art Moderne, Le Cubisme, 1953, no. 64bis.
Paris, Galerie Knoedler, Les Soirées de Paris, 1958, no. 13.
Munich, Haus der Kunst, Von Bonnard bis heute, les Chefs d'Oeuvre des collections privées françaises, 1961, no. 51.
Grenoble, Musée de Peinture et de Sculpture, Albert Gleizes et Tempête dans les Salons, 1910-1914, June - August 1963, no. 5 (illustrated in the catalogue).
New York, Solomon R. Guggenheim Museum, Albert Gleizes, 1881-1953, A Retrospective Exhibition, 1964, no. 28 (illustrated in the catalogue).
Paris, Musée National d'Art Moderne, Albert Gleizes, 1881-1953, Exposition rétrospective, December 1964 - January 1965, no. 12 (illustrated in the catalogue); this exhibition later travelled to Dortmund, Museum am Ostwall. | [
"Albert Gleizes",
"Cubism",
"Les Soirées de Paris",
"Musée National d'Art Moderne",
"Salon d'Automne",
"Section d'Or",
"Société Normande de Peinture Moderne",
"Solomon R. Guggenheim Museum"
] |
|
16554_T | La Chasse (Gleizes) | Focus on La Chasse (Gleizes) and explore the Literature. | G. Apollinaire, L'Intransigeant, 10 October 1911.
J. Granié, 'Au Salon d'Automne', Revue d'Europe et d'Amerique, Paris, October 1911.
A. Gleizes, Souvenirs le Cubisme 1908-1914, Cahiers d'Albert Gleizes, Lyon, 1957, pp. 18, 26-28 (illustrated as the frontispiece).
B. Dorival, Les Peintres du XXème siècle, Paris, 1957, p. 76.
P. Alibert, Albert Gleizes, naissance et avenir du cubisme, Saint-Etienne, 1982, p. 71 (illustrated).
P. Alibert, Gleizes, Biographie, Paris, 1990, p. 55.
A. Varichon, Albert Gleizes, Catalogue raisonné, vol. I, Paris, 1998, no. 374 (illustrated p. 136). | [
"Albert Gleizes",
"Cubism",
"Salon d'Automne"
] |
|
16554_NT | La Chasse (Gleizes) | Focus on this artwork and explore the Literature. | G. Apollinaire, L'Intransigeant, 10 October 1911.
J. Granié, 'Au Salon d'Automne', Revue d'Europe et d'Amerique, Paris, October 1911.
A. Gleizes, Souvenirs le Cubisme 1908-1914, Cahiers d'Albert Gleizes, Lyon, 1957, pp. 18, 26-28 (illustrated as the frontispiece).
B. Dorival, Les Peintres du XXème siècle, Paris, 1957, p. 76.
P. Alibert, Albert Gleizes, naissance et avenir du cubisme, Saint-Etienne, 1982, p. 71 (illustrated).
P. Alibert, Gleizes, Biographie, Paris, 1990, p. 55.
A. Varichon, Albert Gleizes, Catalogue raisonné, vol. I, Paris, 1998, no. 374 (illustrated p. 136). | [
"Albert Gleizes",
"Cubism",
"Salon d'Automne"
] |
|
16555_T | May Night (Willard Metcalf painting) | Focus on May Night (Willard Metcalf painting) and explain the abstract. | May Night is a 1906 oil painting by American Impressionist Willard Metcalf. It is a nocturne depicting the home of Florence Griswold, now the Florence Griswold Museum in Old Lyme, Connecticut. It was the first contemporary painting purchased by the Corcoran Gallery of Art, and is Metcalf's "most celebrated work." | [
"Corcoran Gallery of Art",
"Old Lyme, Connecticut",
"Florence Griswold",
"Florence Griswold Museum",
"Old Lyme",
"Willard Metcalf",
"Connecticut",
"nocturne",
"American Impressionist"
] |
|
16555_NT | May Night (Willard Metcalf painting) | Focus on this artwork and explain the abstract. | May Night is a 1906 oil painting by American Impressionist Willard Metcalf. It is a nocturne depicting the home of Florence Griswold, now the Florence Griswold Museum in Old Lyme, Connecticut. It was the first contemporary painting purchased by the Corcoran Gallery of Art, and is Metcalf's "most celebrated work." | [
"Corcoran Gallery of Art",
"Old Lyme, Connecticut",
"Florence Griswold",
"Florence Griswold Museum",
"Old Lyme",
"Willard Metcalf",
"Connecticut",
"nocturne",
"American Impressionist"
] |
|
16556_T | May Night (Willard Metcalf painting) | Explore the Impact of this artwork, May Night (Willard Metcalf painting). | May Night romanticized the condition of the property, which at the time suffered from peeling paint and uncut shrubbery. It also acknowledged the centrality of Florence Griswold to the creative community. According to Arthur Heming, whom Metcalf invited to view the painting soon after it was completed, the figure walking toward the house was intended to be Florence Griswold. As he admired the painting in Metcalf's studio, Miss Florence entered. Metcalf attempted to give her the painting in return for room and board, and she refused, saying "It's the best thing you've ever done. When you show it in New York, they'll snap it up at once, and everything will be lovely."The painting soon had a profound impact on Metcalf's career, and on the Old Lyme colony. It was exhibited in November at the St. Botolph Club in Boston, and in January 1907 at the Corcoran Gallery's inaugural exhibition of contemporary art. There it was awarded the Clark Gold Medal and $1,000, and was bought by the Corcoran for $3,000, thus becoming the gallery's first purchase of a contemporary American painting. As a result of the publicity from the exhibitions and sale of May Night, Metcalf's reputation, already well established, benefited both financially and critically: "From this time he was an acclaimed master of the Impressionist landscape." After seeing the painting in Boston in November 1906, artist and critic Philip Leslie Hale wrote "One could hardly get a stronger sense of the beauty and mystery of night and springtime ... all changed to something new and strange by the magic of dim reflected light of the moon." A critic in the Art Annual wrote "It is a little weird, and like a dream, but immensely interesting."The effect of Metcalf's new-found prosperity on the Old Lyme colony was chronicled the following year, when Lillian Baynes Griffin, wife of painter Walter Griffin, wrote in the Hartford Daily Courant, "The art colony has steadily grown since the first few painters chose it as a sketching ground, but never before has there been such a sudden demand for every inch of available space as there is this year ... Lyme cows are so busy posing for the Art classes that they have hardly time to be milked ... One explanation of the remarkable jump Lyme has taken is that Willard Metcalf sold in three days $3,000 worth of Lyme landscapes in the St. Botolph Club last winter. This made Lyme landscapes sound like Standard Oil, and with no less enthusiasm than the gold hunters of '49, the picture makers have chosen Lyme as a place in which to swarm." The influence of May Night was particularly strong: "Suddenly everyone wanted to paint his own May Night." Among the artists painting versions of the theme in 1907 were Will Howe Foote and Metcalf's former student Robert Nisbet, who eloped with Metcalf's wife Marguerite in July of that year.May Night was the centerpiece of a 2005 exhibition of Metcalf's works at the Florence Griswold Museum. Concurrently, an eponymously titled song was featured in a musical inspired by Florence Griswold. | [
"St. Botolph Club",
"Florence Griswold",
"Florence Griswold Museum",
"Philip Leslie Hale",
"Old Lyme",
"Walter Griffin",
"Lillian Baynes Griffin",
"Arthur Heming",
"Will Howe Foote",
"Willard Metcalf"
] |
|
16556_NT | May Night (Willard Metcalf painting) | Explore the Impact of this artwork. | May Night romanticized the condition of the property, which at the time suffered from peeling paint and uncut shrubbery. It also acknowledged the centrality of Florence Griswold to the creative community. According to Arthur Heming, whom Metcalf invited to view the painting soon after it was completed, the figure walking toward the house was intended to be Florence Griswold. As he admired the painting in Metcalf's studio, Miss Florence entered. Metcalf attempted to give her the painting in return for room and board, and she refused, saying "It's the best thing you've ever done. When you show it in New York, they'll snap it up at once, and everything will be lovely."The painting soon had a profound impact on Metcalf's career, and on the Old Lyme colony. It was exhibited in November at the St. Botolph Club in Boston, and in January 1907 at the Corcoran Gallery's inaugural exhibition of contemporary art. There it was awarded the Clark Gold Medal and $1,000, and was bought by the Corcoran for $3,000, thus becoming the gallery's first purchase of a contemporary American painting. As a result of the publicity from the exhibitions and sale of May Night, Metcalf's reputation, already well established, benefited both financially and critically: "From this time he was an acclaimed master of the Impressionist landscape." After seeing the painting in Boston in November 1906, artist and critic Philip Leslie Hale wrote "One could hardly get a stronger sense of the beauty and mystery of night and springtime ... all changed to something new and strange by the magic of dim reflected light of the moon." A critic in the Art Annual wrote "It is a little weird, and like a dream, but immensely interesting."The effect of Metcalf's new-found prosperity on the Old Lyme colony was chronicled the following year, when Lillian Baynes Griffin, wife of painter Walter Griffin, wrote in the Hartford Daily Courant, "The art colony has steadily grown since the first few painters chose it as a sketching ground, but never before has there been such a sudden demand for every inch of available space as there is this year ... Lyme cows are so busy posing for the Art classes that they have hardly time to be milked ... One explanation of the remarkable jump Lyme has taken is that Willard Metcalf sold in three days $3,000 worth of Lyme landscapes in the St. Botolph Club last winter. This made Lyme landscapes sound like Standard Oil, and with no less enthusiasm than the gold hunters of '49, the picture makers have chosen Lyme as a place in which to swarm." The influence of May Night was particularly strong: "Suddenly everyone wanted to paint his own May Night." Among the artists painting versions of the theme in 1907 were Will Howe Foote and Metcalf's former student Robert Nisbet, who eloped with Metcalf's wife Marguerite in July of that year.May Night was the centerpiece of a 2005 exhibition of Metcalf's works at the Florence Griswold Museum. Concurrently, an eponymously titled song was featured in a musical inspired by Florence Griswold. | [
"St. Botolph Club",
"Florence Griswold",
"Florence Griswold Museum",
"Philip Leslie Hale",
"Old Lyme",
"Walter Griffin",
"Lillian Baynes Griffin",
"Arthur Heming",
"Will Howe Foote",
"Willard Metcalf"
] |
|
16557_T | Statue of Minerva, Guadalajara | Focus on Statue of Minerva, Guadalajara and discuss the abstract. | A statue of Minerva, the Roman goddess of wisdom and strategic warfare (colloquially known as La Minerva), is installed in a roundabout fountain in Guadalajara, in the Mexican state of Jalisco. It is a bronze sculpture supported by a large pedestal that names 18 notable citizens of the city. The statue has indigenous facial features and holds a spear and a shield. The phrase "May justice, wisdom and strength, guard this loyal city" is engraved as well. Initially, the statue was criticized by the citizens, but since then it has become a symbol of the city. | [
"indigenous",
"Minerva",
"Jalisco",
"bronze sculpture",
"Guadalajara"
] |
|
16557_NT | Statue of Minerva, Guadalajara | Focus on this artwork and discuss the abstract. | A statue of Minerva, the Roman goddess of wisdom and strategic warfare (colloquially known as La Minerva), is installed in a roundabout fountain in Guadalajara, in the Mexican state of Jalisco. It is a bronze sculpture supported by a large pedestal that names 18 notable citizens of the city. The statue has indigenous facial features and holds a spear and a shield. The phrase "May justice, wisdom and strength, guard this loyal city" is engraved as well. Initially, the statue was criticized by the citizens, but since then it has become a symbol of the city. | [
"indigenous",
"Minerva",
"Jalisco",
"bronze sculpture",
"Guadalajara"
] |
|
16558_T | Statue of Minerva, Guadalajara | How does Statue of Minerva, Guadalajara elucidate its Description and history? | A landmark of the city, the statue was built between 1956 and 1957, requested by the governor of the state, Agustín Yáñez. The statue represents the Roman goddess of wisdom and strategic warfare, Minerva. Yáñez wanted Guadalajara to be recognized as the "Athens of Mexico". It was unveiled on 15 September 1957.It is a bronze sculpture created by Joaquín Arias and Pedro Medina Guzmán, who cast it in Aguascalientes, and the architect was Julio de la Peña. Minerva features a Late Roman ridge helmet and a goatskin aegis covers her breast. She holds a spear with her right hand and a shield with the left one. Her face has indigenous facial features as Arias modified the project, which originally requested a Greek figure. Arias modelled the statue on notable women of Jalisco that he had photographed. There is a rumor that says that Arias based on the face of Yáñez's wife. The project cost Mex$1,250,000 of which $75,000 went to Arias.The statue is 8 meters (26 ft) tall and weights 4.5 metric tons (4.4 long tons; 5.0 short tons). At her feet, the following slogan is written: "Justicia, Sabiduría y Fortaleza, custodian a esta leal Ciudad" (transl. May justice, wisdom and strength, guard this loyal city). The pedestal is 25 meters (82 ft) long and 3 meters (9.8 ft) high is inscribed with the names of 18 notable citizens. Symbolically, the statue guards the city. The following 18 names are inscribed:The statue is hollow and it was restored in 2021 as it showed cracks in its spear, knee and torso. | [
"indigenous",
"Agustín Yáñez",
"Minerva",
"Jalisco",
"bronze sculpture",
"Guadalajara",
"aegis",
"Aguascalientes",
"goatskin",
"Late Roman ridge helmet",
"Athens",
"Joaquín Arias",
"Mex$"
] |
|
16558_NT | Statue of Minerva, Guadalajara | How does this artwork elucidate its Description and history? | A landmark of the city, the statue was built between 1956 and 1957, requested by the governor of the state, Agustín Yáñez. The statue represents the Roman goddess of wisdom and strategic warfare, Minerva. Yáñez wanted Guadalajara to be recognized as the "Athens of Mexico". It was unveiled on 15 September 1957.It is a bronze sculpture created by Joaquín Arias and Pedro Medina Guzmán, who cast it in Aguascalientes, and the architect was Julio de la Peña. Minerva features a Late Roman ridge helmet and a goatskin aegis covers her breast. She holds a spear with her right hand and a shield with the left one. Her face has indigenous facial features as Arias modified the project, which originally requested a Greek figure. Arias modelled the statue on notable women of Jalisco that he had photographed. There is a rumor that says that Arias based on the face of Yáñez's wife. The project cost Mex$1,250,000 of which $75,000 went to Arias.The statue is 8 meters (26 ft) tall and weights 4.5 metric tons (4.4 long tons; 5.0 short tons). At her feet, the following slogan is written: "Justicia, Sabiduría y Fortaleza, custodian a esta leal Ciudad" (transl. May justice, wisdom and strength, guard this loyal city). The pedestal is 25 meters (82 ft) long and 3 meters (9.8 ft) high is inscribed with the names of 18 notable citizens. Symbolically, the statue guards the city. The following 18 names are inscribed:The statue is hollow and it was restored in 2021 as it showed cracks in its spear, knee and torso. | [
"indigenous",
"Agustín Yáñez",
"Minerva",
"Jalisco",
"bronze sculpture",
"Guadalajara",
"aegis",
"Aguascalientes",
"goatskin",
"Late Roman ridge helmet",
"Athens",
"Joaquín Arias",
"Mex$"
] |
|
16559_T | Statue of Minerva, Guadalajara | Focus on Statue of Minerva, Guadalajara and analyze the Reception. | Initially, the statue was received unfavorably by the city's inhabitants, as they considered it did not represent the goddess in an appropriate manner. Since then, the reception turned positive and it has become a popular destination of the city. Historian Bettina Monti Colombani found a comment that said: "If the painting of statues in this fashion continues, it won't be long before we have the Autochthon Minerva transformed into the 'green Indian'". Monti Colombani also found that the first time the statue was integrated by the citizens was in 1987 when a group of C.D. Guadalajara fans celebrated there the victory of the team. They also attempted to dress her in the team's shirt. | [
"Minerva",
"Guadalajara",
"C.D. Guadalajara"
] |
|
16559_NT | Statue of Minerva, Guadalajara | Focus on this artwork and analyze the Reception. | Initially, the statue was received unfavorably by the city's inhabitants, as they considered it did not represent the goddess in an appropriate manner. Since then, the reception turned positive and it has become a popular destination of the city. Historian Bettina Monti Colombani found a comment that said: "If the painting of statues in this fashion continues, it won't be long before we have the Autochthon Minerva transformed into the 'green Indian'". Monti Colombani also found that the first time the statue was integrated by the citizens was in 1987 when a group of C.D. Guadalajara fans celebrated there the victory of the team. They also attempted to dress her in the team's shirt. | [
"Minerva",
"Guadalajara",
"C.D. Guadalajara"
] |
|
16560_T | The Siesta (Paul Gauguin) | In The Siesta (Paul Gauguin), how is the abstract discussed? | The Siesta is an 1892-1894 oil on canvas painting by Paul Gauguin, now in the Metropolitan Museum of Art in New York. It was painted during Gauguin's first extended trip to the island of Tahiti.
The picture is an unpretentious representation of a group of Tahitian women in westernised clothes chatting in the cool shade of a verandah during the hot afternoon sun. One of the women is doing her ironing. Although the subject matter was an aspect of everyday life, Gauguin worked on the canvas over a long period, making several changes - the shopping bag in the foreground, for example, was previously a dog. | [
"canvas",
"Paul Gauguin",
"Metropolitan Museum of Art",
"Tahiti"
] |
|
16560_NT | The Siesta (Paul Gauguin) | In this artwork, how is the abstract discussed? | The Siesta is an 1892-1894 oil on canvas painting by Paul Gauguin, now in the Metropolitan Museum of Art in New York. It was painted during Gauguin's first extended trip to the island of Tahiti.
The picture is an unpretentious representation of a group of Tahitian women in westernised clothes chatting in the cool shade of a verandah during the hot afternoon sun. One of the women is doing her ironing. Although the subject matter was an aspect of everyday life, Gauguin worked on the canvas over a long period, making several changes - the shopping bag in the foreground, for example, was previously a dog. | [
"canvas",
"Paul Gauguin",
"Metropolitan Museum of Art",
"Tahiti"
] |
|
16561_T | Christ Carrying the Cross (El Greco, Barcelona) | Focus on Christ Carrying the Cross (El Greco, Barcelona) and explore the abstract. | Christ Bearing the Cross is a 1590-1595 painting by El Greco.
It was acquired by the painter and critic Aureliano de Beruete (1845-1912). It was then owned by the Catalan collector Santiago Espona (1888-1958)., who bequeathed it to the National Art Museum of Catalonia in 1958. | [
"Aureliano de Beruete",
"El Greco",
"National Art Museum of Catalonia"
] |
|
16561_NT | Christ Carrying the Cross (El Greco, Barcelona) | Focus on this artwork and explore the abstract. | Christ Bearing the Cross is a 1590-1595 painting by El Greco.
It was acquired by the painter and critic Aureliano de Beruete (1845-1912). It was then owned by the Catalan collector Santiago Espona (1888-1958)., who bequeathed it to the National Art Museum of Catalonia in 1958. | [
"Aureliano de Beruete",
"El Greco",
"National Art Museum of Catalonia"
] |
|
16562_T | Statue of Edward Everett | Focus on Statue of Edward Everett and explain the abstract. | A statue of politician, diplomat, and orator Edward Everett by William Wetmore Story is installed in Boston's Richardson Park, in the U.S. state of Massachusetts. | [
"William Wetmore Story",
"Boston",
"U.S. state",
"Edward Everett",
"Massachusetts"
] |
|
16562_NT | Statue of Edward Everett | Focus on this artwork and explain the abstract. | A statue of politician, diplomat, and orator Edward Everett by William Wetmore Story is installed in Boston's Richardson Park, in the U.S. state of Massachusetts. | [
"William Wetmore Story",
"Boston",
"U.S. state",
"Edward Everett",
"Massachusetts"
] |
|
16563_T | Statue of Edward Everett | Explore the Description of this artwork, Statue of Edward Everett. | The bronze sculpture measures approximately 7 x 4 x 2.5 ft. and rests on a granite base that measures approximately 7 x 5.5 x 5.5 ft. | [
"bronze sculpture"
] |
|
16563_NT | Statue of Edward Everett | Explore the Description of this artwork. | The bronze sculpture measures approximately 7 x 4 x 2.5 ft. and rests on a granite base that measures approximately 7 x 5.5 x 5.5 ft. | [
"bronze sculpture"
] |
|
16564_T | Portrait of Juan Pardo de Tavera | Focus on Portrait of Juan Pardo de Tavera and discuss the abstract. | Portrait of Juan Pardo de Tavera is a 1609 oil on canvas painting by El Greco, now in the Hospital de Tavera in Toledo, founded by the portrait's subject. It was painted long after the 1545 death of its subject, cardinal Juan Pardo de Tavera, and so the artist modelled the cardinal's features on a funerary mask by Alonso Berruguete. | [
"Tavera",
"Juan Pardo de Tavera",
"Hospital de Tavera",
"El Greco",
"Alonso Berruguete",
"Toledo"
] |
|
16564_NT | Portrait of Juan Pardo de Tavera | Focus on this artwork and discuss the abstract. | Portrait of Juan Pardo de Tavera is a 1609 oil on canvas painting by El Greco, now in the Hospital de Tavera in Toledo, founded by the portrait's subject. It was painted long after the 1545 death of its subject, cardinal Juan Pardo de Tavera, and so the artist modelled the cardinal's features on a funerary mask by Alonso Berruguete. | [
"Tavera",
"Juan Pardo de Tavera",
"Hospital de Tavera",
"El Greco",
"Alonso Berruguete",
"Toledo"
] |
|
16565_T | The Conquest of Belgrade | How does The Conquest of Belgrade elucidate its abstract? | The Conquest of Belgrade (Serbian: Osvajanje Beograda, Serbian Cyrillic: Освајањe Беoгрaдa) is an oil painting by the romanticist Katarina Ivanović, one of Serbia's first significant female painters. Painted between 1844 and 1845, it depicts the capture of Serbia's capital, Belgrade, by Serbian revolutionaries in late 1806, during the First Serbian Uprising.
Ivanović was inspired to create the painting upon reading a book titled History of the Serb People while studying at the Munich Academy. The painting was poorly received by art critics in the Serbian capital. The art historian Lilien Filipovitch-Robinson suggests this was due to its poor compositional and spatial conception.
By the 1870s, Ivanović's works had largely been forgotten in Serbia. The Conquest of Belgrade was one of four paintings offered by Ivanović to the Gallery of Historical Portraits in 1874. The Gallery went on to form the nucleus of what was to become the National Museum of Serbia. The painting is currently in the possession of the National Museum. | [
"romanticist",
"National Museum of Serbia",
"Belgrade",
"Munich Academy",
"Katarina Ivanović",
"oil painting",
"Serb",
"First Serbian Uprising",
"art historian"
] |
|
16565_NT | The Conquest of Belgrade | How does this artwork elucidate its abstract? | The Conquest of Belgrade (Serbian: Osvajanje Beograda, Serbian Cyrillic: Освајањe Беoгрaдa) is an oil painting by the romanticist Katarina Ivanović, one of Serbia's first significant female painters. Painted between 1844 and 1845, it depicts the capture of Serbia's capital, Belgrade, by Serbian revolutionaries in late 1806, during the First Serbian Uprising.
Ivanović was inspired to create the painting upon reading a book titled History of the Serb People while studying at the Munich Academy. The painting was poorly received by art critics in the Serbian capital. The art historian Lilien Filipovitch-Robinson suggests this was due to its poor compositional and spatial conception.
By the 1870s, Ivanović's works had largely been forgotten in Serbia. The Conquest of Belgrade was one of four paintings offered by Ivanović to the Gallery of Historical Portraits in 1874. The Gallery went on to form the nucleus of what was to become the National Museum of Serbia. The painting is currently in the possession of the National Museum. | [
"romanticist",
"National Museum of Serbia",
"Belgrade",
"Munich Academy",
"Katarina Ivanović",
"oil painting",
"Serb",
"First Serbian Uprising",
"art historian"
] |
|
16566_T | The Conquest of Belgrade | Focus on The Conquest of Belgrade and analyze the Background. | According to David A. Norris, a scholar specializing in Serbian cultural history, conditions in 19th-century Serbia were unsuitable for the development of visual art. Materials were difficult to come by, studio and exhibition spaces were virtually non-existent, and there were no art patrons willing to financially support painters and purchase their finished works. In the first half of the 19th century, Serbian visual artists dedicated themselves almost exclusively to decorating the walls of churches and producing icons and other religious objects. There were some painters of Serb heritage living outside Serbia, such as Uroš Knežević and Jovan Popović, who resided in the Austrian Empire.Another one of these artists was the romanticist Katarina Ivanović, who was born in Székesfehérvár in either 1811 or 1817, and was the first significant Serbian female painter. She left Székesfehérvár around 1835 and went to Budapest to study painting under the master Jozsef Pesky. She remained in Budapest for much of 1835. Later that year she found a patron, a baroness by the name of Czacki. In late 1835, the baroness funded Ivanović's move to Vienna. Precisely what her training entailed is unknown, but since women were not admitted into the Academy of Fine Arts at the time, it is likely that Ivanović was classified as a "special student" and tutored privately. Some scholars have suggested that she studied under Ferdinand Georg Waldmüller, though this cannot be established with any degree of certainty since most documents pertaining to her time in Vienna were destroyed in subsequent wars. | [
"romanticist",
"icon",
"baron",
"Ferdinand Georg Waldmüller",
"Jovan Popović",
"Academy of Fine Arts",
"Katarina Ivanović",
"Uroš Knežević",
"Vienna",
"Serb",
"Jozsef Pesky",
"Székesfehérvár",
"Austrian Empire"
] |
|
16566_NT | The Conquest of Belgrade | Focus on this artwork and analyze the Background. | According to David A. Norris, a scholar specializing in Serbian cultural history, conditions in 19th-century Serbia were unsuitable for the development of visual art. Materials were difficult to come by, studio and exhibition spaces were virtually non-existent, and there were no art patrons willing to financially support painters and purchase their finished works. In the first half of the 19th century, Serbian visual artists dedicated themselves almost exclusively to decorating the walls of churches and producing icons and other religious objects. There were some painters of Serb heritage living outside Serbia, such as Uroš Knežević and Jovan Popović, who resided in the Austrian Empire.Another one of these artists was the romanticist Katarina Ivanović, who was born in Székesfehérvár in either 1811 or 1817, and was the first significant Serbian female painter. She left Székesfehérvár around 1835 and went to Budapest to study painting under the master Jozsef Pesky. She remained in Budapest for much of 1835. Later that year she found a patron, a baroness by the name of Czacki. In late 1835, the baroness funded Ivanović's move to Vienna. Precisely what her training entailed is unknown, but since women were not admitted into the Academy of Fine Arts at the time, it is likely that Ivanović was classified as a "special student" and tutored privately. Some scholars have suggested that she studied under Ferdinand Georg Waldmüller, though this cannot be established with any degree of certainty since most documents pertaining to her time in Vienna were destroyed in subsequent wars. | [
"romanticist",
"icon",
"baron",
"Ferdinand Georg Waldmüller",
"Jovan Popović",
"Academy of Fine Arts",
"Katarina Ivanović",
"Uroš Knežević",
"Vienna",
"Serb",
"Jozsef Pesky",
"Székesfehérvár",
"Austrian Empire"
] |
|
16567_T | The Conquest of Belgrade | In The Conquest of Belgrade, how is the Legacy discussed? | According to the art historian Ljubica D. Popovich, The Conquest of Belgrade is the only known historical composition from the second phase of Ivanović's career, which lasted from 1842 to 1847. The painting was not well received by art critics in the Serbian capital. "It was compositionally and spatially poorly conceived," writes Popovich, "but coloristically quite exciting, in cinnabar, umbre and ocher tones." The art historian Žarko Domljan states that the painting is typical of this phase in Ivanović's career, which saw a substantial decline in the quality of her scene paintings. Dissatisfaction with the way her works were received in the Serbian capital prompted Ivanović to leave Serbia.Lilien Filipovitch-Robinson, another art historian, compares the work's Romantic presentation to Théodore Géricault's depiction of contemporary shipwreck survivors in The Raft of the Medusa (1818–1819) inasmuch as neither is a reliable documentary piece. This, she asserts, is typical of contemporary Serbian painters who did not have a long Romantic tradition and therefore borrowed elements from other artists, especially those from France. Filipovitch-Robinson further describes the painting as "highly theatrical, emotional and stridently Romantic." "In its complexity, deliberate confusion, slashing diagonals, tenebrism and intense colouration," she writes, "it most resembles the paintings of her French Romantic predecessors Géricault and Antoine-Jean Gros, as well as the more contemporary Eugène Delacroix."Ivanović painted very little in her final years, and is said to have been largely forgotten in Serbia by the 1870s. In June 1876, she became an honorary member of the Serbian Learned Society, which was later to become the Serbian Royal Academy and eventually the Serbian Academy of Sciences and Arts. She died in Székesfehérvár in September 1882. | [
"Théodore Géricault",
"ocher",
"Antoine-Jean Gros",
"Belgrade",
"tenebrism",
"cinnabar",
"Eugène Delacroix",
"umbre",
"Serb",
"Serbian Academy of Sciences and Arts",
"Székesfehérvár",
"The Raft of the Medusa",
"art historian"
] |
|
16567_NT | The Conquest of Belgrade | In this artwork, how is the Legacy discussed? | According to the art historian Ljubica D. Popovich, The Conquest of Belgrade is the only known historical composition from the second phase of Ivanović's career, which lasted from 1842 to 1847. The painting was not well received by art critics in the Serbian capital. "It was compositionally and spatially poorly conceived," writes Popovich, "but coloristically quite exciting, in cinnabar, umbre and ocher tones." The art historian Žarko Domljan states that the painting is typical of this phase in Ivanović's career, which saw a substantial decline in the quality of her scene paintings. Dissatisfaction with the way her works were received in the Serbian capital prompted Ivanović to leave Serbia.Lilien Filipovitch-Robinson, another art historian, compares the work's Romantic presentation to Théodore Géricault's depiction of contemporary shipwreck survivors in The Raft of the Medusa (1818–1819) inasmuch as neither is a reliable documentary piece. This, she asserts, is typical of contemporary Serbian painters who did not have a long Romantic tradition and therefore borrowed elements from other artists, especially those from France. Filipovitch-Robinson further describes the painting as "highly theatrical, emotional and stridently Romantic." "In its complexity, deliberate confusion, slashing diagonals, tenebrism and intense colouration," she writes, "it most resembles the paintings of her French Romantic predecessors Géricault and Antoine-Jean Gros, as well as the more contemporary Eugène Delacroix."Ivanović painted very little in her final years, and is said to have been largely forgotten in Serbia by the 1870s. In June 1876, she became an honorary member of the Serbian Learned Society, which was later to become the Serbian Royal Academy and eventually the Serbian Academy of Sciences and Arts. She died in Székesfehérvár in September 1882. | [
"Théodore Géricault",
"ocher",
"Antoine-Jean Gros",
"Belgrade",
"tenebrism",
"cinnabar",
"Eugène Delacroix",
"umbre",
"Serb",
"Serbian Academy of Sciences and Arts",
"Székesfehérvár",
"The Raft of the Medusa",
"art historian"
] |
|
16568_T | The Conquest of Belgrade | Focus on The Conquest of Belgrade and explore the Provenance. | In 1874, Ivanović offered four of her paintings to the Gallery of Historical Portraits, the nucleus of what was later to become the National Museum of Serbia. One of these paintings was The Conquest of Belgrade. The work remains in the possession of the National Museum, and is classified under inventory number 413. | [
"National Museum of Serbia",
"Belgrade",
"Serb"
] |
|
16568_NT | The Conquest of Belgrade | Focus on this artwork and explore the Provenance. | In 1874, Ivanović offered four of her paintings to the Gallery of Historical Portraits, the nucleus of what was later to become the National Museum of Serbia. One of these paintings was The Conquest of Belgrade. The work remains in the possession of the National Museum, and is classified under inventory number 413. | [
"National Museum of Serbia",
"Belgrade",
"Serb"
] |
|
16569_T | Portrait of a Commander | Focus on Portrait of a Commander and explain the abstract. | Portrait of a Commander or A Commander Being Dressed for Battle is a portrait of an unknown man in plate armour, by Peter Paul Rubens. In July 2010 it was sold for £9 million by Christie's after Sotheby's turned it down, suspecting its authenticity as a Rubens. In December 2011, the portrait was placed on loan with the Metropolitan Museum of Art in New York. | [
"Peter Paul Rubens",
"plate armour",
"New York",
"Christie's",
"Sotheby's",
"Metropolitan Museum of Art"
] |
|
16569_NT | Portrait of a Commander | Focus on this artwork and explain the abstract. | Portrait of a Commander or A Commander Being Dressed for Battle is a portrait of an unknown man in plate armour, by Peter Paul Rubens. In July 2010 it was sold for £9 million by Christie's after Sotheby's turned it down, suspecting its authenticity as a Rubens. In December 2011, the portrait was placed on loan with the Metropolitan Museum of Art in New York. | [
"Peter Paul Rubens",
"plate armour",
"New York",
"Christie's",
"Sotheby's",
"Metropolitan Museum of Art"
] |
|
16570_T | Portrait of a Commander | Explore the Description of this artwork, Portrait of a Commander. | The painting, done in oil on panel, measures 48.25 × 38 3/8 in. (122.6 × 98.2 cm). It depicts a military commander, as shown by his baton, being dressed by pages. The identity of the commander is unknown, although Charles V, Cornelis van der Geest, and the Duke of Alba have all been identified as possible subjects. The Christie's cataloguer felt that the commander appears too idealized to be an actual person. The painting has been praised for its crisp and intense hue and the reflective properties of the armour. If by Rubens, it would have been painted around 1613. | [
"Cornelis van der Geest",
"oil",
"Christie's",
"Duke of Alba",
"page",
"Charles V",
"baton"
] |
|
16570_NT | Portrait of a Commander | Explore the Description of this artwork. | The painting, done in oil on panel, measures 48.25 × 38 3/8 in. (122.6 × 98.2 cm). It depicts a military commander, as shown by his baton, being dressed by pages. The identity of the commander is unknown, although Charles V, Cornelis van der Geest, and the Duke of Alba have all been identified as possible subjects. The Christie's cataloguer felt that the commander appears too idealized to be an actual person. The painting has been praised for its crisp and intense hue and the reflective properties of the armour. If by Rubens, it would have been painted around 1613. | [
"Cornelis van der Geest",
"oil",
"Christie's",
"Duke of Alba",
"page",
"Charles V",
"baton"
] |
|
16571_T | Portrait of a Commander | Focus on Portrait of a Commander and discuss the History. | The provenance of the work before 1802 is uncertain, with Christie's adding "(possibly)" to almost every paragraph in their description, until it came into the possession of George Spencer, 2nd Earl Spencer by 1802. After that it remained the property of the Spencer family until 2010, when Charles Spencer, 9th Earl Spencer, brother of Diana, Princess of Wales, decided to auction it with nearly 800 other artworks not deemed core to the Althorp collection in order to raise funds for restoration work at the estate. It was sold at the lower end of the Christie's estimate of between £8m and £12m to Konrad Bernheimer for £9 million ($13.7 million). This is the second highest price ever paid for Rubens' work at auction, after the Massacre of the Innocents, now in Toronto, which was sold at Sotheby's in London on 10 July 2002, for £49.5 million to Canadian businessman and art collector Kenneth Thomson, 2nd Baron Thomson of Fleet. | [
"Massacre of the Innocents",
"Diana, Princess of Wales",
"Althorp",
"George Spencer, 2nd Earl Spencer",
"Charles Spencer, 9th Earl Spencer",
"Toronto",
"provenance",
"Christie's",
"Sotheby's",
"Kenneth Thomson, 2nd Baron Thomson of Fleet",
"Konrad Bernheimer"
] |
|
16571_NT | Portrait of a Commander | Focus on this artwork and discuss the History. | The provenance of the work before 1802 is uncertain, with Christie's adding "(possibly)" to almost every paragraph in their description, until it came into the possession of George Spencer, 2nd Earl Spencer by 1802. After that it remained the property of the Spencer family until 2010, when Charles Spencer, 9th Earl Spencer, brother of Diana, Princess of Wales, decided to auction it with nearly 800 other artworks not deemed core to the Althorp collection in order to raise funds for restoration work at the estate. It was sold at the lower end of the Christie's estimate of between £8m and £12m to Konrad Bernheimer for £9 million ($13.7 million). This is the second highest price ever paid for Rubens' work at auction, after the Massacre of the Innocents, now in Toronto, which was sold at Sotheby's in London on 10 July 2002, for £49.5 million to Canadian businessman and art collector Kenneth Thomson, 2nd Baron Thomson of Fleet. | [
"Massacre of the Innocents",
"Diana, Princess of Wales",
"Althorp",
"George Spencer, 2nd Earl Spencer",
"Charles Spencer, 9th Earl Spencer",
"Toronto",
"provenance",
"Christie's",
"Sotheby's",
"Kenneth Thomson, 2nd Baron Thomson of Fleet",
"Konrad Bernheimer"
] |
|
16572_T | Portrait of a Commander | How does Portrait of a Commander elucidate its Authenticity? | For more than 100 years, it was attributed to the "School of Porbus". It was not attributed to Rubens until after World War II. According to Brian Sewell, it is an "uncomfortable Rubens" and the attribution "doesn't quite ring true". A panel of academics employed by Christie's examined the portrait and ultimately concluded that the painting is a genuine Rubens. | [
"Porbus",
"Brian Sewell",
"Christie's"
] |
|
16572_NT | Portrait of a Commander | How does this artwork elucidate its Authenticity? | For more than 100 years, it was attributed to the "School of Porbus". It was not attributed to Rubens until after World War II. According to Brian Sewell, it is an "uncomfortable Rubens" and the attribution "doesn't quite ring true". A panel of academics employed by Christie's examined the portrait and ultimately concluded that the painting is a genuine Rubens. | [
"Porbus",
"Brian Sewell",
"Christie's"
] |
|
16573_T | Cloud Chamber for the Trees and Sky | Focus on Cloud Chamber for the Trees and Sky and analyze the abstract. | Cloud Chamber for the Trees and Sky is a site specific outdoor artwork by Chris Drury. It was commissioned by North Carolina Museum of Art in 2003 made possible by the Robert F. Phifer Bequest and located in the 146 acre museum park adjacent to the museum known as the Ann and Jim Goodnight Museum Park at state capital Raleigh. The artwork is situated in woodland with other large sculptures and is accessed along a woodland path.The chamber itself is a round building built of stone, wood, and turf approximately 12 feet in diameter (3.66 metres) with a single door to admit the viewer. It is light-tight when its door is closed, except for one small, round opening in its roof which allows the building to act as a camera obscura. Images of the sun, clouds, and trees are projected onto the smooth white walls of the interior of the chamber. Classed as a public artwork, there is no admission charge to the park. | [
"Chris Drury",
"North Carolina Museum of Art",
"Raleigh",
"camera obscura"
] |
|
16573_NT | Cloud Chamber for the Trees and Sky | Focus on this artwork and analyze the abstract. | Cloud Chamber for the Trees and Sky is a site specific outdoor artwork by Chris Drury. It was commissioned by North Carolina Museum of Art in 2003 made possible by the Robert F. Phifer Bequest and located in the 146 acre museum park adjacent to the museum known as the Ann and Jim Goodnight Museum Park at state capital Raleigh. The artwork is situated in woodland with other large sculptures and is accessed along a woodland path.The chamber itself is a round building built of stone, wood, and turf approximately 12 feet in diameter (3.66 metres) with a single door to admit the viewer. It is light-tight when its door is closed, except for one small, round opening in its roof which allows the building to act as a camera obscura. Images of the sun, clouds, and trees are projected onto the smooth white walls of the interior of the chamber. Classed as a public artwork, there is no admission charge to the park. | [
"Chris Drury",
"North Carolina Museum of Art",
"Raleigh",
"camera obscura"
] |
|
16574_T | Composition with Red Blue and Yellow | In Composition with Red Blue and Yellow, how is the abstract discussed? | Composition with Red, Blue and Yellow is a 1930 painting by Piet Mondrian, a Dutch artist who was a leading figure in the Neo-Plasticism movement. It consists of thick, black brushwork, defining the borders of colored rectangles. As the title suggests, the only colors used in it besides black and white are red, blue, and yellow. The piece is very similar to Mondrian's 1930 Composition II in Red, Blue, and Yellow. According to Stephanie Chadwick, an associate professor of art history at Lamar University, "Mondrian's Composition with Red, Blue, and Yellow demonstrates his commitment to relational opposites, asymmetry, and pure planes of color. Mondrian composed this painting as a harmony of contrasts that signifies both balance and the tension of dynamic forces." | [
"Piet Mondrian",
"Neo-Plasticism",
"Lamar University"
] |
|
16574_NT | Composition with Red Blue and Yellow | In this artwork, how is the abstract discussed? | Composition with Red, Blue and Yellow is a 1930 painting by Piet Mondrian, a Dutch artist who was a leading figure in the Neo-Plasticism movement. It consists of thick, black brushwork, defining the borders of colored rectangles. As the title suggests, the only colors used in it besides black and white are red, blue, and yellow. The piece is very similar to Mondrian's 1930 Composition II in Red, Blue, and Yellow. According to Stephanie Chadwick, an associate professor of art history at Lamar University, "Mondrian's Composition with Red, Blue, and Yellow demonstrates his commitment to relational opposites, asymmetry, and pure planes of color. Mondrian composed this painting as a harmony of contrasts that signifies both balance and the tension of dynamic forces." | [
"Piet Mondrian",
"Neo-Plasticism",
"Lamar University"
] |
|
16575_T | Saint Jerome Writing (Caravaggio, Valletta) | Focus on Saint Jerome Writing (Caravaggio, Valletta) and explore the abstract. | Saint Jerome Writing is a painting by the Italian master Michelangelo Merisi da Caravaggio in 1607 or 1608, housed in the Oratory of St John's Co-Cathedral, Valletta, Malta. It can be compared with Caravaggio's earlier version of the same subject in the Borghese Gallery in Rome. | [
"earlier version",
"Malta",
"Valletta",
"M",
"Rome",
"Caravaggio",
"Italian",
"St John's Co-Cathedral",
"Jerome",
"Saint Jerome",
"Borghese Gallery",
"Saint Jerome Writing"
] |
|
16575_NT | Saint Jerome Writing (Caravaggio, Valletta) | Focus on this artwork and explore the abstract. | Saint Jerome Writing is a painting by the Italian master Michelangelo Merisi da Caravaggio in 1607 or 1608, housed in the Oratory of St John's Co-Cathedral, Valletta, Malta. It can be compared with Caravaggio's earlier version of the same subject in the Borghese Gallery in Rome. | [
"earlier version",
"Malta",
"Valletta",
"M",
"Rome",
"Caravaggio",
"Italian",
"St John's Co-Cathedral",
"Jerome",
"Saint Jerome",
"Borghese Gallery",
"Saint Jerome Writing"
] |
|
16576_T | Saint Jerome Writing (Caravaggio, Valletta) | Focus on Saint Jerome Writing (Caravaggio, Valletta) and explain the History. | Caravaggio arrived in Malta on July 12, 1607. He had spent the previous months in Naples, where he had sought refuge with his powerful protectors the Colonna family after killing a man in a brawl in Rome the previous year. In Naples he had been an instant success, achieving ten commissions, including a number of large and very prestigious altarpieces, in less than a year, and inspiring a following of Caravaggisti among the city's artists. In short, in Naples he had found professional success, the esteem of fellow-artists, and the support of important patrons. Why then leave all this for a speck of rock inhabited by warrior-monks noted more for their fighting (Peter Robb compares them to the French Foreign Legion) than for their support of the arts? The following summarises the speculation of recent biographers such as Robb and Helen Langdon: In 1607 Caravaggio was still an outlaw, at risk of being tracked down by his enemies – the family of the man he had killed – and Naples, close to Rome, may have seemed comparatively exposed. His patrons and protectors – the Colonna, the Giustiniani, the banker Ottavio Costa – had strong links with Malta and the Knights, and it may have been felt that joining the Order would give Carvaggio immediate protection and aid in procuring a Papal pardon for his eventual return to Rome. The Grand Master of the Knights, Alof de Wignacourt, was keen to enhance the prestige of his Order and his capital, and the prospect of having one of the leading artists in Rome and Naples as de facto court painter must have been an appealing one. And so Caravaggio went to Malta.The coat of arms in the bottom right corner of the painting is that of Ippolito Malaspina, Prior of the Order of the Knights of Saint John (the Knights of Malta) in Naples. Malaspina was a relative by marriage of Caravaggio's patron Ottavio Costa, a friend of his other patrons the Giustiniani brothers, and a cousin of Giovanni Andrea Doria, Prince of Genoa, who two years before had sheltered the artist after an earlier flight from Rome. It's possible that he may have had himself represented as the saint. Saint Jerome was thus a very important painting for the artist.The subject seems oddly unmartial for a commission by a man whose raison d'etre was to fight the Turks – St Jerome was venerated as the translator of the Bible, which he is seen doing here. But Malaspina was not only a famous warrior, he was also a commissioner for the poor, orphans, and widows, and the painting may have been intended to emphasise both this aspect of his work and also the asceticism of the Order.Ippolito Malaspina arrived in Malta at the end of the Great Siege of 1565. He landed with the 'Grande Soccorso' and was present in the final onslaught on the invading Ottoman forces. Therefore, this knight indeed witnessed the final stages of the Great Siege. He was also a relative, if not the brother or cousin, of Vespasianus Malaspina who died a martyr's death whilst courageously fighting the Ottoman soldiery in Fort Saint Elmo. A depiction of Vespasianus Malaspina is found within the Co-Cathedral of Saint John on the right hand side of a window just above the chapel dedicated to the Langue of Italy. Therefore, Ippolito must have reached the Island to aid his brethren; however his relative, amongst others, died a Catholic martyrs death. Previously to his Maltese residence, Ippolito Malaspina was Admiral of the Papal Fleet. The Catholic martyrs are unfortunately not much remembered by the Maltese, however a collective remembrance day referred to as Victory Day is celebrated on September 8, Feast dedicated to the Nativity of Our Lady, also known as Our Lady of Victory on the Islands. | [
"Knights",
"Malta",
"Naples",
"M",
"St Jerome",
"Caravaggisti",
"Rome",
"Caravaggio",
"Italy",
"Great Siege of 1565",
"Jerome",
"Saint Jerome",
"Victory Day",
"Peter Robb",
"Alof de Wignacourt"
] |
|
16576_NT | Saint Jerome Writing (Caravaggio, Valletta) | Focus on this artwork and explain the History. | Caravaggio arrived in Malta on July 12, 1607. He had spent the previous months in Naples, where he had sought refuge with his powerful protectors the Colonna family after killing a man in a brawl in Rome the previous year. In Naples he had been an instant success, achieving ten commissions, including a number of large and very prestigious altarpieces, in less than a year, and inspiring a following of Caravaggisti among the city's artists. In short, in Naples he had found professional success, the esteem of fellow-artists, and the support of important patrons. Why then leave all this for a speck of rock inhabited by warrior-monks noted more for their fighting (Peter Robb compares them to the French Foreign Legion) than for their support of the arts? The following summarises the speculation of recent biographers such as Robb and Helen Langdon: In 1607 Caravaggio was still an outlaw, at risk of being tracked down by his enemies – the family of the man he had killed – and Naples, close to Rome, may have seemed comparatively exposed. His patrons and protectors – the Colonna, the Giustiniani, the banker Ottavio Costa – had strong links with Malta and the Knights, and it may have been felt that joining the Order would give Carvaggio immediate protection and aid in procuring a Papal pardon for his eventual return to Rome. The Grand Master of the Knights, Alof de Wignacourt, was keen to enhance the prestige of his Order and his capital, and the prospect of having one of the leading artists in Rome and Naples as de facto court painter must have been an appealing one. And so Caravaggio went to Malta.The coat of arms in the bottom right corner of the painting is that of Ippolito Malaspina, Prior of the Order of the Knights of Saint John (the Knights of Malta) in Naples. Malaspina was a relative by marriage of Caravaggio's patron Ottavio Costa, a friend of his other patrons the Giustiniani brothers, and a cousin of Giovanni Andrea Doria, Prince of Genoa, who two years before had sheltered the artist after an earlier flight from Rome. It's possible that he may have had himself represented as the saint. Saint Jerome was thus a very important painting for the artist.The subject seems oddly unmartial for a commission by a man whose raison d'etre was to fight the Turks – St Jerome was venerated as the translator of the Bible, which he is seen doing here. But Malaspina was not only a famous warrior, he was also a commissioner for the poor, orphans, and widows, and the painting may have been intended to emphasise both this aspect of his work and also the asceticism of the Order.Ippolito Malaspina arrived in Malta at the end of the Great Siege of 1565. He landed with the 'Grande Soccorso' and was present in the final onslaught on the invading Ottoman forces. Therefore, this knight indeed witnessed the final stages of the Great Siege. He was also a relative, if not the brother or cousin, of Vespasianus Malaspina who died a martyr's death whilst courageously fighting the Ottoman soldiery in Fort Saint Elmo. A depiction of Vespasianus Malaspina is found within the Co-Cathedral of Saint John on the right hand side of a window just above the chapel dedicated to the Langue of Italy. Therefore, Ippolito must have reached the Island to aid his brethren; however his relative, amongst others, died a Catholic martyrs death. Previously to his Maltese residence, Ippolito Malaspina was Admiral of the Papal Fleet. The Catholic martyrs are unfortunately not much remembered by the Maltese, however a collective remembrance day referred to as Victory Day is celebrated on September 8, Feast dedicated to the Nativity of Our Lady, also known as Our Lady of Victory on the Islands. | [
"Knights",
"Malta",
"Naples",
"M",
"St Jerome",
"Caravaggisti",
"Rome",
"Caravaggio",
"Italy",
"Great Siege of 1565",
"Jerome",
"Saint Jerome",
"Victory Day",
"Peter Robb",
"Alof de Wignacourt"
] |
|
16577_T | Saint Jerome Writing (Caravaggio, Valletta) | Explore the Theft about the History of this artwork, Saint Jerome Writing (Caravaggio, Valletta). | In December 1984, the painting was stolen from the St. John's Co-Cathedral. The canvas was cut out of the frame. Two years later, following numerous telephone negotiations between the thieves and the then Director of Museums in Malta and Gozo, Fr. Marius J. Zerafa, the painting was recovered. The masterpiece was damaged and needed restoration before it was put on display again.The theft and recovery were covered in The Caravaggio Heist, a 2021 episode of the PBS series Secrets of the Dead. and a written full account of the theft and successful recovery had been recorded by Fr. Marius J. Zerafa in his book Caravaggio Diaries. | [
"Malta",
"M",
"Caravaggio",
"Secrets of the Dead"
] |
|
16577_NT | Saint Jerome Writing (Caravaggio, Valletta) | Explore the Theft about the History of this artwork. | In December 1984, the painting was stolen from the St. John's Co-Cathedral. The canvas was cut out of the frame. Two years later, following numerous telephone negotiations between the thieves and the then Director of Museums in Malta and Gozo, Fr. Marius J. Zerafa, the painting was recovered. The masterpiece was damaged and needed restoration before it was put on display again.The theft and recovery were covered in The Caravaggio Heist, a 2021 episode of the PBS series Secrets of the Dead. and a written full account of the theft and successful recovery had been recorded by Fr. Marius J. Zerafa in his book Caravaggio Diaries. | [
"Malta",
"M",
"Caravaggio",
"Secrets of the Dead"
] |
|
16578_T | Saint Jerome Writing (Caravaggio, Valletta) | In the context of Saint Jerome Writing (Caravaggio, Valletta), discuss the 3 Euro Coin of the History. | In 2022 the Central Bank of Malta issued two '3 euro coins' depicting a section of the painting.
One coin has 'Relief', the other has colour 'Print'.
The relief coin has a mintage of 4,999; and the print coin has a mintage of 5,000. | [
"Malta",
"M"
] |
|
16578_NT | Saint Jerome Writing (Caravaggio, Valletta) | In the context of this artwork, discuss the 3 Euro Coin of the History. | In 2022 the Central Bank of Malta issued two '3 euro coins' depicting a section of the painting.
One coin has 'Relief', the other has colour 'Print'.
The relief coin has a mintage of 4,999; and the print coin has a mintage of 5,000. | [
"Malta",
"M"
] |
|
16579_T | The Foxes (Marc) | How does The Foxes (Marc) elucidate its Analysis? | Prior to painting The Foxes in 1913, Marc was inspired by French Cubism and the Orphic works of Robert Delaunay. The Foxes reflects Marc's breakdown of the animals into abstract forms, presented in harmonized colors. The crystalline composition resembles stained glass windows in medieval churches. | [
"Robert Delaunay",
"stained glass",
"Cubism",
"Orphic"
] |
|
16579_NT | The Foxes (Marc) | How does this artwork elucidate its Analysis? | Prior to painting The Foxes in 1913, Marc was inspired by French Cubism and the Orphic works of Robert Delaunay. The Foxes reflects Marc's breakdown of the animals into abstract forms, presented in harmonized colors. The crystalline composition resembles stained glass windows in medieval churches. | [
"Robert Delaunay",
"stained glass",
"Cubism",
"Orphic"
] |
|
16580_T | The Foxes (Marc) | Focus on The Foxes (Marc) and analyze the Provenance. | Jewish investment banker Kurt Grawi purchased the painting in 1928. Following the rise of Nazi Germany, Grawi was forced to sell much of his art collection and was incarcerated in Sachsenhausen concentration camp. He was released after several weeks and escaped to Chile. Grawi still owned The Foxes, however, and sold the painting in 1940 to German-American film director William Dieterle. The painting was acquired by German businessman Helmut Horten in 1961, and he donated it to the Düsseldorf city art collections in 1962. | [
"Helmut Horten",
"William Dieterle",
"Chile",
"Nazi Germany",
"Sachsenhausen concentration camp",
"Düsseldorf",
"Kurt Grawi"
] |
|
16580_NT | The Foxes (Marc) | Focus on this artwork and analyze the Provenance. | Jewish investment banker Kurt Grawi purchased the painting in 1928. Following the rise of Nazi Germany, Grawi was forced to sell much of his art collection and was incarcerated in Sachsenhausen concentration camp. He was released after several weeks and escaped to Chile. Grawi still owned The Foxes, however, and sold the painting in 1940 to German-American film director William Dieterle. The painting was acquired by German businessman Helmut Horten in 1961, and he donated it to the Düsseldorf city art collections in 1962. | [
"Helmut Horten",
"William Dieterle",
"Chile",
"Nazi Germany",
"Sachsenhausen concentration camp",
"Düsseldorf",
"Kurt Grawi"
] |
|
16581_T | The Foxes (Marc) | In The Foxes (Marc), how is the Restitution discussed? | In 2017, the heirs of Kurt Grawi made a restitution claim for the painting. In 2021, the German advisory panel on Nazi-looted art urged the city of Düsseldorf to return the painting from the Museum Kunstpalast to the Grawi family. By then, the painting was valued between €15–€30 million.According to Der Spiegel, however, the city of Düsseldorf did not want to restitute the painting, and while promising its return, Düsseldorf was at the same time arguing that the sale had been voluntary and that the Grawis had been able to pay the special taxes levied on Jews by Nazis implying they still had resources.In January 2022, after months of "legal tug-of-war", Düsseldorf's Kunstpalast Museum restituted The Foxes to the Grawi heirs. It was sold at an auction at Christie's for £42.6 million in March 2022. | [
"Nazi-looted art",
"Christie's",
"Der Spiegel",
"Düsseldorf",
"Museum Kunstpalast",
"Kurt Grawi"
] |
|
16581_NT | The Foxes (Marc) | In this artwork, how is the Restitution discussed? | In 2017, the heirs of Kurt Grawi made a restitution claim for the painting. In 2021, the German advisory panel on Nazi-looted art urged the city of Düsseldorf to return the painting from the Museum Kunstpalast to the Grawi family. By then, the painting was valued between €15–€30 million.According to Der Spiegel, however, the city of Düsseldorf did not want to restitute the painting, and while promising its return, Düsseldorf was at the same time arguing that the sale had been voluntary and that the Grawis had been able to pay the special taxes levied on Jews by Nazis implying they still had resources.In January 2022, after months of "legal tug-of-war", Düsseldorf's Kunstpalast Museum restituted The Foxes to the Grawi heirs. It was sold at an auction at Christie's for £42.6 million in March 2022. | [
"Nazi-looted art",
"Christie's",
"Der Spiegel",
"Düsseldorf",
"Museum Kunstpalast",
"Kurt Grawi"
] |
|
16582_T | Statue of Jefferson Davis (Montgomery, Alabama) | Focus on Statue of Jefferson Davis (Montgomery, Alabama) and explore the abstract. | A bronze sculpture of Jefferson Davis by Frederick Cleveland Hibbard is installed outside the Alabama State Capitol in Montgomery, Alabama, United States. | [
"Jefferson Davis",
"bronze sculpture",
"Alabama",
"Alabama State Capitol",
"Montgomery, Alabama",
"Frederick Cleveland Hibbard",
"Montgomery"
] |
|
16582_NT | Statue of Jefferson Davis (Montgomery, Alabama) | Focus on this artwork and explore the abstract. | A bronze sculpture of Jefferson Davis by Frederick Cleveland Hibbard is installed outside the Alabama State Capitol in Montgomery, Alabama, United States. | [
"Jefferson Davis",
"bronze sculpture",
"Alabama",
"Alabama State Capitol",
"Montgomery, Alabama",
"Frederick Cleveland Hibbard",
"Montgomery"
] |
|
16583_T | Statue of Jefferson Davis (Montgomery, Alabama) | Focus on Statue of Jefferson Davis (Montgomery, Alabama) and explain the Description and history. | The statue was dedicated on November 19, 1940. It measures approximately 9 ft. 6 in. x 4 ft. 2 in. x 2 ft., and rests on a base that granite measures approximately 10 ft. 1 in. x 7 ft. 9 1/2 in. x 6 ft. 8 in. The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
16583_NT | Statue of Jefferson Davis (Montgomery, Alabama) | Focus on this artwork and explain the Description and history. | The statue was dedicated on November 19, 1940. It measures approximately 9 ft. 6 in. x 4 ft. 2 in. x 2 ft., and rests on a base that granite measures approximately 10 ft. 1 in. x 7 ft. 9 1/2 in. x 6 ft. 8 in. The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
16584_T | Four Seasons (murals) | Explore the abstract of this artwork, Four Seasons (murals). | Four Seasons is a series of four murals - Spring, Summer, Autumn, and Winter - painted in 1914 by Indiana artist T.C. Steele, which feature the landscape of Brown County, Indiana. The paintings are located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and are part of the Eskenazi Health Art Collection. | [
"Brown County, Indiana",
"Eskenazi Health Art Collection",
"Indianapolis",
"Indianapolis, Indiana",
"Indiana",
"T.C. Steele",
"Eskenazi Health",
"mural"
] |
|
16584_NT | Four Seasons (murals) | Explore the abstract of this artwork. | Four Seasons is a series of four murals - Spring, Summer, Autumn, and Winter - painted in 1914 by Indiana artist T.C. Steele, which feature the landscape of Brown County, Indiana. The paintings are located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and are part of the Eskenazi Health Art Collection. | [
"Brown County, Indiana",
"Eskenazi Health Art Collection",
"Indianapolis",
"Indianapolis, Indiana",
"Indiana",
"T.C. Steele",
"Eskenazi Health",
"mural"
] |
|
16585_T | Four Seasons (murals) | Focus on Four Seasons (murals) and discuss the Description. | Four Seasons is a series of four oil on canvas murals - Spring, Summer, Autumn, and Winter - painted in 1914 by Indiana artist T.C. Steele, which feature the landscape of Brown County, Indiana. Often regarded as the "pioneer of Indiana landscape paintings," Steele, in his signature "agreeable impressionistic style," used color, light, and brushwork to capture the experience of each season in southern Indiana. In 1917, Alfred M. Brooks, in his article "The Art and Work of Theodore Steele," featured in The American Magazine of Art, wrote that the Four Seasons murals feature "...lovely echoes of light and shade, made to play over, and to accentuate, rather than conceal, the highly representative character of the details which make up the purely pictorial nature of the subjects, these 'Seasons' are masterly and, decoratively masterful. They bespeak the inherent bigness and breadth of the scenes they represent so faithfully." | [
"Brown County, Indiana",
"Indiana",
"T.C. Steele",
"landscape painting",
"mural"
] |
|
16585_NT | Four Seasons (murals) | Focus on this artwork and discuss the Description. | Four Seasons is a series of four oil on canvas murals - Spring, Summer, Autumn, and Winter - painted in 1914 by Indiana artist T.C. Steele, which feature the landscape of Brown County, Indiana. Often regarded as the "pioneer of Indiana landscape paintings," Steele, in his signature "agreeable impressionistic style," used color, light, and brushwork to capture the experience of each season in southern Indiana. In 1917, Alfred M. Brooks, in his article "The Art and Work of Theodore Steele," featured in The American Magazine of Art, wrote that the Four Seasons murals feature "...lovely echoes of light and shade, made to play over, and to accentuate, rather than conceal, the highly representative character of the details which make up the purely pictorial nature of the subjects, these 'Seasons' are masterly and, decoratively masterful. They bespeak the inherent bigness and breadth of the scenes they represent so faithfully." | [
"Brown County, Indiana",
"Indiana",
"T.C. Steele",
"landscape painting",
"mural"
] |
|
16586_T | Four Seasons (murals) | How does Four Seasons (murals) elucidate its Historical information? | The Four Seasons murals were created as part of the 1914 City Hospital Mural Project in Indianapolis, Indiana. In 1911, Indianapolis City Hospital expanded by adding two dedicated patient buildings, the Burdsal Units. St. Margaret’s Hospital Guild, a local women’s volunteer group dedicated to supporting the City Hospital, donated money for decoration of the new wards, which resulted in the world's first large-scale mural project in a public hospital. Sixteen of Indiana’s “finest and most promising” artists, including Steele, were invited to contribute to the mural project. Despite the limited budget, Steele and the other artists committed to completing the project for the wages of a union house painter, approximately $75–100 per month.While the majority of artists worked on-site at the hospital, Steele painted the Four Seasons murals at his home, "The House of the Singing Winds," in Brown County, Indiana. Because the canvases and frameworks were so large, and his existing studio could not accommodate the space required, Steele painted the murals in his living room. In late 1914, before they were installed in the hospital, the Four Seasons murals were exhibited at the Herron Art Institute. Upon arrival at City Hospital, the four canvases were mounted to patient ward walls using a mixture of white lead and damar varnish. Once hung, the adhesive was further secured by covering the completed murals with thick layers of varnish. | [
"Indianapolis City Hospital",
"Brown County, Indiana",
"Indianapolis",
"Indianapolis, Indiana",
"1914 City Hospital Mural Project",
"Indiana",
"The House of the Singing Winds",
"Herron Art Institute",
"Mural",
"mural"
] |
|
16586_NT | Four Seasons (murals) | How does this artwork elucidate its Historical information? | The Four Seasons murals were created as part of the 1914 City Hospital Mural Project in Indianapolis, Indiana. In 1911, Indianapolis City Hospital expanded by adding two dedicated patient buildings, the Burdsal Units. St. Margaret’s Hospital Guild, a local women’s volunteer group dedicated to supporting the City Hospital, donated money for decoration of the new wards, which resulted in the world's first large-scale mural project in a public hospital. Sixteen of Indiana’s “finest and most promising” artists, including Steele, were invited to contribute to the mural project. Despite the limited budget, Steele and the other artists committed to completing the project for the wages of a union house painter, approximately $75–100 per month.While the majority of artists worked on-site at the hospital, Steele painted the Four Seasons murals at his home, "The House of the Singing Winds," in Brown County, Indiana. Because the canvases and frameworks were so large, and his existing studio could not accommodate the space required, Steele painted the murals in his living room. In late 1914, before they were installed in the hospital, the Four Seasons murals were exhibited at the Herron Art Institute. Upon arrival at City Hospital, the four canvases were mounted to patient ward walls using a mixture of white lead and damar varnish. Once hung, the adhesive was further secured by covering the completed murals with thick layers of varnish. | [
"Indianapolis City Hospital",
"Brown County, Indiana",
"Indianapolis",
"Indianapolis, Indiana",
"1914 City Hospital Mural Project",
"Indiana",
"The House of the Singing Winds",
"Herron Art Institute",
"Mural",
"mural"
] |
|
16587_T | Four Seasons (murals) | In the context of Four Seasons (murals), analyze the Conservation of the Historical information. | In 1967, imminent renovation plans for the Burdsal units endangered the mural collection. Through a campaign organized by St. Margaret's Hospital Guild, Steele's murals were slated for conservation by the James G. Snodgrass Studio. The four murals were removed from the building's walls, mounted to masonite, restored, and displayed at the Indiana State Museum. With building renovations complete, in 1976, three of Steele's murals - Spring, Summer, and Autumn - were returned to the hospital, where they hung in conference rooms. The fourth mural, Winter, was gifted to the museum as a gesture of gratitude for the works' safekeeping. | [
"Indiana State Museum",
"Indiana",
"mural"
] |
|
16587_NT | Four Seasons (murals) | In the context of this artwork, analyze the Conservation of the Historical information. | In 1967, imminent renovation plans for the Burdsal units endangered the mural collection. Through a campaign organized by St. Margaret's Hospital Guild, Steele's murals were slated for conservation by the James G. Snodgrass Studio. The four murals were removed from the building's walls, mounted to masonite, restored, and displayed at the Indiana State Museum. With building renovations complete, in 1976, three of Steele's murals - Spring, Summer, and Autumn - were returned to the hospital, where they hung in conference rooms. The fourth mural, Winter, was gifted to the museum as a gesture of gratitude for the works' safekeeping. | [
"Indiana State Museum",
"Indiana",
"mural"
] |
|
16588_T | Four Seasons (murals) | Describe the characteristics of the Location in Four Seasons (murals)'s Historical information. | The Four Seasons mural fragments were reunited with the 2013 opening of a new Sidney and Lois Eskenazi Hospital campus and are part of the Eskenazi Health Art Collection. Winter is on loan for 99 years from the Indiana State Museum. The Four Seasons mural fragments are located in The Rapp Family Conference Center: Steele Corridor on the first floor of the Sidney & Lois Eskenazi Hospital and are "Dedicated with gratitude, The Penrod Society.” | [
"Eskenazi Health Art Collection",
"Sidney and Lois Eskenazi Hospital",
"Indiana State Museum",
"Indiana",
"Sidney & Lois Eskenazi Hospital",
"Eskenazi Health",
"mural"
] |
|
16588_NT | Four Seasons (murals) | Describe the characteristics of the Location in this artwork's Historical information. | The Four Seasons mural fragments were reunited with the 2013 opening of a new Sidney and Lois Eskenazi Hospital campus and are part of the Eskenazi Health Art Collection. Winter is on loan for 99 years from the Indiana State Museum. The Four Seasons mural fragments are located in The Rapp Family Conference Center: Steele Corridor on the first floor of the Sidney & Lois Eskenazi Hospital and are "Dedicated with gratitude, The Penrod Society.” | [
"Eskenazi Health Art Collection",
"Sidney and Lois Eskenazi Hospital",
"Indiana State Museum",
"Indiana",
"Sidney & Lois Eskenazi Hospital",
"Eskenazi Health",
"mural"
] |
|
16589_T | Four Seasons (murals) | Focus on Four Seasons (murals) and explore the Artist. | Theodore Clement Steele (1847-1926) was an Impressionist painter known for his portraits and Indiana landscape paintings. Born and raised in Indiana, he studied at the Royal Academy when he and his family moved to Munich in 1879. Steele returned to Indiana in 1885 and was part of a group of well-known Indiana artists, the Hoosier Group. Among others, Steele’s work is included at the Haan Mansion Museum of Indiana Art, Indiana State Museum, Indianapolis Museum of Art, the Los Angeles County Museum of Art, and the Indiana University Art Museum in Bloomington, Indiana. | [
"Indianapolis",
"Bloomington, Indiana",
"Los Angeles County Museum of Art",
"Royal Academy",
"Indiana State Museum",
"Indianapolis Museum of Art",
"Haan Mansion Museum of Indiana Art",
"Indiana University Art Museum",
"Indiana",
"Impressionist",
"landscape painting",
"Munich",
"Hoosier Group"
] |
|
16589_NT | Four Seasons (murals) | Focus on this artwork and explore the Artist. | Theodore Clement Steele (1847-1926) was an Impressionist painter known for his portraits and Indiana landscape paintings. Born and raised in Indiana, he studied at the Royal Academy when he and his family moved to Munich in 1879. Steele returned to Indiana in 1885 and was part of a group of well-known Indiana artists, the Hoosier Group. Among others, Steele’s work is included at the Haan Mansion Museum of Indiana Art, Indiana State Museum, Indianapolis Museum of Art, the Los Angeles County Museum of Art, and the Indiana University Art Museum in Bloomington, Indiana. | [
"Indianapolis",
"Bloomington, Indiana",
"Los Angeles County Museum of Art",
"Royal Academy",
"Indiana State Museum",
"Indianapolis Museum of Art",
"Haan Mansion Museum of Indiana Art",
"Indiana University Art Museum",
"Indiana",
"Impressionist",
"landscape painting",
"Munich",
"Hoosier Group"
] |
|
16590_T | Abstract Speed + Sound | Focus on Abstract Speed + Sound and explain the abstract. | Abstract Speed + Sound (Italian: Velocità astratta + rumore) is a painting by Italian Futurist painter Giacomo Balla, one of several studies of motion created by the artist in 1913–14. | [
"Futurist",
"Giacomo Balla",
"Italian"
] |
|
16590_NT | Abstract Speed + Sound | Focus on this artwork and explain the abstract. | Abstract Speed + Sound (Italian: Velocità astratta + rumore) is a painting by Italian Futurist painter Giacomo Balla, one of several studies of motion created by the artist in 1913–14. | [
"Futurist",
"Giacomo Balla",
"Italian"
] |
|
16591_T | Abstract Speed + Sound | Explore the Description of this artwork, Abstract Speed + Sound. | The painting evokes the sensation of the passing of an automobile, with crisscrossing lines representing sound. It may be the second in a triptych narrating the passage of a racing car through a landscape, beginning with Abstract Speed (Velocità + paesaggio) (1913) and ending with Abstract Speed – The Car Has Passed (1913). The three paintings share indications of a single landscape, and each painting is continued onto its frame. | [
"triptych",
"automobile"
] |
|
16591_NT | Abstract Speed + Sound | Explore the Description of this artwork. | The painting evokes the sensation of the passing of an automobile, with crisscrossing lines representing sound. It may be the second in a triptych narrating the passage of a racing car through a landscape, beginning with Abstract Speed (Velocità + paesaggio) (1913) and ending with Abstract Speed – The Car Has Passed (1913). The three paintings share indications of a single landscape, and each painting is continued onto its frame. | [
"triptych",
"automobile"
] |
|
16592_T | Abstract Speed + Sound | Focus on Abstract Speed + Sound and discuss the Inspiration. | Balla chose the automobile as a symbol of speed, reflecting the statement of Futurist founder Filippo Tommaso Marinetti's 1909 first manifesto: "The world's splendor has been enriched by a new beauty: the beauty of speed... A roaring automobile...that seems to run on shrapnel, is more beautiful than the Victory of Samothrace." | [
"Filippo Tommaso Marinetti",
"Futurist",
"automobile",
"Victory of Samothrace"
] |
|
16592_NT | Abstract Speed + Sound | Focus on this artwork and discuss the Inspiration. | Balla chose the automobile as a symbol of speed, reflecting the statement of Futurist founder Filippo Tommaso Marinetti's 1909 first manifesto: "The world's splendor has been enriched by a new beauty: the beauty of speed... A roaring automobile...that seems to run on shrapnel, is more beautiful than the Victory of Samothrace." | [
"Filippo Tommaso Marinetti",
"Futurist",
"automobile",
"Victory of Samothrace"
] |
|
16593_T | Abstract Speed + Sound | How does Abstract Speed + Sound elucidate its Legacy? | The painting is said to have captured the ideals of Italian Futurism. It was featured on the 1980 British television series 100 Great Paintings, which presented five paintings from each of 20 thematic groups.The Philadelphia Museum of Art houses an apparent study for the painting, a 23.5 cm × 33 cm (9.3 in × 13.0 in) work in watercolor and graphite. | [
"Futurism",
"100 Great Paintings",
"Italian",
"graphite",
"watercolor",
"Philadelphia Museum of Art"
] |
|
16593_NT | Abstract Speed + Sound | How does this artwork elucidate its Legacy? | The painting is said to have captured the ideals of Italian Futurism. It was featured on the 1980 British television series 100 Great Paintings, which presented five paintings from each of 20 thematic groups.The Philadelphia Museum of Art houses an apparent study for the painting, a 23.5 cm × 33 cm (9.3 in × 13.0 in) work in watercolor and graphite. | [
"Futurism",
"100 Great Paintings",
"Italian",
"graphite",
"watercolor",
"Philadelphia Museum of Art"
] |
|
16594_T | Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar | Focus on Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar and analyze the abstract. | Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar, 25 April 1607 (Dutch: Allegorie op de overwinning van de Hollandse op de Spaanse vloot bij Gibraltar) is an oil painting on panel of the Dutch painter Adam Willaerts. | [
"Adam Willaerts",
"Gibraltar",
"Dutch",
"oil painting"
] |
|
16594_NT | Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar | Focus on this artwork and analyze the abstract. | Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar, 25 April 1607 (Dutch: Allegorie op de overwinning van de Hollandse op de Spaanse vloot bij Gibraltar) is an oil painting on panel of the Dutch painter Adam Willaerts. | [
"Adam Willaerts",
"Gibraltar",
"Dutch",
"oil painting"
] |
|
16595_T | Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar | In Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar, how is the Description discussed? | The painting has dimensions of 38.4 x 55.9 centimeters. Painted between 1615 and 1630 in the city of Utrecht, the painting is in the collection of the Rijksmuseum of Amsterdam. | [
"Amsterdam",
"Rijksmuseum",
"centimeter",
"Utrecht"
] |
|
16595_NT | Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar | In this artwork, how is the Description discussed? | The painting has dimensions of 38.4 x 55.9 centimeters. Painted between 1615 and 1630 in the city of Utrecht, the painting is in the collection of the Rijksmuseum of Amsterdam. | [
"Amsterdam",
"Rijksmuseum",
"centimeter",
"Utrecht"
] |
|
16596_T | Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar | Focus on Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar and explore the Analysis. | The painting is an allegory of the Dutch victory against the Spaniards during the battle of Gibraltar, that took place on 25 April 1607 in the context of the Eighty Years' War.
The painting shows in the foreground a Dutch and a Spanish struggling between them by a wooden bar, while an English and a Venetian observe them. In the background one can observe the naval battle in the vicinity of the Rock. | [
"Rock",
"Gibraltar",
"Dutch",
"battle of Gibraltar",
"naval battle",
"Eighty Years' War"
] |
|
16596_NT | Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar | Focus on this artwork and explore the Analysis. | The painting is an allegory of the Dutch victory against the Spaniards during the battle of Gibraltar, that took place on 25 April 1607 in the context of the Eighty Years' War.
The painting shows in the foreground a Dutch and a Spanish struggling between them by a wooden bar, while an English and a Venetian observe them. In the background one can observe the naval battle in the vicinity of the Rock. | [
"Rock",
"Gibraltar",
"Dutch",
"battle of Gibraltar",
"naval battle",
"Eighty Years' War"
] |
|
16597_T | Larmes | Focus on Larmes and explain the abstract. | Larmes, or Tears; aka Larmes de Verre, in English, Glass Tears, is a black and white photograph created between 1930 and 1932 by the American photographer Man Ray. The image was published in the December 1935 issue of the surrealist art magazine Minotaure, though a similar image of a single eye had appeared in a 1934 book of Ray's photographs. A print of Larmes is held in the collection of the J. Paul Getty Museum in California.The photograph is an extreme close-up of a woman's upturned face with glass droplets placed on her cheeks to imitate tears. Differing interpretations have been given for the meaning of the photograph. Art historian Erin C. Garcia wrote that Ray "emulated the melodrama that compensated for the lack of dialogue in silent films" in Larmes and likened the model's eyes to "insect-like creatures with hundreds of legs", and another critic wondered whether the image was "ridiculing female crocodile tears, or pouring scorn on the men who are taken in by such sentimentalism".A 1995 sale of Larmes valued the image at between $200,000 and $250,000. | [
"surrealist art",
"Man Ray",
"Minotaure",
"J. Paul Getty Museum"
] |
|
16597_NT | Larmes | Focus on this artwork and explain the abstract. | Larmes, or Tears; aka Larmes de Verre, in English, Glass Tears, is a black and white photograph created between 1930 and 1932 by the American photographer Man Ray. The image was published in the December 1935 issue of the surrealist art magazine Minotaure, though a similar image of a single eye had appeared in a 1934 book of Ray's photographs. A print of Larmes is held in the collection of the J. Paul Getty Museum in California.The photograph is an extreme close-up of a woman's upturned face with glass droplets placed on her cheeks to imitate tears. Differing interpretations have been given for the meaning of the photograph. Art historian Erin C. Garcia wrote that Ray "emulated the melodrama that compensated for the lack of dialogue in silent films" in Larmes and likened the model's eyes to "insect-like creatures with hundreds of legs", and another critic wondered whether the image was "ridiculing female crocodile tears, or pouring scorn on the men who are taken in by such sentimentalism".A 1995 sale of Larmes valued the image at between $200,000 and $250,000. | [
"surrealist art",
"Man Ray",
"Minotaure",
"J. Paul Getty Museum"
] |
|
16598_T | Statue of Martin Luther King Jr. (Newark) | Explore the abstract of this artwork, Statue of Martin Luther King Jr. (Newark). | There are two statues of Rev. Martin Luther King Jr. in Newark, New Jersey. Both are located on the Essex County Courthouse Complex at its newest addition, the Martin Luther King Justice Building. | [
"Essex County Courthouse Complex",
"Rev. Martin Luther King Jr.",
"Newark, New Jersey",
"Martin Luther King Jr.",
"Essex County Courthouse"
] |
|
16598_NT | Statue of Martin Luther King Jr. (Newark) | Explore the abstract of this artwork. | There are two statues of Rev. Martin Luther King Jr. in Newark, New Jersey. Both are located on the Essex County Courthouse Complex at its newest addition, the Martin Luther King Justice Building. | [
"Essex County Courthouse Complex",
"Rev. Martin Luther King Jr.",
"Newark, New Jersey",
"Martin Luther King Jr.",
"Essex County Courthouse"
] |
|
16599_T | Statue of Martin Luther King Jr. (Newark) | Focus on Statue of Martin Luther King Jr. (Newark) and discuss the 2015 statue. | The 2015 statue by Thomas Jay Warren was unveiled on the plaza near the Essex County Hall of Records, on October 14, 2015. The 8 feet (2.4 m) tall bronze statue stands on a 3 feet (0.91 m) tall granite pedestal depicts King with his hands outstretched and his head tilted slightly downward so visitors onlookers can see his face. The pedestal is engraved with "I Have a Dream", which references King's famous speech during the March on Washington for Jobs and Freedom. It notes his Nobel Peace Prize and is engraved with words ascribed to King: Hope, Equality, Peace, Courage, Love and Respect. An accompanying plaque reads:
"At a time in American history, when the need for change was evident, Martin Luther King, Jr., a young Georgia minister, rose to lead a nationwide civil rights movement. He guided a bus boycott that ended segregated seating, supported integrated groups of 'Freedom Riders' who shattered old, southern 'Jim Crow' laws, assisted young people conducting 'sit-ins' at segregated lunch counters, and led hundreds of peaceful protest marches. Brilliant, dignified, persuasive and eloquent, he always stressed non-violence, even in the face of adversity. He inspired thousands of people, of all colors, races and religions, to join hands, and more than 200,000 supporters gathered in Washington, DC, for his iconic 'I have a dream…' oration. As President of the Southern Christian Leadership Council, he brought attention to sources of national discrimination, helping to gain passage of the 1964 Civil Rights Act, forever changing the course of American history. Dr. King was awarded the Nobel Peace Prize for his work, on this very day, 50 years ago. Assassinated in 1968, he is one of the most respected and revered of all Human Rights activists."
"I show him at a younger age than you mostly see him," the sculptor said. "I tried to capture him at the time he visited Newark." Warren, based in Oregon, also created statues of Rosa Park, Justice William J. Brennan, Jr., Governor Brendan Byrne and Congressman Donald M. Payne at the Essex County Government Complex and the statue of Althea Gibson in Branch Brook Park.
The statue was relocated to the jurors entrance of the new courthouse building. | [
"Thomas Jay Warren",
"I Have a Dream",
"March on Washington for Jobs and Freedom",
"Branch Brook Park"
] |
|
16599_NT | Statue of Martin Luther King Jr. (Newark) | Focus on this artwork and discuss the 2015 statue. | The 2015 statue by Thomas Jay Warren was unveiled on the plaza near the Essex County Hall of Records, on October 14, 2015. The 8 feet (2.4 m) tall bronze statue stands on a 3 feet (0.91 m) tall granite pedestal depicts King with his hands outstretched and his head tilted slightly downward so visitors onlookers can see his face. The pedestal is engraved with "I Have a Dream", which references King's famous speech during the March on Washington for Jobs and Freedom. It notes his Nobel Peace Prize and is engraved with words ascribed to King: Hope, Equality, Peace, Courage, Love and Respect. An accompanying plaque reads:
"At a time in American history, when the need for change was evident, Martin Luther King, Jr., a young Georgia minister, rose to lead a nationwide civil rights movement. He guided a bus boycott that ended segregated seating, supported integrated groups of 'Freedom Riders' who shattered old, southern 'Jim Crow' laws, assisted young people conducting 'sit-ins' at segregated lunch counters, and led hundreds of peaceful protest marches. Brilliant, dignified, persuasive and eloquent, he always stressed non-violence, even in the face of adversity. He inspired thousands of people, of all colors, races and religions, to join hands, and more than 200,000 supporters gathered in Washington, DC, for his iconic 'I have a dream…' oration. As President of the Southern Christian Leadership Council, he brought attention to sources of national discrimination, helping to gain passage of the 1964 Civil Rights Act, forever changing the course of American history. Dr. King was awarded the Nobel Peace Prize for his work, on this very day, 50 years ago. Assassinated in 1968, he is one of the most respected and revered of all Human Rights activists."
"I show him at a younger age than you mostly see him," the sculptor said. "I tried to capture him at the time he visited Newark." Warren, based in Oregon, also created statues of Rosa Park, Justice William J. Brennan, Jr., Governor Brendan Byrne and Congressman Donald M. Payne at the Essex County Government Complex and the statue of Althea Gibson in Branch Brook Park.
The statue was relocated to the jurors entrance of the new courthouse building. | [
"Thomas Jay Warren",
"I Have a Dream",
"March on Washington for Jobs and Freedom",
"Branch Brook Park"
] |
|
16600_T | Statue of Martin Luther King Jr. (Newark) | How does Statue of Martin Luther King Jr. (Newark) elucidate its 2021 statue? | The 2021 statue in front of the new justice building was also created by Jay Warren. The 22 feet (6.7 m) bronze sculpture is placed on an 8 feet (2.4 m) granite pedestal. It depicts King with his right arm gesturing, his hand is outstretched, and he is holding papers that signify victories in the Civil Rights movement – the Civil Rights Act of 1964 and the Voting Rights Act of 1965. The engraving quotes King: "We must learn to live together as brothers or perish together as fools. But I know somehow, that only when it is dark enough, can you see the stars. I have decided to stick with love, hate is too great a burden to bear. Life's most persistent and urgent question is, What are you doing for others?".
The interior lobby of the building serves is monument to the life and legacy of King. It includes a large mural with photographs of and quotes by King and a large-screen television which plays a video of him. Both works were created by Terri Haskins of Hackensack. Also in the lobby is a large bronze bust, also created by Warren, of Congressman and civil rights advocate John Lewis of Georgia, a close friend and associate of Dr. King. | [
"Voting Rights Act of 1965",
"John Lewis",
"Civil Rights Act of 1964"
] |
|
16600_NT | Statue of Martin Luther King Jr. (Newark) | How does this artwork elucidate its 2021 statue? | The 2021 statue in front of the new justice building was also created by Jay Warren. The 22 feet (6.7 m) bronze sculpture is placed on an 8 feet (2.4 m) granite pedestal. It depicts King with his right arm gesturing, his hand is outstretched, and he is holding papers that signify victories in the Civil Rights movement – the Civil Rights Act of 1964 and the Voting Rights Act of 1965. The engraving quotes King: "We must learn to live together as brothers or perish together as fools. But I know somehow, that only when it is dark enough, can you see the stars. I have decided to stick with love, hate is too great a burden to bear. Life's most persistent and urgent question is, What are you doing for others?".
The interior lobby of the building serves is monument to the life and legacy of King. It includes a large mural with photographs of and quotes by King and a large-screen television which plays a video of him. Both works were created by Terri Haskins of Hackensack. Also in the lobby is a large bronze bust, also created by Warren, of Congressman and civil rights advocate John Lewis of Georgia, a close friend and associate of Dr. King. | [
"Voting Rights Act of 1965",
"John Lewis",
"Civil Rights Act of 1964"
] |
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