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16701_T | Napoleon as Mars the Peacemaker | Explore the Bronze in Milan of this artwork, Napoleon as Mars the Peacemaker. | In 1811 a bronze copy of the statue was cast in Rome by Francesco Righetti and his son Luigi,: 266 : 200 using the bronze of the cannons of Castel Sant'Angelo in Rome. A previous attempt to cast the statue had failed. Since 1859 the bronze has stood in the main courtyard of Palazzo Brera, home of the Accademia di Belle Arti di Brera and the Pinacoteca di Brera, in Milan, in Lombardy in northern Italy.: 252 It was at first on a temporary base; this was replaced in 1864 with the present base designed by Luigi Bisi, in granite and Carrara marble, with bronze decorations. The gilded bronze winged victory on the globe in the right hand of the figure was stolen on 25 October 1978; it was replaced with a replica in the 1980s. | [
"Milan",
"replica",
"Lombardy",
"Bronze",
"Castel Sant'Angelo",
"gilded",
"winged victory",
"bronze",
"Pinacoteca di Brera",
"bronze copy of the statue",
"Palazzo Brera",
"Carrara marble",
"Accademia di Belle Arti di Brera",
"granite",
"Accademia di Belle Arti",
"Luigi Bisi"
] |
|
16701_NT | Napoleon as Mars the Peacemaker | Explore the Bronze in Milan of this artwork. | In 1811 a bronze copy of the statue was cast in Rome by Francesco Righetti and his son Luigi,: 266 : 200 using the bronze of the cannons of Castel Sant'Angelo in Rome. A previous attempt to cast the statue had failed. Since 1859 the bronze has stood in the main courtyard of Palazzo Brera, home of the Accademia di Belle Arti di Brera and the Pinacoteca di Brera, in Milan, in Lombardy in northern Italy.: 252 It was at first on a temporary base; this was replaced in 1864 with the present base designed by Luigi Bisi, in granite and Carrara marble, with bronze decorations. The gilded bronze winged victory on the globe in the right hand of the figure was stolen on 25 October 1978; it was replaced with a replica in the 1980s. | [
"Milan",
"replica",
"Lombardy",
"Bronze",
"Castel Sant'Angelo",
"gilded",
"winged victory",
"bronze",
"Pinacoteca di Brera",
"bronze copy of the statue",
"Palazzo Brera",
"Carrara marble",
"Accademia di Belle Arti di Brera",
"granite",
"Accademia di Belle Arti",
"Luigi Bisi"
] |
|
16702_T | Napoleon as Mars the Peacemaker | Focus on Napoleon as Mars the Peacemaker and discuss the Plaster casts. | In spite of the poor reception of the marble statue, Canova had it cast in plaster. Five copies were made, and were destined for the Accademie di Belle Arti of Italy. The best-preserved of these is now, following restoration in Florence, in the Pinacoteca di Brera. It was initially sent, divided into eight sections, to Padova; however, it was not paid for and stayed in its packing-cases. It was bought by Napoleon's step-son, the viceroy Eugène de Beauharnais, and was on display in the Galleria Reale in Palazzo Brera from 1809 to 1814. After the fall of Napoleon it was relegated to the storerooms of the Accademia, where it remained until 2008. It was restored, and installed in the Pinacoteca di Brera in 2009 for the bicentenary of the gallery. | [
"Napoleon",
"Eugène de Beauharnais",
"Accademie di Belle Arti",
"Florence",
"viceroy",
"restoration",
"Pinacoteca di Brera",
"cast in plaster",
"Palazzo Brera",
"Plaster cast",
"Padova"
] |
|
16702_NT | Napoleon as Mars the Peacemaker | Focus on this artwork and discuss the Plaster casts. | In spite of the poor reception of the marble statue, Canova had it cast in plaster. Five copies were made, and were destined for the Accademie di Belle Arti of Italy. The best-preserved of these is now, following restoration in Florence, in the Pinacoteca di Brera. It was initially sent, divided into eight sections, to Padova; however, it was not paid for and stayed in its packing-cases. It was bought by Napoleon's step-son, the viceroy Eugène de Beauharnais, and was on display in the Galleria Reale in Palazzo Brera from 1809 to 1814. After the fall of Napoleon it was relegated to the storerooms of the Accademia, where it remained until 2008. It was restored, and installed in the Pinacoteca di Brera in 2009 for the bicentenary of the gallery. | [
"Napoleon",
"Eugène de Beauharnais",
"Accademie di Belle Arti",
"Florence",
"viceroy",
"restoration",
"Pinacoteca di Brera",
"cast in plaster",
"Palazzo Brera",
"Plaster cast",
"Padova"
] |
|
16703_T | Great Petition (sculpture) | How does Great Petition (sculpture) elucidate its abstract? | Great Petition is a sculpture located in Burston Reserve, near the Victorian State Parliament Building, in Melbourne, Australia. The sculpture was commissioned by the State Government of Victoria and the City of Melbourne, designed by artists Susan Hewitt and Penelope Lee, and constructed by brecknock Consulting.The sculpture refers to the "Monster Petition" calling for women to be granted the right to vote, which was signed by 30,000 Victorian women over a period of six weeks in 1891. The original petition, which consists of sheets of paper glued onto lengths of calico fabric, is 260 metres long and is held by the state's Public Record Office. The petition was tabled in Parliament in September 1891 but the ensuing Women's Franchise Bill was rejected by the Upper House. It was another 19 years before the Adult Suffrage Bill was passed by the Victorian government, however the petition is considered an important point in the state's suffrage campaign.The sculpture is a 20-metre-long scroll which folds onto itself and appears to submerge itself underground before reappearing again on the other side of a pathway.It was unveiled on 3 December 2008 to commemorate the centenary of women's suffrage in Victoria. | [
"the Victorian State Parliament",
"Australia",
"Melbourne",
"Suffrage",
"Susan Hewitt and Penelope Lee",
"State Government of Victoria",
"City of Melbourne"
] |
|
16703_NT | Great Petition (sculpture) | How does this artwork elucidate its abstract? | Great Petition is a sculpture located in Burston Reserve, near the Victorian State Parliament Building, in Melbourne, Australia. The sculpture was commissioned by the State Government of Victoria and the City of Melbourne, designed by artists Susan Hewitt and Penelope Lee, and constructed by brecknock Consulting.The sculpture refers to the "Monster Petition" calling for women to be granted the right to vote, which was signed by 30,000 Victorian women over a period of six weeks in 1891. The original petition, which consists of sheets of paper glued onto lengths of calico fabric, is 260 metres long and is held by the state's Public Record Office. The petition was tabled in Parliament in September 1891 but the ensuing Women's Franchise Bill was rejected by the Upper House. It was another 19 years before the Adult Suffrage Bill was passed by the Victorian government, however the petition is considered an important point in the state's suffrage campaign.The sculpture is a 20-metre-long scroll which folds onto itself and appears to submerge itself underground before reappearing again on the other side of a pathway.It was unveiled on 3 December 2008 to commemorate the centenary of women's suffrage in Victoria. | [
"the Victorian State Parliament",
"Australia",
"Melbourne",
"Suffrage",
"Susan Hewitt and Penelope Lee",
"State Government of Victoria",
"City of Melbourne"
] |
|
16704_T | The City (Léger) | Focus on The City (Léger) and analyze the abstract. | The City (French: La Ville) is a 1919 painting by French painter and sculptor Fernand Léger. The painting is Cubist in style and is now in the Philadelphia Museum of Art. Albert Eugene Gallatin donated the piece to the museum in 1952 and it has also been shown at the Guggenheim Museum. In reviews of the Guggenheim exhibit, both The City and other works in the show were praised. | [
"Philadelphia",
"Guggenheim Museum",
"Fernand Léger",
"Albert Eugene Gallatin",
"Philadelphia Museum of Art",
"Cubist"
] |
|
16704_NT | The City (Léger) | Focus on this artwork and analyze the abstract. | The City (French: La Ville) is a 1919 painting by French painter and sculptor Fernand Léger. The painting is Cubist in style and is now in the Philadelphia Museum of Art. Albert Eugene Gallatin donated the piece to the museum in 1952 and it has also been shown at the Guggenheim Museum. In reviews of the Guggenheim exhibit, both The City and other works in the show were praised. | [
"Philadelphia",
"Guggenheim Museum",
"Fernand Léger",
"Albert Eugene Gallatin",
"Philadelphia Museum of Art",
"Cubist"
] |
|
16705_T | The Newsboy | In The Newsboy, how is the abstract discussed? | The Newsboy is a bronze sculpture of a newspaper carrier in Columbus, Ohio, United States. The statue, created by artist Bruce Hanners, is located outside the 8 on the Square condominium building, on Broad Street in the Capitol Square area of downtown Columbus. | [
"newspaper carrier",
"bronze sculpture",
"8 on the Square",
"Capitol Square",
"Broad Street",
"Bruce Hanners",
"Columbus, Ohio"
] |
|
16705_NT | The Newsboy | In this artwork, how is the abstract discussed? | The Newsboy is a bronze sculpture of a newspaper carrier in Columbus, Ohio, United States. The statue, created by artist Bruce Hanners, is located outside the 8 on the Square condominium building, on Broad Street in the Capitol Square area of downtown Columbus. | [
"newspaper carrier",
"bronze sculpture",
"8 on the Square",
"Capitol Square",
"Broad Street",
"Bruce Hanners",
"Columbus, Ohio"
] |
|
16706_T | The Newsboy | Focus on The Newsboy and explore the History. | The statue was commissioned by Charity Newsies, an organization that raises funds to donate clothes to children in need. The organization is known for its volunteers selling special edition copies of The Columbus Dispatch annually to raise money for the organization. Charity Newsies held an unveiling ceremony for the statue in June 2018, commemorating its 110th anniversary, attended by Mayor Andrew Ginther.The idea for the statue came from Tom Beck, a longtime member and past president of the organization. Beck contacted Bruce Hanners, the sculptor and a lab technician at the Columbus College of Art and Design, to design the work; he sculpted it with the help of student volunteers. | [
"Columbus College of Art and Design",
"The Columbus Dispatch",
"Andrew Ginther",
"Bruce Hanners"
] |
|
16706_NT | The Newsboy | Focus on this artwork and explore the History. | The statue was commissioned by Charity Newsies, an organization that raises funds to donate clothes to children in need. The organization is known for its volunteers selling special edition copies of The Columbus Dispatch annually to raise money for the organization. Charity Newsies held an unveiling ceremony for the statue in June 2018, commemorating its 110th anniversary, attended by Mayor Andrew Ginther.The idea for the statue came from Tom Beck, a longtime member and past president of the organization. Beck contacted Bruce Hanners, the sculptor and a lab technician at the Columbus College of Art and Design, to design the work; he sculpted it with the help of student volunteers. | [
"Columbus College of Art and Design",
"The Columbus Dispatch",
"Andrew Ginther",
"Bruce Hanners"
] |
|
16707_T | Madonna of the Rose Garden (Botticelli) | Focus on Madonna of the Rose Garden (Botticelli) and explain the abstract. | The Madonna of the Rose Garden is a tempera on panel painting (124x64 cm) made by Sandro Botticelli, whose date of between 1469 and 1470 makes it one of his earliest paintings. It is now in the Uffizi Gallery in Florence, Italy. | [
"Florence",
"Uffizi",
"tempera",
"Sandro Botticelli",
"Uffizi Gallery",
"Madonna of the Rose Garden"
] |
|
16707_NT | Madonna of the Rose Garden (Botticelli) | Focus on this artwork and explain the abstract. | The Madonna of the Rose Garden is a tempera on panel painting (124x64 cm) made by Sandro Botticelli, whose date of between 1469 and 1470 makes it one of his earliest paintings. It is now in the Uffizi Gallery in Florence, Italy. | [
"Florence",
"Uffizi",
"tempera",
"Sandro Botticelli",
"Uffizi Gallery",
"Madonna of the Rose Garden"
] |
|
16708_T | Madonna of the Rose Garden (Botticelli) | Explore the History of this artwork, Madonna of the Rose Garden (Botticelli). | The work was in the Chamber of Commerce of Florence which leads to the hypothesis that like Botticelli's earlier painting, the Madonna della loggia, it had been commissioned either by the Wool Guild or the Tribunale della Mercanzia.
Wilhelm von Bode was the first to date the work to the artist's juvenile phase, in particular to the period of Verrocchio, 1469–1470, which has since been confirmed by other scholars. | [
"Florence",
"Wilhelm von Bode",
"Madonna della loggia",
"Tribunale della Mercanzia",
"Wool Guild",
"loggia",
"Verrocchio"
] |
|
16708_NT | Madonna of the Rose Garden (Botticelli) | Explore the History of this artwork. | The work was in the Chamber of Commerce of Florence which leads to the hypothesis that like Botticelli's earlier painting, the Madonna della loggia, it had been commissioned either by the Wool Guild or the Tribunale della Mercanzia.
Wilhelm von Bode was the first to date the work to the artist's juvenile phase, in particular to the period of Verrocchio, 1469–1470, which has since been confirmed by other scholars. | [
"Florence",
"Wilhelm von Bode",
"Madonna della loggia",
"Tribunale della Mercanzia",
"Wool Guild",
"loggia",
"Verrocchio"
] |
|
16709_T | Portrait of a Lady Holding a Fan | Focus on Portrait of a Lady Holding a Fan and discuss the Description. | The painting depicts a woman in three-quarter view, standing at an angle to the viewer. She is attired in a high-necked black gown in the Genoese fashion, trimmed with gold buttons and lace. Her right hand rests on a long string of pearls that fall to her waist, which her gloved left hand holds an ostrich-feather fan. Her jewelry and pose portray a woman of wealth and status. | [
"Genoese"
] |
|
16709_NT | Portrait of a Lady Holding a Fan | Focus on this artwork and discuss the Description. | The painting depicts a woman in three-quarter view, standing at an angle to the viewer. She is attired in a high-necked black gown in the Genoese fashion, trimmed with gold buttons and lace. Her right hand rests on a long string of pearls that fall to her waist, which her gloved left hand holds an ostrich-feather fan. Her jewelry and pose portray a woman of wealth and status. | [
"Genoese"
] |
|
16710_T | Portrait of a Lady Holding a Fan | How does Portrait of a Lady Holding a Fan elucidate its Provenance? | Art historians first identified the painting as being by Artemisia's father, Orazio, probably based on descriptions of the painting in eighteenth-century inventories. Others have seen both the hand of father and daughter, but there is now consensus that the painting is solely by Artemisia. The confident pose of the and luxurious black costume evoke the portraits done by Anthony van Dyck and Pieter Paul Rubens in Genoa at the same time, but there is no evidence to suggest Artemisia visited the city. Artemisia did have personal connections in Genoa and this portrait may represent an attempt to secure patronage from its wealthy elite.The painting was documented as being in the collection of the aristocratic Balbi family by 1682. It passed through the descendants of the Balbi and Spinola families to Admiral Franco Spinola, who along with his property at Villa Pagana, bequeathed it to its present owners in 1959. | [
"Villa Pagana",
"Orazio",
"Genoa"
] |
|
16710_NT | Portrait of a Lady Holding a Fan | How does this artwork elucidate its Provenance? | Art historians first identified the painting as being by Artemisia's father, Orazio, probably based on descriptions of the painting in eighteenth-century inventories. Others have seen both the hand of father and daughter, but there is now consensus that the painting is solely by Artemisia. The confident pose of the and luxurious black costume evoke the portraits done by Anthony van Dyck and Pieter Paul Rubens in Genoa at the same time, but there is no evidence to suggest Artemisia visited the city. Artemisia did have personal connections in Genoa and this portrait may represent an attempt to secure patronage from its wealthy elite.The painting was documented as being in the collection of the aristocratic Balbi family by 1682. It passed through the descendants of the Balbi and Spinola families to Admiral Franco Spinola, who along with his property at Villa Pagana, bequeathed it to its present owners in 1959. | [
"Villa Pagana",
"Orazio",
"Genoa"
] |
|
16711_T | Head of a Woman (Bosch) | Focus on Head of a Woman (Bosch) and analyze the abstract. | Head of a Woman is a fragment of a Hieronymus Bosch painting, created c. 1500. It is currently in the Museum Boijmans Van Beuningen in Rotterdam, Netherlands. The fragment is only 13 cm tall and 5 cm wide. | [
"Rotterdam",
"Museum Boijmans Van Beuningen",
"Netherlands",
"Hieronymus Bosch"
] |
|
16711_NT | Head of a Woman (Bosch) | Focus on this artwork and analyze the abstract. | Head of a Woman is a fragment of a Hieronymus Bosch painting, created c. 1500. It is currently in the Museum Boijmans Van Beuningen in Rotterdam, Netherlands. The fragment is only 13 cm tall and 5 cm wide. | [
"Rotterdam",
"Museum Boijmans Van Beuningen",
"Netherlands",
"Hieronymus Bosch"
] |
|
16712_T | Untitled (One Eyed Man or Xerox Face) | In Untitled (One Eyed Man or Xerox Face), how is the abstract discussed? | Untitled (One Eyed Man or Xerox Face) is a painting created by American artist Jean-Michel Basquiat in 1982. In May 2021, it sold for $30.2 million at Christie's in Hong Kong. | [
"Christie's",
"Xerox",
"Jean-Michel Basquiat"
] |
|
16712_NT | Untitled (One Eyed Man or Xerox Face) | In this artwork, how is the abstract discussed? | Untitled (One Eyed Man or Xerox Face) is a painting created by American artist Jean-Michel Basquiat in 1982. In May 2021, it sold for $30.2 million at Christie's in Hong Kong. | [
"Christie's",
"Xerox",
"Jean-Michel Basquiat"
] |
|
16713_T | Untitled (One Eyed Man or Xerox Face) | Focus on Untitled (One Eyed Man or Xerox Face) and explore the Analysis. | Untitled (One Eyed Man or Xerox Face) features a cyclops-like figure in crimson bearing a grin set against a multicolored background. The raised arms echoes the pose of the triumphant boxer. "The hero figures in Basquiat’s paintings refer to the stars of sporting, musical and artistic worlds who, thanks to their extraordinary talents, transcended their social status to become the nation’s icons," said Alex Branczik, Head of Contemporary Art for Sotheby's Europe. "Painted with their arms held aloft and wearing a crown of thorns they also reflect Basquiat’s own dramatic ascent from street artist to gallery sensation, and to his present status as one of the most valuable and talked about artists in the world."At the center of the painting is the "Xerox face" of the title: Basquiat applied a photocopied sheet of his own drawing to create the figure's face. Basquiat first experimented with Xerox in 1979, when he and his friend Jennifer Stein created a small series of mixed media collages which they photocopied onto postcards that they then sold on the street. To the lower right, Basquiat depicts his famous crown motif. | [
"Xerox",
"cyclops",
"Sotheby's"
] |
|
16713_NT | Untitled (One Eyed Man or Xerox Face) | Focus on this artwork and explore the Analysis. | Untitled (One Eyed Man or Xerox Face) features a cyclops-like figure in crimson bearing a grin set against a multicolored background. The raised arms echoes the pose of the triumphant boxer. "The hero figures in Basquiat’s paintings refer to the stars of sporting, musical and artistic worlds who, thanks to their extraordinary talents, transcended their social status to become the nation’s icons," said Alex Branczik, Head of Contemporary Art for Sotheby's Europe. "Painted with their arms held aloft and wearing a crown of thorns they also reflect Basquiat’s own dramatic ascent from street artist to gallery sensation, and to his present status as one of the most valuable and talked about artists in the world."At the center of the painting is the "Xerox face" of the title: Basquiat applied a photocopied sheet of his own drawing to create the figure's face. Basquiat first experimented with Xerox in 1979, when he and his friend Jennifer Stein created a small series of mixed media collages which they photocopied onto postcards that they then sold on the street. To the lower right, Basquiat depicts his famous crown motif. | [
"Xerox",
"cyclops",
"Sotheby's"
] |
|
16714_T | Untitled (One Eyed Man or Xerox Face) | Focus on Untitled (One Eyed Man or Xerox Face) and explain the Exhibitions. | The painting has been exhibited at the following institutions:Jean-Michel Basquiat: Dipinti at Chiostro del Bramante in Rome, January–March 2002.
Jean-Michel Basquiat: Ahora es el Momento at Guggenheim Museum in Bilbao, July–November 2015. | [
"Guggenheim Museum",
"Chiostro del Bramante",
"Jean-Michel Basquiat"
] |
|
16714_NT | Untitled (One Eyed Man or Xerox Face) | Focus on this artwork and explain the Exhibitions. | The painting has been exhibited at the following institutions:Jean-Michel Basquiat: Dipinti at Chiostro del Bramante in Rome, January–March 2002.
Jean-Michel Basquiat: Ahora es el Momento at Guggenheim Museum in Bilbao, July–November 2015. | [
"Guggenheim Museum",
"Chiostro del Bramante",
"Jean-Michel Basquiat"
] |
|
16715_T | The Tribute Money (Masaccio) | Explore the abstract of this artwork, The Tribute Money (Masaccio). | The Tribute Money is a fresco by the Italian Early Renaissance painter Masaccio, located in the Brancacci Chapel of the basilica of Santa Maria del Carmine, Florence. Painted in the 1420s, it is widely considered among Masaccio's best work, and a vital part of the development of Renaissance art.The painting is part of a cycle on the life of Saint Peter, and describes a scene from the Gospel of Matthew, in which Jesus directs Peter to find a coin in the mouth of a fish in order to pay the temple tax. Its importance relates to its revolutionary use of perspective and chiaroscuro. The Tribute Money suffered great damage in the centuries after its creation, until the chapel went through a thorough restoration in the 1980s. | [
"coin in the mouth of a fish",
"Jesus",
"Renaissance",
"Gospel of Matthew",
"Saint Peter",
"fresco",
"Florence",
"Santa Maria del Carmine, Florence",
"Santa Maria del Carmine",
"basilica",
"Brancacci Chapel",
"Italian",
"perspective",
"restoration",
"chiaroscuro",
"Matthew",
"Masaccio",
"Peter",
"1420s",
"Renaissance art"
] |
|
16715_NT | The Tribute Money (Masaccio) | Explore the abstract of this artwork. | The Tribute Money is a fresco by the Italian Early Renaissance painter Masaccio, located in the Brancacci Chapel of the basilica of Santa Maria del Carmine, Florence. Painted in the 1420s, it is widely considered among Masaccio's best work, and a vital part of the development of Renaissance art.The painting is part of a cycle on the life of Saint Peter, and describes a scene from the Gospel of Matthew, in which Jesus directs Peter to find a coin in the mouth of a fish in order to pay the temple tax. Its importance relates to its revolutionary use of perspective and chiaroscuro. The Tribute Money suffered great damage in the centuries after its creation, until the chapel went through a thorough restoration in the 1980s. | [
"coin in the mouth of a fish",
"Jesus",
"Renaissance",
"Gospel of Matthew",
"Saint Peter",
"fresco",
"Florence",
"Santa Maria del Carmine, Florence",
"Santa Maria del Carmine",
"basilica",
"Brancacci Chapel",
"Italian",
"perspective",
"restoration",
"chiaroscuro",
"Matthew",
"Masaccio",
"Peter",
"1420s",
"Renaissance art"
] |
|
16716_T | The Tribute Money (Masaccio) | Focus on The Tribute Money (Masaccio) and discuss the The Brancacci Chapel. | The Brancacci Chapel, in the basilica of Santa Maria del Carmine, was founded around 1366/7 by Felice Brancacci. The chapel passed to Piero's nephew, Felice Brancacci, who some time between 1423 and 1425 commissioned the painter Masolino to decorate the walls with a series of frescoes from the life of Saint Peter. Peter was the name-saint of the founder, and the patron saint of the Brancacci family, but the choice also reflected support for the Roman papacy during the Great Schism.At some point Masolino was joined by another artist, the eighteen years younger Masaccio. Masolino eventually left, either for Hungary in 1425 or for Rome in 1427, leaving the completion of the chapel to Masaccio. In 1427 or 28, before the chapel was completed, Masaccio joined Masolino in Rome. Only in the 1480s were the frescos in the chapel finished, by Filippino Lippi. The Tribute Money, though, is considered Masaccio's work entirely.Over the centuries the frescoes were greatly altered and damaged. In 1746 the upper levels were painted over by the artist Vincenzo Meucci, covering up most of Masolino's work. Then, in 1771, the church was ruined by fire. The Brancacci Chapel, though structurally undamaged by the fire, suffered great damages to its frescoes. It was not until the years 1981–1990 that a full-scale restoration of the chapel was undertaken, restoring the frescoes to approximately their original state. The paintings had suffered some irreparable damage though, particularly the parts that were painted a secco: in The Tribute Money, the leaves on the trees were gone, while Christ's robe had lost much of its original azure brilliance. | [
"Felice Brancacci",
"Rome",
"Christ",
"Saint Peter",
"Vincenzo Meucci",
"fresco",
"Santa Maria del Carmine",
"basilica",
"Roman",
"Brancacci Chapel",
"Hungary",
"restoration",
"Filippino Lippi",
"Great Schism",
"papacy",
"Masaccio",
"Masolino",
"left",
"Peter",
"a secco",
"name-saint"
] |
|
16716_NT | The Tribute Money (Masaccio) | Focus on this artwork and discuss the The Brancacci Chapel. | The Brancacci Chapel, in the basilica of Santa Maria del Carmine, was founded around 1366/7 by Felice Brancacci. The chapel passed to Piero's nephew, Felice Brancacci, who some time between 1423 and 1425 commissioned the painter Masolino to decorate the walls with a series of frescoes from the life of Saint Peter. Peter was the name-saint of the founder, and the patron saint of the Brancacci family, but the choice also reflected support for the Roman papacy during the Great Schism.At some point Masolino was joined by another artist, the eighteen years younger Masaccio. Masolino eventually left, either for Hungary in 1425 or for Rome in 1427, leaving the completion of the chapel to Masaccio. In 1427 or 28, before the chapel was completed, Masaccio joined Masolino in Rome. Only in the 1480s were the frescos in the chapel finished, by Filippino Lippi. The Tribute Money, though, is considered Masaccio's work entirely.Over the centuries the frescoes were greatly altered and damaged. In 1746 the upper levels were painted over by the artist Vincenzo Meucci, covering up most of Masolino's work. Then, in 1771, the church was ruined by fire. The Brancacci Chapel, though structurally undamaged by the fire, suffered great damages to its frescoes. It was not until the years 1981–1990 that a full-scale restoration of the chapel was undertaken, restoring the frescoes to approximately their original state. The paintings had suffered some irreparable damage though, particularly the parts that were painted a secco: in The Tribute Money, the leaves on the trees were gone, while Christ's robe had lost much of its original azure brilliance. | [
"Felice Brancacci",
"Rome",
"Christ",
"Saint Peter",
"Vincenzo Meucci",
"fresco",
"Santa Maria del Carmine",
"basilica",
"Roman",
"Brancacci Chapel",
"Hungary",
"restoration",
"Filippino Lippi",
"Great Schism",
"papacy",
"Masaccio",
"Masolino",
"left",
"Peter",
"a secco",
"name-saint"
] |
|
16717_T | The Tribute Money (Masaccio) | How does The Tribute Money (Masaccio) elucidate its Subject matter? | The scene depicted in The Tribute Money is drawn from Matthew 17:24–27:24. And when they were come to Capernaum, they that received tribute money came to Peter, and said, Doth not your master pay tribute? 25. He saith, Yes. And when he was come into the house, Jesus prevented him, saying, What thinkest thou, Simon? of whom do the kings of the earth take custom or tribute? of their own children, or of strangers? 26. Peter saith unto him, Of strangers. Jesus saith unto him, Then are the children free. 27. Notwithstanding, lest we should offend them, go thou to the sea, and cast an hook, and take up the fish that first cometh up; and when thou hast opened his mouth, thou shalt find a piece of money: that take, and give unto them for me and thee.
The story is only found in the Gospel of Matthew, which according to Christian tradition was written by the apostle Matthew, himself a tax collector according to Matthew 9:9–13. The passage has been used as a Christian justification for the legitimacy of secular authority, and is often seen in conjunction with another passage, the "render unto Caesar..." story. In Matthew 22:15–22, a group of Pharisees try to trick Christ into incriminating himself, by asking if it is "lawful to give tribute unto Caesar, or not." Pointing out Caesar's image on the coin, he replies "Render therefore unto Caesar the things which are Caesar's; and unto God the things that are God's." | [
"Jesus",
"Christ",
"Gospel of Matthew",
"render unto Caesar...",
"Christian",
"the coin",
"Matthew",
"tax collector",
"Peter",
"Capernaum"
] |
|
16717_NT | The Tribute Money (Masaccio) | How does this artwork elucidate its Subject matter? | The scene depicted in The Tribute Money is drawn from Matthew 17:24–27:24. And when they were come to Capernaum, they that received tribute money came to Peter, and said, Doth not your master pay tribute? 25. He saith, Yes. And when he was come into the house, Jesus prevented him, saying, What thinkest thou, Simon? of whom do the kings of the earth take custom or tribute? of their own children, or of strangers? 26. Peter saith unto him, Of strangers. Jesus saith unto him, Then are the children free. 27. Notwithstanding, lest we should offend them, go thou to the sea, and cast an hook, and take up the fish that first cometh up; and when thou hast opened his mouth, thou shalt find a piece of money: that take, and give unto them for me and thee.
The story is only found in the Gospel of Matthew, which according to Christian tradition was written by the apostle Matthew, himself a tax collector according to Matthew 9:9–13. The passage has been used as a Christian justification for the legitimacy of secular authority, and is often seen in conjunction with another passage, the "render unto Caesar..." story. In Matthew 22:15–22, a group of Pharisees try to trick Christ into incriminating himself, by asking if it is "lawful to give tribute unto Caesar, or not." Pointing out Caesar's image on the coin, he replies "Render therefore unto Caesar the things which are Caesar's; and unto God the things that are God's." | [
"Jesus",
"Christ",
"Gospel of Matthew",
"render unto Caesar...",
"Christian",
"the coin",
"Matthew",
"tax collector",
"Peter",
"Capernaum"
] |
|
16718_T | The Tribute Money (Masaccio) | Focus on The Tribute Money (Masaccio) and analyze the Composition. | The painting diverges somewhat from the biblical story, in that the tax collector confronts the whole group of Christ and the disciples, and the entire scene takes place outdoors. The story is told in three parts that do not occur sequentially, but the narrative logic is still maintained, through compositional devices. The central scene is that of the tax collector demanding the tribute. The head of Christ is the vanishing point of the painting, drawing the eyes of the spectator there. Both Christ and Peter then point to the left hand part of the painting, where the next scene takes place in the middle background: Peter taking the money out of the mouth of the fish. The final scene – where Peter pays the tax collector – is at the right, set apart by the framework of an architectural structure.This work is among the first paintings to utilize a vanishing point, in the new system of single-point perspective, in this case converging on Christ's head. Also, it is one of the first paintings that does away with the use of a head-cluster. A technique employed by earlier Proto-Renaissance artists, such as Giotto or Duccio. If you were to walk into the painting, you could walk around Jesus Christ, in the semicircle created, and back out the painting again with ease.
Christ and the disciples are placed in a semicircle, reflecting the shape of the chapel's apse. The tax collector, on the other hand, stands outside the holy space. While the group of holy men are dressed almost entirely in robes of pastel pink and blue, the official wears a shorter tunic of a striking vermilion. The colour adds to the impertinence expressed through his gestures. Another way contrast is achieved is in the way – both in the central scene and on the right – the tax collector's postures are copying almost exactly those of Peter, only seen from the opposite angle. This gives a three-dimensional quality to the figures, allowing the spectator to view them from all sides. | [
"vanishing point",
"apse",
"Jesus",
"Renaissance",
"Christ",
"disciple",
"perspective",
"pastel",
"tunic",
"Giotto",
"tax collector",
"Duccio",
"left",
"Peter",
"Renaissance art"
] |
|
16718_NT | The Tribute Money (Masaccio) | Focus on this artwork and analyze the Composition. | The painting diverges somewhat from the biblical story, in that the tax collector confronts the whole group of Christ and the disciples, and the entire scene takes place outdoors. The story is told in three parts that do not occur sequentially, but the narrative logic is still maintained, through compositional devices. The central scene is that of the tax collector demanding the tribute. The head of Christ is the vanishing point of the painting, drawing the eyes of the spectator there. Both Christ and Peter then point to the left hand part of the painting, where the next scene takes place in the middle background: Peter taking the money out of the mouth of the fish. The final scene – where Peter pays the tax collector – is at the right, set apart by the framework of an architectural structure.This work is among the first paintings to utilize a vanishing point, in the new system of single-point perspective, in this case converging on Christ's head. Also, it is one of the first paintings that does away with the use of a head-cluster. A technique employed by earlier Proto-Renaissance artists, such as Giotto or Duccio. If you were to walk into the painting, you could walk around Jesus Christ, in the semicircle created, and back out the painting again with ease.
Christ and the disciples are placed in a semicircle, reflecting the shape of the chapel's apse. The tax collector, on the other hand, stands outside the holy space. While the group of holy men are dressed almost entirely in robes of pastel pink and blue, the official wears a shorter tunic of a striking vermilion. The colour adds to the impertinence expressed through his gestures. Another way contrast is achieved is in the way – both in the central scene and on the right – the tax collector's postures are copying almost exactly those of Peter, only seen from the opposite angle. This gives a three-dimensional quality to the figures, allowing the spectator to view them from all sides. | [
"vanishing point",
"apse",
"Jesus",
"Renaissance",
"Christ",
"disciple",
"perspective",
"pastel",
"tunic",
"Giotto",
"tax collector",
"Duccio",
"left",
"Peter",
"Renaissance art"
] |
|
16719_T | The Tribute Money (Masaccio) | In The Tribute Money (Masaccio), how is the Interpretations discussed? | Several theories have been proposed as to why this specific subject – not a very common theme in art history – was chosen. One suggestion sees the painting as a justification for the so-called catasto of 1427; a new form of income tax. This is not a very likely explanation, however, as Brancacci would stand to lose from the new taxation, and would probably rather have been among its opponents. A more probable explanation links the painting to Pope Martin V's 1423 agreement that the Florentine church be subjected to state tax. The money found in the fish's mouth can also be seen as an expression of how Florence's wealth came from the sea. Felice Brancacci, a silk merchant involved in Mediterranean trade, was also a member of the city's Board of Maritime Consuls.Central to an understanding of the painting, as well as the entire series, is the relationship the Brancaccis and the city of Florence had with the papacy in Rome. Florence was at the time at war with Milan, and needed the support of the Pope. The Brancacci frescos must therefore be seen in the context of a pro-papal policy, and as an attempt to legitimise the Roman see through its association with Saint Peter – the first bishop of Rome, and first pope.
In the story, Peter is clearly singled out among the disciples, and his strong connection with Christ can be seen in Christ's words "for me and thee". Peter appears a majestic and energetic figure when he is with Christ and when he performs his work, in contrast to the diminutive shape on the left. This all points forward to his apostolic role as Christ's vicar on earth. As such The Tribute Money represents a transitional scene in the chapel; in doing Christ's bidding Peter goes from being a disciple to being the master.Only two of the disciples can be identified with any degree of certainty: Peter with his iconographic grey hair and beard, and blue and yellow attire, and John; the young beardless man standing next to Christ. John's head is reminiscent of Roman sculptures, and it is reflected in the very similar face of another disciple on the right. The person next to this disciple is assumed to be Judas, whose dark and sinister face mirrors that of the tax collector. It has been speculated – first by Vasari – that the face on the far right is a self-portrait of Masaccio himself, as Thomas. | [
"Pope Martin V",
"Judas",
"Felice Brancacci",
"Milan",
"Rome",
"Mediterranean",
"Christ",
"Saint Peter",
"fresco",
"Florence",
"iconographic",
"disciple",
"Roman",
"John",
"catasto",
"Pope",
"pope",
"papacy",
"Thomas",
"tax collector",
"Masaccio",
"left",
"Peter",
"Vasari",
"Roman sculpture"
] |
|
16719_NT | The Tribute Money (Masaccio) | In this artwork, how is the Interpretations discussed? | Several theories have been proposed as to why this specific subject – not a very common theme in art history – was chosen. One suggestion sees the painting as a justification for the so-called catasto of 1427; a new form of income tax. This is not a very likely explanation, however, as Brancacci would stand to lose from the new taxation, and would probably rather have been among its opponents. A more probable explanation links the painting to Pope Martin V's 1423 agreement that the Florentine church be subjected to state tax. The money found in the fish's mouth can also be seen as an expression of how Florence's wealth came from the sea. Felice Brancacci, a silk merchant involved in Mediterranean trade, was also a member of the city's Board of Maritime Consuls.Central to an understanding of the painting, as well as the entire series, is the relationship the Brancaccis and the city of Florence had with the papacy in Rome. Florence was at the time at war with Milan, and needed the support of the Pope. The Brancacci frescos must therefore be seen in the context of a pro-papal policy, and as an attempt to legitimise the Roman see through its association with Saint Peter – the first bishop of Rome, and first pope.
In the story, Peter is clearly singled out among the disciples, and his strong connection with Christ can be seen in Christ's words "for me and thee". Peter appears a majestic and energetic figure when he is with Christ and when he performs his work, in contrast to the diminutive shape on the left. This all points forward to his apostolic role as Christ's vicar on earth. As such The Tribute Money represents a transitional scene in the chapel; in doing Christ's bidding Peter goes from being a disciple to being the master.Only two of the disciples can be identified with any degree of certainty: Peter with his iconographic grey hair and beard, and blue and yellow attire, and John; the young beardless man standing next to Christ. John's head is reminiscent of Roman sculptures, and it is reflected in the very similar face of another disciple on the right. The person next to this disciple is assumed to be Judas, whose dark and sinister face mirrors that of the tax collector. It has been speculated – first by Vasari – that the face on the far right is a self-portrait of Masaccio himself, as Thomas. | [
"Pope Martin V",
"Judas",
"Felice Brancacci",
"Milan",
"Rome",
"Mediterranean",
"Christ",
"Saint Peter",
"fresco",
"Florence",
"iconographic",
"disciple",
"Roman",
"John",
"catasto",
"Pope",
"pope",
"papacy",
"Thomas",
"tax collector",
"Masaccio",
"left",
"Peter",
"Vasari",
"Roman sculpture"
] |
|
16720_T | Our Lady of Calvary | Focus on Our Lady of Calvary and explore the abstract. | Our Lady of Calvary is a 17th-century painting situated in the shrine of Kalwaria Zebrzydowska, one of the most visited pilgrimage sites in Poland. According to legend, the painting wept in 1641. The owner presented the painting to the Bernardine monastery at Kalwaria Zebrzydowska. Veneration of the painting was authorized fifteen years later, and a chapel was commissioned to house it. The painting was canonically crowned by Pope Leo XIII on 15 August 1887. | [
"Kalwaria Zebrzydowska",
"Poland",
"Pope Leo XIII",
"shrine of Kalwaria Zebrzydowska",
"canonically crowned"
] |
|
16720_NT | Our Lady of Calvary | Focus on this artwork and explore the abstract. | Our Lady of Calvary is a 17th-century painting situated in the shrine of Kalwaria Zebrzydowska, one of the most visited pilgrimage sites in Poland. According to legend, the painting wept in 1641. The owner presented the painting to the Bernardine monastery at Kalwaria Zebrzydowska. Veneration of the painting was authorized fifteen years later, and a chapel was commissioned to house it. The painting was canonically crowned by Pope Leo XIII on 15 August 1887. | [
"Kalwaria Zebrzydowska",
"Poland",
"Pope Leo XIII",
"shrine of Kalwaria Zebrzydowska",
"canonically crowned"
] |
|
16721_T | Statue of Jerry West | Focus on Statue of Jerry West and explain the abstract. | A bronze statue of Jerry West by Omri Amrany and Julie Rotblatt Amrany is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The sculpture was unveiled in 2011. | [
"Jerry West",
"Los Angeles",
"Crypto.com Arena"
] |
|
16721_NT | Statue of Jerry West | Focus on this artwork and explain the abstract. | A bronze statue of Jerry West by Omri Amrany and Julie Rotblatt Amrany is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The sculpture was unveiled in 2011. | [
"Jerry West",
"Los Angeles",
"Crypto.com Arena"
] |
|
16722_T | Jupiter and Antiope (Watteau) | Explore the abstract of this artwork, Jupiter and Antiope (Watteau). | Jupiter and Antiope (French: Jupiter et Antiope) is an oil painting by the French artist Antoine Watteau. It is also known as the Satyr and the Sleeping Nymph and was probably painted between 1714 and 1719. Intended to be placed over a doorway, today it hangs in the Musée du Louvre in Paris. | [
"Antoine Watteau",
"placed over a doorway",
"Jupiter and Antiope",
"Musée du Louvre",
"French",
"Louvre",
"Jupiter",
"Satyr",
"Antiope",
"Paris"
] |
|
16722_NT | Jupiter and Antiope (Watteau) | Explore the abstract of this artwork. | Jupiter and Antiope (French: Jupiter et Antiope) is an oil painting by the French artist Antoine Watteau. It is also known as the Satyr and the Sleeping Nymph and was probably painted between 1714 and 1719. Intended to be placed over a doorway, today it hangs in the Musée du Louvre in Paris. | [
"Antoine Watteau",
"placed over a doorway",
"Jupiter and Antiope",
"Musée du Louvre",
"French",
"Louvre",
"Jupiter",
"Satyr",
"Antiope",
"Paris"
] |
|
16723_T | Jupiter and Antiope (Watteau) | Focus on Jupiter and Antiope (Watteau) and discuss the Description. | The painting is oval shaped, with a width of 107.5 cm and a height of 73 cm. In the foreground it depicts the naked, sleeping Antiope. She lies with her head on the left edge of the painting, twisted so that her front side faces the viewer. Her right arm is bent under her head while her left arm hangs down into the abyss in front of her. This arm covers the right breast, while the left remains free. Her legs are bent up towards the viewer, with the right continuing the line of her body at the knee while her left leg is only slightly bent to point back to the lower right of the painting. The whole body is painted in pale, warm colours and lights up the otherwise dark and earthy image. Under the sleeping woman there is a cloth, which hangs over the abyss near her breast, disappears under her arm near her head and is lifted by the satyr behind her.The satyr, whose head is crowned with grape vines symbolising the presence of the god Bacchus. lies in the opposite direction behind the woman, with the front of his body also facing the viewer. With his left arm he lifts the cloth to the height of Antiope's shoulder and it is obvious that he has just uncovered the sleeping maiden. His left arm is bent on a tree root at the right edge of the image and props up his upper body. With his head and upper body, the satyr looms over the hips of the sleeper in order to gaze upon her – he licks his lips lustfully. His body is shadowy and cannot be made out below his hips. The satyr is depicted in brown tones. His suntanned skin and muscular body forms a clear contrast with the softly worked, shapely Antiope.
The lower edge of the image is taken up by an abyss, which is depicted in dark brown tones and is edged with bare soil. On either side, gnarled roots grow in the soil, which rise into indistinct trees. The ground continues above the trees into the background, where there is a hill with lone houses. Above that is the cloudy sky, discreetly lit by the glow of twilight.
The composition fits the oval shape of the image. The sleeping Antiope forms the central horizontal, with her hips and bent legs creating the central vertical. The arms of the satyr and the legs of the woman curve in parallel with the upper edge of the painting – in this way the two central characters repeat the oval within the image, which is broken only by dangling left arm of the woman. Spatial depth is created by the stooped posture of Jupiter and by the bent knees of Antiope. | [
"Bacchus",
"Jupiter",
"satyr",
"Antiope",
"left",
"twilight"
] |
|
16723_NT | Jupiter and Antiope (Watteau) | Focus on this artwork and discuss the Description. | The painting is oval shaped, with a width of 107.5 cm and a height of 73 cm. In the foreground it depicts the naked, sleeping Antiope. She lies with her head on the left edge of the painting, twisted so that her front side faces the viewer. Her right arm is bent under her head while her left arm hangs down into the abyss in front of her. This arm covers the right breast, while the left remains free. Her legs are bent up towards the viewer, with the right continuing the line of her body at the knee while her left leg is only slightly bent to point back to the lower right of the painting. The whole body is painted in pale, warm colours and lights up the otherwise dark and earthy image. Under the sleeping woman there is a cloth, which hangs over the abyss near her breast, disappears under her arm near her head and is lifted by the satyr behind her.The satyr, whose head is crowned with grape vines symbolising the presence of the god Bacchus. lies in the opposite direction behind the woman, with the front of his body also facing the viewer. With his left arm he lifts the cloth to the height of Antiope's shoulder and it is obvious that he has just uncovered the sleeping maiden. His left arm is bent on a tree root at the right edge of the image and props up his upper body. With his head and upper body, the satyr looms over the hips of the sleeper in order to gaze upon her – he licks his lips lustfully. His body is shadowy and cannot be made out below his hips. The satyr is depicted in brown tones. His suntanned skin and muscular body forms a clear contrast with the softly worked, shapely Antiope.
The lower edge of the image is taken up by an abyss, which is depicted in dark brown tones and is edged with bare soil. On either side, gnarled roots grow in the soil, which rise into indistinct trees. The ground continues above the trees into the background, where there is a hill with lone houses. Above that is the cloudy sky, discreetly lit by the glow of twilight.
The composition fits the oval shape of the image. The sleeping Antiope forms the central horizontal, with her hips and bent legs creating the central vertical. The arms of the satyr and the legs of the woman curve in parallel with the upper edge of the painting – in this way the two central characters repeat the oval within the image, which is broken only by dangling left arm of the woman. Spatial depth is created by the stooped posture of Jupiter and by the bent knees of Antiope. | [
"Bacchus",
"Jupiter",
"satyr",
"Antiope",
"left",
"twilight"
] |
|
16724_T | Jupiter and Antiope (Watteau) | How does Jupiter and Antiope (Watteau) elucidate its Mythological background and reception in art? | The painting comes out of the story of the seduction of Antiope by the god Zeus in Greek mythology, later imported into Roman mythology and told of the god Jupiter. According to this myth, Antiope, the beautiful daughter of King Nycteus of Thebes, was surprised and seduced by Zeus in the form of a satyr. She became pregnant and bore the twins Amphion and Zethus, who later killed Nycteus' brother Lycus in revenge for his treatment of Antiope and took over the city of Thebes. | [
"Zeus",
"Amphion and Zethus",
"Lycus",
"Thebes",
"Roman mythology",
"Jupiter",
"Nycteus",
"satyr",
"Antiope",
"Greek mythology"
] |
|
16724_NT | Jupiter and Antiope (Watteau) | How does this artwork elucidate its Mythological background and reception in art? | The painting comes out of the story of the seduction of Antiope by the god Zeus in Greek mythology, later imported into Roman mythology and told of the god Jupiter. According to this myth, Antiope, the beautiful daughter of King Nycteus of Thebes, was surprised and seduced by Zeus in the form of a satyr. She became pregnant and bore the twins Amphion and Zethus, who later killed Nycteus' brother Lycus in revenge for his treatment of Antiope and took over the city of Thebes. | [
"Zeus",
"Amphion and Zethus",
"Lycus",
"Thebes",
"Roman mythology",
"Jupiter",
"Nycteus",
"satyr",
"Antiope",
"Greek mythology"
] |
|
16725_T | Jupiter and Antiope (Watteau) | In the context of Jupiter and Antiope (Watteau), analyze the Satyr and Nymph of the Mythological background and reception in art. | Satyrs and nymphs form two extremes in Greek mythology, which are united only by their instinctive natures. While the nymph was the source of the psychological term nymphomania (now hypersexuality), the satyr was the source of the once common but now outdated term satyriasis and can be understood as the nymph's male equivalent.
Accordingly, both nymphs and satyrs are very regularly depicted in mythology – and thence also in their subsequent artistic reception – in erotic contexts and are accordingly favoured topics of art. In addition there is a clear aesthetic contrast between the two stereotypes. The nymph is in general very beautiful and physically perfect. They were mostly depicted with ivory, light and very delicate colours and an idealised female form, having close similarities with depictions of Venus. On the other hand, the satyrs, who are the followers of Bacchus, are very ugly, with the horns, legs and sometimes the tail of a goat. They are also strong, muscular, and tanned. Thus nymphs and satyrs present an optical contrast, which could hardly be any stronger and which makes them a perfect pair for artistic purposes. | [
"Bacchus",
"hypersexuality",
"Satyr",
"satyr",
"satyriasis",
"nymphomania",
"Greek mythology",
"Venus"
] |
|
16725_NT | Jupiter and Antiope (Watteau) | In the context of this artwork, analyze the Satyr and Nymph of the Mythological background and reception in art. | Satyrs and nymphs form two extremes in Greek mythology, which are united only by their instinctive natures. While the nymph was the source of the psychological term nymphomania (now hypersexuality), the satyr was the source of the once common but now outdated term satyriasis and can be understood as the nymph's male equivalent.
Accordingly, both nymphs and satyrs are very regularly depicted in mythology – and thence also in their subsequent artistic reception – in erotic contexts and are accordingly favoured topics of art. In addition there is a clear aesthetic contrast between the two stereotypes. The nymph is in general very beautiful and physically perfect. They were mostly depicted with ivory, light and very delicate colours and an idealised female form, having close similarities with depictions of Venus. On the other hand, the satyrs, who are the followers of Bacchus, are very ugly, with the horns, legs and sometimes the tail of a goat. They are also strong, muscular, and tanned. Thus nymphs and satyrs present an optical contrast, which could hardly be any stronger and which makes them a perfect pair for artistic purposes. | [
"Bacchus",
"hypersexuality",
"Satyr",
"satyr",
"satyriasis",
"nymphomania",
"Greek mythology",
"Venus"
] |
|
16726_T | Jupiter and Antiope (Watteau) | In Jupiter and Antiope (Watteau), how is the Creation and context discussed? | The circumstances of the painting's creation are not entirely clear (see below). In the art historical literature, the assumption that the painting was created as a commission for the banker Pierre Crozat under the instruction of Watteau's teacher Charles de La Fosse around the time of the creation of the four Seasons prevails. La Fosse encouraged Watteau who had not practiced history painting hitherto to take on the work of the allegories of the Seasons, since he himself was not in the neighbourhood anymore. The Seasons seem to have been designed as oval paintings with mythological scenes intended to decorate Crozat's dining room.In parallel with this series, Watteau produced a range of other paintings, which dealt with the theme of the mythological nude in this same oval format which was at that time unusual. At first he painted a number of historical images in the classical format, following Italian and Netherlandish classics, after which he next created Jupiter and Antiope, the seasons and three further seasons in the oval format: another Autumn, Venus Disarming Amor and the Morning Toilette.
Models for the painting of Jupiter and Antiope included the paintings of the same name by Antonio da Correggio and Titian as well as the Descent from the Cross of the Dutch painter Anthony van Dyck, from which the arrangement of the satyr's arms is taken.During his preparation for the Jupiter and Antiope, at least three sketches were created by Watteau, in which he attempted to work the satyr out. These include a drawing of the satyr in kneeling position and one in the reclining pose which he finally selected. No sketches of Antiope are known, but Watteau had already produced a great number of female nudes and studies which he could draw on for this painting. Finally, an image now lost showed the whole image and was used by the engraver Anne-Claude-Philippe, Comte de Caylus as model for a copper engraving which was first published by Jules de Jullienne.
Watteau returned to the theme of the sleeping nymph in his 1719 painting The Elysian Fields, a scene of the gardens of the Champs-Élysées in Paris. Here he depicted a stone copy of Antiope wearing a crown as a monument on the pedestal at the right hand side of the painting, as a kind of "living sculpture" which is typical of Watteau. This statue is placed directly above a gallantly dressed man seen only from behind (Hagestolz) who considers the scenery as part of a group of men in the foreground (Watteau also painted a similar group of people in the Rural Pleasure of 1720, in that case standing under a statue of Venus). According to Börsch-Supan, the Hagestolz represents the natural counterpoint to the lustful satyr - he observes the figure on the pedestal with particular interest. | [
"copper engraving",
"Titian",
"Jupiter and Antiope",
"Anthony van Dyck",
"Pierre Crozat",
"Charles de La Fosse",
"Anne-Claude-Philippe, Comte de Caylus",
"Antonio da Correggio",
"Champs-Élysées",
"Jupiter",
"history painting",
"satyr",
"Antiope",
"Paris",
"Jules de Jullienne",
"Hagestolz",
"Venus"
] |
|
16726_NT | Jupiter and Antiope (Watteau) | In this artwork, how is the Creation and context discussed? | The circumstances of the painting's creation are not entirely clear (see below). In the art historical literature, the assumption that the painting was created as a commission for the banker Pierre Crozat under the instruction of Watteau's teacher Charles de La Fosse around the time of the creation of the four Seasons prevails. La Fosse encouraged Watteau who had not practiced history painting hitherto to take on the work of the allegories of the Seasons, since he himself was not in the neighbourhood anymore. The Seasons seem to have been designed as oval paintings with mythological scenes intended to decorate Crozat's dining room.In parallel with this series, Watteau produced a range of other paintings, which dealt with the theme of the mythological nude in this same oval format which was at that time unusual. At first he painted a number of historical images in the classical format, following Italian and Netherlandish classics, after which he next created Jupiter and Antiope, the seasons and three further seasons in the oval format: another Autumn, Venus Disarming Amor and the Morning Toilette.
Models for the painting of Jupiter and Antiope included the paintings of the same name by Antonio da Correggio and Titian as well as the Descent from the Cross of the Dutch painter Anthony van Dyck, from which the arrangement of the satyr's arms is taken.During his preparation for the Jupiter and Antiope, at least three sketches were created by Watteau, in which he attempted to work the satyr out. These include a drawing of the satyr in kneeling position and one in the reclining pose which he finally selected. No sketches of Antiope are known, but Watteau had already produced a great number of female nudes and studies which he could draw on for this painting. Finally, an image now lost showed the whole image and was used by the engraver Anne-Claude-Philippe, Comte de Caylus as model for a copper engraving which was first published by Jules de Jullienne.
Watteau returned to the theme of the sleeping nymph in his 1719 painting The Elysian Fields, a scene of the gardens of the Champs-Élysées in Paris. Here he depicted a stone copy of Antiope wearing a crown as a monument on the pedestal at the right hand side of the painting, as a kind of "living sculpture" which is typical of Watteau. This statue is placed directly above a gallantly dressed man seen only from behind (Hagestolz) who considers the scenery as part of a group of men in the foreground (Watteau also painted a similar group of people in the Rural Pleasure of 1720, in that case standing under a statue of Venus). According to Börsch-Supan, the Hagestolz represents the natural counterpoint to the lustful satyr - he observes the figure on the pedestal with particular interest. | [
"copper engraving",
"Titian",
"Jupiter and Antiope",
"Anthony van Dyck",
"Pierre Crozat",
"Charles de La Fosse",
"Anne-Claude-Philippe, Comte de Caylus",
"Antonio da Correggio",
"Champs-Élysées",
"Jupiter",
"history painting",
"satyr",
"Antiope",
"Paris",
"Jules de Jullienne",
"Hagestolz",
"Venus"
] |
|
16727_T | Jupiter and Antiope (Watteau) | Focus on Jupiter and Antiope (Watteau) and explore the Provenance. | The history of the painting after its creation is not yet completely clear and in particular its location before 1857 remains an open question.
Probably Watteau painted the image as a commission for the merchant Pierre Crozat, for whom he also produced the series of Seasons painted at the same time. This is claimed in an exhibition catalogue from Vienna in 1966 and remains the most widely accepted theory in art history to this day, but it still cannot be proven.
In 1857 the painting appeared at the auction of the collection of Theodore Patureau in a catalogue in which it was listed as a former possession of Prince Paul d'Arenberg. Watteau maintained a friendly relationship with the ancestors of the prince in the early eighteenth century and a receipt of 14 May 1717 signed by Watteau records that he had sold two paintings to Léopold Philippe d'Arenberg. In their 1929 book Jean de Juliennes et les graveurs de Watteau au XVIIIe siècle E. Hérold and A. Vuaflart suggest that Jupiter and Antiope could have been one of these two paintings and develop a theory that de Ligne ordered the painting in 1714 during a trip to Paris and returned to collect the painting and pay for it three years later. Today this theory is largely rejected.
How the painting came into the possession of Paturae is no longer clear either, but he probably bought it from Price Paul d'Arenberg privately. In 1864 the Baron James Mayer de Rothschild bought the painting and then put it up for auction again in March 1868 through the art-dealer Bourlon de Sarty. It was bought by Louis La Caze who died the very next year, leaving it to the Louvre. The painting still hangs there today. | [
"Louis La Caze",
"Jupiter and Antiope",
"Pierre Crozat",
"Louvre",
"James Mayer de Rothschild",
"Léopold Philippe d'Arenberg",
"Jupiter",
"Paul d'Arenberg",
"Antiope",
"Paris",
"Theodore Patureau",
"Vienna",
"Bourlon de Sarty"
] |
|
16727_NT | Jupiter and Antiope (Watteau) | Focus on this artwork and explore the Provenance. | The history of the painting after its creation is not yet completely clear and in particular its location before 1857 remains an open question.
Probably Watteau painted the image as a commission for the merchant Pierre Crozat, for whom he also produced the series of Seasons painted at the same time. This is claimed in an exhibition catalogue from Vienna in 1966 and remains the most widely accepted theory in art history to this day, but it still cannot be proven.
In 1857 the painting appeared at the auction of the collection of Theodore Patureau in a catalogue in which it was listed as a former possession of Prince Paul d'Arenberg. Watteau maintained a friendly relationship with the ancestors of the prince in the early eighteenth century and a receipt of 14 May 1717 signed by Watteau records that he had sold two paintings to Léopold Philippe d'Arenberg. In their 1929 book Jean de Juliennes et les graveurs de Watteau au XVIIIe siècle E. Hérold and A. Vuaflart suggest that Jupiter and Antiope could have been one of these two paintings and develop a theory that de Ligne ordered the painting in 1714 during a trip to Paris and returned to collect the painting and pay for it three years later. Today this theory is largely rejected.
How the painting came into the possession of Paturae is no longer clear either, but he probably bought it from Price Paul d'Arenberg privately. In 1864 the Baron James Mayer de Rothschild bought the painting and then put it up for auction again in March 1868 through the art-dealer Bourlon de Sarty. It was bought by Louis La Caze who died the very next year, leaving it to the Louvre. The painting still hangs there today. | [
"Louis La Caze",
"Jupiter and Antiope",
"Pierre Crozat",
"Louvre",
"James Mayer de Rothschild",
"Léopold Philippe d'Arenberg",
"Jupiter",
"Paul d'Arenberg",
"Antiope",
"Paris",
"Theodore Patureau",
"Vienna",
"Bourlon de Sarty"
] |
|
16728_T | Jupiter and Antiope (Watteau) | In the context of Jupiter and Antiope (Watteau), explain the Conservation status and alterations of the Provenance. | The conservation status of the painting is relatively poor. With the help of X-ray imaging cracked areas were restored, particularly in the sky and around the edges. Further investigations revealed that Antiope originally wore a cloth of modesty which was later removed. Whether the cloth and its subsequent removal were painted by Watteau himself is not clear. A later addition and removal is also possible. The X-ray imagery and especially Watteau's sketches and the copper engraving of Watteau's contemporary the Comte de Caylus confirm that the satyr was painted by Watteau, which was once controversial. The old theory that the final private owner, Louis La Caze had made alterations to the painting can also now be considered disproven. | [
"Louis La Caze",
"copper engraving",
"satyr",
"Antiope",
"X-ray"
] |
|
16728_NT | Jupiter and Antiope (Watteau) | In the context of this artwork, explain the Conservation status and alterations of the Provenance. | The conservation status of the painting is relatively poor. With the help of X-ray imaging cracked areas were restored, particularly in the sky and around the edges. Further investigations revealed that Antiope originally wore a cloth of modesty which was later removed. Whether the cloth and its subsequent removal were painted by Watteau himself is not clear. A later addition and removal is also possible. The X-ray imagery and especially Watteau's sketches and the copper engraving of Watteau's contemporary the Comte de Caylus confirm that the satyr was painted by Watteau, which was once controversial. The old theory that the final private owner, Louis La Caze had made alterations to the painting can also now be considered disproven. | [
"Louis La Caze",
"copper engraving",
"satyr",
"Antiope",
"X-ray"
] |
|
16729_T | Jupiter and Antiope (Watteau) | Explore the Copies of this artwork, Jupiter and Antiope (Watteau). | After its creation Jupiter and Antiope was repeatedly copied and reworked. Two copies by an unknown artist are preserved in the Louvre in the Service d’Etudes et de Documentation.
The previously mentioned copper engraving of the Comte de Caylus was created in the lifetime of Watteau and was included in Jean de Jullienne's collection Figures de différents caractères. He based his depiction not on the painting itself, but like most of his engravings on a drawing by Watteau which is now lost. A drawing of the painting by Gabriel de Saint-Aubin also existed which is today on display in the Art Institute of Chicago.
The French painter Lucien Lévy-Dhurmer painted an invented View of Watteau's Studio in 1890, in which the Jupiter and Antiope features as one of the paintings on the walls. Another painting in which the painting appears as part of the composition is the Salle La Caze painted by Édouard Vuillard in 1922. Ernest Laurent copied the image as a grisaille and a free modern interpretation was made by Claude Schurr in 1966. | [
"Art Institute of Chicago",
"copper engraving",
"Jean de Jullienne",
"Édouard Vuillard",
"Gabriel de Saint-Aubin",
"Jupiter and Antiope",
"French",
"Louvre",
"Jupiter",
"Lucien Lévy-Dhurmer",
"Antiope",
"grisaille",
"Ernest Laurent",
"Claude Schurr"
] |
|
16729_NT | Jupiter and Antiope (Watteau) | Explore the Copies of this artwork. | After its creation Jupiter and Antiope was repeatedly copied and reworked. Two copies by an unknown artist are preserved in the Louvre in the Service d’Etudes et de Documentation.
The previously mentioned copper engraving of the Comte de Caylus was created in the lifetime of Watteau and was included in Jean de Jullienne's collection Figures de différents caractères. He based his depiction not on the painting itself, but like most of his engravings on a drawing by Watteau which is now lost. A drawing of the painting by Gabriel de Saint-Aubin also existed which is today on display in the Art Institute of Chicago.
The French painter Lucien Lévy-Dhurmer painted an invented View of Watteau's Studio in 1890, in which the Jupiter and Antiope features as one of the paintings on the walls. Another painting in which the painting appears as part of the composition is the Salle La Caze painted by Édouard Vuillard in 1922. Ernest Laurent copied the image as a grisaille and a free modern interpretation was made by Claude Schurr in 1966. | [
"Art Institute of Chicago",
"copper engraving",
"Jean de Jullienne",
"Édouard Vuillard",
"Gabriel de Saint-Aubin",
"Jupiter and Antiope",
"French",
"Louvre",
"Jupiter",
"Lucien Lévy-Dhurmer",
"Antiope",
"grisaille",
"Ernest Laurent",
"Claude Schurr"
] |
|
16730_T | Jupiter and Antiope (Watteau) | Focus on Jupiter and Antiope (Watteau) and discuss the In popular culture. | Patrick Süskind's novel Perfume published by Diogenes Verlag since 1985 has a detail from Jupiter and Antiope on the cover with the armpit of the naked sleeper in the centre. This might symbolise the novel's central theme of fragrant seduction. The novel was an international best seller, translated into 49 languages, with over 20 million copies sold. The same image has been used on all versions of the cover except the American paperback edition (where it was prohibited to depict a women's nipple), thus the book has made Watteau's Antiope famous worldwide.
In July 1971 Paraguay produced a postage stamp with the motif of the sleeping nymph. | [
"armpit",
"Jupiter and Antiope",
"Paraguay",
"Patrick Süskind",
"Jupiter",
"Perfume",
"Antiope",
"Diogenes Verlag",
"postage stamp"
] |
|
16730_NT | Jupiter and Antiope (Watteau) | Focus on this artwork and discuss the In popular culture. | Patrick Süskind's novel Perfume published by Diogenes Verlag since 1985 has a detail from Jupiter and Antiope on the cover with the armpit of the naked sleeper in the centre. This might symbolise the novel's central theme of fragrant seduction. The novel was an international best seller, translated into 49 languages, with over 20 million copies sold. The same image has been used on all versions of the cover except the American paperback edition (where it was prohibited to depict a women's nipple), thus the book has made Watteau's Antiope famous worldwide.
In July 1971 Paraguay produced a postage stamp with the motif of the sleeping nymph. | [
"armpit",
"Jupiter and Antiope",
"Paraguay",
"Patrick Süskind",
"Jupiter",
"Perfume",
"Antiope",
"Diogenes Verlag",
"postage stamp"
] |
|
16731_T | Alluvial Wall | How does Alluvial Wall elucidate its abstract? | Alluvial Wall is an outdoor 2001 sculpture by Peter Nylen and the architectural firm Rigga located along the Eastbank Esplanade in Portland, Oregon. | [
"Portland, Oregon",
"Eastbank Esplanade",
"Rigga"
] |
|
16731_NT | Alluvial Wall | How does this artwork elucidate its abstract? | Alluvial Wall is an outdoor 2001 sculpture by Peter Nylen and the architectural firm Rigga located along the Eastbank Esplanade in Portland, Oregon. | [
"Portland, Oregon",
"Eastbank Esplanade",
"Rigga"
] |
|
16732_T | Alluvial Wall | Focus on Alluvial Wall and analyze the Description. | The sculpture is made of mild steel, cast silicon bronze, cast iron and electric light, and measures 1 foot (0.30 m), 6 inches (15 cm) x 3 feet (0.91 m) x 13 feet (4.0 m), 6 inches (15 cm). It was funded by the City of Portland Development Commission's Percent for Art program.According to the Regional Arts & Culture Council, which administers the work, Alluvial Wall "alludes to the interwoven layers of the river's pre-industrial alluvial geology. It is an echo of the natural shape of the river before Portland was Portland." In her walking tour of Portland, one author said the sculpture resembles "what you might see on a beach after the tide goes out". Its copper "kelp-like strips" are embedded with black metal objects, including a child's ball, a morel mushroom and a railroad spike.The sculpture is one of four by Rigga along the esplanade; the others are Echo Gate and Stack Stalk by Ean Eldred and Ghost Ship by James Harrison. Alluvial Wall is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. | [
"Regional Arts & Culture Council",
"Stack Stalk",
"Rigga",
"Echo Gate",
"Ghost Ship"
] |
|
16732_NT | Alluvial Wall | Focus on this artwork and analyze the Description. | The sculpture is made of mild steel, cast silicon bronze, cast iron and electric light, and measures 1 foot (0.30 m), 6 inches (15 cm) x 3 feet (0.91 m) x 13 feet (4.0 m), 6 inches (15 cm). It was funded by the City of Portland Development Commission's Percent for Art program.According to the Regional Arts & Culture Council, which administers the work, Alluvial Wall "alludes to the interwoven layers of the river's pre-industrial alluvial geology. It is an echo of the natural shape of the river before Portland was Portland." In her walking tour of Portland, one author said the sculpture resembles "what you might see on a beach after the tide goes out". Its copper "kelp-like strips" are embedded with black metal objects, including a child's ball, a morel mushroom and a railroad spike.The sculpture is one of four by Rigga along the esplanade; the others are Echo Gate and Stack Stalk by Ean Eldred and Ghost Ship by James Harrison. Alluvial Wall is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. | [
"Regional Arts & Culture Council",
"Stack Stalk",
"Rigga",
"Echo Gate",
"Ghost Ship"
] |
|
16733_T | Breton Brother and Sister | In Breton Brother and Sister, how is the abstract discussed? | Breton Brother and Sister is a mid 19th-century painting by French artist William Bouguereau. Done in oil on canvas, the painting depicts a Breton brother and sister in traditional costume. The work – though painted in 1871 – was created on the basis of sketches Bouguereau made in the late 1860s while vacationing in Brittany. The work is in the collection of the Metropolitan Museum of Art. | [
"William Bouguereau",
"Breton",
"Metropolitan Museum of Art"
] |
|
16733_NT | Breton Brother and Sister | In this artwork, how is the abstract discussed? | Breton Brother and Sister is a mid 19th-century painting by French artist William Bouguereau. Done in oil on canvas, the painting depicts a Breton brother and sister in traditional costume. The work – though painted in 1871 – was created on the basis of sketches Bouguereau made in the late 1860s while vacationing in Brittany. The work is in the collection of the Metropolitan Museum of Art. | [
"William Bouguereau",
"Breton",
"Metropolitan Museum of Art"
] |
|
16734_T | The Sun Vow | Focus on The Sun Vow and explore the abstract. | The Sun Vow is an 1899 bronze sculpture by American artist Hermon Atkins MacNeil. It was cast in 1919 and measures 72 inches (180 cm) x 32.5 inches (83 cm) x 54 inches (140 cm). The sculpture is part of the Metropolitan Museum of Art's collection. | [
"bronze sculpture",
"Hermon Atkins MacNeil",
"Metropolitan Museum of Art"
] |
|
16734_NT | The Sun Vow | Focus on this artwork and explore the abstract. | The Sun Vow is an 1899 bronze sculpture by American artist Hermon Atkins MacNeil. It was cast in 1919 and measures 72 inches (180 cm) x 32.5 inches (83 cm) x 54 inches (140 cm). The sculpture is part of the Metropolitan Museum of Art's collection. | [
"bronze sculpture",
"Hermon Atkins MacNeil",
"Metropolitan Museum of Art"
] |
|
16735_T | Triumph of the Virtues (Mantegna) | Focus on Triumph of the Virtues (Mantegna) and explain the abstract. | The Triumph of the Virtues (also known as Minerva Expelling the Vices from the Garden of Virtue) is a painting by the Italian Renaissance painter Andrea Mantegna, completed in 1502. It is housed in the Musée du Louvre of Paris.
The triumph was the second picture painted by Mantegna for Isabella d'Este's studiolo (cabinet), after the Parnassus of 1497. It portrays a marsh enclosed by a tall fence, ruled over by the Vices, portrayed as hideous figures and identified by scrolls in a typically medieval way. Idleness is chased by Minerva, who is also rescuing Diana, goddess of chastity, from being raped by a Centaur, symbol of concupiscence. Next to Minerva is a tree with human features. High in the sky are the three primary moral virtues required to perfect the appetitive powers: Justice, Temperance and Fortitude. | [
"Musée du Louvre",
"studiolo",
"concupiscence",
"Minerva",
"Parnassus",
"Renaissance",
"Diana",
"Fortitude",
"Italian",
"Isabella d'Este",
"marsh",
"Andrea Mantegna",
"Louvre",
"Paris",
"Temperance",
"Justice"
] |
|
16735_NT | Triumph of the Virtues (Mantegna) | Focus on this artwork and explain the abstract. | The Triumph of the Virtues (also known as Minerva Expelling the Vices from the Garden of Virtue) is a painting by the Italian Renaissance painter Andrea Mantegna, completed in 1502. It is housed in the Musée du Louvre of Paris.
The triumph was the second picture painted by Mantegna for Isabella d'Este's studiolo (cabinet), after the Parnassus of 1497. It portrays a marsh enclosed by a tall fence, ruled over by the Vices, portrayed as hideous figures and identified by scrolls in a typically medieval way. Idleness is chased by Minerva, who is also rescuing Diana, goddess of chastity, from being raped by a Centaur, symbol of concupiscence. Next to Minerva is a tree with human features. High in the sky are the three primary moral virtues required to perfect the appetitive powers: Justice, Temperance and Fortitude. | [
"Musée du Louvre",
"studiolo",
"concupiscence",
"Minerva",
"Parnassus",
"Renaissance",
"Diana",
"Fortitude",
"Italian",
"Isabella d'Este",
"marsh",
"Andrea Mantegna",
"Louvre",
"Paris",
"Temperance",
"Justice"
] |
|
16736_T | El Cid Campeador (sculpture) | Explore the abstract of this artwork, El Cid Campeador (sculpture). | El Cid Campeador is an outdoor equestrian statue depicting the Spanish knight El Cid by artist Anna Hyatt Huntington, architect William Templeton Johnson, and the foundry General Bronze Company, installed at Balboa Park's Plaza de Panama, in San Diego, California. The bronze sculpture was created in 1927 and dedicated on July 5, 1930. The statue measures approximately 11 x 9 x 7 ft, with a 16-foot diameter, and its concrete or Indiana limestone base measures approximately 11 x 14 x 8 ft. It was surveyed and deemed "treatment needed" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1994.Copies of Huntington's statue exist in other cities, including Buenos Aires, New York City, San Francisco, Seville, and Valencia. The New York cast is on the grounds of the Hispanic Society of America on Audubon Terrace in Manhattan. Anna Hyatt Huntington was the wife of Archer M. Huntington, the society's founder. | [
"bronze",
"Audubon Terrace",
"bronze sculpture",
"equestrian statue",
"Anna Hyatt Huntington",
"William Templeton Johnson",
"Plaza de Panama",
"Hispanic Society of America",
"Smithsonian Institution",
"San Diego",
"Manhattan",
"Archer M. Huntington",
"Balboa Park",
"Save Outdoor Sculpture!",
"El Cid"
] |
|
16736_NT | El Cid Campeador (sculpture) | Explore the abstract of this artwork. | El Cid Campeador is an outdoor equestrian statue depicting the Spanish knight El Cid by artist Anna Hyatt Huntington, architect William Templeton Johnson, and the foundry General Bronze Company, installed at Balboa Park's Plaza de Panama, in San Diego, California. The bronze sculpture was created in 1927 and dedicated on July 5, 1930. The statue measures approximately 11 x 9 x 7 ft, with a 16-foot diameter, and its concrete or Indiana limestone base measures approximately 11 x 14 x 8 ft. It was surveyed and deemed "treatment needed" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1994.Copies of Huntington's statue exist in other cities, including Buenos Aires, New York City, San Francisco, Seville, and Valencia. The New York cast is on the grounds of the Hispanic Society of America on Audubon Terrace in Manhattan. Anna Hyatt Huntington was the wife of Archer M. Huntington, the society's founder. | [
"bronze",
"Audubon Terrace",
"bronze sculpture",
"equestrian statue",
"Anna Hyatt Huntington",
"William Templeton Johnson",
"Plaza de Panama",
"Hispanic Society of America",
"Smithsonian Institution",
"San Diego",
"Manhattan",
"Archer M. Huntington",
"Balboa Park",
"Save Outdoor Sculpture!",
"El Cid"
] |
|
16737_T | Bird in Hand (painting) | Focus on Bird in Hand (painting) and discuss the abstract. | Bird in Hand is a 2006 painting by Ellen Gallagher. It is in the collection of the Tate Modern in London, England in the United Kingdom. | [
"Tate Modern",
"London, England",
"United Kingdom",
"London",
"Ellen Gallagher"
] |
|
16737_NT | Bird in Hand (painting) | Focus on this artwork and discuss the abstract. | Bird in Hand is a 2006 painting by Ellen Gallagher. It is in the collection of the Tate Modern in London, England in the United Kingdom. | [
"Tate Modern",
"London, England",
"United Kingdom",
"London",
"Ellen Gallagher"
] |
|
16738_T | Bird in Hand (painting) | How does Bird in Hand (painting) elucidate its Description? | The mixed media painting depicts a Black pirate-like figure with a wooden leg and long hair. The figure has an alien-like face and wears a long coat, belt, a puffy, frilly white shirt, and a pair of blue pants. Holding a green parrot in its hand, the figure appears to be standing underwater, on seaweed, surrounded by a coral reef. | [
"parrot",
"seaweed",
"coral reef",
"Black",
"pirate",
"mixed media"
] |
|
16738_NT | Bird in Hand (painting) | How does this artwork elucidate its Description? | The mixed media painting depicts a Black pirate-like figure with a wooden leg and long hair. The figure has an alien-like face and wears a long coat, belt, a puffy, frilly white shirt, and a pair of blue pants. Holding a green parrot in its hand, the figure appears to be standing underwater, on seaweed, surrounded by a coral reef. | [
"parrot",
"seaweed",
"coral reef",
"Black",
"pirate",
"mixed media"
] |
|
16739_T | Bird in Hand (painting) | Focus on Bird in Hand (painting) and analyze the History. | Gallagher produced the piece at her studio in Rotterdam in the Netherlands. The painting was acquired by the Tate in 2007 as a gift from an anonymous donor. The painting was exhibited at the Tate as part of a solo retrospective of Gallagher's work in 2013 titled "Ellen Gallagher: AxME". | [
"Rotterdam",
"Netherlands",
"Ellen Gallagher"
] |
|
16739_NT | Bird in Hand (painting) | Focus on this artwork and analyze the History. | Gallagher produced the piece at her studio in Rotterdam in the Netherlands. The painting was acquired by the Tate in 2007 as a gift from an anonymous donor. The painting was exhibited at the Tate as part of a solo retrospective of Gallagher's work in 2013 titled "Ellen Gallagher: AxME". | [
"Rotterdam",
"Netherlands",
"Ellen Gallagher"
] |
|
16740_T | Bird in Hand (painting) | In Bird in Hand (painting), how is the Insight about the work discussed? | According to Gallagher, the bird that the figure is holding has "just been caught" and that the name of the painting comes from the feeling experienced by when a person holds a bird too tight in their hand. Tate Modern's Alice Sanger interpreted the painting as being representative of the Atlantic slave trade that stemmed from Cape Verde, where Gallagher's father is from. The use of salt in the painting represents the salt mining that was a major industry in the region. Sanger also suggests that the painting represents a slave turned pirate. | [
"Tate Modern",
"Cape Verde",
"Atlantic slave trade",
"pirate"
] |
|
16740_NT | Bird in Hand (painting) | In this artwork, how is the Insight about the work discussed? | According to Gallagher, the bird that the figure is holding has "just been caught" and that the name of the painting comes from the feeling experienced by when a person holds a bird too tight in their hand. Tate Modern's Alice Sanger interpreted the painting as being representative of the Atlantic slave trade that stemmed from Cape Verde, where Gallagher's father is from. The use of salt in the painting represents the salt mining that was a major industry in the region. Sanger also suggests that the painting represents a slave turned pirate. | [
"Tate Modern",
"Cape Verde",
"Atlantic slave trade",
"pirate"
] |
|
16741_T | Bird in Hand (painting) | Focus on Bird in Hand (painting) and explore the Reception. | Metros Amy Dawson described the work's complex amount of paint, gold leaf and mixed media as being "intricate" and part of the artist's fantastical conception of a black Atlantis, populated by the descendants of slaves who perished during the Middle Passage." | [
"Metro",
"mixed media"
] |
|
16741_NT | Bird in Hand (painting) | Focus on this artwork and explore the Reception. | Metros Amy Dawson described the work's complex amount of paint, gold leaf and mixed media as being "intricate" and part of the artist's fantastical conception of a black Atlantis, populated by the descendants of slaves who perished during the Middle Passage." | [
"Metro",
"mixed media"
] |
|
16742_T | Living Still Life | Focus on Living Still Life and explain the Related paintings. | Dali, Salvador. Disintegration of the Persistence of Memory. 1952–54. Oil on canvas. 10 in. x 13 in. The Salvador Dalí Museum, St. Petersburg, Florida.
Schooten, Floris van. A Dutch Breakfast, 1612–1655. Oil on panel. 24.8 in. x 32.7. The Louvre, Paris. | [
"Dutch",
"Oil on canvas",
"Salvador Dalí",
"Salvador Dalí Museum",
"St. Petersburg, Florida"
] |
|
16742_NT | Living Still Life | Focus on this artwork and explain the Related paintings. | Dali, Salvador. Disintegration of the Persistence of Memory. 1952–54. Oil on canvas. 10 in. x 13 in. The Salvador Dalí Museum, St. Petersburg, Florida.
Schooten, Floris van. A Dutch Breakfast, 1612–1655. Oil on panel. 24.8 in. x 32.7. The Louvre, Paris. | [
"Dutch",
"Oil on canvas",
"Salvador Dalí",
"Salvador Dalí Museum",
"St. Petersburg, Florida"
] |
|
16743_T | Emancipation (sculpture) | Explore the abstract of this artwork, Emancipation (sculpture). | Emancipation is a bronze statue located in Harriet Tubman Park in South End, Boston, Massachusetts.The statue was created in plaster in 1913 by artist Meta Vaux Warrick Fuller to commemorate the 50th anniversary of the Emancipation Proclamation, the order which abolished slavery in the United States. In 1999 it was cast in bronze and placed in Harriet Tubman Park. In 2013, quotes from Fuller describing emancipation were engraved on the base. | [
"Boston",
"Harriet Tubman Park",
"South End, Boston",
"South End",
"Meta Vaux Warrick Fuller",
"bronze",
"Emancipation Proclamation"
] |
|
16743_NT | Emancipation (sculpture) | Explore the abstract of this artwork. | Emancipation is a bronze statue located in Harriet Tubman Park in South End, Boston, Massachusetts.The statue was created in plaster in 1913 by artist Meta Vaux Warrick Fuller to commemorate the 50th anniversary of the Emancipation Proclamation, the order which abolished slavery in the United States. In 1999 it was cast in bronze and placed in Harriet Tubman Park. In 2013, quotes from Fuller describing emancipation were engraved on the base. | [
"Boston",
"Harriet Tubman Park",
"South End, Boston",
"South End",
"Meta Vaux Warrick Fuller",
"bronze",
"Emancipation Proclamation"
] |
|
16744_T | Street Light (painting) | Focus on Street Light (painting) and discuss the abstract. | Street Light (also known as The Street Light: Study of Light and Street Lamp (Suffering of a Street Lamp)) (Italian: Lampada ad arco) is a painting by Italian Futurist painter Giacomo Balla, dated 1909, depicting an electric street lamp casting a glow that outshines the crescent moon. The painting was inspired by streetlights at the Piazza Termini in Rome. | [
"Piazza Termini",
"light",
"Futurist",
"Giacomo Balla",
"street lamp",
"Rome",
"Italian",
"Light"
] |
|
16744_NT | Street Light (painting) | Focus on this artwork and discuss the abstract. | Street Light (also known as The Street Light: Study of Light and Street Lamp (Suffering of a Street Lamp)) (Italian: Lampada ad arco) is a painting by Italian Futurist painter Giacomo Balla, dated 1909, depicting an electric street lamp casting a glow that outshines the crescent moon. The painting was inspired by streetlights at the Piazza Termini in Rome. | [
"Piazza Termini",
"light",
"Futurist",
"Giacomo Balla",
"street lamp",
"Rome",
"Italian",
"Light"
] |
|
16745_T | Street Light (painting) | How does Street Light (painting) elucidate its History? | Lamp posts were a subject of Balla's work as early as 1900–1901. The iconography of a stylized street lamp appeared in a commercial poster in 1910, though it is not known if this work influenced Balla or vice versa. Other sources state that he was inspired to paint after seeing Rome's first electric street lights, the design of which were then universally regarded as looking passéist.Though dated 1909, Street Light was most likely painted in the latter half of 1911, following Balla's rejection from an art exhibition in Milan. Fellow Futurist Umberto Boccioni encouraged Balla to continue his efforts in Futurism, with an eye to the 1912 Futurist exhibition at the Bernheim-Jeune Gallery in Paris. Though the work is mentioned in the catalog for that exhibition, it was not actually displayed there. The painting was later exhibited by Balla in 1928.The acquisition of the painting by the Museum of Modern Art in New York was publicly announced on October 17, 1954. The painting, catalogued as object number 7.1954, was included in exhibitions in 1954–55, 1961, 1964, 1971, 1984, and 2012–13. As of 2013, it was not on permanent display. The museum also houses a pencil-and-ink study that Balla made for the painting. | [
"light",
"Futurist",
"street lamp",
"Bernheim-Jeune",
"Rome",
"Futurism",
"Umberto Boccioni",
"street light",
"Museum of Modern Art",
"Light"
] |
|
16745_NT | Street Light (painting) | How does this artwork elucidate its History? | Lamp posts were a subject of Balla's work as early as 1900–1901. The iconography of a stylized street lamp appeared in a commercial poster in 1910, though it is not known if this work influenced Balla or vice versa. Other sources state that he was inspired to paint after seeing Rome's first electric street lights, the design of which were then universally regarded as looking passéist.Though dated 1909, Street Light was most likely painted in the latter half of 1911, following Balla's rejection from an art exhibition in Milan. Fellow Futurist Umberto Boccioni encouraged Balla to continue his efforts in Futurism, with an eye to the 1912 Futurist exhibition at the Bernheim-Jeune Gallery in Paris. Though the work is mentioned in the catalog for that exhibition, it was not actually displayed there. The painting was later exhibited by Balla in 1928.The acquisition of the painting by the Museum of Modern Art in New York was publicly announced on October 17, 1954. The painting, catalogued as object number 7.1954, was included in exhibitions in 1954–55, 1961, 1964, 1971, 1984, and 2012–13. As of 2013, it was not on permanent display. The museum also houses a pencil-and-ink study that Balla made for the painting. | [
"light",
"Futurist",
"street lamp",
"Bernheim-Jeune",
"Rome",
"Futurism",
"Umberto Boccioni",
"street light",
"Museum of Modern Art",
"Light"
] |
|
16746_T | Street Light (painting) | Focus on Street Light (painting) and analyze the Context. | Painted around the time of the organization of the Futurist artists, the work may be seen as a response to Filippo Tommaso Marinetti's 1909 manifesto Uccidiamo il Chiaro di Luna! (Let's Kill the Moonlight!), in which Marinetti writes, "trecento lune elettriche cancellarono coi loro raggi di gesso abbagliante l'antica regina verde degli amori." ("three hundred electric moons wiped out with their dazzling rays of plaster the ancient green queen of love.") Balla's painting is an analytical study of the patterns and colors of a beam of light; it typifies his exploration of light, atmosphere, and motion as a member of the Italian Divisionism movement, in which he was inspired by the Neo-Impressionism of Georges Seurat and Paul Signac. Balla stated of his painting, decades later, that it "demonstrated how romantic moonlight had been surpassed by the light of the modern electric street light. This was the end of Romanticism in art. From my picture came the phrase (beloved by the Futurists): 'We shall kill the light of the moon'." | [
"Filippo Tommaso Marinetti",
"light",
"Georges Seurat",
"Paul Signac",
"Futurist",
"Italian",
"street light",
"Neo-Impressionism",
"motion",
"atmosphere",
"Divisionism"
] |
|
16746_NT | Street Light (painting) | Focus on this artwork and analyze the Context. | Painted around the time of the organization of the Futurist artists, the work may be seen as a response to Filippo Tommaso Marinetti's 1909 manifesto Uccidiamo il Chiaro di Luna! (Let's Kill the Moonlight!), in which Marinetti writes, "trecento lune elettriche cancellarono coi loro raggi di gesso abbagliante l'antica regina verde degli amori." ("three hundred electric moons wiped out with their dazzling rays of plaster the ancient green queen of love.") Balla's painting is an analytical study of the patterns and colors of a beam of light; it typifies his exploration of light, atmosphere, and motion as a member of the Italian Divisionism movement, in which he was inspired by the Neo-Impressionism of Georges Seurat and Paul Signac. Balla stated of his painting, decades later, that it "demonstrated how romantic moonlight had been surpassed by the light of the modern electric street light. This was the end of Romanticism in art. From my picture came the phrase (beloved by the Futurists): 'We shall kill the light of the moon'." | [
"Filippo Tommaso Marinetti",
"light",
"Georges Seurat",
"Paul Signac",
"Futurist",
"Italian",
"street light",
"Neo-Impressionism",
"motion",
"atmosphere",
"Divisionism"
] |
|
16747_T | Street Light (painting) | In Street Light (painting), how is the Reception and legacy discussed? | The work is described in the Encyclopædia Britannica as a "dynamic depiction of light", conveying "a sense of speed and urgency that puts [Balla's] paintings in line with Futurism’s fascination with the energy of modern life." It is said to reflect Balla's fascination with artificial light. Art critic Donald Kuspit describes the painting as a "crypto-scientific" study of the emotionally neutral sensation of light and color.In The End of Night: Searching for Natural Darkness in an Age of Artificial Light, author Paul Bogard contrasts the painting with Van Gogh's 1889 The Starry Night, also at the MoMA; while the latter depicts a deep and dynamic night sky, the sky in Balla's Street Light is submerged into the background by his celebrated artificial light. | [
"artificial light",
"light",
"The End of Night: Searching for Natural Darkness in an Age of Artificial Light",
"night sky",
"Futurism",
"sky",
"motion",
"Donald Kuspit",
"The Starry Night",
"Encyclopædia Britannica",
"Light"
] |
|
16747_NT | Street Light (painting) | In this artwork, how is the Reception and legacy discussed? | The work is described in the Encyclopædia Britannica as a "dynamic depiction of light", conveying "a sense of speed and urgency that puts [Balla's] paintings in line with Futurism’s fascination with the energy of modern life." It is said to reflect Balla's fascination with artificial light. Art critic Donald Kuspit describes the painting as a "crypto-scientific" study of the emotionally neutral sensation of light and color.In The End of Night: Searching for Natural Darkness in an Age of Artificial Light, author Paul Bogard contrasts the painting with Van Gogh's 1889 The Starry Night, also at the MoMA; while the latter depicts a deep and dynamic night sky, the sky in Balla's Street Light is submerged into the background by his celebrated artificial light. | [
"artificial light",
"light",
"The End of Night: Searching for Natural Darkness in an Age of Artificial Light",
"night sky",
"Futurism",
"sky",
"motion",
"Donald Kuspit",
"The Starry Night",
"Encyclopædia Britannica",
"Light"
] |
|
16748_T | Take Off (painting) | Focus on Take Off (painting) and explore the abstract. | Take Off is an oil-on-canvas painting by English artist Laura Knight, created in 1943. It is one of the several works that she made when she was one of the British official war artists during World War II. It is held at the Imperial War Museum, in London. | [
"Laura Knight",
"Imperial War Museum",
"World War II",
"London"
] |
|
16748_NT | Take Off (painting) | Focus on this artwork and explore the abstract. | Take Off is an oil-on-canvas painting by English artist Laura Knight, created in 1943. It is one of the several works that she made when she was one of the British official war artists during World War II. It is held at the Imperial War Museum, in London. | [
"Laura Knight",
"Imperial War Museum",
"World War II",
"London"
] |
|
16749_T | Take Off (painting) | Focus on Take Off (painting) and explain the Description. | The painting depicts the interior of a British Short Stirling bomber of the Royal Air Force. Inside the plane there are four of the seven crew members, who are preparing for take off before another night raid on Nazi Germany during World War II. Two pilots sit in the cockpit, while a navigator studies his maps, and in the foreground a flight sergeant turns a knob on the wireless device.The painter, Laura Knight, developed a long and accurate investigation in order to create this work: she later stated that this painting had been the most difficult task she had done so far in the war. She worked in the RAF Mildenhall and lived in the WAAF Officers' Mess for several months while working on the painting. She was also given an obsolete Stirling for preparation. The completed painting depicts in a faithful and detailed manner the moment of preparation for the take-off of the British crew, which is concentrating in their next mission. The realism of the painting gives it a photographic feeling. The navigator of the scene, Raymond Frankish Escreet, would be killed in action and his mother received a reproduction of this picture as a memento. | [
"Laura Knight",
"Royal Air Force",
"Nazi Germany",
"RAF Mildenhall",
"World War II",
"WAAF",
"Short Stirling"
] |
|
16749_NT | Take Off (painting) | Focus on this artwork and explain the Description. | The painting depicts the interior of a British Short Stirling bomber of the Royal Air Force. Inside the plane there are four of the seven crew members, who are preparing for take off before another night raid on Nazi Germany during World War II. Two pilots sit in the cockpit, while a navigator studies his maps, and in the foreground a flight sergeant turns a knob on the wireless device.The painter, Laura Knight, developed a long and accurate investigation in order to create this work: she later stated that this painting had been the most difficult task she had done so far in the war. She worked in the RAF Mildenhall and lived in the WAAF Officers' Mess for several months while working on the painting. She was also given an obsolete Stirling for preparation. The completed painting depicts in a faithful and detailed manner the moment of preparation for the take-off of the British crew, which is concentrating in their next mission. The realism of the painting gives it a photographic feeling. The navigator of the scene, Raymond Frankish Escreet, would be killed in action and his mother received a reproduction of this picture as a memento. | [
"Laura Knight",
"Royal Air Force",
"Nazi Germany",
"RAF Mildenhall",
"World War II",
"WAAF",
"Short Stirling"
] |
|
16750_T | Woman on a Black Divan | Explore the abstract of this artwork, Woman on a Black Divan. | Woman on a Black Divan (French: La femme au divan noir), also known simply as Recumbent Woman (Femme couchée) is a 1869 painting by the French artist Jean-Jacques Henner. It is one of the 44 Henner paintings of the Musée des Beaux-Arts of Mulhouse. Its inventory number is D.58.1.22.The painting was shown at the Paris Salon of 1869, and bought for the collection of the Société industrielle de Mulhouse (from which the Musée des Beaux-Arts originated) by the widow of Daniel Dollfus the same year. A much smaller version of the painting is kept in the Musée national Jean-Jacques Henner, in Paris, since 1923. | [
"Jean-Jacques Henner",
"Mulhouse",
"French",
"Musée national Jean-Jacques Henner",
"divan",
"Musée des Beaux-Arts",
"the widow of Daniel Dollfus",
"Paris Salon of 1869",
"Paris"
] |
|
16750_NT | Woman on a Black Divan | Explore the abstract of this artwork. | Woman on a Black Divan (French: La femme au divan noir), also known simply as Recumbent Woman (Femme couchée) is a 1869 painting by the French artist Jean-Jacques Henner. It is one of the 44 Henner paintings of the Musée des Beaux-Arts of Mulhouse. Its inventory number is D.58.1.22.The painting was shown at the Paris Salon of 1869, and bought for the collection of the Société industrielle de Mulhouse (from which the Musée des Beaux-Arts originated) by the widow of Daniel Dollfus the same year. A much smaller version of the painting is kept in the Musée national Jean-Jacques Henner, in Paris, since 1923. | [
"Jean-Jacques Henner",
"Mulhouse",
"French",
"Musée national Jean-Jacques Henner",
"divan",
"Musée des Beaux-Arts",
"the widow of Daniel Dollfus",
"Paris Salon of 1869",
"Paris"
] |
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