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16651_T | Sigismunda mourning over the Heart of Guiscardo | Focus on Sigismunda mourning over the Heart of Guiscardo and explain the abstract. | Sigismunda mourning over the Heart of Guiscardo, fully titled Sigismunda mourning over the Heart of Guiscardo, her murder'd Husband, is an oil painting by British artist William Hogarth. Finished in 1759, it was the principal piece of the eight works he displayed in an exhibition in 1761. It was the final and most ambitious of his attempts to secure for himself a reputation as a history painter. It depicts a dramatic moment in one of the novelle in Boccaccio's Decameron. While Hogarth had expected this work to be acclaimed as a masterpiece of dramatic painting, the work was met with criticism and ridicule. In the catalogue of the exhibition of Hogarth's works at the Tate Gallery in 2007, the criticism was described as "some of the most damning critical opprobrium the artist ever suffered". | [
"Decameron",
"British",
"masterpiece",
"Tate",
"Boccaccio",
"Tate Gallery",
"novelle",
"Guiscardo",
"Sigismunda",
"history painter",
"oil painting",
"William Hogarth"
] |
|
16651_NT | Sigismunda mourning over the Heart of Guiscardo | Focus on this artwork and explain the abstract. | Sigismunda mourning over the Heart of Guiscardo, fully titled Sigismunda mourning over the Heart of Guiscardo, her murder'd Husband, is an oil painting by British artist William Hogarth. Finished in 1759, it was the principal piece of the eight works he displayed in an exhibition in 1761. It was the final and most ambitious of his attempts to secure for himself a reputation as a history painter. It depicts a dramatic moment in one of the novelle in Boccaccio's Decameron. While Hogarth had expected this work to be acclaimed as a masterpiece of dramatic painting, the work was met with criticism and ridicule. In the catalogue of the exhibition of Hogarth's works at the Tate Gallery in 2007, the criticism was described as "some of the most damning critical opprobrium the artist ever suffered". | [
"Decameron",
"British",
"masterpiece",
"Tate",
"Boccaccio",
"Tate Gallery",
"novelle",
"Guiscardo",
"Sigismunda",
"history painter",
"oil painting",
"William Hogarth"
] |
|
16652_T | Sigismunda mourning over the Heart of Guiscardo | Explore the Analysis of this artwork, Sigismunda mourning over the Heart of Guiscardo. | Sigismunda mourning over the Heart of Guiscardo illustrates a scene from the first tale on Day 4 of The Decameron, a medieval collection of short stories (novelle) by Italian author and poet, Giovanni Boccaccio.Seated at an ornate wooden table, wearing a pearl tiara and flowing silk, is Sigismunda (called Ghismonda in Boccaccio's original tale), the heroine of one of the novelle. It is probable that Hogarth modelled her on his wife, Jane. She clasps a golden goblet containing the heart of her murdered husband, Guiscardo.
Guiscardo was a servant and page in the court of Sigismunda's father, Prince Tancred of Salerno. When Sigismunda's father discovered that Guiscardo and Sigismunda had wed secretly, he angrily ordered his men to murder the low-born Guiscardo, and had Guiscardo's heart delivered to Sigismunda in a golden cup. Despite having committed to die without shedding a tear, she weeps as she realises her father has murdered her husband. She adds poison to the cup containing Guiscardo's heart, and commits suicide by drinking it.Hogarth claimed to have long been interested in the story of Sigismunda, which had appeared in England in several versions by the mid-18th century. It had become popular after being translated in John Dryden's 1699 volume of Fables, Ancient and Modern, and adapted for the English stage by James Thomson in 1745. | [
"Decameron",
"page",
"Boccaccio",
"Jane",
"Fables, Ancient and Modern",
"Italian",
"James Thomson",
"Giovanni Boccaccio",
"Salerno",
"The Decameron",
"tiara",
"John Dryden",
"novelle",
"Guiscardo",
"Sigismunda",
"suicide",
"goblet",
"first tale on Day 4"
] |
|
16652_NT | Sigismunda mourning over the Heart of Guiscardo | Explore the Analysis of this artwork. | Sigismunda mourning over the Heart of Guiscardo illustrates a scene from the first tale on Day 4 of The Decameron, a medieval collection of short stories (novelle) by Italian author and poet, Giovanni Boccaccio.Seated at an ornate wooden table, wearing a pearl tiara and flowing silk, is Sigismunda (called Ghismonda in Boccaccio's original tale), the heroine of one of the novelle. It is probable that Hogarth modelled her on his wife, Jane. She clasps a golden goblet containing the heart of her murdered husband, Guiscardo.
Guiscardo was a servant and page in the court of Sigismunda's father, Prince Tancred of Salerno. When Sigismunda's father discovered that Guiscardo and Sigismunda had wed secretly, he angrily ordered his men to murder the low-born Guiscardo, and had Guiscardo's heart delivered to Sigismunda in a golden cup. Despite having committed to die without shedding a tear, she weeps as she realises her father has murdered her husband. She adds poison to the cup containing Guiscardo's heart, and commits suicide by drinking it.Hogarth claimed to have long been interested in the story of Sigismunda, which had appeared in England in several versions by the mid-18th century. It had become popular after being translated in John Dryden's 1699 volume of Fables, Ancient and Modern, and adapted for the English stage by James Thomson in 1745. | [
"Decameron",
"page",
"Boccaccio",
"Jane",
"Fables, Ancient and Modern",
"Italian",
"James Thomson",
"Giovanni Boccaccio",
"Salerno",
"The Decameron",
"tiara",
"John Dryden",
"novelle",
"Guiscardo",
"Sigismunda",
"suicide",
"goblet",
"first tale on Day 4"
] |
|
16653_T | Sigismunda mourning over the Heart of Guiscardo | Focus on Sigismunda mourning over the Heart of Guiscardo and discuss the Reception. | Hogarth exhibited the painting at the Society of Artists in Spring Gardens in 1761. Although press reports – perhaps placed by Hogarth and his supporters – were enthusiastic, Sigismunda mourning over the Heart of Guiscardo was attacked by critics who marked Hogarth's attempt to emulate the drama depicted in older Italian paintings as foolhardy and ridiculous. Many critics were repulsed by the shocking contrast between the melancholy beauty of Sigismunda and the grotesquely bloody organ that she delicately touched. It was said that Hogarth placed an attendant next to the painting to note the remarks made by the viewers; changes to the painting suggest that he may have responded to these criticisms by altering his work, although it is impossible to ascertain whether many of the changes were made before or after the painting was exhibited.
One of the fiercest critics of Hogarth's work was the critic and writer Horace Walpole. Walpole, who had admired the "Correggio", compared Hogarth's portrayal of Sigismunda to that of a "maudlin fallen virago", and saw in it:None of the somber grief, no dignity of suppressed anguish, no involuntary tear, no settled meditation on the fate she meant to meet, no amourous warmth turned holy by despair
John Wilkes dismissed it as "not human". More predictably, in his Epistle to William Hogarth, Charles Churchill sympathised with Sigismunda as the "helpless victim of a dauber's hand".After ten days of the exhibition, Hogarth replaced the painting with another of his canvases, Chairing the Member, the fourth and last piece in his Humours of an Election series.Hogarth was unable to sell the painting, but he considered selling engravings based on it. A subscription ticket for the engraving of Sigismunda depicting Time Smoking a Picture was made, and some subscriptions were sold before being recalled, but by March 1761 Hogarth had abandoned the project, having failed to find an engraver to produce the plates. Hogarth instructed his widow not to sell the canvas for less than £500. On Jane Hogarth's death in 1789, the painting passed to her cousin, Mary Lewis. She sold it by auction at Greenwood's in 1790 for 56 guineas to the publisher John Boydell, who exhibited it in his Shakespeare Gallery. Benjamin Smith made an engraving which was published in 1795. The painting was sold for 400 guineas at Christie's in 1807, and had been acquired by J. H. Anderdon by 1814. He bequeathed it to the Tate Gallery in 1879. | [
"John Wilkes",
"J. H. Anderdon",
"Christie's",
"Humours of an Election",
"Tate",
"Jane",
"Italian",
"Spring Gardens",
"Society of Artists",
"fallen virago",
"Tate Gallery",
"Correggio",
"Charles Churchill",
"Guiscardo",
"Shakespeare Gallery",
"Benjamin Smith",
"Sigismunda",
"John Boydell",
"Jane Hogarth",
"William Hogarth",
"guineas",
"Horace Walpole"
] |
|
16653_NT | Sigismunda mourning over the Heart of Guiscardo | Focus on this artwork and discuss the Reception. | Hogarth exhibited the painting at the Society of Artists in Spring Gardens in 1761. Although press reports – perhaps placed by Hogarth and his supporters – were enthusiastic, Sigismunda mourning over the Heart of Guiscardo was attacked by critics who marked Hogarth's attempt to emulate the drama depicted in older Italian paintings as foolhardy and ridiculous. Many critics were repulsed by the shocking contrast between the melancholy beauty of Sigismunda and the grotesquely bloody organ that she delicately touched. It was said that Hogarth placed an attendant next to the painting to note the remarks made by the viewers; changes to the painting suggest that he may have responded to these criticisms by altering his work, although it is impossible to ascertain whether many of the changes were made before or after the painting was exhibited.
One of the fiercest critics of Hogarth's work was the critic and writer Horace Walpole. Walpole, who had admired the "Correggio", compared Hogarth's portrayal of Sigismunda to that of a "maudlin fallen virago", and saw in it:None of the somber grief, no dignity of suppressed anguish, no involuntary tear, no settled meditation on the fate she meant to meet, no amourous warmth turned holy by despair
John Wilkes dismissed it as "not human". More predictably, in his Epistle to William Hogarth, Charles Churchill sympathised with Sigismunda as the "helpless victim of a dauber's hand".After ten days of the exhibition, Hogarth replaced the painting with another of his canvases, Chairing the Member, the fourth and last piece in his Humours of an Election series.Hogarth was unable to sell the painting, but he considered selling engravings based on it. A subscription ticket for the engraving of Sigismunda depicting Time Smoking a Picture was made, and some subscriptions were sold before being recalled, but by March 1761 Hogarth had abandoned the project, having failed to find an engraver to produce the plates. Hogarth instructed his widow not to sell the canvas for less than £500. On Jane Hogarth's death in 1789, the painting passed to her cousin, Mary Lewis. She sold it by auction at Greenwood's in 1790 for 56 guineas to the publisher John Boydell, who exhibited it in his Shakespeare Gallery. Benjamin Smith made an engraving which was published in 1795. The painting was sold for 400 guineas at Christie's in 1807, and had been acquired by J. H. Anderdon by 1814. He bequeathed it to the Tate Gallery in 1879. | [
"John Wilkes",
"J. H. Anderdon",
"Christie's",
"Humours of an Election",
"Tate",
"Jane",
"Italian",
"Spring Gardens",
"Society of Artists",
"fallen virago",
"Tate Gallery",
"Correggio",
"Charles Churchill",
"Guiscardo",
"Shakespeare Gallery",
"Benjamin Smith",
"Sigismunda",
"John Boydell",
"Jane Hogarth",
"William Hogarth",
"guineas",
"Horace Walpole"
] |
|
16654_T | Sigismunda mourning over the Heart of Guiscardo | How does Sigismunda mourning over the Heart of Guiscardo elucidate its Alterations? | A number of alterations are visible to the naked eye as pentimenti. A piece of paper draped over the edge of the table is clearly visible in outline, despite having been painted over with detailing of the table itself. Sigismunda's index finger which was bent towards and perhaps touching the heart has been straightened, but the outline of the tip is still visible on the surface of the heart. A looped cord in the top right-hand corner is poorly concealed under the topmost layer of paint. It is also known that, to attempt to appease critics, Hogarth repainted the fingers of Sigismunda so that the blood that was previously there would no longer be visible. | [
"pentimenti",
"right",
"Sigismunda"
] |
|
16654_NT | Sigismunda mourning over the Heart of Guiscardo | How does this artwork elucidate its Alterations? | A number of alterations are visible to the naked eye as pentimenti. A piece of paper draped over the edge of the table is clearly visible in outline, despite having been painted over with detailing of the table itself. Sigismunda's index finger which was bent towards and perhaps touching the heart has been straightened, but the outline of the tip is still visible on the surface of the heart. A looped cord in the top right-hand corner is poorly concealed under the topmost layer of paint. It is also known that, to attempt to appease critics, Hogarth repainted the fingers of Sigismunda so that the blood that was previously there would no longer be visible. | [
"pentimenti",
"right",
"Sigismunda"
] |
|
16655_T | Columbus Breaking the Egg | Focus on Columbus Breaking the Egg and analyze the abstract. | Columbus Breaking the Egg is a 1752 engraving by English artist William Hogarth. Issued as the subscription ticket for his treatise on art, The Analysis of Beauty, it depicts an apocryphal tale (the "Egg of Columbus") concerning Christopher Columbus's response to detractors of his discovery of the New World. Hogarth uses the story as a parallel to what he considered his own discoveries in art. | [
"New World",
"The Analysis of Beauty",
"engraving",
"Christopher Columbus",
"William Hogarth",
"Egg of Columbus"
] |
|
16655_NT | Columbus Breaking the Egg | Focus on this artwork and analyze the abstract. | Columbus Breaking the Egg is a 1752 engraving by English artist William Hogarth. Issued as the subscription ticket for his treatise on art, The Analysis of Beauty, it depicts an apocryphal tale (the "Egg of Columbus") concerning Christopher Columbus's response to detractors of his discovery of the New World. Hogarth uses the story as a parallel to what he considered his own discoveries in art. | [
"New World",
"The Analysis of Beauty",
"engraving",
"Christopher Columbus",
"William Hogarth",
"Egg of Columbus"
] |
|
16656_T | Columbus Breaking the Egg | In Columbus Breaking the Egg, how is the Story discussed? | The tale of the "Egg of Columbus" is apocryphal and was ascribed to Filippo Brunelleschi with regard to the construction of the dome of the Duomo in Florence before
it was related pertaining to Columbus. The story told by Girolamo Benzoni in his Historia del Mondo Nuovo of 1565 was that at a meal several of Columbus's detractors began to comment that any number of other people could have found their way to the New World and that Columbus's feat was unremarkable because of its simplicity. Columbus replied that it was only easy now that he had demonstrated how it was done, and by way of an example, he challenged anyone present to stand an egg on its end. After all those attempting the feat had admitted defeat Columbus demonstrated the simplicity of the challenge by crushing one end of the egg against the table which allowed it to remain upright. | [
"New World",
"Florence",
"Filippo Brunelleschi",
"Duomo",
"Egg of Columbus",
"Girolamo Benzoni"
] |
|
16656_NT | Columbus Breaking the Egg | In this artwork, how is the Story discussed? | The tale of the "Egg of Columbus" is apocryphal and was ascribed to Filippo Brunelleschi with regard to the construction of the dome of the Duomo in Florence before
it was related pertaining to Columbus. The story told by Girolamo Benzoni in his Historia del Mondo Nuovo of 1565 was that at a meal several of Columbus's detractors began to comment that any number of other people could have found their way to the New World and that Columbus's feat was unremarkable because of its simplicity. Columbus replied that it was only easy now that he had demonstrated how it was done, and by way of an example, he challenged anyone present to stand an egg on its end. After all those attempting the feat had admitted defeat Columbus demonstrated the simplicity of the challenge by crushing one end of the egg against the table which allowed it to remain upright. | [
"New World",
"Florence",
"Filippo Brunelleschi",
"Duomo",
"Egg of Columbus",
"Girolamo Benzoni"
] |
|
16657_T | Columbus Breaking the Egg | Focus on Columbus Breaking the Egg and explore the Print. | Hogarth's print was issued in April 1752 as the subscription ticket for his forthcoming book on art The Analysis of Beauty. Various copies of the ticket are extant, some of which are held by the British Museum, Fitzwilliam Museum and the Hunterian Museum. The print shows Columbus having just demonstrated the method for making the egg stay upright. His audience look on in amazement and one man behind him beats his forehead in frustration at the simplicity of the solution. At either end of the table are men caught still in the act of attempting to balance eggs.
Below the print is the following text:Rec'd ... of ... five Shillings being the first Payment for a Short Tract in Quarto call'd the Analysis of Beauty; wherin Forms are consider'd in a new light, to which will be added two explanatory Prints Serios and Comical Engrav'd on large Copper Plates fit to frame for Furniture.
A small note informing the reader that the price will be raised once the subscription is over is added alongside Hogarth's signature. The price for the Analysis was ten shillings: five shillings on subscription and five shillings on delivery, with the price rising to fifteen shillings for those purchasing once the subscription period had finished.While simply executed with no great attention to detail or fineness of engraving, the ticket served a satirical purpose. Hogarth expected much the same reaction to his book as Columbus had received. Hogarth considered that he too had discovered a "New World", but one with the sphere of art rather than geography, and just as Columbus's detractors had mocked the navigator's accomplishment as simple and inevitable, Hogarth expected the art connoisseurs to mock his thesis on the serpentine "Line of Beauty" as self-evident and unimaginative. According to Trusler, Hogarth was correct in his assumption:In the print of Columbus there is evident reference to the criticisms on what Hogarth called his own discovery and in truth the connoisseurs remarks on the painter were dictated by a similar spirit to those of the critics on the navigator they first asserted there was no such line, and when he had proved that there was, gave the honour of discovery to Lomazzo, Michael Angelo, &c &c.
To strengthen the connection between himself and the Columbus of the tale he included two eels in a bowl in the centre of the table their bodies demonstrating the "Line of Beauty" as they coiled around a pair of eggs. Trusler sees a further example of Hogarth's serpentine line in the twisted tablecloth and a hint of it in the knife blade. To further underline the ironic nature of the print the composition is based on Da Vinci's The Last Supper, with the bowl containing the eels and eggs replacing the Host. Hogarth expert, Ronald Paulson also sees echoes of Hogarth's early picture of Sancho's Feast (which was probably produced in the 1720s) and connections to the final plate of A Harlot's Progress where the body of Moll Hackabout takes the role of the Host. Another of Hogarth's ideas on the nature of Beauty is also illustrated: the ugly, coarse, common, "lower class" attributes are given to Columbus's critics while Columbus himself is portrayed with the refined lines of the nobility—Hogarth proposed that ugliness arose where "beauty seems to submit, in some degree, to use", but here, as in many of his images, the inner qualities are reflected in the outward appearances. | [
"Ronald Paulson",
"New World",
"The Last Supper",
"The Analysis of Beauty",
"A Harlot's Progress",
"Fitzwilliam Museum",
"engraving",
"Da Vinci's",
"British Museum",
"Hunterian Museum",
"Host"
] |
|
16657_NT | Columbus Breaking the Egg | Focus on this artwork and explore the Print. | Hogarth's print was issued in April 1752 as the subscription ticket for his forthcoming book on art The Analysis of Beauty. Various copies of the ticket are extant, some of which are held by the British Museum, Fitzwilliam Museum and the Hunterian Museum. The print shows Columbus having just demonstrated the method for making the egg stay upright. His audience look on in amazement and one man behind him beats his forehead in frustration at the simplicity of the solution. At either end of the table are men caught still in the act of attempting to balance eggs.
Below the print is the following text:Rec'd ... of ... five Shillings being the first Payment for a Short Tract in Quarto call'd the Analysis of Beauty; wherin Forms are consider'd in a new light, to which will be added two explanatory Prints Serios and Comical Engrav'd on large Copper Plates fit to frame for Furniture.
A small note informing the reader that the price will be raised once the subscription is over is added alongside Hogarth's signature. The price for the Analysis was ten shillings: five shillings on subscription and five shillings on delivery, with the price rising to fifteen shillings for those purchasing once the subscription period had finished.While simply executed with no great attention to detail or fineness of engraving, the ticket served a satirical purpose. Hogarth expected much the same reaction to his book as Columbus had received. Hogarth considered that he too had discovered a "New World", but one with the sphere of art rather than geography, and just as Columbus's detractors had mocked the navigator's accomplishment as simple and inevitable, Hogarth expected the art connoisseurs to mock his thesis on the serpentine "Line of Beauty" as self-evident and unimaginative. According to Trusler, Hogarth was correct in his assumption:In the print of Columbus there is evident reference to the criticisms on what Hogarth called his own discovery and in truth the connoisseurs remarks on the painter were dictated by a similar spirit to those of the critics on the navigator they first asserted there was no such line, and when he had proved that there was, gave the honour of discovery to Lomazzo, Michael Angelo, &c &c.
To strengthen the connection between himself and the Columbus of the tale he included two eels in a bowl in the centre of the table their bodies demonstrating the "Line of Beauty" as they coiled around a pair of eggs. Trusler sees a further example of Hogarth's serpentine line in the twisted tablecloth and a hint of it in the knife blade. To further underline the ironic nature of the print the composition is based on Da Vinci's The Last Supper, with the bowl containing the eels and eggs replacing the Host. Hogarth expert, Ronald Paulson also sees echoes of Hogarth's early picture of Sancho's Feast (which was probably produced in the 1720s) and connections to the final plate of A Harlot's Progress where the body of Moll Hackabout takes the role of the Host. Another of Hogarth's ideas on the nature of Beauty is also illustrated: the ugly, coarse, common, "lower class" attributes are given to Columbus's critics while Columbus himself is portrayed with the refined lines of the nobility—Hogarth proposed that ugliness arose where "beauty seems to submit, in some degree, to use", but here, as in many of his images, the inner qualities are reflected in the outward appearances. | [
"Ronald Paulson",
"New World",
"The Last Supper",
"The Analysis of Beauty",
"A Harlot's Progress",
"Fitzwilliam Museum",
"engraving",
"Da Vinci's",
"British Museum",
"Hunterian Museum",
"Host"
] |
|
16658_T | Polypède | Focus on Polypède and explain the abstract. | Polypède is an outdoor 1967 bronze sculpture by Charles Daudelin, installed at Montreal's McGill University, in Quebec, Canada. | [
"bronze sculpture",
"McGill University",
"Quebec",
"Montreal",
"Charles Daudelin"
] |
|
16658_NT | Polypède | Focus on this artwork and explain the abstract. | Polypède is an outdoor 1967 bronze sculpture by Charles Daudelin, installed at Montreal's McGill University, in Quebec, Canada. | [
"bronze sculpture",
"McGill University",
"Quebec",
"Montreal",
"Charles Daudelin"
] |
|
16659_T | Madonna and Child with Michael the Archangel and St Andrew | Explore the History of this artwork, Madonna and Child with Michael the Archangel and St Andrew. | Madonna and Child with Saints Michael the Archangel and Andrea was placed in Parma, in the old church of the Annunciation outside the city walls, which was demolished in 1546. In 1706, the painting entered the Sanvital collection as a work attributed to Leonardo da Vinci due to an apocryphal inscription in the bottom cartouche. In 1834, it was sold to the Ducal Gallery of Parma and was subsequently attributed to Cima da Conegliano. | [
"Michael",
"Cima da Conegliano",
"Leonardo da Vinci"
] |
|
16659_NT | Madonna and Child with Michael the Archangel and St Andrew | Explore the History of this artwork. | Madonna and Child with Saints Michael the Archangel and Andrea was placed in Parma, in the old church of the Annunciation outside the city walls, which was demolished in 1546. In 1706, the painting entered the Sanvital collection as a work attributed to Leonardo da Vinci due to an apocryphal inscription in the bottom cartouche. In 1834, it was sold to the Ducal Gallery of Parma and was subsequently attributed to Cima da Conegliano. | [
"Michael",
"Cima da Conegliano",
"Leonardo da Vinci"
] |
|
16660_T | Madonna and Child with Michael the Archangel and St Andrew | Focus on Madonna and Child with Michael the Archangel and St Andrew and discuss the Description. | The panel represents the Virgin with the Baby Jesus. On the left, Michael stands with a lance and on the right, Andrew the Apostle carries a cross. The background depicts the town of Collalto. At right, ruined marble architecture is seen in silhouette, with pilasters sculpted in classical motifs forming the background of the Virgin and Child. The novel composition accentuates the dynamism of the scene, which is depicted with sharp definition in the details and landscape, all in a soft, golden light. | [
"Michael",
"Collalto",
"Andrew the Apostle"
] |
|
16660_NT | Madonna and Child with Michael the Archangel and St Andrew | Focus on this artwork and discuss the Description. | The panel represents the Virgin with the Baby Jesus. On the left, Michael stands with a lance and on the right, Andrew the Apostle carries a cross. The background depicts the town of Collalto. At right, ruined marble architecture is seen in silhouette, with pilasters sculpted in classical motifs forming the background of the Virgin and Child. The novel composition accentuates the dynamism of the scene, which is depicted with sharp definition in the details and landscape, all in a soft, golden light. | [
"Michael",
"Collalto",
"Andrew the Apostle"
] |
|
16661_T | Statue of Trajan, Tower Hill | How does Statue of Trajan, Tower Hill elucidate its abstract? | The statue of Trajan is an outdoor twentieth-century bronze sculpture depicting the Roman Emperor Trajan, located in front of a section of the London Wall built by Romans, at Tower Hill in London, United Kingdom. | [
"bronze sculpture",
"Tower Hill",
"Trajan",
"London Wall",
"London"
] |
|
16661_NT | Statue of Trajan, Tower Hill | How does this artwork elucidate its abstract? | The statue of Trajan is an outdoor twentieth-century bronze sculpture depicting the Roman Emperor Trajan, located in front of a section of the London Wall built by Romans, at Tower Hill in London, United Kingdom. | [
"bronze sculpture",
"Tower Hill",
"Trajan",
"London Wall",
"London"
] |
|
16662_T | Statue of Trajan, Tower Hill | Focus on Statue of Trajan, Tower Hill and analyze the Description and history. | Trajan is shown bareheaded and wearing a tunic, holding a scroll in his left hand while gesturing with his right hand raised. A plaque at its base contains the inscription: STATUE BELIEVED TO BE OF THE ROMAN EMPEROR TRAJAN/ A.D. 98–117/ IMPERATOR CAESAR NERVA TRAJANUS AUGUSTUS/ PRESENTED BY THE TOWER HILL IMPROVEMENT TRUST AT THE/ REQUEST OF THE REVEREND P. B. CLAYTON, CH, MC, DD, /FOUNDER PADRE OF TOC H.
The statue was installed in 1980 as a bequest from P. B. "Tubby" Clayton, the vicar of All Hallows-by-the-Tower. The Museum of London believes the figure to have been recovered from a scrapyard in Southampton in the 1920s, and notes that its head does not match its body. There is no information presented at the site about the sculptor.It is a cast of a late 1st century statue found in Minturno, which is on display at the National Archaeological Museum in Naples. The upper part of the head is the result of restoration; other casts are in Rome (at the via dei Fori Imperiali and Museum of Roman Civilization), Ancona and Benevento.
Trajan presided over the second-greatest military expansion in Roman history, after Augustus, leading the empire to attain its maximum territorial extent by the time of his death. He never himself visited Britain. | [
"P. B. \"Tubby\" Clayton",
"Ancona",
"TOC H.",
"National Archaeological Museum in Naples",
"Minturno",
"Benevento",
"Rome",
"via dei Fori Imperiali",
"Museum of London",
"Trajan",
"All Hallows-by-the-Tower",
"Augustus",
"Museum of Roman Civilization",
"London"
] |
|
16662_NT | Statue of Trajan, Tower Hill | Focus on this artwork and analyze the Description and history. | Trajan is shown bareheaded and wearing a tunic, holding a scroll in his left hand while gesturing with his right hand raised. A plaque at its base contains the inscription: STATUE BELIEVED TO BE OF THE ROMAN EMPEROR TRAJAN/ A.D. 98–117/ IMPERATOR CAESAR NERVA TRAJANUS AUGUSTUS/ PRESENTED BY THE TOWER HILL IMPROVEMENT TRUST AT THE/ REQUEST OF THE REVEREND P. B. CLAYTON, CH, MC, DD, /FOUNDER PADRE OF TOC H.
The statue was installed in 1980 as a bequest from P. B. "Tubby" Clayton, the vicar of All Hallows-by-the-Tower. The Museum of London believes the figure to have been recovered from a scrapyard in Southampton in the 1920s, and notes that its head does not match its body. There is no information presented at the site about the sculptor.It is a cast of a late 1st century statue found in Minturno, which is on display at the National Archaeological Museum in Naples. The upper part of the head is the result of restoration; other casts are in Rome (at the via dei Fori Imperiali and Museum of Roman Civilization), Ancona and Benevento.
Trajan presided over the second-greatest military expansion in Roman history, after Augustus, leading the empire to attain its maximum territorial extent by the time of his death. He never himself visited Britain. | [
"P. B. \"Tubby\" Clayton",
"Ancona",
"TOC H.",
"National Archaeological Museum in Naples",
"Minturno",
"Benevento",
"Rome",
"via dei Fori Imperiali",
"Museum of London",
"Trajan",
"All Hallows-by-the-Tower",
"Augustus",
"Museum of Roman Civilization",
"London"
] |
|
16663_T | The Anatomy Lesson of Dr. Deijman | In The Anatomy Lesson of Dr. Deijman, how is the abstract discussed? | The Anatomy Lesson of Dr. Deijman (alternative spelling Deyman) is a 1656 fragmentary painting by Rembrandt, now in Amsterdam Museum. It is a group portrait showing a brain dissection by Dr. Jan Deijman (1619–1666). Much of the canvas was destroyed in a fire in 1723 and the painting was subsequently recut to its present dimensions, though a preparatory sketch shows the full group.
The painting shows Dr. Deijman performing a brain dissection on the cadaver of an executed criminal, the Flemish tailor Joris "Black Jack" Fonteijn (1633/34–1656), an habitual offender who had robbed a textile store with a knife resulting in his execution by hanging. Dr. Deijman's assistant, the surgeon Gijsbert Calkoen (1621–1664), is seen on the left, holding the top of the dead man's skull.
The perspective of the corpse is depicted with exaggerated foreshortening to give the viewer a sense of standing in front of the dissection table, similar to the foreshortening in Mantegna's Lamentation of Christ, which Rembrandt would have been familiar with through prints. | [
"Amsterdam",
"Mantegna",
"Rembrandt",
"foreshortening",
"Amsterdam Museum",
"Lamentation of Christ"
] |
|
16663_NT | The Anatomy Lesson of Dr. Deijman | In this artwork, how is the abstract discussed? | The Anatomy Lesson of Dr. Deijman (alternative spelling Deyman) is a 1656 fragmentary painting by Rembrandt, now in Amsterdam Museum. It is a group portrait showing a brain dissection by Dr. Jan Deijman (1619–1666). Much of the canvas was destroyed in a fire in 1723 and the painting was subsequently recut to its present dimensions, though a preparatory sketch shows the full group.
The painting shows Dr. Deijman performing a brain dissection on the cadaver of an executed criminal, the Flemish tailor Joris "Black Jack" Fonteijn (1633/34–1656), an habitual offender who had robbed a textile store with a knife resulting in his execution by hanging. Dr. Deijman's assistant, the surgeon Gijsbert Calkoen (1621–1664), is seen on the left, holding the top of the dead man's skull.
The perspective of the corpse is depicted with exaggerated foreshortening to give the viewer a sense of standing in front of the dissection table, similar to the foreshortening in Mantegna's Lamentation of Christ, which Rembrandt would have been familiar with through prints. | [
"Amsterdam",
"Mantegna",
"Rembrandt",
"foreshortening",
"Amsterdam Museum",
"Lamentation of Christ"
] |
|
16664_T | The Anatomy Lesson of Dr. Deijman | Focus on The Anatomy Lesson of Dr. Deijman and explore the Joris Fonteijn. | Joris Fonteijn (1633 / 1634-1656), nicknamed “Black Jan” (Zwarte Jan), was originally from Diest in Flanders. Trained as a tailor, he served three and a half years with the Dutch East India Company. After his return to Diest, in October 1653, he squandered the maternal inheritance and became a delinquent. At the end of 1655, he was caught in the act of a burglary at the Nieuwendijk in Amsterdam. He was sentenced to hang on January 27, 1656 and executed two days later. The firearm he used during the burglary is displayed above his head, "for the edification of others". Subsequently, his body was made available to surgeons for three days for their training, and he was buried on February 2 at the Zuiderkerkhof. | [
"Amsterdam"
] |
|
16664_NT | The Anatomy Lesson of Dr. Deijman | Focus on this artwork and explore the Joris Fonteijn. | Joris Fonteijn (1633 / 1634-1656), nicknamed “Black Jan” (Zwarte Jan), was originally from Diest in Flanders. Trained as a tailor, he served three and a half years with the Dutch East India Company. After his return to Diest, in October 1653, he squandered the maternal inheritance and became a delinquent. At the end of 1655, he was caught in the act of a burglary at the Nieuwendijk in Amsterdam. He was sentenced to hang on January 27, 1656 and executed two days later. The firearm he used during the burglary is displayed above his head, "for the edification of others". Subsequently, his body was made available to surgeons for three days for their training, and he was buried on February 2 at the Zuiderkerkhof. | [
"Amsterdam"
] |
|
16665_T | Transparent Horizon | Focus on Transparent Horizon and explain the abstract. | Transparent Horizon is a 1975 black Cor-ten steel sculpture by Louise Nevelson, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The artwork was among the first funded by MIT's "Percent-For-Art" program, which allocates $500,000 for art commissions for new architectural renovations on campus. The sculpture is an amalgam of two of Nevelson's previous works, Tropical Tree IV and Black Flower Series IV. The sculpture has been the target of vandalism. | [
"MIT",
"Massachusetts Institute of Technology",
"Louise Nevelson",
"vandalism",
"Cor-ten steel",
"Cambridge, Massachusetts"
] |
|
16665_NT | Transparent Horizon | Focus on this artwork and explain the abstract. | Transparent Horizon is a 1975 black Cor-ten steel sculpture by Louise Nevelson, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The artwork was among the first funded by MIT's "Percent-For-Art" program, which allocates $500,000 for art commissions for new architectural renovations on campus. The sculpture is an amalgam of two of Nevelson's previous works, Tropical Tree IV and Black Flower Series IV. The sculpture has been the target of vandalism. | [
"MIT",
"Massachusetts Institute of Technology",
"Louise Nevelson",
"vandalism",
"Cor-ten steel",
"Cambridge, Massachusetts"
] |
|
16666_T | The Death of Procris | Explore the abstract of this artwork, The Death of Procris. | The Death of Procris, A Satyr mourning over a Nymph or simply A Mythological Subject are names given to an unsigned, undated panel painting in the National Gallery in London, United Kingdom, securely attributed to Piero di Cosimo (who never signed his works). Its date is uncertain, and its subject has been a matter of dispute. The name The Death of Procris (Italian: Morte di Procri) has been used since the 19th century, and is supposed to have been inspired by Ovid's tale of the death of Procris at the hands of her husband Cephalus, in Metamorphoses VII. The National Gallery has rejected this title since at least Cecil Gould's catalogue of 1951, since when it has preferred to describe the subject as "A Mythological Subject" or "A Satyr mourning over a Nymph".Despite the uncertainty surrounding the subject matter, the painting, which shows a satyr mourning over the body of a young woman, has been one of the most popular works by Piero di Cosimo. Erwin Panofsky was mesmerized by the "strange lure emanating from the picture", and other commentators have admired its "hazy atmosphere of a waking dream". | [
"Ovid",
"Cephalus",
"panel painting",
"Cecil Gould",
"Italian",
"Erwin Panofsky",
"Piero di Cosimo",
"Procris",
"National Gallery",
"London",
"Metamorphoses"
] |
|
16666_NT | The Death of Procris | Explore the abstract of this artwork. | The Death of Procris, A Satyr mourning over a Nymph or simply A Mythological Subject are names given to an unsigned, undated panel painting in the National Gallery in London, United Kingdom, securely attributed to Piero di Cosimo (who never signed his works). Its date is uncertain, and its subject has been a matter of dispute. The name The Death of Procris (Italian: Morte di Procri) has been used since the 19th century, and is supposed to have been inspired by Ovid's tale of the death of Procris at the hands of her husband Cephalus, in Metamorphoses VII. The National Gallery has rejected this title since at least Cecil Gould's catalogue of 1951, since when it has preferred to describe the subject as "A Mythological Subject" or "A Satyr mourning over a Nymph".Despite the uncertainty surrounding the subject matter, the painting, which shows a satyr mourning over the body of a young woman, has been one of the most popular works by Piero di Cosimo. Erwin Panofsky was mesmerized by the "strange lure emanating from the picture", and other commentators have admired its "hazy atmosphere of a waking dream". | [
"Ovid",
"Cephalus",
"panel painting",
"Cecil Gould",
"Italian",
"Erwin Panofsky",
"Piero di Cosimo",
"Procris",
"National Gallery",
"London",
"Metamorphoses"
] |
|
16667_T | The Death of Procris | Focus on The Death of Procris and discuss the A lesson for the newlyweds. | Piero's interest in the story of Procris might have been occasioned by one of the first Italian plays based on a mythological subject, Niccolò da Correggio's Cefalo, which had its premiere at a wedding feast in the Castello Estense (21 January 1487) and was printed in Venice in 1507. The story is supposed to have been adapted from Plautus rather than Ovid's Metamorphoses and, in contrast to earlier treatments of the story, it ends happily. If so, the painting should be read as a warning to the newlyweds against the dangers of jealousy which brought about the death of Procris.The association with the theme of marriage is reinforced by the painting's unusual dimensions which suggest it was intended for the front of a cassone, or bridal chest. Gould suggests that although it has often been described as a cassone front, as most Florentine paintings of similar dimensions are, it is possible that it served a different purpose, and may have been designed to be set in wainscoting. Fermor also finds it plausible that the painting hung in the marital chamber.The upper part of the painting bears the artist's fingerprints. On the back of the panel are a card and a seal with the stemma of the Guicciardini (which may have been a later addition). There is also a drawing interpreted as the frame of a pilaster. | [
"pilaster",
"Ovid",
"wainscoting",
"cassone",
"Niccolò da Correggio",
"Italian",
"Castello Estense",
"Procris",
"Venice",
"Guicciardini",
"Plautus",
"Metamorphoses"
] |
|
16667_NT | The Death of Procris | Focus on this artwork and discuss the A lesson for the newlyweds. | Piero's interest in the story of Procris might have been occasioned by one of the first Italian plays based on a mythological subject, Niccolò da Correggio's Cefalo, which had its premiere at a wedding feast in the Castello Estense (21 January 1487) and was printed in Venice in 1507. The story is supposed to have been adapted from Plautus rather than Ovid's Metamorphoses and, in contrast to earlier treatments of the story, it ends happily. If so, the painting should be read as a warning to the newlyweds against the dangers of jealousy which brought about the death of Procris.The association with the theme of marriage is reinforced by the painting's unusual dimensions which suggest it was intended for the front of a cassone, or bridal chest. Gould suggests that although it has often been described as a cassone front, as most Florentine paintings of similar dimensions are, it is possible that it served a different purpose, and may have been designed to be set in wainscoting. Fermor also finds it plausible that the painting hung in the marital chamber.The upper part of the painting bears the artist's fingerprints. On the back of the panel are a card and a seal with the stemma of the Guicciardini (which may have been a later addition). There is also a drawing interpreted as the frame of a pilaster. | [
"pilaster",
"Ovid",
"wainscoting",
"cassone",
"Niccolò da Correggio",
"Italian",
"Castello Estense",
"Procris",
"Venice",
"Guicciardini",
"Plautus",
"Metamorphoses"
] |
|
16668_T | The Death of Procris | How does The Death of Procris elucidate its Alchemical symbolism? | Considering the alchemist background of Cosimo Rosselli (the painter's teacher and father-in-law), it has been suggested that the painting "can be explained in terms of the pictorial language of alchemy". According to this conceit, the dog (whose form is visually echoed by three other dogs in the background) represents none other than Hermes Trismegistos and a tree shown growing over Procris's breast symbolises the arbor philosophica. The red-and-gold veil of the victim is seen as symbolic of the "red-hot" philosopher's stone, and the entire composition allegedly represents the alchemist's longed-for victory over death. | [
"philosopher's stone",
"victory over death",
"Hermes Trismegistos",
"Procris",
"alchemy",
"arbor philosophica",
"Cosimo Rosselli"
] |
|
16668_NT | The Death of Procris | How does this artwork elucidate its Alchemical symbolism? | Considering the alchemist background of Cosimo Rosselli (the painter's teacher and father-in-law), it has been suggested that the painting "can be explained in terms of the pictorial language of alchemy". According to this conceit, the dog (whose form is visually echoed by three other dogs in the background) represents none other than Hermes Trismegistos and a tree shown growing over Procris's breast symbolises the arbor philosophica. The red-and-gold veil of the victim is seen as symbolic of the "red-hot" philosopher's stone, and the entire composition allegedly represents the alchemist's longed-for victory over death. | [
"philosopher's stone",
"victory over death",
"Hermes Trismegistos",
"Procris",
"alchemy",
"arbor philosophica",
"Cosimo Rosselli"
] |
|
16669_T | The Death of Procris | Focus on The Death of Procris and analyze the Inconsistencies. | The subject matter lends itself to various levels of interpretation, prompting Dennis Geronimus to comment on some "mounting inconsistencies" of the painting with the Procris myth, such as the absence of her husband, the deadly spear and the unusual location of her wounds. Most conspicuously, the woman is mourned by a faun rather than her husband. The creature is absent from Ovid's story but is featured in Correggio's play where it acts "as the fatal meddler".Another controversial figure is the dog looking at the scene. It is tempting to interpret it as Laelaps, the transparent symbol of Procris's fidelity to her jealous husband. By Ovid's account, Laelaps and the Teumessian fox had been turned into stone earlier in the story, so the identity of the dog remains problematic. The river in the distance may be one of the three rivers of the Underworld. | [
"Teumessian fox",
"Ovid",
"spear",
"Laelaps",
"faun",
"Procris"
] |
|
16669_NT | The Death of Procris | Focus on this artwork and analyze the Inconsistencies. | The subject matter lends itself to various levels of interpretation, prompting Dennis Geronimus to comment on some "mounting inconsistencies" of the painting with the Procris myth, such as the absence of her husband, the deadly spear and the unusual location of her wounds. Most conspicuously, the woman is mourned by a faun rather than her husband. The creature is absent from Ovid's story but is featured in Correggio's play where it acts "as the fatal meddler".Another controversial figure is the dog looking at the scene. It is tempting to interpret it as Laelaps, the transparent symbol of Procris's fidelity to her jealous husband. By Ovid's account, Laelaps and the Teumessian fox had been turned into stone earlier in the story, so the identity of the dog remains problematic. The river in the distance may be one of the three rivers of the Underworld. | [
"Teumessian fox",
"Ovid",
"spear",
"Laelaps",
"faun",
"Procris"
] |
|
16670_T | Annunciation (Artemisia Gentileschi) | In Annunciation (Artemisia Gentileschi), how is the abstract discussed? | Annunciation is a painting by the Italian artist Artemisia Gentileschi. It is signed and dated 1630. | [
"Artemisia Gentileschi",
"Gentileschi"
] |
|
16670_NT | Annunciation (Artemisia Gentileschi) | In this artwork, how is the abstract discussed? | Annunciation is a painting by the Italian artist Artemisia Gentileschi. It is signed and dated 1630. | [
"Artemisia Gentileschi",
"Gentileschi"
] |
|
16671_T | Annunciation (Artemisia Gentileschi) | Focus on Annunciation (Artemisia Gentileschi) and explore the Description. | Two brightly-illuminated figures are portrayed in a dark room. The women on the right is standing, bowing slightly with her right hand to her heart. The angelic figure on the left, clad in sumptuous saffron robes, kneels with a lily held in the right hand, while pointing upwards with the left. Light pours from a shaft above the figure, with winged cherubic heads circling. A small piece of paper on the ground to the extreme right of the painting shows the artist's signature and date. The image portrays the moment in the Gospels when the angel Gabriel announces to Mary that she is to be the mother of God. | [
"angel Gabriel"
] |
|
16671_NT | Annunciation (Artemisia Gentileschi) | Focus on this artwork and explore the Description. | Two brightly-illuminated figures are portrayed in a dark room. The women on the right is standing, bowing slightly with her right hand to her heart. The angelic figure on the left, clad in sumptuous saffron robes, kneels with a lily held in the right hand, while pointing upwards with the left. Light pours from a shaft above the figure, with winged cherubic heads circling. A small piece of paper on the ground to the extreme right of the painting shows the artist's signature and date. The image portrays the moment in the Gospels when the angel Gabriel announces to Mary that she is to be the mother of God. | [
"angel Gabriel"
] |
|
16672_T | Annunciation (Artemisia Gentileschi) | Focus on Annunciation (Artemisia Gentileschi) and explain the Provenance. | The picture was completed early in the artist's time in Naples. It has been identified as an altarpiece, but the church for which it was commissioned has not been identified. It was first documented in the collection of Cavaliere Francesco Saverio di Rovette, who sold it to the present owners in 1815. | [
"Naples"
] |
|
16672_NT | Annunciation (Artemisia Gentileschi) | Focus on this artwork and explain the Provenance. | The picture was completed early in the artist's time in Naples. It has been identified as an altarpiece, but the church for which it was commissioned has not been identified. It was first documented in the collection of Cavaliere Francesco Saverio di Rovette, who sold it to the present owners in 1815. | [
"Naples"
] |
|
16673_T | Annunciation (Artemisia Gentileschi) | Explore the Condition of this artwork, Annunciation (Artemisia Gentileschi). | The painting has been described as having severe abrasion and a loss of much of the half-tones and a deepening of the dark-tones, leading to exaggerated contrast. | [] |
|
16673_NT | Annunciation (Artemisia Gentileschi) | Explore the Condition of this artwork. | The painting has been described as having severe abrasion and a loss of much of the half-tones and a deepening of the dark-tones, leading to exaggerated contrast. | [] |
|
16674_T | Saint John the Baptist (El Greco) | Focus on Saint John the Baptist (El Greco) and discuss the abstract. | Saint John the Baptist is an oil on canvas painting executed between 1597 and 1607 by the Greek artist El Greco whilst living in Spain. It is in the collection of the Legion of Honor museum, a component part of the Fine Arts Museums of San Francisco.The painting depicts a young Saint John, dressed in animal skins, holding a long staff with a cross-shaped top. Beside him sleeps a lamb on a rock, representing the "Agnus Dei" (Lamb of God i.e. Jesus Christ), whose coming he prophesied. The work is autographed in cursive Greek script on a rock to his left. The clouds about his head resemble a halo. In the distance can be made out the monastery of El Escorial.
The work was once held by the Convento de San José in Malagón, Ciudad Real before passing via several private collections to the M. H. de Young Memorial Museum, part of the San Francisco Museum of Fine Arts, in 1946. The Young collection was transferred in 1972 to the Legion of Honor.Another version of the painting (see left), differing in that some of the nearby rocks and distant background are absent, exists in the collection of the Museu de Belles Arts de València, Valencia, Spain. | [
"M. H. de Young Memorial Museum",
"El Greco",
"Another version of the painting",
"El Escorial",
"Valencia",
"Fine Arts Museums of San Francisco",
"Saint John the Baptist",
"Malagón",
"left",
"Museu de Belles Arts de València",
"Legion of Honor museum"
] |
|
16674_NT | Saint John the Baptist (El Greco) | Focus on this artwork and discuss the abstract. | Saint John the Baptist is an oil on canvas painting executed between 1597 and 1607 by the Greek artist El Greco whilst living in Spain. It is in the collection of the Legion of Honor museum, a component part of the Fine Arts Museums of San Francisco.The painting depicts a young Saint John, dressed in animal skins, holding a long staff with a cross-shaped top. Beside him sleeps a lamb on a rock, representing the "Agnus Dei" (Lamb of God i.e. Jesus Christ), whose coming he prophesied. The work is autographed in cursive Greek script on a rock to his left. The clouds about his head resemble a halo. In the distance can be made out the monastery of El Escorial.
The work was once held by the Convento de San José in Malagón, Ciudad Real before passing via several private collections to the M. H. de Young Memorial Museum, part of the San Francisco Museum of Fine Arts, in 1946. The Young collection was transferred in 1972 to the Legion of Honor.Another version of the painting (see left), differing in that some of the nearby rocks and distant background are absent, exists in the collection of the Museu de Belles Arts de València, Valencia, Spain. | [
"M. H. de Young Memorial Museum",
"El Greco",
"Another version of the painting",
"El Escorial",
"Valencia",
"Fine Arts Museums of San Francisco",
"Saint John the Baptist",
"Malagón",
"left",
"Museu de Belles Arts de València",
"Legion of Honor museum"
] |
|
16675_T | The Entombment of Christ (El Greco) | How does The Entombment of Christ (El Greco) elucidate its Analysis? | It belongs to the Roman period of El Greco. The scene takes place in a cave, where the figures are silhouetted against a dark background and craggy rocks. A character back introduces the public to the composition, a mannerist style. the strong influence of Michelangelo is seen in the face of Christ to the apostles.
El Greco manages to convey the feelings of sadness and desolation of the holy women. His ability as a portraitist is demonstrated by playing with sienna and blue hues. | [
"Michelangelo",
"mannerist",
"El Greco"
] |
|
16675_NT | The Entombment of Christ (El Greco) | How does this artwork elucidate its Analysis? | It belongs to the Roman period of El Greco. The scene takes place in a cave, where the figures are silhouetted against a dark background and craggy rocks. A character back introduces the public to the composition, a mannerist style. the strong influence of Michelangelo is seen in the face of Christ to the apostles.
El Greco manages to convey the feelings of sadness and desolation of the holy women. His ability as a portraitist is demonstrated by playing with sienna and blue hues. | [
"Michelangelo",
"mannerist",
"El Greco"
] |
|
16676_T | The Preacher Eleazar Swalmius | Focus on The Preacher Eleazar Swalmius and analyze the abstract. | The Preacher Eleazar Swalmius is a 1637 oil-on-canvas painting by the Dutch artist Rembrandt. It is currently owned by the Royal Museum of Fine Arts in Antwerp. The painting has been certified a real Rembrandt. The painting was listed in 1727 in the catalog of the Duke of Orléans collection, as a portrait of an Amsterdam mayor by Rembrandt. It remained in the noble family's possession until 1792, when Duke Louis-Philippe-Joseph sold the entire collection to finance his political career and pay off debts. The painting passed through several English collections into the hands of the Bourgeois brothers, art dealers from Cologne, who sold the painting as an original Rembrandt to the museum in 1886. The painting was stored away for a long time due to doubts cast over its authenticity.
In the late 2000s, after works of restoration were conducted on the painting, scholars recognized it as an original Rembrandt. | [
"Royal Museum of Fine Arts",
"canvas",
"Antwerp",
"Cologne",
"Rembrandt",
"Duke of Orléans",
"Eleazar Swalmius"
] |
|
16676_NT | The Preacher Eleazar Swalmius | Focus on this artwork and analyze the abstract. | The Preacher Eleazar Swalmius is a 1637 oil-on-canvas painting by the Dutch artist Rembrandt. It is currently owned by the Royal Museum of Fine Arts in Antwerp. The painting has been certified a real Rembrandt. The painting was listed in 1727 in the catalog of the Duke of Orléans collection, as a portrait of an Amsterdam mayor by Rembrandt. It remained in the noble family's possession until 1792, when Duke Louis-Philippe-Joseph sold the entire collection to finance his political career and pay off debts. The painting passed through several English collections into the hands of the Bourgeois brothers, art dealers from Cologne, who sold the painting as an original Rembrandt to the museum in 1886. The painting was stored away for a long time due to doubts cast over its authenticity.
In the late 2000s, after works of restoration were conducted on the painting, scholars recognized it as an original Rembrandt. | [
"Royal Museum of Fine Arts",
"canvas",
"Antwerp",
"Cologne",
"Rembrandt",
"Duke of Orléans",
"Eleazar Swalmius"
] |
|
16677_T | The Preacher Eleazar Swalmius | In The Preacher Eleazar Swalmius, how is the Subject matter discussed? | The painting has long been thought to be a portrait of an Amsterdam mayor. It was listed thusly in the collection of the Duke of Orléans at the Palais Royal of Paris in 1727.However, the painting depicts the preacher Eleazar Swalmius, who was born in Rhoon, but operated in Amsterdam.
Rembrandt painted this portrait in 1637, when the pastor was about 55 years old. Swalmius was born in Rhoon to Hendrick van de Swalme, or Henricus Swalmius. Hendrick van de Swalme's family was probably originally from Flanders. His father spent time in England before becoming a preacher in the late 16th century. Like his father, Eleazar became a preacher too (Counter-Remostrant).Swalmius was active as a pastor in Poortugaal and Hoogvliet near Rotterdam since 1605 and in Schiedam between 1612 and 1622. In 1622 he settled in Amsterdam, where he would live up to his death, and be buried in the Oude Kerk in 1652. The Van der Swalme family must have known Rembrandt well. Carel, a brother of Eleazer and "dike count" (dijkgraaf) of Oranjepolder, for example, witnessed the drawing up of the will of Rembrandt van Rijn and Saskia van Uylenburgh. | [
"Counter-Remostrant",
"Saskia van Uylenburgh",
"Rhoon",
"Rembrandt",
"Duke of Orléans",
"dijkgraaf",
"Eleazar Swalmius"
] |
|
16677_NT | The Preacher Eleazar Swalmius | In this artwork, how is the Subject matter discussed? | The painting has long been thought to be a portrait of an Amsterdam mayor. It was listed thusly in the collection of the Duke of Orléans at the Palais Royal of Paris in 1727.However, the painting depicts the preacher Eleazar Swalmius, who was born in Rhoon, but operated in Amsterdam.
Rembrandt painted this portrait in 1637, when the pastor was about 55 years old. Swalmius was born in Rhoon to Hendrick van de Swalme, or Henricus Swalmius. Hendrick van de Swalme's family was probably originally from Flanders. His father spent time in England before becoming a preacher in the late 16th century. Like his father, Eleazar became a preacher too (Counter-Remostrant).Swalmius was active as a pastor in Poortugaal and Hoogvliet near Rotterdam since 1605 and in Schiedam between 1612 and 1622. In 1622 he settled in Amsterdam, where he would live up to his death, and be buried in the Oude Kerk in 1652. The Van der Swalme family must have known Rembrandt well. Carel, a brother of Eleazer and "dike count" (dijkgraaf) of Oranjepolder, for example, witnessed the drawing up of the will of Rembrandt van Rijn and Saskia van Uylenburgh. | [
"Counter-Remostrant",
"Saskia van Uylenburgh",
"Rhoon",
"Rembrandt",
"Duke of Orléans",
"dijkgraaf",
"Eleazar Swalmius"
] |
|
16678_T | The Preacher Eleazar Swalmius | Focus on The Preacher Eleazar Swalmius and explore the Composition. | In the dim brown background, with only a few, barely visible books on a table, the preacher seems to take up an imposing but nonostentatious volume. Rembrandt depicted the Amsterdam preacher almost life-size, in an extremely sober way. He sits relaxed on a low wooden armchair. He was painted three-quarter view. Swalmius doesn't look at the viewer penetratingly. The character's appearance gives the painting a relaxed ambience of confidentiality. His eyes are kind, his nose rubicund. Rather than showing his wisdom, his long white beard enhances the friendliness of his appearance, especially to the modern viewer. There was probably a relationship between the painter and the sitter. As mentioned, Rembrandt knew his client and his family personally. | [
"modern viewer",
"Rembrandt",
"wisdom"
] |
|
16678_NT | The Preacher Eleazar Swalmius | Focus on this artwork and explore the Composition. | In the dim brown background, with only a few, barely visible books on a table, the preacher seems to take up an imposing but nonostentatious volume. Rembrandt depicted the Amsterdam preacher almost life-size, in an extremely sober way. He sits relaxed on a low wooden armchair. He was painted three-quarter view. Swalmius doesn't look at the viewer penetratingly. The character's appearance gives the painting a relaxed ambience of confidentiality. His eyes are kind, his nose rubicund. Rather than showing his wisdom, his long white beard enhances the friendliness of his appearance, especially to the modern viewer. There was probably a relationship between the painter and the sitter. As mentioned, Rembrandt knew his client and his family personally. | [
"modern viewer",
"Rembrandt",
"wisdom"
] |
|
16679_T | The Preacher Eleazar Swalmius | Focus on The Preacher Eleazar Swalmius and explain the Details. | The painting is signed Rembrandt. f 1637 in the recto's top right corner. The f stands for fecit. As early as 1969, Gerson wrote that the signature did not seem original. Because the painting also seemed "too tame" (tame, not expressive enough) to him, he attributed the work to Rembrandt's pupil Govert Flinck. Curator Jeroen Giltaij wrote that indeed little of Rembrandt's strength was visible in the painting, and that the beard was rather sketchy. However, Giltaij could not say whether it was Flinck who made the work. Upon restoration, the thick yellow layer of varnish turned out to be the main culprit. This layer prevented spectators from appreciating the nuances in the preacher's pink skin tones and black clothes. After the restoration, the Royal Museum of Fine Arts Antwerp invited Rembrandt expert Ernst van de Wetering to study and assess the painting. He was of the opinion that, contrary to what Gerson originally claimed, the painting is a real Rembrandt. This is the accepted conclusion at the moment. Due to doubts over its authenticity, the work was in storage for a long time. After confirmation by Van de Wetering, the KMSKA decided that the work was to be given a permanent spot in the museum's collection upon the reopening of the former. | [
"Royal Museum of Fine Arts",
"Govert Flinck",
"Royal Museum of Fine Arts Antwerp",
"Antwerp",
"Rembrandt",
"Ernst van de Wetering"
] |
|
16679_NT | The Preacher Eleazar Swalmius | Focus on this artwork and explain the Details. | The painting is signed Rembrandt. f 1637 in the recto's top right corner. The f stands for fecit. As early as 1969, Gerson wrote that the signature did not seem original. Because the painting also seemed "too tame" (tame, not expressive enough) to him, he attributed the work to Rembrandt's pupil Govert Flinck. Curator Jeroen Giltaij wrote that indeed little of Rembrandt's strength was visible in the painting, and that the beard was rather sketchy. However, Giltaij could not say whether it was Flinck who made the work. Upon restoration, the thick yellow layer of varnish turned out to be the main culprit. This layer prevented spectators from appreciating the nuances in the preacher's pink skin tones and black clothes. After the restoration, the Royal Museum of Fine Arts Antwerp invited Rembrandt expert Ernst van de Wetering to study and assess the painting. He was of the opinion that, contrary to what Gerson originally claimed, the painting is a real Rembrandt. This is the accepted conclusion at the moment. Due to doubts over its authenticity, the work was in storage for a long time. After confirmation by Van de Wetering, the KMSKA decided that the work was to be given a permanent spot in the museum's collection upon the reopening of the former. | [
"Royal Museum of Fine Arts",
"Govert Flinck",
"Royal Museum of Fine Arts Antwerp",
"Antwerp",
"Rembrandt",
"Ernst van de Wetering"
] |
|
16680_T | Winter Landscape near Haarlem | Explore the abstract of this artwork, Winter Landscape near Haarlem. | Winter Landscape near Haarlem (c. 1670s) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael.
It is an example of Dutch Golden Age painting and is now in the collection of the Städel.
This painting was documented by Hofstede de Groot in 1911, who wrote; "992. A WINTER LANDSCAPE. A snow-bound plain with
trees to right and left. In the centre a road leads to the distance; away to the right is a cottage. In the centre foreground stands a solitary lamp-post. To the left of this are two travellers with a dog. Signed in full, according to the Sedelmeyer sale-catalogue, but the Frankfort catalogue does not mention a signature; canvas, 14 1/2 inches by
12 1/2 inches. Exhibited at Vienna, 1873, No. 165.
Sales. C. Sedelmeyer, Vienna, December 20, 1872, No. 144. Lippmann von Lissingen of Vienna, Paris, March 16, 1876, No. 38; bought for the Institute by the Frankfort Art Union.
In the Stadel'sches Kunstinstitut, Frankfort -on -Main, 1900 catalogue,
No. 272."This scene is very similar to other paintings Ruisdael made in this period and these often served as inspiration for later painters of winter landscape.
The lamp post in the painting has been identified as the invention of Jan van der Heyden which is the reason the painting can be dated to after 1670. Such lamp posts appear in other Ruisdael paintings. | [
"Hofstede de Groot",
"Jacob van Ruisdael",
"Dutch",
"oil",
"Städel",
"Dutch Golden Age painting",
"Jan van der Heyden"
] |
|
16680_NT | Winter Landscape near Haarlem | Explore the abstract of this artwork. | Winter Landscape near Haarlem (c. 1670s) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael.
It is an example of Dutch Golden Age painting and is now in the collection of the Städel.
This painting was documented by Hofstede de Groot in 1911, who wrote; "992. A WINTER LANDSCAPE. A snow-bound plain with
trees to right and left. In the centre a road leads to the distance; away to the right is a cottage. In the centre foreground stands a solitary lamp-post. To the left of this are two travellers with a dog. Signed in full, according to the Sedelmeyer sale-catalogue, but the Frankfort catalogue does not mention a signature; canvas, 14 1/2 inches by
12 1/2 inches. Exhibited at Vienna, 1873, No. 165.
Sales. C. Sedelmeyer, Vienna, December 20, 1872, No. 144. Lippmann von Lissingen of Vienna, Paris, March 16, 1876, No. 38; bought for the Institute by the Frankfort Art Union.
In the Stadel'sches Kunstinstitut, Frankfort -on -Main, 1900 catalogue,
No. 272."This scene is very similar to other paintings Ruisdael made in this period and these often served as inspiration for later painters of winter landscape.
The lamp post in the painting has been identified as the invention of Jan van der Heyden which is the reason the painting can be dated to after 1670. Such lamp posts appear in other Ruisdael paintings. | [
"Hofstede de Groot",
"Jacob van Ruisdael",
"Dutch",
"oil",
"Städel",
"Dutch Golden Age painting",
"Jan van der Heyden"
] |
|
16681_T | Collector, New South Wales | Focus on Collector, New South Wales and discuss the abstract. | Collector is a small village on the Federal Highway in New South Wales, Australia halfway between Goulburn and the Australian Capital Territory. It is seven kilometres north of Lake George. The name is also applied to the surrounding area, for postal and statistical purposes. At the 2021 census, Collector and the surrounding district had a population of 376 people. | [
"Australia",
"Goulburn",
"Collector",
"Lake George",
"Federal Highway",
"Australian Capital Territory",
"New South Wales"
] |
|
16681_NT | Collector, New South Wales | Focus on this artwork and discuss the abstract. | Collector is a small village on the Federal Highway in New South Wales, Australia halfway between Goulburn and the Australian Capital Territory. It is seven kilometres north of Lake George. The name is also applied to the surrounding area, for postal and statistical purposes. At the 2021 census, Collector and the surrounding district had a population of 376 people. | [
"Australia",
"Goulburn",
"Collector",
"Lake George",
"Federal Highway",
"Australian Capital Territory",
"New South Wales"
] |
|
16682_T | Collector, New South Wales | How does Collector, New South Wales elucidate its History? | The area was first settled by Europeans in 1829 when Terence Aubrey Murray was granted an area of land in the area in 1829, originally called Old Collector. Murray acquired further land in the area and renamed his property Winderradeen where he built a 12-room house on the land in 1837. At about the same time he also acquired the property of Yarralumla on the Limestone Plains, now Government House. A post office opened at Collector in 1848. The village reportedly is named after the Aboriginal name for the region, colegdar. The town was bypassed in June 1988 as part of upgrade works on the Federal Highway, including the construction of a bridge across the Collector Creek floodplain providing all weather access to Canberra. The village has struggled to remain viable, once a convenient stopover for travellers between Sydney and Canberra most of the businesses in town had relied on the passing trade.
The Bushranger Hotel in Collector was the site of a shooting of a Constable Samuel Nelson on 26 Jan 1865, by John Dunn, a member of Ben Hall's gang. A memorial was placed to mark the site of Nelson's grave a century later on 26 January 1965. | [
"Yarralumla",
"European",
"Ben Hall's gang",
"Terence Aubrey Murray",
"Collector",
"Federal Highway",
"Sydney",
"Bushranger Hotel",
"John Dunn",
"Limestone Plains",
"Canberra"
] |
|
16682_NT | Collector, New South Wales | How does this artwork elucidate its History? | The area was first settled by Europeans in 1829 when Terence Aubrey Murray was granted an area of land in the area in 1829, originally called Old Collector. Murray acquired further land in the area and renamed his property Winderradeen where he built a 12-room house on the land in 1837. At about the same time he also acquired the property of Yarralumla on the Limestone Plains, now Government House. A post office opened at Collector in 1848. The village reportedly is named after the Aboriginal name for the region, colegdar. The town was bypassed in June 1988 as part of upgrade works on the Federal Highway, including the construction of a bridge across the Collector Creek floodplain providing all weather access to Canberra. The village has struggled to remain viable, once a convenient stopover for travellers between Sydney and Canberra most of the businesses in town had relied on the passing trade.
The Bushranger Hotel in Collector was the site of a shooting of a Constable Samuel Nelson on 26 Jan 1865, by John Dunn, a member of Ben Hall's gang. A memorial was placed to mark the site of Nelson's grave a century later on 26 January 1965. | [
"Yarralumla",
"European",
"Ben Hall's gang",
"Terence Aubrey Murray",
"Collector",
"Federal Highway",
"Sydney",
"Bushranger Hotel",
"John Dunn",
"Limestone Plains",
"Canberra"
] |
|
16683_T | Collector, New South Wales | Focus on Collector, New South Wales and analyze the Heritage listings. | Collector has a number of heritage-listed sites, including:24 Church Street (Federal Highway): Bushranger Hotel | [
"Collector",
"Federal Highway",
"Bushranger Hotel"
] |
|
16683_NT | Collector, New South Wales | Focus on this artwork and analyze the Heritage listings. | Collector has a number of heritage-listed sites, including:24 Church Street (Federal Highway): Bushranger Hotel | [
"Collector",
"Federal Highway",
"Bushranger Hotel"
] |
|
16684_T | Collector, New South Wales | In Collector, New South Wales, how is the Present day discussed? | Collector is situated in the Lake George wine region, and several wineries have been established near the village, including Lerida Estate, Lake George Winery and the award-winning Collector Wines. The Collector Village Pumpkin Festival has been held annually since 2003. This traditional harvest festival offers market stalls, live music and entertainment, local produce as well as vintage car and farming machinery displays. Collector is increasing in popularity as a commuter town due to its proximity to the larger centres of Goulburn and Canberra, with new residents attracted by the country lifestyle and village atmosphere. There is a small public primary school located in the village, with 28 students enrolled in 2007. Collector Public School is a combined Primary school, serving years K-6. The uniform is compulsory and enforced. Collector Public School is 1 of 231 government schools in the Collector area. | [
"Lerida",
"Goulburn",
"Collector",
"Lake George",
"wineries",
"Canberra"
] |
|
16684_NT | Collector, New South Wales | In this artwork, how is the Present day discussed? | Collector is situated in the Lake George wine region, and several wineries have been established near the village, including Lerida Estate, Lake George Winery and the award-winning Collector Wines. The Collector Village Pumpkin Festival has been held annually since 2003. This traditional harvest festival offers market stalls, live music and entertainment, local produce as well as vintage car and farming machinery displays. Collector is increasing in popularity as a commuter town due to its proximity to the larger centres of Goulburn and Canberra, with new residents attracted by the country lifestyle and village atmosphere. There is a small public primary school located in the village, with 28 students enrolled in 2007. Collector Public School is a combined Primary school, serving years K-6. The uniform is compulsory and enforced. Collector Public School is 1 of 231 government schools in the Collector area. | [
"Lerida",
"Goulburn",
"Collector",
"Lake George",
"wineries",
"Canberra"
] |
|
16685_T | Collector, New South Wales | Focus on Collector, New South Wales and explore the Dreamer's Gate. | Collector is also famous for the controversial sculpture Dreamer by Tony Phantastes, built between 1993 and 1997 to commemorate, among other things, his father and son's life. His artistic vision was to create a wonderland to document the history of Australian land-use practices. A Gothic structure of cement and chicken wire, the artist and the Gunning Shire Council are in constant battle regarding the structure since 1999. The plot in which the sculpture stands was for sale and the sculpture itself under demolition orders but still stands as of May 2021. Unfortunately, the piece has started to rust and has become structurally unstable. | [
"Australia",
"Collector",
"Tony Phantastes"
] |
|
16685_NT | Collector, New South Wales | Focus on this artwork and explore the Dreamer's Gate. | Collector is also famous for the controversial sculpture Dreamer by Tony Phantastes, built between 1993 and 1997 to commemorate, among other things, his father and son's life. His artistic vision was to create a wonderland to document the history of Australian land-use practices. A Gothic structure of cement and chicken wire, the artist and the Gunning Shire Council are in constant battle regarding the structure since 1999. The plot in which the sculpture stands was for sale and the sculpture itself under demolition orders but still stands as of May 2021. Unfortunately, the piece has started to rust and has become structurally unstable. | [
"Australia",
"Collector",
"Tony Phantastes"
] |
|
16686_T | The Boucher Nude | Focus on The Boucher Nude and explain the abstract. | The Boucher Nude is a 1957 painting by Australian artist John Brack. The painting is a nude, depicting a woman lying on a sofa. Sasha Grishin, the William Dobell Professor of Art History at the Australian National University claimed that "The Boucher Nude can be justly regarded as one of the great masterpieces in Australian art."The painting is one of a set of nine oil paintings—Brack's first paintings of the nude—first displayed in Melbourne in 1957. The series "subsequently become iconic in Australian art" with many ending up in public collections including Nude in an armchair (1957) purchased by the National Gallery of Victoria and Nude with two chairs (1957) acquired by the Art Gallery of New South Wales, both directly from this initial exhibition.With what has been described as his "characteristic irony", Brack painted his thin dark-haired model—the only one to respond to his advertisement—in "the pose of the more voluptuous Mademoiselle O'Murphy, in François Boucher’s L’Odalisque (c.1745)""[Brack] creates the most un–erotic nude in art history. Brack has radically reinterpreted Boucher’s artistic convention. It is not so much a question of a contrast between a skinny, awkward, black–haired woman with her small, slightly pinched features and Boucher’s plump and sensuous blonde, with her pretty, childish features and rounded proportions; it is more that Brack had engaged his whole repertoire of formal devices deliberately to destroy any trace of sensuousness.
In 2008, the painting was sold for AUD1,500,000. | [
"Art Gallery of New South Wales",
"nude",
"AUD",
"Melbourne",
"National Gallery of Victoria",
"1957",
"Mademoiselle O'Murphy",
"L’Odalisque",
"Sasha Grishin",
"François Boucher",
"Australian National University",
"John Brack"
] |
|
16686_NT | The Boucher Nude | Focus on this artwork and explain the abstract. | The Boucher Nude is a 1957 painting by Australian artist John Brack. The painting is a nude, depicting a woman lying on a sofa. Sasha Grishin, the William Dobell Professor of Art History at the Australian National University claimed that "The Boucher Nude can be justly regarded as one of the great masterpieces in Australian art."The painting is one of a set of nine oil paintings—Brack's first paintings of the nude—first displayed in Melbourne in 1957. The series "subsequently become iconic in Australian art" with many ending up in public collections including Nude in an armchair (1957) purchased by the National Gallery of Victoria and Nude with two chairs (1957) acquired by the Art Gallery of New South Wales, both directly from this initial exhibition.With what has been described as his "characteristic irony", Brack painted his thin dark-haired model—the only one to respond to his advertisement—in "the pose of the more voluptuous Mademoiselle O'Murphy, in François Boucher’s L’Odalisque (c.1745)""[Brack] creates the most un–erotic nude in art history. Brack has radically reinterpreted Boucher’s artistic convention. It is not so much a question of a contrast between a skinny, awkward, black–haired woman with her small, slightly pinched features and Boucher’s plump and sensuous blonde, with her pretty, childish features and rounded proportions; it is more that Brack had engaged his whole repertoire of formal devices deliberately to destroy any trace of sensuousness.
In 2008, the painting was sold for AUD1,500,000. | [
"Art Gallery of New South Wales",
"nude",
"AUD",
"Melbourne",
"National Gallery of Victoria",
"1957",
"Mademoiselle O'Murphy",
"L’Odalisque",
"Sasha Grishin",
"François Boucher",
"Australian National University",
"John Brack"
] |
|
16687_T | Inukshuk (Kanak) | Explore the abstract of this artwork, Inukshuk (Kanak). | Inukshuk is an outdoor inuksuk by Alvin Kanak, installed at Vancouver's English Bay, in British Columbia. It stands 6 metres tall and weighs approximately 31,500 kilograms.
The inuksuk's base has a tablet recording that it was constructed in grey granite, and was commissioned by the government of the Northwest Territories for its pavilion at Expo 86, and later given to the City of Vancouver.An inunnguaq is the basis of the logo of the 2010 Winter Olympics designed by Vancouver artist Elena Rivera MacGregor. Its use in this context has been controversial among the Inuit, and the First Nations within British Columbia. Although the design has been questioned, people believe it pays tribute to Alvin Kanak's 1986 inuksuk at English Bay. Friendship and the welcoming of the world are the meanings of both the English Bay structure and the 2010 Winter Olympics emblem.A plaque near the work reads: "This ancient symbol of the Inuit culture is traditionally used as a landmark and navigational aid and also represents northern hospitality and friendship. Constructed of grey granite by Alvin Kanak of Rankin Inlet, this monument was commissioned by the Government of the Northwest Territories for its Pavilion at EXPO '86 and later given to the city of Vancouver. In 1987 the Inukshuk was moved to this site and sponsored as a gift to the City by Coast Hotels & Resorts through the Vancouver Legacies program." | [
"Rankin Inlet",
"Vancouver",
"Northwest Territories",
"English Bay",
"Expo 86",
"inuksuk",
"First Nations",
"Alvin Kanak",
"British Columbia",
"2010 Winter Olympics"
] |
|
16687_NT | Inukshuk (Kanak) | Explore the abstract of this artwork. | Inukshuk is an outdoor inuksuk by Alvin Kanak, installed at Vancouver's English Bay, in British Columbia. It stands 6 metres tall and weighs approximately 31,500 kilograms.
The inuksuk's base has a tablet recording that it was constructed in grey granite, and was commissioned by the government of the Northwest Territories for its pavilion at Expo 86, and later given to the City of Vancouver.An inunnguaq is the basis of the logo of the 2010 Winter Olympics designed by Vancouver artist Elena Rivera MacGregor. Its use in this context has been controversial among the Inuit, and the First Nations within British Columbia. Although the design has been questioned, people believe it pays tribute to Alvin Kanak's 1986 inuksuk at English Bay. Friendship and the welcoming of the world are the meanings of both the English Bay structure and the 2010 Winter Olympics emblem.A plaque near the work reads: "This ancient symbol of the Inuit culture is traditionally used as a landmark and navigational aid and also represents northern hospitality and friendship. Constructed of grey granite by Alvin Kanak of Rankin Inlet, this monument was commissioned by the Government of the Northwest Territories for its Pavilion at EXPO '86 and later given to the city of Vancouver. In 1987 the Inukshuk was moved to this site and sponsored as a gift to the City by Coast Hotels & Resorts through the Vancouver Legacies program." | [
"Rankin Inlet",
"Vancouver",
"Northwest Territories",
"English Bay",
"Expo 86",
"inuksuk",
"First Nations",
"Alvin Kanak",
"British Columbia",
"2010 Winter Olympics"
] |
|
16688_T | Valley of the Yosemite | Focus on Valley of the Yosemite and discuss the abstract. | Valley of the Yosemite (or Valley of the Yo-Semite) is a painting by the German American painter Albert Bierstadt that was completed in 1864. Initially associated with the Hudson River School, Bierstadt rose to prominence for his paintings of the Rocky Mountains, which established him as one of the best painters of the western American landscape. His later paintings of Yosemite were also received with critical acclaim and public praise. | [
"Rocky Mountains",
"Hudson River School",
"Albert Bierstadt"
] |
|
16688_NT | Valley of the Yosemite | Focus on this artwork and discuss the abstract. | Valley of the Yosemite (or Valley of the Yo-Semite) is a painting by the German American painter Albert Bierstadt that was completed in 1864. Initially associated with the Hudson River School, Bierstadt rose to prominence for his paintings of the Rocky Mountains, which established him as one of the best painters of the western American landscape. His later paintings of Yosemite were also received with critical acclaim and public praise. | [
"Rocky Mountains",
"Hudson River School",
"Albert Bierstadt"
] |
|
16689_T | Valley of the Yosemite | How does Valley of the Yosemite elucidate its Painting? | For his second trip West, in the summer of 1863, Bierstadt went with writer Fitz Hugh Ludlow to the West Coast of the United States. During the trip, Bierstadt spent several weeks doing en plein air studies in Yosemite Valley. Those studies were used as references for his future paintings, including this 1864 Valley of the Yosemite, which was painted in his New York studio. Since this painting was on a smaller scale than his other larger panoramic scenes and it was done on paperboard, it is often thought that it is a sketch for his significantly larger, Looking Down Yosemite Valley, California, which was painted a year later in 1865. Many versions of Valley of the Yosemite were painted by Bierstadt.
Upon viewing Yosemite, Albert Bierstadt immediately wrote to his friend, John Hay, in August 1863, saying he discovered the Garden of Eden in America: Yosemite. With such thoughts of Paradise on his mind, Bierstadt painted an idealistic scene of the American wilderness, which he portrayed as completely untouched by man. Overall, the panoramic scene is idyllic, as a cluster of deer linger peacefully in the center foreground. A painter of the Hudson River School, Bierstadt's style also had aspects of luminism. As seen in this depiction of Yosemite, the setting sun casts a yellow-orange glow over the entire landscape.Perhaps Bierstadt hoped to preserve this paradise through paintings like these, as a few years later, the First transcontinental railroad was built, which introduced tourism to the American west.Bierstadt's paintings, specifically ones with the Yosemite Valley as subject matter, resonated with many Americans as an untouched paradise during a time of unrest, as the American Civil War occurred. Furthermore, upon seeing these Yosemite-themed paintings, it spurred Americans to protect America's natural landscape. With public support, in 1864, President Abraham Lincoln signed a bill protecting Yosemite's natural beauty, preserving it as a park for the public to enjoy. | [
"Looking Down Yosemite Valley, California",
"Garden of Eden",
"Fitz Hugh Ludlow",
"American Civil War",
"John Hay",
"en plein air",
"Abraham Lincoln",
"Hudson River School",
"luminism",
"West Coast of the United States",
"President Abraham Lincoln",
"Albert Bierstadt",
"Yosemite Valley",
"First transcontinental railroad"
] |
|
16689_NT | Valley of the Yosemite | How does this artwork elucidate its Painting? | For his second trip West, in the summer of 1863, Bierstadt went with writer Fitz Hugh Ludlow to the West Coast of the United States. During the trip, Bierstadt spent several weeks doing en plein air studies in Yosemite Valley. Those studies were used as references for his future paintings, including this 1864 Valley of the Yosemite, which was painted in his New York studio. Since this painting was on a smaller scale than his other larger panoramic scenes and it was done on paperboard, it is often thought that it is a sketch for his significantly larger, Looking Down Yosemite Valley, California, which was painted a year later in 1865. Many versions of Valley of the Yosemite were painted by Bierstadt.
Upon viewing Yosemite, Albert Bierstadt immediately wrote to his friend, John Hay, in August 1863, saying he discovered the Garden of Eden in America: Yosemite. With such thoughts of Paradise on his mind, Bierstadt painted an idealistic scene of the American wilderness, which he portrayed as completely untouched by man. Overall, the panoramic scene is idyllic, as a cluster of deer linger peacefully in the center foreground. A painter of the Hudson River School, Bierstadt's style also had aspects of luminism. As seen in this depiction of Yosemite, the setting sun casts a yellow-orange glow over the entire landscape.Perhaps Bierstadt hoped to preserve this paradise through paintings like these, as a few years later, the First transcontinental railroad was built, which introduced tourism to the American west.Bierstadt's paintings, specifically ones with the Yosemite Valley as subject matter, resonated with many Americans as an untouched paradise during a time of unrest, as the American Civil War occurred. Furthermore, upon seeing these Yosemite-themed paintings, it spurred Americans to protect America's natural landscape. With public support, in 1864, President Abraham Lincoln signed a bill protecting Yosemite's natural beauty, preserving it as a park for the public to enjoy. | [
"Looking Down Yosemite Valley, California",
"Garden of Eden",
"Fitz Hugh Ludlow",
"American Civil War",
"John Hay",
"en plein air",
"Abraham Lincoln",
"Hudson River School",
"luminism",
"West Coast of the United States",
"President Abraham Lincoln",
"Albert Bierstadt",
"Yosemite Valley",
"First transcontinental railroad"
] |
|
16690_T | Valley of the Yosemite | Focus on Valley of the Yosemite and analyze the Provenance. | Shortly after its completion, in April 1864, the painting was exhibited at the "Metropolitan Fair, in aid of the United States Sanitary Commission." It sold for $1600, which was the highest price paid for any painting in the sale at that Sanitary Fair. James Lenox bought it for his personal art collection. When construction for his Lenox Library (New York) ended, Lenox had the painting displayed in the art galleries. Years after Lenox's death, the Lenox Foundation decided to merge the Lenox Library's collection with the Tilden Trust and Astor Library to create the New York Public Library.In 1895, the painting belonged to the New York Public Library. However, in April 1943, the New York Public Library auctioned off the painting through Coleman Auction Galleries, and it was bought by Newhouse Galleries. Soon after, A. F. Mondschein (also known as Frederick Mont or Adolf Fritz Mondschein or Frederick Mondschein) of New York acquired the painting. Mondschein was an art dealer and collector. He primarily dealt with Old Masters paintings, which makes his involvement with Bierstadt's Valley of the Yosemite painting unusual.Mondschein then sold it later that year to Maxim Karolik. Karolik's wife, another prominent collector of American art, gifted the painting to the Museum of Fine Arts, Boston on June 12, 1947. | [
"Maxim Karolik",
"James Lenox",
"New York Public Library",
"Lenox Library (New York)",
"Astor Library",
"Sanitary Fair",
"Boston",
"United States Sanitary Commission",
"Metropolitan Fair",
"Museum of Fine Arts, Boston"
] |
|
16690_NT | Valley of the Yosemite | Focus on this artwork and analyze the Provenance. | Shortly after its completion, in April 1864, the painting was exhibited at the "Metropolitan Fair, in aid of the United States Sanitary Commission." It sold for $1600, which was the highest price paid for any painting in the sale at that Sanitary Fair. James Lenox bought it for his personal art collection. When construction for his Lenox Library (New York) ended, Lenox had the painting displayed in the art galleries. Years after Lenox's death, the Lenox Foundation decided to merge the Lenox Library's collection with the Tilden Trust and Astor Library to create the New York Public Library.In 1895, the painting belonged to the New York Public Library. However, in April 1943, the New York Public Library auctioned off the painting through Coleman Auction Galleries, and it was bought by Newhouse Galleries. Soon after, A. F. Mondschein (also known as Frederick Mont or Adolf Fritz Mondschein or Frederick Mondschein) of New York acquired the painting. Mondschein was an art dealer and collector. He primarily dealt with Old Masters paintings, which makes his involvement with Bierstadt's Valley of the Yosemite painting unusual.Mondschein then sold it later that year to Maxim Karolik. Karolik's wife, another prominent collector of American art, gifted the painting to the Museum of Fine Arts, Boston on June 12, 1947. | [
"Maxim Karolik",
"James Lenox",
"New York Public Library",
"Lenox Library (New York)",
"Astor Library",
"Sanitary Fair",
"Boston",
"United States Sanitary Commission",
"Metropolitan Fair",
"Museum of Fine Arts, Boston"
] |
|
16691_T | Unique Forms of Continuity in Space | In Unique Forms of Continuity in Space, how is the History discussed? | The Futurist movement was striving to portray speed and forceful dynamism in their art. Boccioni, though trained as a painter, began sculpting in 1912. He exclaimed that "these days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art." The following year Boccioni completed the sculpture. His goal for the work was to depict a "synthetic continuity" of motion instead of an "analytical discontinuity" that he saw in artists like František Kupka and Marcel Duchamp. In 1912–13 Boccioni created several other sculptures including his 1913 Development of a Bottle in Space. | [
"Development of a Bottle in Space",
"Futurist",
"Marcel Duchamp",
"František Kupka"
] |
|
16691_NT | Unique Forms of Continuity in Space | In this artwork, how is the History discussed? | The Futurist movement was striving to portray speed and forceful dynamism in their art. Boccioni, though trained as a painter, began sculpting in 1912. He exclaimed that "these days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art." The following year Boccioni completed the sculpture. His goal for the work was to depict a "synthetic continuity" of motion instead of an "analytical discontinuity" that he saw in artists like František Kupka and Marcel Duchamp. In 1912–13 Boccioni created several other sculptures including his 1913 Development of a Bottle in Space. | [
"Development of a Bottle in Space",
"Futurist",
"Marcel Duchamp",
"František Kupka"
] |
|
16692_T | Unique Forms of Continuity in Space | Focus on Unique Forms of Continuity in Space and explore the Composition. | Unique Forms of Continuity in Space depicts a human-like figure apparently in motion. The sculpture has an aerodynamic and fluid form. As a pedestal, two blocks at the feet connect the figure to the ground. The figure is also armless and without a discernibly real face. Andrew Graham-Dixon described the work: "Originally inspired by the sight of a football player moving on to a perfectly weighted pass, it is the quintessence of Boccioni’s serious, sensuous, philosophically contemplative art."Though Boccioni apparently reviled traditional sculpture, Unique Forms of Continuity in Space does resemble more realist works. It is reminiscent of the classical Winged Victory of Samothrace, which Filippo Marinetti, founder of Futurism, declared was inferior in beauty to a roaring car. The lack of arms also pays homage to Auguste Rodin's Walking Man. | [
"Winged Victory of Samothrace",
"realist",
"Filippo Marinetti",
"Andrew Graham-Dixon",
"Futurism",
"Auguste Rodin",
"pedestal",
"Walking Man",
"aerodynamic"
] |
|
16692_NT | Unique Forms of Continuity in Space | Focus on this artwork and explore the Composition. | Unique Forms of Continuity in Space depicts a human-like figure apparently in motion. The sculpture has an aerodynamic and fluid form. As a pedestal, two blocks at the feet connect the figure to the ground. The figure is also armless and without a discernibly real face. Andrew Graham-Dixon described the work: "Originally inspired by the sight of a football player moving on to a perfectly weighted pass, it is the quintessence of Boccioni’s serious, sensuous, philosophically contemplative art."Though Boccioni apparently reviled traditional sculpture, Unique Forms of Continuity in Space does resemble more realist works. It is reminiscent of the classical Winged Victory of Samothrace, which Filippo Marinetti, founder of Futurism, declared was inferior in beauty to a roaring car. The lack of arms also pays homage to Auguste Rodin's Walking Man. | [
"Winged Victory of Samothrace",
"realist",
"Filippo Marinetti",
"Andrew Graham-Dixon",
"Futurism",
"Auguste Rodin",
"pedestal",
"Walking Man",
"aerodynamic"
] |
|
16693_T | Unique Forms of Continuity in Space | Focus on Unique Forms of Continuity in Space and explain the Original plaster and casts. | Boccioni's work was in plaster, and was never cast into bronze in his lifetime. His original plaster is displayed at the Museu de Arte Contemporânea in São Paulo. Two bronze casts were made in 1931, one of which is displayed at the Museum of Modern Art in Manhattan. Two more were made in 1949, one of which is displayed at the Metropolitan Museum of Art in New York and other one at the Museum of Twentieth Century in Milan. Two also were made in 1972, one of which is displayed at the Tate Modern in London. Another eight, in 1972, were made not from the plaster original, but from one of the 1949 bronze casts. One bronze cast is in the Kröller-Müller Museum in Otterlo, Netherlands. In 2014, a bronze was donated to the National Gallery of Cosenza. | [
"Milan",
"bronze",
"São Paulo",
"Tate Modern",
"Museum of Twentieth Century",
"New York",
"Museu de Arte Contemporânea",
"Manhattan",
"Cosenza",
"Museum of Modern Art",
"Kröller-Müller Museum",
"Metropolitan Museum of Art"
] |
|
16693_NT | Unique Forms of Continuity in Space | Focus on this artwork and explain the Original plaster and casts. | Boccioni's work was in plaster, and was never cast into bronze in his lifetime. His original plaster is displayed at the Museu de Arte Contemporânea in São Paulo. Two bronze casts were made in 1931, one of which is displayed at the Museum of Modern Art in Manhattan. Two more were made in 1949, one of which is displayed at the Metropolitan Museum of Art in New York and other one at the Museum of Twentieth Century in Milan. Two also were made in 1972, one of which is displayed at the Tate Modern in London. Another eight, in 1972, were made not from the plaster original, but from one of the 1949 bronze casts. One bronze cast is in the Kröller-Müller Museum in Otterlo, Netherlands. In 2014, a bronze was donated to the National Gallery of Cosenza. | [
"Milan",
"bronze",
"São Paulo",
"Tate Modern",
"Museum of Twentieth Century",
"New York",
"Museu de Arte Contemporânea",
"Manhattan",
"Cosenza",
"Museum of Modern Art",
"Kröller-Müller Museum",
"Metropolitan Museum of Art"
] |
|
16694_T | Unique Forms of Continuity in Space | Explore the Influence of this artwork, Unique Forms of Continuity in Space. | In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space (Forme Uniche della Continuità nello Spazio), commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture. | [
"Polyphony Digital",
"Italian Cultural Institute",
"Stefano Fossati",
"Melbourne",
"Futurism",
"Italian",
"sim racing",
"Italian language",
"musical composition",
"laser scanning",
"Carlo Forlivesi",
"Gran Turismo World Series",
"Gran Turismo"
] |
|
16694_NT | Unique Forms of Continuity in Space | Explore the Influence of this artwork. | In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space (Forme Uniche della Continuità nello Spazio), commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture. | [
"Polyphony Digital",
"Italian Cultural Institute",
"Stefano Fossati",
"Melbourne",
"Futurism",
"Italian",
"sim racing",
"Italian language",
"musical composition",
"laser scanning",
"Carlo Forlivesi",
"Gran Turismo World Series",
"Gran Turismo"
] |
|
16695_T | Jimson Weed (painting) | Focus on Jimson Weed (painting) and discuss the abstract. | Jimson Weed is an oil on linen painting by American artist Georgia O'Keeffe from 1936, located in the Indianapolis Museum of Art in Indianapolis, Indiana. It depicts four large blossoms of jimson weed. A similar work by O'Keeffe, Jimson Weed/White Flower No. 1, was sold by the Georgia O'Keeffe Museum at auction to Walmart heiress Alice Walton in 2014 for $44,405,000, more than tripling the previous world auction record for a piece by a female artist. | [
"Walmart",
"Indianapolis",
"linen",
"Alice Walton",
"Indianapolis Museum of Art",
"Georgia O'Keeffe Museum",
"Indiana",
"Georgia O'Keeffe",
"jimson weed"
] |
|
16695_NT | Jimson Weed (painting) | Focus on this artwork and discuss the abstract. | Jimson Weed is an oil on linen painting by American artist Georgia O'Keeffe from 1936, located in the Indianapolis Museum of Art in Indianapolis, Indiana. It depicts four large blossoms of jimson weed. A similar work by O'Keeffe, Jimson Weed/White Flower No. 1, was sold by the Georgia O'Keeffe Museum at auction to Walmart heiress Alice Walton in 2014 for $44,405,000, more than tripling the previous world auction record for a piece by a female artist. | [
"Walmart",
"Indianapolis",
"linen",
"Alice Walton",
"Indianapolis Museum of Art",
"Georgia O'Keeffe Museum",
"Indiana",
"Georgia O'Keeffe",
"jimson weed"
] |
|
16696_T | Jimson Weed (painting) | How does Jimson Weed (painting) elucidate its Description? | O'Keeffe reiterated the pinwheel-shaped flowers' structure in the tight placement of the four blossoms in the painting. Her use of rhythmic light and shade and a simplified palette underscores their fresh, simple beauty. | [] |
|
16696_NT | Jimson Weed (painting) | How does this artwork elucidate its Description? | O'Keeffe reiterated the pinwheel-shaped flowers' structure in the tight placement of the four blossoms in the painting. Her use of rhythmic light and shade and a simplified palette underscores their fresh, simple beauty. | [] |
|
16697_T | Jimson Weed (painting) | Focus on Jimson Weed (painting) and analyze the Historical information. | O'Keeffe was immensely fond of jimson weed, a species of Datura. She ignored its seeds' toxicity, allowing it to flourish around her patio. She paid tribute to the bloom in this painting, originally entitled Miracle Flower. Jimson Weed was commissioned by cosmetics magnate Elizabeth Arden for the new Gymnasium Moderne of her Fifth Avenue Salon in New York City. Placed in the exercise room, the unfurling blossoms were meant to encourage clients in their stretches. Arden paid $10,000 for the largest floral composition O'Keeffe would ever create. | [
"New York City",
"Elizabeth Arden",
"jimson weed",
"Datura",
"Fifth Avenue"
] |
|
16697_NT | Jimson Weed (painting) | Focus on this artwork and analyze the Historical information. | O'Keeffe was immensely fond of jimson weed, a species of Datura. She ignored its seeds' toxicity, allowing it to flourish around her patio. She paid tribute to the bloom in this painting, originally entitled Miracle Flower. Jimson Weed was commissioned by cosmetics magnate Elizabeth Arden for the new Gymnasium Moderne of her Fifth Avenue Salon in New York City. Placed in the exercise room, the unfurling blossoms were meant to encourage clients in their stretches. Arden paid $10,000 for the largest floral composition O'Keeffe would ever create. | [
"New York City",
"Elizabeth Arden",
"jimson weed",
"Datura",
"Fifth Avenue"
] |
|
16698_T | Jimson Weed (painting) | Describe the characteristics of the Acquisition in Jimson Weed (painting)'s Historical information. | The painting was acquired by the Indianapolis Museum of Art in 1997, a gift of Eli Lilly and Company. It is displayed in the Paine American Modernism Gallery. | [
"Indianapolis",
"Indianapolis Museum of Art",
"Modernism",
"Eli Lilly and Company",
"Indiana"
] |
|
16698_NT | Jimson Weed (painting) | Describe the characteristics of the Acquisition in this artwork's Historical information. | The painting was acquired by the Indianapolis Museum of Art in 1997, a gift of Eli Lilly and Company. It is displayed in the Paine American Modernism Gallery. | [
"Indianapolis",
"Indianapolis Museum of Art",
"Modernism",
"Eli Lilly and Company",
"Indiana"
] |
|
16699_T | Napoleon as Mars the Peacemaker | Focus on Napoleon as Mars the Peacemaker and explore the abstract. | Napoleon as Mars the Peacemaker is a colossal heroic nude statue by the Italian artist Antonio Canova, of Napoleon I of France in the guise of the Roman god Mars. He holds a gilded Nike or Victory standing on an orb in his right hand and a staff in his left. It was produced between 1802 and 1806 and stands 3.45 metres to the raised left hand. Once on display in the Louvre in Paris, it was purchased from Louis XVIII in 1816 by the British government, which granted it to the Duke of Wellington. It is now on display in Robert Adam's stairwell at the Duke's London residence, Apsley House. | [
"Napoleon",
"Louis XVIII",
"Duke of Wellington",
"Napoleon I of France",
"gilded",
"Louvre",
"Apsley House",
"Nike",
"Robert Adam",
"orb",
"Mars",
"London",
"Antonio Canova",
"Victory",
"heroic nude"
] |
|
16699_NT | Napoleon as Mars the Peacemaker | Focus on this artwork and explore the abstract. | Napoleon as Mars the Peacemaker is a colossal heroic nude statue by the Italian artist Antonio Canova, of Napoleon I of France in the guise of the Roman god Mars. He holds a gilded Nike or Victory standing on an orb in his right hand and a staff in his left. It was produced between 1802 and 1806 and stands 3.45 metres to the raised left hand. Once on display in the Louvre in Paris, it was purchased from Louis XVIII in 1816 by the British government, which granted it to the Duke of Wellington. It is now on display in Robert Adam's stairwell at the Duke's London residence, Apsley House. | [
"Napoleon",
"Louis XVIII",
"Duke of Wellington",
"Napoleon I of France",
"gilded",
"Louvre",
"Apsley House",
"Nike",
"Robert Adam",
"orb",
"Mars",
"London",
"Antonio Canova",
"Victory",
"heroic nude"
] |
|
16700_T | Napoleon as Mars the Peacemaker | Focus on Napoleon as Mars the Peacemaker and explain the History. | At Napoleon's personal and insistent demand, Canova went to Paris in 1802 to model a bust of him. In 1803, after his return to Rome, he began work on the full-length sculpture; it was completed in 1806.: 93 Its idealised nude physique draws on the iconography of Augustus, and it was always intended for an interior entrance-hall setting rather than as a freestanding piazza sculpture, though some accounts give the centre of the courtyard of the Palazzo del Senato as the original intended site for the sculpture, following plans drawn up by the architect Luigi Canonica. France's ambassador in Rome François Cacault and the director of French museums Vivant Denon both saw the sculpture while it was a work in progress: Cacault wrote in 1803 that it "must become the most perfect work of this century", whilst Denon wrote back to Napoleon in 1806 that it belonged indoors in the Musée Napoléon "among the emperors and in the niche where the Laocoon is, in such a manner that it would be the first object that one sees on entering". In late 1810 the sculpture was transported to France, reaching Paris on 1 January 1811.: 100 When Napoleon saw it there in April 1811 he refused to accept it, calling it "too athletic" and banning the public from seeing it.
By 1814 the sculpture was in the Salle des Hommes Illustres, hidden behind a canvas screen, where it was probably first seen by Wellington. In the era after the battle of Waterloo, Canova, who was still regarded as the best living artist, with his works in great demand from English patrons in particular, supported the return of looted sculptures from the Musée Napoléon to their original collections. The Musée Napoléon reverted to being the Louvre and its looted sculptures such as the Apollo Belvedere were returned to their original collections. The removal of the Napoleon was also mooted, and Canova offered to re-purchase it. It was sold to the British government in 1816 for 66,000 francs (then under £3,000), which the Louvre spent on re-installing its Salle des Antiques. Works by Canova were already being collected by the Duke, and the Prince Regent presented it to him later that year. It was moved to the stairwell in Apsley House in 1817, where the floor under the statue was specially strengthened in order to accommodate the additional weight. It is still on display there. | [
"Napoleon",
"Laocoon",
"Musée Napoléon",
"battle of Waterloo",
"Apollo Belvedere",
"Louvre",
"François Cacault",
"Apsley House",
"Prince Regent",
"Luigi Canonica",
"Augustus",
"Vivant Denon"
] |
|
16700_NT | Napoleon as Mars the Peacemaker | Focus on this artwork and explain the History. | At Napoleon's personal and insistent demand, Canova went to Paris in 1802 to model a bust of him. In 1803, after his return to Rome, he began work on the full-length sculpture; it was completed in 1806.: 93 Its idealised nude physique draws on the iconography of Augustus, and it was always intended for an interior entrance-hall setting rather than as a freestanding piazza sculpture, though some accounts give the centre of the courtyard of the Palazzo del Senato as the original intended site for the sculpture, following plans drawn up by the architect Luigi Canonica. France's ambassador in Rome François Cacault and the director of French museums Vivant Denon both saw the sculpture while it was a work in progress: Cacault wrote in 1803 that it "must become the most perfect work of this century", whilst Denon wrote back to Napoleon in 1806 that it belonged indoors in the Musée Napoléon "among the emperors and in the niche where the Laocoon is, in such a manner that it would be the first object that one sees on entering". In late 1810 the sculpture was transported to France, reaching Paris on 1 January 1811.: 100 When Napoleon saw it there in April 1811 he refused to accept it, calling it "too athletic" and banning the public from seeing it.
By 1814 the sculpture was in the Salle des Hommes Illustres, hidden behind a canvas screen, where it was probably first seen by Wellington. In the era after the battle of Waterloo, Canova, who was still regarded as the best living artist, with his works in great demand from English patrons in particular, supported the return of looted sculptures from the Musée Napoléon to their original collections. The Musée Napoléon reverted to being the Louvre and its looted sculptures such as the Apollo Belvedere were returned to their original collections. The removal of the Napoleon was also mooted, and Canova offered to re-purchase it. It was sold to the British government in 1816 for 66,000 francs (then under £3,000), which the Louvre spent on re-installing its Salle des Antiques. Works by Canova were already being collected by the Duke, and the Prince Regent presented it to him later that year. It was moved to the stairwell in Apsley House in 1817, where the floor under the statue was specially strengthened in order to accommodate the additional weight. It is still on display there. | [
"Napoleon",
"Laocoon",
"Musée Napoléon",
"battle of Waterloo",
"Apollo Belvedere",
"Louvre",
"François Cacault",
"Apsley House",
"Prince Regent",
"Luigi Canonica",
"Augustus",
"Vivant Denon"
] |
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