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16601_T | Statue of Martin Luther King Jr. (Newark) | Focus on Statue of Martin Luther King Jr. (Newark) and analyze the Behold. | The original statue Behold, created by Patrick Morelli, is located at Martin Luther King Jr. National Historical Park in Atlanta. A second casting was commissioned by the New Jersey Martin Luther King, Jr. Commemorative Commission, a government agency within the New Jersey Department of State. It was placed at Essex County College in Newark and dedicated in a ceremony with Mayor Sharpe James in 1990. | [
"Martin Luther King Jr. National Historical Park",
"Sharpe James",
"Behold",
"Mayor",
"casting",
"Martin Luther King Jr.",
"Essex County College",
"New Jersey Department of State"
] |
|
16601_NT | Statue of Martin Luther King Jr. (Newark) | Focus on this artwork and analyze the Behold. | The original statue Behold, created by Patrick Morelli, is located at Martin Luther King Jr. National Historical Park in Atlanta. A second casting was commissioned by the New Jersey Martin Luther King, Jr. Commemorative Commission, a government agency within the New Jersey Department of State. It was placed at Essex County College in Newark and dedicated in a ceremony with Mayor Sharpe James in 1990. | [
"Martin Luther King Jr. National Historical Park",
"Sharpe James",
"Behold",
"Mayor",
"casting",
"Martin Luther King Jr.",
"Essex County College",
"New Jersey Department of State"
] |
|
16602_T | Sunday Morning (collage) | In the context of Sunday Morning (collage), explore the Acquisition of the Historical information. | Sunday Morning was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Sunday Morning is credited "in honor of Greg Kelleher, Lisa E. Harris, M.D." | [
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
16602_NT | Sunday Morning (collage) | In the context of this artwork, explore the Acquisition of the Historical information. | Sunday Morning was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Sunday Morning is credited "in honor of Greg Kelleher, Lisa E. Harris, M.D." | [
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
16603_T | Sunday Morning (collage) | In the context of Sunday Morning (collage), explain the Location of the Historical information. | Sunday Morning is currently displayed in the Robert & Gina Laikin Surgery Registration & Waiting Room on the third floor of Sidney & Lois Eskenazi Hospital. | [
"Sidney & Lois Eskenazi Hospital"
] |
|
16603_NT | Sunday Morning (collage) | In the context of this artwork, explain the Location of the Historical information. | Sunday Morning is currently displayed in the Robert & Gina Laikin Surgery Registration & Waiting Room on the third floor of Sidney & Lois Eskenazi Hospital. | [
"Sidney & Lois Eskenazi Hospital"
] |
|
16604_T | Sunday Morning (collage) | Explore the Artist of this artwork, Sunday Morning (collage). | Indiana-based artist India Cruse-Griffin received her BS in Art Education from Ball State University. She has exhibited extensively, including at the Richmond Art Museum, Indiana University East, the Northern Indiana Arts Association, Indiana State Museum and the National Black Fine Art Show held annually in New York. Her work is included in the permanent collections of the Indiana State Museum, the Indiana Governor's Residence, Indiana University, Richmond Community Schools, the Richmond Art Museum and Reid Memorial Hospital in Richmond. Cruse-Griffin teaches art at Richmond Senior High School, where she won two Teacher of the Year awards in 2010–2011. | [
"Art Education",
"Indiana University",
"Indiana University East",
"Indiana State Museum",
"India Cruse-Griffin",
"Richmond Art Museum",
"Indiana",
"Ball State University",
"Indiana Governor's Residence"
] |
|
16604_NT | Sunday Morning (collage) | Explore the Artist of this artwork. | Indiana-based artist India Cruse-Griffin received her BS in Art Education from Ball State University. She has exhibited extensively, including at the Richmond Art Museum, Indiana University East, the Northern Indiana Arts Association, Indiana State Museum and the National Black Fine Art Show held annually in New York. Her work is included in the permanent collections of the Indiana State Museum, the Indiana Governor's Residence, Indiana University, Richmond Community Schools, the Richmond Art Museum and Reid Memorial Hospital in Richmond. Cruse-Griffin teaches art at Richmond Senior High School, where she won two Teacher of the Year awards in 2010–2011. | [
"Art Education",
"Indiana University",
"Indiana University East",
"Indiana State Museum",
"India Cruse-Griffin",
"Richmond Art Museum",
"Indiana",
"Ball State University",
"Indiana Governor's Residence"
] |
|
16605_T | Allegory of the Camaldolese Order | Focus on Allegory of the Camaldolese Order and discuss the abstract. | Allegory of the Camaldolese Order is a composition by El Greco and his workshop that survives in two paintings, one at the Instituto Valencia de Don Juan in Madrid and the other at the Museo del Patriarca in Valencia. The paintings depict a bird's-eye view of the "ideal monastery" according to the Camaldolese, and were likely commissioned as part of Fray Juan de Castañiza's (c. 1545-1599) petition to Philip II in 1597 to establish the benedictine monastic order in Spain. | [
"El Greco",
"monastery",
"Valencia",
"Museo del Patriarca",
"bird's-eye view",
"Philip II",
"Spain",
"Camaldolese",
"Instituto Valencia de Don Juan",
"Madrid"
] |
|
16605_NT | Allegory of the Camaldolese Order | Focus on this artwork and discuss the abstract. | Allegory of the Camaldolese Order is a composition by El Greco and his workshop that survives in two paintings, one at the Instituto Valencia de Don Juan in Madrid and the other at the Museo del Patriarca in Valencia. The paintings depict a bird's-eye view of the "ideal monastery" according to the Camaldolese, and were likely commissioned as part of Fray Juan de Castañiza's (c. 1545-1599) petition to Philip II in 1597 to establish the benedictine monastic order in Spain. | [
"El Greco",
"monastery",
"Valencia",
"Museo del Patriarca",
"bird's-eye view",
"Philip II",
"Spain",
"Camaldolese",
"Instituto Valencia de Don Juan",
"Madrid"
] |
|
16606_T | Allegory of the Camaldolese Order | How does Allegory of the Camaldolese Order elucidate its Analysis? | Both of the paintings are nearly identical in composition, though the one held at the Instituto Valencia of Don Juan is on a slightly smaller canvas. In the mountainous landscape, within a circular forest clearing, are individual hermitages arranged into rows, with a central complex for group worship. In the foreground on either side of a tabernacle stand saints central to the foundation of the Camaldolese: Saint Benedict to the left, and Saint Romuald to the right. Romuald holds a model of the circular monastery complex in his hand. The tabernacle frames a poem in Latin praising Saint Romuald, and Latin text below identifies the image as a "Description of the Hermetical Life."It is unlikely that El Greco had ever been to a Camaldolese monastery and he likely drew inspiration from other sources. Harold Wethey was among the first to note that the composition was likely derived from a print depicting the Holy Hermitage of Camaldoli in the mountains near Arezzo, Italy. Robert Byron and David Talbot Rice argued that the arrangement of the monastery resembles the depiction of the Holy City of Jerusalem in the Cretan School of post-Byzantine icon painting, in which El Greco was a master before he emigrated to Italy and Spain. | [
"Romuald",
"David Talbot Rice",
"El Greco",
"master",
"Robert Byron",
"Saint Benedict",
"monastery",
"Cretan School",
"Valencia",
"Arezzo",
"Jerusalem",
"Instituto Valencia of Don Juan",
"Italy",
"Camaldoli",
"left",
"Saint Romuald",
"Harold Wethey",
"Spain",
"Camaldolese"
] |
|
16606_NT | Allegory of the Camaldolese Order | How does this artwork elucidate its Analysis? | Both of the paintings are nearly identical in composition, though the one held at the Instituto Valencia of Don Juan is on a slightly smaller canvas. In the mountainous landscape, within a circular forest clearing, are individual hermitages arranged into rows, with a central complex for group worship. In the foreground on either side of a tabernacle stand saints central to the foundation of the Camaldolese: Saint Benedict to the left, and Saint Romuald to the right. Romuald holds a model of the circular monastery complex in his hand. The tabernacle frames a poem in Latin praising Saint Romuald, and Latin text below identifies the image as a "Description of the Hermetical Life."It is unlikely that El Greco had ever been to a Camaldolese monastery and he likely drew inspiration from other sources. Harold Wethey was among the first to note that the composition was likely derived from a print depicting the Holy Hermitage of Camaldoli in the mountains near Arezzo, Italy. Robert Byron and David Talbot Rice argued that the arrangement of the monastery resembles the depiction of the Holy City of Jerusalem in the Cretan School of post-Byzantine icon painting, in which El Greco was a master before he emigrated to Italy and Spain. | [
"Romuald",
"David Talbot Rice",
"El Greco",
"master",
"Robert Byron",
"Saint Benedict",
"monastery",
"Cretan School",
"Valencia",
"Arezzo",
"Jerusalem",
"Instituto Valencia of Don Juan",
"Italy",
"Camaldoli",
"left",
"Saint Romuald",
"Harold Wethey",
"Spain",
"Camaldolese"
] |
|
16607_T | Allegory of the Camaldolese Order | Focus on Allegory of the Camaldolese Order and analyze the Patronage. | The canvas held at the Instituto Valencia of Don Juan bears escutcheon of Mariana de Mendoza of Toledo and that of her husband Pedro Lasso de la Vega, Conde de los Arcos. The two were known to own eight original works by El Greco, as well as eighteen works depicting hermits. The Allegory of the Camaldolese, however, was probably the only painting that they expressly commissioned from El Greco, showing their commitment to Fray Juan de Castañiza's project and their continuing support of the artist. It is unknown who commissioned the painting now at the Museo del Patriarca, though it bears the arms of Juan de Ribera, Archbishop of Valencia and Patriarch of Antioch. Fernando Marías suggested it may have been a gift from Mariana and Pedro Lasso to Ribera rather than being a personal commission. | [
"El Greco",
"escutcheon",
"Valencia",
"Museo del Patriarca",
"Instituto Valencia of Don Juan",
"Juan de Ribera",
"Camaldolese"
] |
|
16607_NT | Allegory of the Camaldolese Order | Focus on this artwork and analyze the Patronage. | The canvas held at the Instituto Valencia of Don Juan bears escutcheon of Mariana de Mendoza of Toledo and that of her husband Pedro Lasso de la Vega, Conde de los Arcos. The two were known to own eight original works by El Greco, as well as eighteen works depicting hermits. The Allegory of the Camaldolese, however, was probably the only painting that they expressly commissioned from El Greco, showing their commitment to Fray Juan de Castañiza's project and their continuing support of the artist. It is unknown who commissioned the painting now at the Museo del Patriarca, though it bears the arms of Juan de Ribera, Archbishop of Valencia and Patriarch of Antioch. Fernando Marías suggested it may have been a gift from Mariana and Pedro Lasso to Ribera rather than being a personal commission. | [
"El Greco",
"escutcheon",
"Valencia",
"Museo del Patriarca",
"Instituto Valencia of Don Juan",
"Juan de Ribera",
"Camaldolese"
] |
|
16608_T | Abraham Serving the Three Angels | In Abraham Serving the Three Angels, how is the abstract discussed? | Abraham Serving the Three Angels is a 1646 oil-on-panel painting by Rembrandt. The scene depicts Abraham, it is based on an episode from the Book of Genesis (18:1–12) and it has Mughal influence. Today it is in a private collection since it was bought in an auction in 1848 for £64 (equivalent to $7,000 in 2021). Before that its owners were Ferdinand Bol, a student of Rembrandt, the Dutch art collector and Mayor of Amsterdam, Jan Six as well as Benjamin West, an American artist.In 2021, the painting was put up for sale by its current owner, Mark Fisch (the Metropolitan Museum trustee). | [
"Mughal influence",
"oil-on-panel",
"Ferdinand Bol",
"Benjamin West",
"Abraham",
"Rembrandt",
"Mayor of Amsterdam",
"Jan Six",
"Book of Genesis",
"episode"
] |
|
16608_NT | Abraham Serving the Three Angels | In this artwork, how is the abstract discussed? | Abraham Serving the Three Angels is a 1646 oil-on-panel painting by Rembrandt. The scene depicts Abraham, it is based on an episode from the Book of Genesis (18:1–12) and it has Mughal influence. Today it is in a private collection since it was bought in an auction in 1848 for £64 (equivalent to $7,000 in 2021). Before that its owners were Ferdinand Bol, a student of Rembrandt, the Dutch art collector and Mayor of Amsterdam, Jan Six as well as Benjamin West, an American artist.In 2021, the painting was put up for sale by its current owner, Mark Fisch (the Metropolitan Museum trustee). | [
"Mughal influence",
"oil-on-panel",
"Ferdinand Bol",
"Benjamin West",
"Abraham",
"Rembrandt",
"Mayor of Amsterdam",
"Jan Six",
"Book of Genesis",
"episode"
] |
|
16609_T | Bust of Robert S. Kerr | Focus on Bust of Robert S. Kerr and explore the abstract. | The bust of Robert S. Kerr by Keating Donohoe is installed in Oklahoma City's Robert S. Kerr Park, between Robert S. Kerr Avenue and Couch Drive, in the U.S. state of Oklahoma. | [
"Oklahoma",
"U.S. state",
"bust",
"Oklahoma City",
"Keating Donohoe",
"Robert S. Kerr"
] |
|
16609_NT | Bust of Robert S. Kerr | Focus on this artwork and explore the abstract. | The bust of Robert S. Kerr by Keating Donohoe is installed in Oklahoma City's Robert S. Kerr Park, between Robert S. Kerr Avenue and Couch Drive, in the U.S. state of Oklahoma. | [
"Oklahoma",
"U.S. state",
"bust",
"Oklahoma City",
"Keating Donohoe",
"Robert S. Kerr"
] |
|
16610_T | Bust of Robert S. Kerr | Focus on Bust of Robert S. Kerr and explain the Description and history. | The bronze sculpture is 24 inches (61 cm) and 22 inches (56 cm) wide, and rest on a polished red granite base measuring approximately 32 x 67 x 67 inches.There have been two busts of Kerr. The original was commissioned by Kerr-McGee Corporation, cast in 1961, and dedicated on May 9, 1975. The sculpture was stolen on April 5, 1978, and replaced with a second cast from the same mold c. 1978.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1996. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"bust",
"bronze sculpture"
] |
|
16610_NT | Bust of Robert S. Kerr | Focus on this artwork and explain the Description and history. | The bronze sculpture is 24 inches (61 cm) and 22 inches (56 cm) wide, and rest on a polished red granite base measuring approximately 32 x 67 x 67 inches.There have been two busts of Kerr. The original was commissioned by Kerr-McGee Corporation, cast in 1961, and dedicated on May 9, 1975. The sculpture was stolen on April 5, 1978, and replaced with a second cast from the same mold c. 1978.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1996. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"bust",
"bronze sculpture"
] |
|
16611_T | Altar frontal from Cardet | Explore the abstract of this artwork, Altar frontal from Cardet. | The Altar frontal from Cardet is an altar conserved at the Museu Nacional d'Art de Catalunya, in Barcelona. | [
"Barcelona",
"Museu Nacional d'Art de Catalunya",
"Cardet"
] |
|
16611_NT | Altar frontal from Cardet | Explore the abstract of this artwork. | The Altar frontal from Cardet is an altar conserved at the Museu Nacional d'Art de Catalunya, in Barcelona. | [
"Barcelona",
"Museu Nacional d'Art de Catalunya",
"Cardet"
] |
|
16612_T | Altar frontal from Cardet | Focus on Altar frontal from Cardet and discuss the Description. | The Altar frontal from Cardet, along with the one from Rigatell, is one of the best and most representative works from the Ribagorza workshop, so called as the source of a series of works of similar style and technique.
The technique features the use in backgrounds and on frames of stucco reliefs, which were once coated with fine layers of metal and yellow varnish (known as colradura) to give them the appearance of precious metal. The pictorial style is highly narrative and uses a lot of bright colours that, in their day, with the gilding that has since been lost, must have been even brighter. These sightly works must have been in great demand, something we can deduce from the number of specimens preserved.
The frontal is presided by the Virgin and Child, enthroned inside an almond-shaped mandorla surrounded by the Tetramorph, the four symbolic beings that proclaimed the Gospel.
In the side compartments, separated by thin columns, are scenes from Christ’s childhood, beginning with the Annunciation by the angel to Mary and the Visitation by the latter to St Elizabeth. It continues with the Nativity and, behind Joseph, the Annunciation to the Shepherds, a highly descriptive scene full of detail, with landscape elements characteristic of the time. The Magi with their offerings, in the Epiphany, address the central figures. The last compartment depicts two scenes, without any architectural separation: the Slaughter of the Innocents, which is difficult to recognise as the soldiers’ spears and the slaughtered children have been lost, and the Flight into Egypt. | [
"Rigatell",
"Cardet"
] |
|
16612_NT | Altar frontal from Cardet | Focus on this artwork and discuss the Description. | The Altar frontal from Cardet, along with the one from Rigatell, is one of the best and most representative works from the Ribagorza workshop, so called as the source of a series of works of similar style and technique.
The technique features the use in backgrounds and on frames of stucco reliefs, which were once coated with fine layers of metal and yellow varnish (known as colradura) to give them the appearance of precious metal. The pictorial style is highly narrative and uses a lot of bright colours that, in their day, with the gilding that has since been lost, must have been even brighter. These sightly works must have been in great demand, something we can deduce from the number of specimens preserved.
The frontal is presided by the Virgin and Child, enthroned inside an almond-shaped mandorla surrounded by the Tetramorph, the four symbolic beings that proclaimed the Gospel.
In the side compartments, separated by thin columns, are scenes from Christ’s childhood, beginning with the Annunciation by the angel to Mary and the Visitation by the latter to St Elizabeth. It continues with the Nativity and, behind Joseph, the Annunciation to the Shepherds, a highly descriptive scene full of detail, with landscape elements characteristic of the time. The Magi with their offerings, in the Epiphany, address the central figures. The last compartment depicts two scenes, without any architectural separation: the Slaughter of the Innocents, which is difficult to recognise as the soldiers’ spears and the slaughtered children have been lost, and the Flight into Egypt. | [
"Rigatell",
"Cardet"
] |
|
16613_T | Frari Triptych | How does Frari Triptych elucidate its abstract? | The Frari Triptych or Pesaro Triptych is a 1488 oil-on-panel triptych painting by the Italian Renaissance master Giovanni Bellini. It is signed and dated 1488 on the centre of the Virgin Mary's throne, though it may have taken several years to produce, meaning he started it in 1485. On the reverse is a label dating its completion more precisely, to 15 February 1488. It is in the basilica di Santa Maria Gloriosa dei Frari in Venice.Its central scene is the Madonna and Child enthroned with two angel musicians, flanked to the left by saint Nicholas of Bari and Saint Peter and to the right by Saint Mark (patron of Venice) and Saint Benedict. The work's division into compartments is rather old-fashioned and may have been explicitly demanded by the commissioner, but Bellini uses this to his advantage, integrating the painted architecture with the frame, which he designed himself. This develops the illusionism of his San Giobbe Altarpiece, again placing the Virgin in a deep blue mantle on a high marble throne, using a golden light and a Byzanto-Venetian-style apse. To the sides thin strips of landscape suggest a vast space behind the work, whilst the trompe-l'œil apse behind the Virgin bears an inscription reading IANUA CERTA POLI DUC MENTEM DIRIGE VITAM: QUAE PERAGAM COMMISSA TUAE SINT OMNIA CURAE ("Certain gate of heaven, guide [my] mind, direct [my] life: may everything I do be entrusted to your care"). | [
"Giovanni Bellini",
"trompe-l'œil",
"saint Nicholas of Bari",
"Saint Benedict",
"basilica di Santa Maria Gloriosa dei Frari",
"Saint Mark",
"Triptych",
"Venice",
"Saint Peter",
"triptych",
"San Giobbe Altarpiece"
] |
|
16613_NT | Frari Triptych | How does this artwork elucidate its abstract? | The Frari Triptych or Pesaro Triptych is a 1488 oil-on-panel triptych painting by the Italian Renaissance master Giovanni Bellini. It is signed and dated 1488 on the centre of the Virgin Mary's throne, though it may have taken several years to produce, meaning he started it in 1485. On the reverse is a label dating its completion more precisely, to 15 February 1488. It is in the basilica di Santa Maria Gloriosa dei Frari in Venice.Its central scene is the Madonna and Child enthroned with two angel musicians, flanked to the left by saint Nicholas of Bari and Saint Peter and to the right by Saint Mark (patron of Venice) and Saint Benedict. The work's division into compartments is rather old-fashioned and may have been explicitly demanded by the commissioner, but Bellini uses this to his advantage, integrating the painted architecture with the frame, which he designed himself. This develops the illusionism of his San Giobbe Altarpiece, again placing the Virgin in a deep blue mantle on a high marble throne, using a golden light and a Byzanto-Venetian-style apse. To the sides thin strips of landscape suggest a vast space behind the work, whilst the trompe-l'œil apse behind the Virgin bears an inscription reading IANUA CERTA POLI DUC MENTEM DIRIGE VITAM: QUAE PERAGAM COMMISSA TUAE SINT OMNIA CURAE ("Certain gate of heaven, guide [my] mind, direct [my] life: may everything I do be entrusted to your care"). | [
"Giovanni Bellini",
"trompe-l'œil",
"saint Nicholas of Bari",
"Saint Benedict",
"basilica di Santa Maria Gloriosa dei Frari",
"Saint Mark",
"Triptych",
"Venice",
"Saint Peter",
"triptych",
"San Giobbe Altarpiece"
] |
|
16614_T | Statue of Christopher Columbus (Astoria, Queens) | Focus on Statue of Christopher Columbus (Astoria, Queens) and analyze the abstract. | Columbus is a statue in Astoria, Queens created by Angelo Racioppi with funds from the New York City Works Progress Administration Art Project. It stands in Columbus Square park, near the Astoria Boulevard station of the New York City Subway. Dedicated in 1941, it is in bronze on a cast stone base. It depicts Christopher Columbus as a young, energetic explorer at the helm. The base the statue sits on suggests the prow of a ship. | [
"Astoria Boulevard station",
"Works Progress Administration",
"New York City Subway",
"Angelo Racioppi",
"Christopher Columbus",
"Astoria, Queens"
] |
|
16614_NT | Statue of Christopher Columbus (Astoria, Queens) | Focus on this artwork and analyze the abstract. | Columbus is a statue in Astoria, Queens created by Angelo Racioppi with funds from the New York City Works Progress Administration Art Project. It stands in Columbus Square park, near the Astoria Boulevard station of the New York City Subway. Dedicated in 1941, it is in bronze on a cast stone base. It depicts Christopher Columbus as a young, energetic explorer at the helm. The base the statue sits on suggests the prow of a ship. | [
"Astoria Boulevard station",
"Works Progress Administration",
"New York City Subway",
"Angelo Racioppi",
"Christopher Columbus",
"Astoria, Queens"
] |
|
16615_T | Statue of Christopher Columbus (Astoria, Queens) | In Statue of Christopher Columbus (Astoria, Queens), how is the History discussed? | The origins of the statue lie in the 1920s in the Italian-American community in Long Island and Astoria. It began raising money for the statue, but work stalled when the community couldn't afford a base. By 1930, the Board of Aldermen had renamed the park, on the east side of the Astoria Boulevard (BMT Astoria Line) station, Columbus Square. The statue was dedicated in 1941, but that year it provoked an argument between Queens Borough President George U. Harvey and Parks Commissioner Robert Moses. During World War II, the statue was removed and hidden on fears of being taken for war-use scrap metal. After some years in warehouses and the basement of Queens Borough Hall, it was reinstalled on its base. | [
"Queens Borough Hall",
"Astoria Boulevard (BMT Astoria Line)",
"Robert Moses",
"World War II"
] |
|
16615_NT | Statue of Christopher Columbus (Astoria, Queens) | In this artwork, how is the History discussed? | The origins of the statue lie in the 1920s in the Italian-American community in Long Island and Astoria. It began raising money for the statue, but work stalled when the community couldn't afford a base. By 1930, the Board of Aldermen had renamed the park, on the east side of the Astoria Boulevard (BMT Astoria Line) station, Columbus Square. The statue was dedicated in 1941, but that year it provoked an argument between Queens Borough President George U. Harvey and Parks Commissioner Robert Moses. During World War II, the statue was removed and hidden on fears of being taken for war-use scrap metal. After some years in warehouses and the basement of Queens Borough Hall, it was reinstalled on its base. | [
"Queens Borough Hall",
"Astoria Boulevard (BMT Astoria Line)",
"Robert Moses",
"World War II"
] |
|
16616_T | Woman Holding a Balance | Focus on Woman Holding a Balance and explore the History. | Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177). | [
"balance",
"Girl Asleep at a Table",
"The Officer and the Laughing Girl",
"The Milkmaid",
"guilders",
"Jacob Dissius"
] |
|
16616_NT | Woman Holding a Balance | Focus on this artwork and explore the History. | Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177). | [
"balance",
"Girl Asleep at a Table",
"The Officer and the Laughing Girl",
"The Milkmaid",
"guilders",
"Jacob Dissius"
] |
|
16617_T | Woman Holding a Balance | Focus on Woman Holding a Balance and explain the Painting materials. | The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex. | [
"Indian yellow",
"ultramarine",
"lead-tin-yellow"
] |
|
16617_NT | Woman Holding a Balance | Focus on this artwork and explain the Painting materials. | The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex. | [
"Indian yellow",
"ultramarine",
"lead-tin-yellow"
] |
|
16618_T | Kamagaya Great Buddha | Explore the abstract of this artwork, Kamagaya Great Buddha. | The Kamagaya Great Buddha (鎌ヶ谷大仏, Kamagaya Daibutsu) is the smallest Daibutsu (Buddhist statue) in Japan. It is located in the city of Kamagaya, Chiba Prefecture, to the north of Tokyo. | [
"Kamagaya, Chiba",
"Kamagaya",
"Chiba Prefecture",
"Japan",
"Daibutsu"
] |
|
16618_NT | Kamagaya Great Buddha | Explore the abstract of this artwork. | The Kamagaya Great Buddha (鎌ヶ谷大仏, Kamagaya Daibutsu) is the smallest Daibutsu (Buddhist statue) in Japan. It is located in the city of Kamagaya, Chiba Prefecture, to the north of Tokyo. | [
"Kamagaya, Chiba",
"Kamagaya",
"Chiba Prefecture",
"Japan",
"Daibutsu"
] |
|
16619_T | Kamagaya Great Buddha | Focus on Kamagaya Great Buddha and discuss the History. | The Kamagaya Daibutsu was commissioned by a wealthy local merchant, Okuniya Fukuda Bunemon, to pray for the souls of his ancestors. It was cast by Tagawa Shuzen, a noted foundry smith of Kanda in Edo and It was completed in November 1776. It became the symbol of Kamagaya, and was protected by local residents against the movement to eradicate Buddhism of the early Meiji period, and against efforts by the government to collect all available bronze for the war effort in World War II. It was designated as a cultural property of Kamagaya City in 1972. The statue remains property of the Fukuda family. | [
"Edo",
"Kanda",
"Meiji period",
"Tagawa Shuzen",
"Kamagaya",
"Daibutsu",
"movement to eradicate Buddhism"
] |
|
16619_NT | Kamagaya Great Buddha | Focus on this artwork and discuss the History. | The Kamagaya Daibutsu was commissioned by a wealthy local merchant, Okuniya Fukuda Bunemon, to pray for the souls of his ancestors. It was cast by Tagawa Shuzen, a noted foundry smith of Kanda in Edo and It was completed in November 1776. It became the symbol of Kamagaya, and was protected by local residents against the movement to eradicate Buddhism of the early Meiji period, and against efforts by the government to collect all available bronze for the war effort in World War II. It was designated as a cultural property of Kamagaya City in 1972. The statue remains property of the Fukuda family. | [
"Edo",
"Kanda",
"Meiji period",
"Tagawa Shuzen",
"Kamagaya",
"Daibutsu",
"movement to eradicate Buddhism"
] |
|
16620_T | Kamagaya Great Buddha | How does Kamagaya Great Buddha elucidate its Measurements? | Total Height: 2.3 metres (7.5 ft)Height of Statue: 1.8 metres (5.9 ft)
Height of Base: 0.5 metres (1.6 ft) | [] |
|
16620_NT | Kamagaya Great Buddha | How does this artwork elucidate its Measurements? | Total Height: 2.3 metres (7.5 ft)Height of Statue: 1.8 metres (5.9 ft)
Height of Base: 0.5 metres (1.6 ft) | [] |
|
16621_T | Kamagaya Great Buddha | Focus on Kamagaya Great Buddha and analyze the Access. | From Funabashi Station, board a bus towards Kamagaya-Daibutsu via Futawamichi (or board one towards Kamagaya-Daibutsu via Misaki Station). Alight at "Kamagaya-Daibutsu", the final stop.
The nearest train station is Kamagaya-Daibutsu Station (Shin-Keisei Line). It takes approximately 24 minutes from Matsudo Station, 17 minutes from Shin-Tsudanuma Station and 21 minutes from Keisei-Tsudanuma Station.
It is approximately one minute's walk from the Kamagaya-Daibutsu Station. | [
"Misaki Station",
"Shin-Keisei Line",
"Kamagaya",
"Matsudo Station",
"Keisei-Tsudanuma Station",
"Funabashi Station",
"Daibutsu",
"Shin-Tsudanuma Station",
"Kamagaya-Daibutsu Station"
] |
|
16621_NT | Kamagaya Great Buddha | Focus on this artwork and analyze the Access. | From Funabashi Station, board a bus towards Kamagaya-Daibutsu via Futawamichi (or board one towards Kamagaya-Daibutsu via Misaki Station). Alight at "Kamagaya-Daibutsu", the final stop.
The nearest train station is Kamagaya-Daibutsu Station (Shin-Keisei Line). It takes approximately 24 minutes from Matsudo Station, 17 minutes from Shin-Tsudanuma Station and 21 minutes from Keisei-Tsudanuma Station.
It is approximately one minute's walk from the Kamagaya-Daibutsu Station. | [
"Misaki Station",
"Shin-Keisei Line",
"Kamagaya",
"Matsudo Station",
"Keisei-Tsudanuma Station",
"Funabashi Station",
"Daibutsu",
"Shin-Tsudanuma Station",
"Kamagaya-Daibutsu Station"
] |
|
16622_T | Bal du moulin de la Galette | In Bal du moulin de la Galette, how is the abstract discussed? | Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir.
It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at the original Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working-class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening.: 121–3 Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.
From 1879-94 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896-1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Louvre until it was transferred to the Musée d'Orsay in 1986. | [
"Impressionism",
"Musée d'Orsay",
"Moulin de la Galette",
"Galette",
"Gustave Caillebotte",
"death duties",
"Musée du Luxembourg",
"Montmartre",
"galette",
"Pierre-Auguste Renoir",
"Louvre"
] |
|
16622_NT | Bal du moulin de la Galette | In this artwork, how is the abstract discussed? | Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir.
It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at the original Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working-class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening.: 121–3 Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.
From 1879-94 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896-1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Louvre until it was transferred to the Musée d'Orsay in 1986. | [
"Impressionism",
"Musée d'Orsay",
"Moulin de la Galette",
"Galette",
"Gustave Caillebotte",
"death duties",
"Musée du Luxembourg",
"Montmartre",
"galette",
"Pierre-Auguste Renoir",
"Louvre"
] |
|
16623_T | Bal du moulin de la Galette | Focus on Bal du moulin de la Galette and explore the Smaller version. | Renoir painted a smaller version of the picture (78 × 114 cm) with the same title. The painting is now believed to be in a private collection in Switzerland. Apart from their size, the two paintings are virtually identical, although the smaller is painted in a more fluid manner than the d'Orsay version. One is presumably a copy of the original, but it is not known which is the original. It is not even known which was the one first exhibited at the Salon of 1877, because though it was catalogued and given favourable attention by critics, its entry did not indicate the size of the painting.For many years it was owned by John Hay Whitney. On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan.
At the time of sale, it was one of the top two most expensive artworks ever sold, together with van Gogh's Portrait of Dr. Gachet, which was also purchased by Saito. Saito caused international outrage when he suggested in 1991 that he intended to cremate both paintings with him when he died. However, when Saito and his companies ran into severe financial difficulties, bankers who held the painting as collateral for loans arranged a confidential sale through Sotheby's to an undisclosed buyer. Although not known for certain, the painting is believed to be in the hands of a Swiss collector. | [
"Portrait of Dr. Gachet",
"Ryoei Saito",
"John Hay Whitney",
"Smaller version",
"most expensive artworks ever sold",
"Sotheby's",
"Switzerland",
"collateral",
"Swiss"
] |
|
16623_NT | Bal du moulin de la Galette | Focus on this artwork and explore the Smaller version. | Renoir painted a smaller version of the picture (78 × 114 cm) with the same title. The painting is now believed to be in a private collection in Switzerland. Apart from their size, the two paintings are virtually identical, although the smaller is painted in a more fluid manner than the d'Orsay version. One is presumably a copy of the original, but it is not known which is the original. It is not even known which was the one first exhibited at the Salon of 1877, because though it was catalogued and given favourable attention by critics, its entry did not indicate the size of the painting.For many years it was owned by John Hay Whitney. On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan.
At the time of sale, it was one of the top two most expensive artworks ever sold, together with van Gogh's Portrait of Dr. Gachet, which was also purchased by Saito. Saito caused international outrage when he suggested in 1991 that he intended to cremate both paintings with him when he died. However, when Saito and his companies ran into severe financial difficulties, bankers who held the painting as collateral for loans arranged a confidential sale through Sotheby's to an undisclosed buyer. Although not known for certain, the painting is believed to be in the hands of a Swiss collector. | [
"Portrait of Dr. Gachet",
"Ryoei Saito",
"John Hay Whitney",
"Smaller version",
"most expensive artworks ever sold",
"Sotheby's",
"Switzerland",
"collateral",
"Swiss"
] |
|
16624_T | Bal du moulin de la Galette | Focus on Bal du moulin de la Galette and explain the Genesis. | Renoir conceived his project of painting the dancing at Le Moulin de la Galette in May 1876 and its execution is described in full by his civil servant friend Georges Rivière in his memoir Renoir et ses amis. Renoir needed to set up a studio near the mill. A suitable studio was found at an abandoned cottage in the rue Cortot with a garden described by Rivière as a "beautiful abandoned park".: 130 Several of Renoir's major works were painted in this garden at this time, including La balançoire (The Swing). The gardens and its buildings have been preserved as the Musée de Montmartre.
Rivière identified several of the personalities in the painting. Despite Renoir's habit of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose as principal for the painting (in fact she was conducting an affair with a local boy at the time). It is her sister Estelle who poses as the girl wearing a blue and pink striped dress. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte (also appearing in La balançoire), fellow painters, as well as Rivière himself. Behind her, amongst the dancers, are to be found Henri Gervex, Eugène Pierre Lestringuez and Paul Lhote (who appears in Dance in the Country). In the middle distance, at the centre of the dance hall, the Cuban painter Don Pedro Vidal de Solares y Cardenas is depicted in striped trousers, dancing with the model called Margot (Marguerite Legrand). Apparently, the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him, and teaching him dubious songs in the local slang. She was to die of typhoid just two years later, Renoir nursing her until the end, paying both for her treatment and her funeral.: 136–7 Rivière describes the painting as executed on the spot and not without difficulty, as the wind constantly threatened to blow the canvas away. This has led some critics to speculate that it was the larger d'Orsay painting that was painted here, as the smaller would have been easier to control. On the other hand, the smaller is much the more spontaneous and freely worked of the two, characteristic of en plein air work. | [
"Jeanne Samary",
"Musée de Montmartre",
"Moulin de la Galette",
"Galette",
"Marguerite Legrand",
"La balançoire (The Swing)",
"Montmartre",
"en plein air",
"Norbert Goeneutte",
"Dance in the Country",
"Henri Gervex"
] |
|
16624_NT | Bal du moulin de la Galette | Focus on this artwork and explain the Genesis. | Renoir conceived his project of painting the dancing at Le Moulin de la Galette in May 1876 and its execution is described in full by his civil servant friend Georges Rivière in his memoir Renoir et ses amis. Renoir needed to set up a studio near the mill. A suitable studio was found at an abandoned cottage in the rue Cortot with a garden described by Rivière as a "beautiful abandoned park".: 130 Several of Renoir's major works were painted in this garden at this time, including La balançoire (The Swing). The gardens and its buildings have been preserved as the Musée de Montmartre.
Rivière identified several of the personalities in the painting. Despite Renoir's habit of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose as principal for the painting (in fact she was conducting an affair with a local boy at the time). It is her sister Estelle who poses as the girl wearing a blue and pink striped dress. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte (also appearing in La balançoire), fellow painters, as well as Rivière himself. Behind her, amongst the dancers, are to be found Henri Gervex, Eugène Pierre Lestringuez and Paul Lhote (who appears in Dance in the Country). In the middle distance, at the centre of the dance hall, the Cuban painter Don Pedro Vidal de Solares y Cardenas is depicted in striped trousers, dancing with the model called Margot (Marguerite Legrand). Apparently, the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him, and teaching him dubious songs in the local slang. She was to die of typhoid just two years later, Renoir nursing her until the end, paying both for her treatment and her funeral.: 136–7 Rivière describes the painting as executed on the spot and not without difficulty, as the wind constantly threatened to blow the canvas away. This has led some critics to speculate that it was the larger d'Orsay painting that was painted here, as the smaller would have been easier to control. On the other hand, the smaller is much the more spontaneous and freely worked of the two, characteristic of en plein air work. | [
"Jeanne Samary",
"Musée de Montmartre",
"Moulin de la Galette",
"Galette",
"Marguerite Legrand",
"La balançoire (The Swing)",
"Montmartre",
"en plein air",
"Norbert Goeneutte",
"Dance in the Country",
"Henri Gervex"
] |
|
16625_T | Bal du moulin de la Galette | Explore the In popular culture of this artwork, Bal du moulin de la Galette. | A homage to this painting appears as the cover art of A Night on the Town, the 1976 album of singer-songwriter Rod Stewart with Stewart replacing the man, in the centre, wearing the straw boater. | [
"homage",
"Rod Stewart",
"A Night on the Town"
] |
|
16625_NT | Bal du moulin de la Galette | Explore the In popular culture of this artwork. | A homage to this painting appears as the cover art of A Night on the Town, the 1976 album of singer-songwriter Rod Stewart with Stewart replacing the man, in the centre, wearing the straw boater. | [
"homage",
"Rod Stewart",
"A Night on the Town"
] |
|
16626_T | Cleopatra Testing Poisons on Condemned Prisoners | Focus on Cleopatra Testing Poisons on Condemned Prisoners and discuss the abstract. | Cleopatra Testing Poisons on Condemned Prisoners (Cléopâtre essayant des poisons sur des condamnés à mort) is an 1887 painting by the French artist Alexandre Cabanel. It is held by the Royal Museum of Fine Arts Antwerp. It shows Cleopatra VII reclining on a banquette and observing the effects of poisons on prisoners condemned to death, as described in Mark Antony's Plutarch's Lives. It is considered a canonical work of 19th-century orientalism and has been used as a model for plays and early films.Cabanel had always had a taste for historical and orientalist themes and when the painting was first seen by the Parisian public he was fêted by the critics and showered with honours. Several international collectors attempted to buy the painting. | [
"Royal Museum of Fine Arts",
"Cleopatra VII",
"Royal Museum of Fine Arts Antwerp",
"Antwerp",
"Cleopatra",
"orientalism",
"Alexandre Cabanel",
"orientalist",
"Mark Antony",
"Plutarch's Lives"
] |
|
16626_NT | Cleopatra Testing Poisons on Condemned Prisoners | Focus on this artwork and discuss the abstract. | Cleopatra Testing Poisons on Condemned Prisoners (Cléopâtre essayant des poisons sur des condamnés à mort) is an 1887 painting by the French artist Alexandre Cabanel. It is held by the Royal Museum of Fine Arts Antwerp. It shows Cleopatra VII reclining on a banquette and observing the effects of poisons on prisoners condemned to death, as described in Mark Antony's Plutarch's Lives. It is considered a canonical work of 19th-century orientalism and has been used as a model for plays and early films.Cabanel had always had a taste for historical and orientalist themes and when the painting was first seen by the Parisian public he was fêted by the critics and showered with honours. Several international collectors attempted to buy the painting. | [
"Royal Museum of Fine Arts",
"Cleopatra VII",
"Royal Museum of Fine Arts Antwerp",
"Antwerp",
"Cleopatra",
"orientalism",
"Alexandre Cabanel",
"orientalist",
"Mark Antony",
"Plutarch's Lives"
] |
|
16627_T | Cleopatra Testing Poisons on Condemned Prisoners | How does Cleopatra Testing Poisons on Condemned Prisoners elucidate its Description? | Tha painting has two parts, and it presents in the foreground Queen Cleopatra seated on a bench on which have been placed fabrics and a tiger skin whose head has been preserved. Seen in profile, she recalls Ancient Egyptian paintings. Cleopatra wears the Néret crown which was the regalia of Egyptian queens since the 4th dynasty. This crown represents a vulture: the bird's head juts out slightly above her forehead while the wings frame her face. Placed on the right side of the canvas, the queen is accompanied by a largely undressed courtesan waving a fly swatter. At her feet lies a majestic leopard, an animal whose company Cleopatra was reportedly very fond.
To the left of the painting is the second plane which contrasts with the sensuous pose of the queen. It depicts people who were condemned to death, who writhe in pain under the effect of the poisons given to them. A woman stands with a bottle of poison in her right hand, above a slave who just took it, holding his stomach, with his face marked by suffering. Behind them, two men carry the corpse of a condemned man, who died of poisoning. The cruelty of the scene is reinforced by the splendor of the palace where these atrocities are committed. In full light, at the feet of sumptuously colored hieroglyphs, slaves are being killed just to improve the quality of the Queen's poisons.
Cleopatra watches proudly the scene from afar. With a cold gaze; she seems to be indifferent to the pain and the fate of these dying slaves.A first version of the painting of smaller dimensions was produced by the painter in 1883 and submitted to the sponsors for approval. This completed study, kept in a private collection, was presented at the exhibition "Flower Power", at the Museum of Impressionisms, in Giverny.
A preparatory study for the painting, with the figure of Cleopatra, is kept at the Béziers Museum of Fine Arts. | [
"Giverny",
"Cleopatra",
"left"
] |
|
16627_NT | Cleopatra Testing Poisons on Condemned Prisoners | How does this artwork elucidate its Description? | Tha painting has two parts, and it presents in the foreground Queen Cleopatra seated on a bench on which have been placed fabrics and a tiger skin whose head has been preserved. Seen in profile, she recalls Ancient Egyptian paintings. Cleopatra wears the Néret crown which was the regalia of Egyptian queens since the 4th dynasty. This crown represents a vulture: the bird's head juts out slightly above her forehead while the wings frame her face. Placed on the right side of the canvas, the queen is accompanied by a largely undressed courtesan waving a fly swatter. At her feet lies a majestic leopard, an animal whose company Cleopatra was reportedly very fond.
To the left of the painting is the second plane which contrasts with the sensuous pose of the queen. It depicts people who were condemned to death, who writhe in pain under the effect of the poisons given to them. A woman stands with a bottle of poison in her right hand, above a slave who just took it, holding his stomach, with his face marked by suffering. Behind them, two men carry the corpse of a condemned man, who died of poisoning. The cruelty of the scene is reinforced by the splendor of the palace where these atrocities are committed. In full light, at the feet of sumptuously colored hieroglyphs, slaves are being killed just to improve the quality of the Queen's poisons.
Cleopatra watches proudly the scene from afar. With a cold gaze; she seems to be indifferent to the pain and the fate of these dying slaves.A first version of the painting of smaller dimensions was produced by the painter in 1883 and submitted to the sponsors for approval. This completed study, kept in a private collection, was presented at the exhibition "Flower Power", at the Museum of Impressionisms, in Giverny.
A preparatory study for the painting, with the figure of Cleopatra, is kept at the Béziers Museum of Fine Arts. | [
"Giverny",
"Cleopatra",
"left"
] |
|
16628_T | Saturn Devouring His Son | Focus on Saturn Devouring His Son and analyze the abstract. | Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. It is traditionally interpreted as a depiction of the Greek myth of the Titan Cronus (known as Saturn in Roman mythology) eating one of his offspring. Fearing a prophecy foretold by Gaea that predicted he would be overthrown by one of his children, Saturn ate each one upon their birth. The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house sometime between 1820 and 1823. It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid. | [
"Saturn",
"Museo del Prado",
"prophecy",
"Roman mythology",
"Madrid",
"Titan",
"Black Paintings",
"Francisco Goya",
"Cronus",
"Gaea",
"Spanish",
"Roman myth",
"Greek myth"
] |
|
16628_NT | Saturn Devouring His Son | Focus on this artwork and analyze the abstract. | Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. It is traditionally interpreted as a depiction of the Greek myth of the Titan Cronus (known as Saturn in Roman mythology) eating one of his offspring. Fearing a prophecy foretold by Gaea that predicted he would be overthrown by one of his children, Saturn ate each one upon their birth. The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house sometime between 1820 and 1823. It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid. | [
"Saturn",
"Museo del Prado",
"prophecy",
"Roman mythology",
"Madrid",
"Titan",
"Black Paintings",
"Francisco Goya",
"Cronus",
"Gaea",
"Spanish",
"Roman myth",
"Greek myth"
] |
|
16629_T | Saturn Devouring His Son | In Saturn Devouring His Son, how is the Background discussed? | In 1819, Goya purchased a house on the banks of Manzanares near Madrid called Quinta del Sordo (Villa of the Deaf Man). It was a two-story house which was named after a previous occupant who had been deaf, although the name was fitting for Goya too, who had been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he left the house to move to Bordeaux, Goya produced a series of 14 paintings using mixed technique on the walls of the house.Although he initially decorated the rooms of the house with more inspiring images, in time he painted over them all with the intensely haunting pictures known today as the Black Paintings. Created without commission for private display, these paintings may reflect the artist's state of mind late in a life that witnessed the violence of war and terror stoked by the Spanish Inquisition.Saturn Devouring His Son was one of six works Goya painted in the dining room. It is important to note that Goya never named the works he produced at Quinta del Sordo; the names were assigned by others after his death. This interpretation of the painting sees it as a reference to the Roman myth (inspired by the original Greek myth), in which Terra (Gaea) foretold that one of the sons of Saturn (Cronus) would overthrow him, just as he had overthrown his father, Caelus (Uranus). To prevent this, Saturn ate his children moments after each was born, eating the gods Vesta (Hestia), Ceres (Demeter), Juno (Hera), Pluto (Hades), and Neptune (Poseidon). His wife Ops (Rhea) eventually hid his sixth child and third son, Jupiter (Zeus), on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Unlike the painting, the myths usually portray Saturn/Kronos swallowing his children, and later vomiting them up alive after swallowing the stone, rather than violently tearing them apart as in the painting. Jupiter eventually supplanted his father just as the prophecy had predicted. | [
"Hera",
"Saturn",
"Quinta del Sordo",
"Ceres",
"Hades",
"Hestia",
"Zeus",
"Poseidon",
"Terra",
"prophecy",
"Vesta",
"Pluto",
"Bordeaux",
"Demeter",
"Madrid",
"Black Paintings",
"Jupiter",
"Cronus",
"Gaea",
"Juno",
"violence of war",
"Spanish",
"Roman myth",
"Greek myth",
"Manzanares",
"Caelus",
"Crete",
"Neptune",
"Rhea",
"Spanish Inquisition",
"left",
"Uranus",
"Ops"
] |
|
16629_NT | Saturn Devouring His Son | In this artwork, how is the Background discussed? | In 1819, Goya purchased a house on the banks of Manzanares near Madrid called Quinta del Sordo (Villa of the Deaf Man). It was a two-story house which was named after a previous occupant who had been deaf, although the name was fitting for Goya too, who had been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he left the house to move to Bordeaux, Goya produced a series of 14 paintings using mixed technique on the walls of the house.Although he initially decorated the rooms of the house with more inspiring images, in time he painted over them all with the intensely haunting pictures known today as the Black Paintings. Created without commission for private display, these paintings may reflect the artist's state of mind late in a life that witnessed the violence of war and terror stoked by the Spanish Inquisition.Saturn Devouring His Son was one of six works Goya painted in the dining room. It is important to note that Goya never named the works he produced at Quinta del Sordo; the names were assigned by others after his death. This interpretation of the painting sees it as a reference to the Roman myth (inspired by the original Greek myth), in which Terra (Gaea) foretold that one of the sons of Saturn (Cronus) would overthrow him, just as he had overthrown his father, Caelus (Uranus). To prevent this, Saturn ate his children moments after each was born, eating the gods Vesta (Hestia), Ceres (Demeter), Juno (Hera), Pluto (Hades), and Neptune (Poseidon). His wife Ops (Rhea) eventually hid his sixth child and third son, Jupiter (Zeus), on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Unlike the painting, the myths usually portray Saturn/Kronos swallowing his children, and later vomiting them up alive after swallowing the stone, rather than violently tearing them apart as in the painting. Jupiter eventually supplanted his father just as the prophecy had predicted. | [
"Hera",
"Saturn",
"Quinta del Sordo",
"Ceres",
"Hades",
"Hestia",
"Zeus",
"Poseidon",
"Terra",
"prophecy",
"Vesta",
"Pluto",
"Bordeaux",
"Demeter",
"Madrid",
"Black Paintings",
"Jupiter",
"Cronus",
"Gaea",
"Juno",
"violence of war",
"Spanish",
"Roman myth",
"Greek myth",
"Manzanares",
"Caelus",
"Crete",
"Neptune",
"Rhea",
"Spanish Inquisition",
"left",
"Uranus",
"Ops"
] |
|
16630_T | Saturn Devouring His Son | Focus on Saturn Devouring His Son and explore the Composition and interpretations. | Goya depicts a large figure feasting on a human form. The human head and part of the left arm have already been consumed. The right arm has probably been eaten too, though it could be folded in front of the body and held in place by the larger figure's thumbs. The larger figure is on the point of taking another bite from the left arm; as he looms from the darkness, his mouth gapes and his eyes bulge widely. The only other brightness in the picture comes from the white flesh, the red blood of the corpse, and the white knuckles of the larger figure as he digs his fingers into the back of the body.
Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its own children in wars and revolution. There have been explanations rooted in Goya's relationships with his own son, Xavier, the only of his six children to survive to adulthood, or with his live-in housekeeper and possible mistress, Leocadia Weiss; the sex of the body being consumed cannot be determined with certainty. If Goya made any notes on the picture, they have not survived, as he never intended the picture for public exhibition.The mood of the painting is in stark contrast to Rubens' Saturn, as the central figure is acting out of madness rather than calculating reason, and the consumed figure is completely lifeless rather than in clear pain. It is very likely Goya had seen Rubens' Saturn in his life, but the degree to which inspiration was taken (if any) is unknown. Goya made a chalk drawing of the same subject in 1796–97: it showed a figure biting on the leg of one person while he holds another to eat, with none of the gore or madness of the later work.Goya scholar Fred Licht has raised doubts regarding the traditional title, stating that it may "very well be misleading." He notes that the traditional iconographical attributes associated with Saturn (such as his scythe or hourglass) are absent from the painting, and the body of the smaller figure does not resemble that of an infant, or even truly an anatomically accurate human at all. He states that much like the other Black Paintings, "one must take the title with a grain of salt." Licht offers the alternative explanation that the painting is an inversion of antisemitic artistic depictions of Jewish figures eating children, a reference to the alleged blood libel. In this way, the larger figure represents the fears of Jews manifesting in real violence against them, as "real bestiality is born of imagined bestiality," although he concedes this is impossible to prove and, like the Saturn interpretation, demonstrates the varied intent of Goya in the composition. Additionally, he argues that the very act of naming the black paintings is an attempt to impose rationale on pictures which force one to contemplate chaos and nothingness, a primary theme in the black paintings.It has been questioned whether the consumed figure is male.The art historian John J. Ciofalo writes that "the victim appears to be an adult and, given the curvaceous buttocks and legs, a female." Moreover, in other versions, the sons are alive and struggling or at least have heads, so the viewer is able to identify or sympathize. The victim is not struggling in Saturn's vice-like, blood-oozing grip, which literally cuts into her body, because she is dead, not to mention headless. She does not, to say the least, encourage identification. The identification flows toward Saturn. Ciofalo concludes: "The overwhelming feeling of the image is one of violent and insatiable lust, underscored, to put it mildly, by the livid and enormously engorged penis between his legs...utter male fury has hardly before or since been captured so vividly." | [
"Leocadia Weiss",
"Saturn",
"thumb",
"antisemitic",
"Black Paintings",
"blood libel",
"scythe",
"wrath of God",
"left",
"madness",
"hourglass"
] |
|
16630_NT | Saturn Devouring His Son | Focus on this artwork and explore the Composition and interpretations. | Goya depicts a large figure feasting on a human form. The human head and part of the left arm have already been consumed. The right arm has probably been eaten too, though it could be folded in front of the body and held in place by the larger figure's thumbs. The larger figure is on the point of taking another bite from the left arm; as he looms from the darkness, his mouth gapes and his eyes bulge widely. The only other brightness in the picture comes from the white flesh, the red blood of the corpse, and the white knuckles of the larger figure as he digs his fingers into the back of the body.
Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its own children in wars and revolution. There have been explanations rooted in Goya's relationships with his own son, Xavier, the only of his six children to survive to adulthood, or with his live-in housekeeper and possible mistress, Leocadia Weiss; the sex of the body being consumed cannot be determined with certainty. If Goya made any notes on the picture, they have not survived, as he never intended the picture for public exhibition.The mood of the painting is in stark contrast to Rubens' Saturn, as the central figure is acting out of madness rather than calculating reason, and the consumed figure is completely lifeless rather than in clear pain. It is very likely Goya had seen Rubens' Saturn in his life, but the degree to which inspiration was taken (if any) is unknown. Goya made a chalk drawing of the same subject in 1796–97: it showed a figure biting on the leg of one person while he holds another to eat, with none of the gore or madness of the later work.Goya scholar Fred Licht has raised doubts regarding the traditional title, stating that it may "very well be misleading." He notes that the traditional iconographical attributes associated with Saturn (such as his scythe or hourglass) are absent from the painting, and the body of the smaller figure does not resemble that of an infant, or even truly an anatomically accurate human at all. He states that much like the other Black Paintings, "one must take the title with a grain of salt." Licht offers the alternative explanation that the painting is an inversion of antisemitic artistic depictions of Jewish figures eating children, a reference to the alleged blood libel. In this way, the larger figure represents the fears of Jews manifesting in real violence against them, as "real bestiality is born of imagined bestiality," although he concedes this is impossible to prove and, like the Saturn interpretation, demonstrates the varied intent of Goya in the composition. Additionally, he argues that the very act of naming the black paintings is an attempt to impose rationale on pictures which force one to contemplate chaos and nothingness, a primary theme in the black paintings.It has been questioned whether the consumed figure is male.The art historian John J. Ciofalo writes that "the victim appears to be an adult and, given the curvaceous buttocks and legs, a female." Moreover, in other versions, the sons are alive and struggling or at least have heads, so the viewer is able to identify or sympathize. The victim is not struggling in Saturn's vice-like, blood-oozing grip, which literally cuts into her body, because she is dead, not to mention headless. She does not, to say the least, encourage identification. The identification flows toward Saturn. Ciofalo concludes: "The overwhelming feeling of the image is one of violent and insatiable lust, underscored, to put it mildly, by the livid and enormously engorged penis between his legs...utter male fury has hardly before or since been captured so vividly." | [
"Leocadia Weiss",
"Saturn",
"thumb",
"antisemitic",
"Black Paintings",
"blood libel",
"scythe",
"wrath of God",
"left",
"madness",
"hourglass"
] |
|
16631_T | Saturn Devouring His Son | Focus on Saturn Devouring His Son and explain the Transfer from the Quinta del Sordo. | When Goya went into self-imposed exile in France in 1823, he passed the Quinta del Sordo to his grandson Mariano. After various changes of ownership, the house came into the possession of the Belgian Baron Émile d'Erlanger in 1874. After 70 years on the walls of the Quinta del Sordo, the murals were deteriorating badly and, in order to preserve them, the new owner of the house had them transferred to canvas under the direction of Salvador Martínez Cubells, the chief art restorer at the Museo del Prado. After showing them at the Exposition Universelle of 1878 in Paris, d'Erlanger eventually donated them to the Spanish state. The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals required restoration work and some detail may have been lost. | [
"Quinta del Sordo",
"Museo del Prado",
"Salvador Martínez Cubells",
"Exposition Universelle",
"Spanish",
"Paris",
"Émile d'Erlanger"
] |
|
16631_NT | Saturn Devouring His Son | Focus on this artwork and explain the Transfer from the Quinta del Sordo. | When Goya went into self-imposed exile in France in 1823, he passed the Quinta del Sordo to his grandson Mariano. After various changes of ownership, the house came into the possession of the Belgian Baron Émile d'Erlanger in 1874. After 70 years on the walls of the Quinta del Sordo, the murals were deteriorating badly and, in order to preserve them, the new owner of the house had them transferred to canvas under the direction of Salvador Martínez Cubells, the chief art restorer at the Museo del Prado. After showing them at the Exposition Universelle of 1878 in Paris, d'Erlanger eventually donated them to the Spanish state. The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals required restoration work and some detail may have been lost. | [
"Quinta del Sordo",
"Museo del Prado",
"Salvador Martínez Cubells",
"Exposition Universelle",
"Spanish",
"Paris",
"Émile d'Erlanger"
] |
|
16632_T | Saturn Devouring His Son | Explore the In popular culture of this artwork, Saturn Devouring His Son. | Saturn Devouring His Son has appeared and been referenced in a variety of popular mediums.The painting appears and is discussed in the 2010 film Wall Street: Money Never Sleeps where it is owned by antagonist Bretton James. Director Guillermo del Toro stated that the character of the Pale Man in the 2006 film Pan's Labyrinth "comes straight from Goya's painting of Saturn devouring his son."In video games, versions and homages to the painting appear in Resident Evil Village, and Impasto, a Goya-themed horror game completed by USC game design students in 2022. | [
"Saturn",
"Pan's Labyrinth",
"Guillermo del Toro",
"Wall Street: Money Never Sleeps",
"Resident Evil Village"
] |
|
16632_NT | Saturn Devouring His Son | Explore the In popular culture of this artwork. | Saturn Devouring His Son has appeared and been referenced in a variety of popular mediums.The painting appears and is discussed in the 2010 film Wall Street: Money Never Sleeps where it is owned by antagonist Bretton James. Director Guillermo del Toro stated that the character of the Pale Man in the 2006 film Pan's Labyrinth "comes straight from Goya's painting of Saturn devouring his son."In video games, versions and homages to the painting appear in Resident Evil Village, and Impasto, a Goya-themed horror game completed by USC game design students in 2022. | [
"Saturn",
"Pan's Labyrinth",
"Guillermo del Toro",
"Wall Street: Money Never Sleeps",
"Resident Evil Village"
] |
|
16633_T | Madonna and Child with St. Anne (Dei Palafrenieri) | Focus on Madonna and Child with St. Anne (Dei Palafrenieri) and discuss the abstract. | The Madonna and Child with St. Anne (Dei Palafrenieri) or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms (Italian: Arciconfraternita di Sant'Anna de Parafrenieri) in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The reputation of the model that Caravaggio used to portray the Virgin Mary could be another reason as to why this altarpiece was withdrawn. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo (Galleria Borghese). | [
"Sant'Anna dei Palafrenieri",
"Scipione Borghese",
"Galleria Borghese",
"Cardinal Scipione Borghese",
"St. Anne",
"Caravaggio",
"Basilica of Saint Peter",
"Genesis 3:15",
"Virgin Mary",
"Dei Palafrenieri"
] |
|
16633_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | Focus on this artwork and discuss the abstract. | The Madonna and Child with St. Anne (Dei Palafrenieri) or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms (Italian: Arciconfraternita di Sant'Anna de Parafrenieri) in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The reputation of the model that Caravaggio used to portray the Virgin Mary could be another reason as to why this altarpiece was withdrawn. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo (Galleria Borghese). | [
"Sant'Anna dei Palafrenieri",
"Scipione Borghese",
"Galleria Borghese",
"Cardinal Scipione Borghese",
"St. Anne",
"Caravaggio",
"Basilica of Saint Peter",
"Genesis 3:15",
"Virgin Mary",
"Dei Palafrenieri"
] |
|
16634_T | Madonna and Child with St. Anne (Dei Palafrenieri) | How does Madonna and Child with St. Anne (Dei Palafrenieri) elucidate its History? | Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne. | [
"St. Anne",
"Caravaggio"
] |
|
16634_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | How does this artwork elucidate its History? | Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne. | [
"St. Anne",
"Caravaggio"
] |
|
16635_T | Madonna and Child with St. Anne (Dei Palafrenieri) | In the context of Madonna and Child with St. Anne (Dei Palafrenieri), analyze the Model of the History. | The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. Lena modeled for Caravaggio before, in his piece called Madonna of the Pilgrims. She may have also been the model for the Madonna of Loreto (1603). Caravaggio developed a deep relationship with the model Lena, which explains why she was used in other works. Maurizio Marini has noted that while many have stated that Lena was a prostitute; there is no evidence to confirm this. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself. | [
"Caravaggio",
"Virgin Mary"
] |
|
16635_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | In the context of this artwork, analyze the Model of the History. | The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. Lena modeled for Caravaggio before, in his piece called Madonna of the Pilgrims. She may have also been the model for the Madonna of Loreto (1603). Caravaggio developed a deep relationship with the model Lena, which explains why she was used in other works. Maurizio Marini has noted that while many have stated that Lena was a prostitute; there is no evidence to confirm this. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself. | [
"Caravaggio",
"Virgin Mary"
] |
|
16636_T | Madonna and Child with St. Anne (Dei Palafrenieri) | Describe the characteristics of the Removal and Rejection in Madonna and Child with St. Anne (Dei Palafrenieri)'s History. | Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Traditionally in Christianity, Saint Anne was praised as a symbol of Grace. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ. Another reason as to why the painting may have been removed was that Caravaggio did not put enough effort into depicting the Holy Family grouping. It was not the first time one of Caravaggio's paintings was removed from a church; another example is the Death of the Virgin, which was removed from Santa Maria della Scala.Art historian John Spike is not sure as to what the main reason this piece was removed and he cannot pinpoint it to one specific reason. Scholar Maurizio Marini believed one of the biggest reasons Caravaggio's altarpiece was removed was due to his being a murderer that committed many crimes. Caravaggio killed Ranuccio Tomassoni of Terni in a duel. The Church had the altarpiece up for two months and later it was removed.Another reason for the rejection could be that Caravaggio used the model Lena to depict her as the Virgin Mary. The Church may have rejected the piece knowing Lena was not an appropriate person to represent a holy figure since she was a prostitute. Lena developed a relationship with Mariano Pasqualone that led Caravaggio to attack Pasqualone with a sword at a restaurant called Via Della Scrofa.The infant Jesus being fully naked may have also caused controversy and could be another reason as to why the altarpiece was removed from St. Peter's. During the Counter-Reformation, the Church did not want to display art that displayed nudity, especially depicting such a holy entity. | [
"Santa Maria della Scala",
"St. Anne",
"Caravaggio",
"Saint Anne",
"Virgin Mary"
] |
|
16636_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | Describe the characteristics of the Removal and Rejection in this artwork's History. | Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Traditionally in Christianity, Saint Anne was praised as a symbol of Grace. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ. Another reason as to why the painting may have been removed was that Caravaggio did not put enough effort into depicting the Holy Family grouping. It was not the first time one of Caravaggio's paintings was removed from a church; another example is the Death of the Virgin, which was removed from Santa Maria della Scala.Art historian John Spike is not sure as to what the main reason this piece was removed and he cannot pinpoint it to one specific reason. Scholar Maurizio Marini believed one of the biggest reasons Caravaggio's altarpiece was removed was due to his being a murderer that committed many crimes. Caravaggio killed Ranuccio Tomassoni of Terni in a duel. The Church had the altarpiece up for two months and later it was removed.Another reason for the rejection could be that Caravaggio used the model Lena to depict her as the Virgin Mary. The Church may have rejected the piece knowing Lena was not an appropriate person to represent a holy figure since she was a prostitute. Lena developed a relationship with Mariano Pasqualone that led Caravaggio to attack Pasqualone with a sword at a restaurant called Via Della Scrofa.The infant Jesus being fully naked may have also caused controversy and could be another reason as to why the altarpiece was removed from St. Peter's. During the Counter-Reformation, the Church did not want to display art that displayed nudity, especially depicting such a holy entity. | [
"Santa Maria della Scala",
"St. Anne",
"Caravaggio",
"Saint Anne",
"Virgin Mary"
] |
|
16637_T | Madonna and Child with St. Anne (Dei Palafrenieri) | In the context of Madonna and Child with St. Anne (Dei Palafrenieri), explain the Depiction of the Iconography. | While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child. | [
"evil",
"original sin",
"Virgin Mary",
"serpent"
] |
|
16637_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | In the context of this artwork, explain the Depiction of the Iconography. | While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child. | [
"evil",
"original sin",
"Virgin Mary",
"serpent"
] |
|
16638_T | Madonna and Child with St. Anne (Dei Palafrenieri) | Explore the Saint Anne about the Iconography of this artwork, Madonna and Child with St. Anne (Dei Palafrenieri). | Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting. | [
"Caravaggio",
"Saint Anne",
"Virgin Mary"
] |
|
16638_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | Explore the Saint Anne about the Iconography of this artwork. | Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting. | [
"Caravaggio",
"Saint Anne",
"Virgin Mary"
] |
|
16639_T | Madonna and Child with St. Anne (Dei Palafrenieri) | In the context of Madonna and Child with St. Anne (Dei Palafrenieri), discuss the Jesus of the Iconography. | Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary. | [
"tenebrism",
"thumb",
"Saint Anne",
"Virgin Mary",
"serpent"
] |
|
16639_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | In the context of this artwork, discuss the Jesus of the Iconography. | Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary. | [
"tenebrism",
"thumb",
"Saint Anne",
"Virgin Mary",
"serpent"
] |
|
16640_T | Madonna and Child with St. Anne (Dei Palafrenieri) | In Madonna and Child with St. Anne (Dei Palafrenieri), how is the Nudity of the Iconography elucidated? | Caravaggio depicted Jesus' as nude because showing his genitals represents the true human body. Caravaggio and Michelangelo believed that depicting him nude lets the viewers know that Jesus came to be represented as a free human nature from the "Adamic contagion of shame," stated by Leo Steinberg. The contagion of shame was physical health and death.
Mary is leaning with her son and her cleavage is showing and she is seen wearing a tight fitted bodice. This iconography of the breast being a tight-fitted bodice came from the medieval period and traditional wear. The symbolism of showing her breast represents Madonna of Mercy’s breast milk. Breast milk is a substance and nutrition that Christ would drink and was seen as a symbol of her role in Co-redemptrix. The breasts of Mary can be compared to Christ’s wounds. | [
"Caravaggio",
"bodice",
"Co-redemptrix."
] |
|
16640_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | In this artwork, how is the Nudity of the Iconography elucidated? | Caravaggio depicted Jesus' as nude because showing his genitals represents the true human body. Caravaggio and Michelangelo believed that depicting him nude lets the viewers know that Jesus came to be represented as a free human nature from the "Adamic contagion of shame," stated by Leo Steinberg. The contagion of shame was physical health and death.
Mary is leaning with her son and her cleavage is showing and she is seen wearing a tight fitted bodice. This iconography of the breast being a tight-fitted bodice came from the medieval period and traditional wear. The symbolism of showing her breast represents Madonna of Mercy’s breast milk. Breast milk is a substance and nutrition that Christ would drink and was seen as a symbol of her role in Co-redemptrix. The breasts of Mary can be compared to Christ’s wounds. | [
"Caravaggio",
"bodice",
"Co-redemptrix."
] |
|
16641_T | Madonna and Child with St. Anne (Dei Palafrenieri) | In the context of Madonna and Child with St. Anne (Dei Palafrenieri), analyze the Virgin Mary's Clothing of the Iconography. | Mary in this painting is wearing unusual clothing from her norm; she is usually depicted wearing a veil in blue and a dress in white. At this time young Roman women would wear these dresses. The outfit she is usually seen in multiple paintings is a matronly veil, mantle, and robe. In this painting, Caravaggio depicted her wearing a veil neckline dress where she is revealing too much of her breasts. | [
"Caravaggio",
"Virgin Mary"
] |
|
16641_NT | Madonna and Child with St. Anne (Dei Palafrenieri) | In the context of this artwork, analyze the Virgin Mary's Clothing of the Iconography. | Mary in this painting is wearing unusual clothing from her norm; she is usually depicted wearing a veil in blue and a dress in white. At this time young Roman women would wear these dresses. The outfit she is usually seen in multiple paintings is a matronly veil, mantle, and robe. In this painting, Caravaggio depicted her wearing a veil neckline dress where she is revealing too much of her breasts. | [
"Caravaggio",
"Virgin Mary"
] |
|
16642_T | Monument to Pope John Paul II | In Monument to Pope John Paul II, how is the abstract discussed? | A monument to Pope John Paul II (Spanish: Monumento al Papa Juan Pablo II) is installed outside the Mexico City Metropolitan Cathedral, in the historic center of Mexico City, Mexico. | [
"Mexico City Metro",
"Pope John Paul II",
"Mexico City",
"Mexico City Metropolitan Cathedral",
"historic center of Mexico City"
] |
|
16642_NT | Monument to Pope John Paul II | In this artwork, how is the abstract discussed? | A monument to Pope John Paul II (Spanish: Monumento al Papa Juan Pablo II) is installed outside the Mexico City Metropolitan Cathedral, in the historic center of Mexico City, Mexico. | [
"Mexico City Metro",
"Pope John Paul II",
"Mexico City",
"Mexico City Metropolitan Cathedral",
"historic center of Mexico City"
] |
|
16643_T | Canyon (Rauschenberg) | Focus on Canyon (Rauschenberg) and explore the Materials. | Between 1954 and 1965, Rauschenberg created Combine paintings which often involved affixing sculptural elements to more typical painted canvases. Some Combines are wall-mounted while others are free-standing. In Canyon, elements such as photographic images, fragments of clothing, and newspaper clippings are affixed to the surface either by paint, with string, or by other means. Other examples of such paintings are Reservoir (1961) and Monogram (1955–59).
Canyon features a taxidermied golden eagle, a pillow attached with string, a paint tube, and various textiles. The eagle was given to Rauschenberg by Sari Dienes, which she presumed formerly belonged to her neighbor who was a Rough Rider. Dienes found the golden eagle on the street among her recently deceased neighbor's discarded belongings. | [
"Combine paintings",
"Monogram",
"golden eagle",
"Combine",
"Reservoir",
"Rough Rider",
"Sari Dienes",
"Combine painting"
] |
|
16643_NT | Canyon (Rauschenberg) | Focus on this artwork and explore the Materials. | Between 1954 and 1965, Rauschenberg created Combine paintings which often involved affixing sculptural elements to more typical painted canvases. Some Combines are wall-mounted while others are free-standing. In Canyon, elements such as photographic images, fragments of clothing, and newspaper clippings are affixed to the surface either by paint, with string, or by other means. Other examples of such paintings are Reservoir (1961) and Monogram (1955–59).
Canyon features a taxidermied golden eagle, a pillow attached with string, a paint tube, and various textiles. The eagle was given to Rauschenberg by Sari Dienes, which she presumed formerly belonged to her neighbor who was a Rough Rider. Dienes found the golden eagle on the street among her recently deceased neighbor's discarded belongings. | [
"Combine paintings",
"Monogram",
"golden eagle",
"Combine",
"Reservoir",
"Rough Rider",
"Sari Dienes",
"Combine painting"
] |
|
16644_T | Canyon (Rauschenberg) | Focus on Canyon (Rauschenberg) and explain the In popular culture. | The painting is featured in Eugene Lim's 2017 novel Dear Cyborgs. | [
"Eugene Lim",
"Dear Cyborgs",
"Eugene Lim's"
] |
|
16644_NT | Canyon (Rauschenberg) | Focus on this artwork and explain the In popular culture. | The painting is featured in Eugene Lim's 2017 novel Dear Cyborgs. | [
"Eugene Lim",
"Dear Cyborgs",
"Eugene Lim's"
] |
|
16645_T | The Worried Lover | Explore the abstract of this artwork, The Worried Lover. | The Worried Lover (L'Amante inquiète) is an oil on panel painting in the Musée Condé, Chantilly, by the French Rococo artist Antoine Watteau. Variously dated to c. 1715–1720, the painting was among private collections throughout the 18th and 19th centuries, until it has been acquired by Henri d'Orleans, Duke of Aumale, son of King Louis Philippe I; as part of the Duke of Aumale's collection at the Château de Chantilly, The Worried Lover was bequeathed to the Institut de France in 1884.
At 24 by 17.5 cm, the painting is a case of small, single-figure, and full-length composition showing a costumed character, often in Watteau's art; it shows a seated young woman amid a landscape, dressed in pastoral attire, and holding a set of the cut roses, viewed by authors as a symbol of consumed love. With slight differences, the woman's figure has been adapted by Watteau from a double sanguine drawing, in which a study exactly matches the pose of the woman in the painting; Watteau also made an etching showing a woman seated in a very similar pose. In light of its provenance, The Worried Lover was related to two other paintings by Watteau, The Chord and The Dreamer. | [
"Château de Chantilly",
"Institut de France",
"Antoine Watteau",
"F",
"Henri d'Orleans, Duke of Aumale",
"Rococo",
"Chantilly",
"Louis Philippe I",
"The Chord",
"oil on panel",
"The Dreamer",
"Musée Condé",
"French Rococo"
] |
|
16645_NT | The Worried Lover | Explore the abstract of this artwork. | The Worried Lover (L'Amante inquiète) is an oil on panel painting in the Musée Condé, Chantilly, by the French Rococo artist Antoine Watteau. Variously dated to c. 1715–1720, the painting was among private collections throughout the 18th and 19th centuries, until it has been acquired by Henri d'Orleans, Duke of Aumale, son of King Louis Philippe I; as part of the Duke of Aumale's collection at the Château de Chantilly, The Worried Lover was bequeathed to the Institut de France in 1884.
At 24 by 17.5 cm, the painting is a case of small, single-figure, and full-length composition showing a costumed character, often in Watteau's art; it shows a seated young woman amid a landscape, dressed in pastoral attire, and holding a set of the cut roses, viewed by authors as a symbol of consumed love. With slight differences, the woman's figure has been adapted by Watteau from a double sanguine drawing, in which a study exactly matches the pose of the woman in the painting; Watteau also made an etching showing a woman seated in a very similar pose. In light of its provenance, The Worried Lover was related to two other paintings by Watteau, The Chord and The Dreamer. | [
"Château de Chantilly",
"Institut de France",
"Antoine Watteau",
"F",
"Henri d'Orleans, Duke of Aumale",
"Rococo",
"Chantilly",
"Louis Philippe I",
"The Chord",
"oil on panel",
"The Dreamer",
"Musée Condé",
"French Rococo"
] |
|
16646_T | The Worried Lover | Focus on The Worried Lover and discuss the Provenance and dating. | The earliest known owner of The Worried Lover was the Abbé Pierre-Maurice Haranger (ca. 1655–1735), canon of the Saint-Germain-l'Auxerrois who was one of Watteau's closest friends, inheriting a large number of the artist's drawings on his death. In 1729, the painting was published by Edme-François Gersaint as an etching made by Pierre-Alexandre Aveline; Aveline also etched another Watteau painting owned by the Abbé Haranger, The Dreamer. Though the prints don't mention the Abbé's ownership, Pierre-Jean Mariette confirms that in his manuscripts, and so does the fact that as part of the Recueil Jullienne, The Worried Lover and The Dreamer were printed on the same sheet. Given the appearance in the Recueil Jullienne and shared provenance, some authors considered both paintings to be pendants; in contrary to that point, Pierre Rosenberg stated that these were likely brought together in the Abbé's collection. It has also been presumed that The Worried Lover was no. 33 in the Abbé Haranger's inventory published in 1985, though the overall vagueness of the inventory makes that description elusive.In the 1780s, The Worried Lover resurfaced in the collection of Antoine Claude Chariot (1733-1815), the commissaire-priseur du Châtelet; along with another Watteau painting in the Chariot collection, The Chord, it was lot 44 sold at auction for 221 livres in January 1788 to the painter and art dealer Jean-Baptiste-Pierre Lebrun (1748-1813), the husband of the prominent portrait painter Élisabeth Vigée Le Brun. Lebrun didn't keep the pair for long; he put it on sale in November 1791, only to have them bought back for 132 livres. The pair appeared as lot 25 at a later auction in February 1792, before resurfacing in the mid-19th century as part of the collection of Marquis André Joseph Maison (1798–1869), son of the prominent general and diplomat Nicolas Joseph Maison. Part of that collection, it was then bought in 1868 by Henri d'Orléans, Duke of Aumale, the fifth son of King Louis Philippe I, during his English exile; upon his return to France, the Duke of Aumale hung it in the salle Caroline of his château de Chantilly, where it remains as part of the Musée Condé collection.Among Watteau scholars, The Worried Lover is dated from middle to late years of the artist's career. In the late 19th and early 20th centuries, the painting was attributed by the Musée Condé curators to c. 1717–1720. in a 1912 album and catalogue, the German historian Ernst Heinrich Zimmermann placed it to c. 1717, the year Watteau completed the Louvre version of The Embarkation for Cythera. In the 1950 catalogue raisonné, the Louvre staff curator Hélène Adhémar listed the painting as a Spring-Autumn 1716 work; in 1959, the painter and connoisseur Jacques Mathey had proposed a c. 1715 dating. In the 1968 catalogue raisonné, the Italian scholar Ettore Camesasca considered The Worried Lover a later work by Watteau, dating it c. 1720; Camesasca's dating is also used by Federico Zeri. in a later 1980 catalogue raisonné, the French historian Marianne Roland Michel dated the painting c. 1716–1718. | [
"The Embarkation for Cythera",
"F",
"Federico Zeri",
"Edme-François Gersaint",
"Ernst Heinrich Zimmermann",
"Jean-Baptiste-Pierre Lebrun",
"Chantilly",
"château de Chantilly",
"Pierre Rosenberg",
"Louis Philippe I",
"Pierre-Alexandre Aveline",
"Henri d'Orléans, Duke of Aumale",
"Élisabeth Vigée Le Brun",
"Saint-Germain-l'Auxerrois",
"Pierre-Jean Mariette",
"Recueil Jullienne",
"G",
"The Chord",
"Louvre",
"Nicolas Joseph Maison",
"The Dreamer",
"Marianne Roland Michel",
"Musée Condé"
] |
|
16646_NT | The Worried Lover | Focus on this artwork and discuss the Provenance and dating. | The earliest known owner of The Worried Lover was the Abbé Pierre-Maurice Haranger (ca. 1655–1735), canon of the Saint-Germain-l'Auxerrois who was one of Watteau's closest friends, inheriting a large number of the artist's drawings on his death. In 1729, the painting was published by Edme-François Gersaint as an etching made by Pierre-Alexandre Aveline; Aveline also etched another Watteau painting owned by the Abbé Haranger, The Dreamer. Though the prints don't mention the Abbé's ownership, Pierre-Jean Mariette confirms that in his manuscripts, and so does the fact that as part of the Recueil Jullienne, The Worried Lover and The Dreamer were printed on the same sheet. Given the appearance in the Recueil Jullienne and shared provenance, some authors considered both paintings to be pendants; in contrary to that point, Pierre Rosenberg stated that these were likely brought together in the Abbé's collection. It has also been presumed that The Worried Lover was no. 33 in the Abbé Haranger's inventory published in 1985, though the overall vagueness of the inventory makes that description elusive.In the 1780s, The Worried Lover resurfaced in the collection of Antoine Claude Chariot (1733-1815), the commissaire-priseur du Châtelet; along with another Watteau painting in the Chariot collection, The Chord, it was lot 44 sold at auction for 221 livres in January 1788 to the painter and art dealer Jean-Baptiste-Pierre Lebrun (1748-1813), the husband of the prominent portrait painter Élisabeth Vigée Le Brun. Lebrun didn't keep the pair for long; he put it on sale in November 1791, only to have them bought back for 132 livres. The pair appeared as lot 25 at a later auction in February 1792, before resurfacing in the mid-19th century as part of the collection of Marquis André Joseph Maison (1798–1869), son of the prominent general and diplomat Nicolas Joseph Maison. Part of that collection, it was then bought in 1868 by Henri d'Orléans, Duke of Aumale, the fifth son of King Louis Philippe I, during his English exile; upon his return to France, the Duke of Aumale hung it in the salle Caroline of his château de Chantilly, where it remains as part of the Musée Condé collection.Among Watteau scholars, The Worried Lover is dated from middle to late years of the artist's career. In the late 19th and early 20th centuries, the painting was attributed by the Musée Condé curators to c. 1717–1720. in a 1912 album and catalogue, the German historian Ernst Heinrich Zimmermann placed it to c. 1717, the year Watteau completed the Louvre version of The Embarkation for Cythera. In the 1950 catalogue raisonné, the Louvre staff curator Hélène Adhémar listed the painting as a Spring-Autumn 1716 work; in 1959, the painter and connoisseur Jacques Mathey had proposed a c. 1715 dating. In the 1968 catalogue raisonné, the Italian scholar Ettore Camesasca considered The Worried Lover a later work by Watteau, dating it c. 1720; Camesasca's dating is also used by Federico Zeri. in a later 1980 catalogue raisonné, the French historian Marianne Roland Michel dated the painting c. 1716–1718. | [
"The Embarkation for Cythera",
"F",
"Federico Zeri",
"Edme-François Gersaint",
"Ernst Heinrich Zimmermann",
"Jean-Baptiste-Pierre Lebrun",
"Chantilly",
"château de Chantilly",
"Pierre Rosenberg",
"Louis Philippe I",
"Pierre-Alexandre Aveline",
"Henri d'Orléans, Duke of Aumale",
"Élisabeth Vigée Le Brun",
"Saint-Germain-l'Auxerrois",
"Pierre-Jean Mariette",
"Recueil Jullienne",
"G",
"The Chord",
"Louvre",
"Nicolas Joseph Maison",
"The Dreamer",
"Marianne Roland Michel",
"Musée Condé"
] |
|
16647_T | Spanish–American War Memorial (Columbus, Ohio) | How does Spanish–American War Memorial (Columbus, Ohio) elucidate its abstract? | The Spanish–American War Memorial (also known as Memorial to National Auxiliary United Spanish War Veterans, or simply Memorial to Spanish War Veterans) is a 1937 memorial commemorating veterans of the Spanish–American War, installed in Columbus, Ohio's Battelle Riverfront Park, in the United States. | [
"Battelle Riverfront Park",
"Spanish–American War",
"Columbus, Ohio"
] |
|
16647_NT | Spanish–American War Memorial (Columbus, Ohio) | How does this artwork elucidate its abstract? | The Spanish–American War Memorial (also known as Memorial to National Auxiliary United Spanish War Veterans, or simply Memorial to Spanish War Veterans) is a 1937 memorial commemorating veterans of the Spanish–American War, installed in Columbus, Ohio's Battelle Riverfront Park, in the United States. | [
"Battelle Riverfront Park",
"Spanish–American War",
"Columbus, Ohio"
] |
|
16648_T | Spanish–American War Memorial (Columbus, Ohio) | Focus on Spanish–American War Memorial (Columbus, Ohio) and analyze the Description and history. | The memorial, dedicated in August 1937, features a bronze relief plaque depicting a soldier holding a rifle. The plaque measures approximately 48.5 x 22 x 19 inches. One inscription reads: "YOU TRIUMPHED OVER OBSTACLES / WHICH WOULD HAVE OVERCOME MEN / LESS BRAVE AND DETERMINED" / PRESIDENT McKINLEY". Another reads, "THE HIKER'98", and one along the bottom of the plaque reads: "PRESENTED BY THE / NATIONAL AUXILIARY UNITED SPANISH WAR VETERANS / 54TH ANNUAL CONVENTION / AUGUST 22–26, 1937 / COPYRIGHTED N.A., V.S.W.V.". The plaque is one a stone base that measures approximately 17 x 27.5 x 29 inches.The monument was presented to the city of Columbus by the National Auxiliary. It was installed outside Columbus City Hall, and was relocated to Battelle Riverfront Park in 1937. The memorial was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1992. | [
"Smithsonian Institution",
"Columbus City Hall",
"Battelle Riverfront Park",
"Save Outdoor Sculpture!"
] |
|
16648_NT | Spanish–American War Memorial (Columbus, Ohio) | Focus on this artwork and analyze the Description and history. | The memorial, dedicated in August 1937, features a bronze relief plaque depicting a soldier holding a rifle. The plaque measures approximately 48.5 x 22 x 19 inches. One inscription reads: "YOU TRIUMPHED OVER OBSTACLES / WHICH WOULD HAVE OVERCOME MEN / LESS BRAVE AND DETERMINED" / PRESIDENT McKINLEY". Another reads, "THE HIKER'98", and one along the bottom of the plaque reads: "PRESENTED BY THE / NATIONAL AUXILIARY UNITED SPANISH WAR VETERANS / 54TH ANNUAL CONVENTION / AUGUST 22–26, 1937 / COPYRIGHTED N.A., V.S.W.V.". The plaque is one a stone base that measures approximately 17 x 27.5 x 29 inches.The monument was presented to the city of Columbus by the National Auxiliary. It was installed outside Columbus City Hall, and was relocated to Battelle Riverfront Park in 1937. The memorial was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1992. | [
"Smithsonian Institution",
"Columbus City Hall",
"Battelle Riverfront Park",
"Save Outdoor Sculpture!"
] |
|
16649_T | Cashmere (painting) | In Cashmere (painting), how is the abstract discussed? | Cashmere (French: cachemire) is an oil painting by the American artist John Singer Sargent, currently in a private collection. It was completed in c.1908. The dimensions of the painting are 71.1 by 109.2 centimeters (28.0 in × 43.0 in). | [
"John Singer Sargent"
] |
|
16649_NT | Cashmere (painting) | In this artwork, how is the abstract discussed? | Cashmere (French: cachemire) is an oil painting by the American artist John Singer Sargent, currently in a private collection. It was completed in c.1908. The dimensions of the painting are 71.1 by 109.2 centimeters (28.0 in × 43.0 in). | [
"John Singer Sargent"
] |
|
16650_T | Cashmere (painting) | Focus on Cashmere (painting) and explore the Description. | The painting is of Sargent's niece, Reine Ormond, in an exotic cashmere shawl in seven different poses. Reine would have been about 11 years old. It was painted by Sargent when he was on holiday in the Italian Alps. Though the style is quite different, the representation of successive moments of a movement resembles Marcel Duchamp's 1912 Nude Descending a Staircase. | [
"Nude Descending a Staircase",
"Marcel Duchamp"
] |
|
16650_NT | Cashmere (painting) | Focus on this artwork and explore the Description. | The painting is of Sargent's niece, Reine Ormond, in an exotic cashmere shawl in seven different poses. Reine would have been about 11 years old. It was painted by Sargent when he was on holiday in the Italian Alps. Though the style is quite different, the representation of successive moments of a movement resembles Marcel Duchamp's 1912 Nude Descending a Staircase. | [
"Nude Descending a Staircase",
"Marcel Duchamp"
] |
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