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16751_T | Fulcrum (sculpture) | Focus on Fulcrum (sculpture) and discuss the abstract. | Fulcrum is a large sculpture by American artist Richard Serra installed in 1987 near the western entrance to Liverpool Street station, London, as part of the Broadgate development. The sculpture consists of five pieces of Cor-Ten steel, and is approximately 55 feet (17 m) tall. Deyan Sudjic, director of the Design Museum, has called it one of London's "design icons".As part of the redevelopment of 100 Liverpool Street, the sculpture had to be lowered by around 1.5 metres. | [
"Broadgate",
"Liverpool Street station",
"London",
"Design Museum",
"Richard Serra",
"Cor-Ten steel",
"Deyan Sudjic"
] |
|
16751_NT | Fulcrum (sculpture) | Focus on this artwork and discuss the abstract. | Fulcrum is a large sculpture by American artist Richard Serra installed in 1987 near the western entrance to Liverpool Street station, London, as part of the Broadgate development. The sculpture consists of five pieces of Cor-Ten steel, and is approximately 55 feet (17 m) tall. Deyan Sudjic, director of the Design Museum, has called it one of London's "design icons".As part of the redevelopment of 100 Liverpool Street, the sculpture had to be lowered by around 1.5 metres. | [
"Broadgate",
"Liverpool Street station",
"London",
"Design Museum",
"Richard Serra",
"Cor-Ten steel",
"Deyan Sudjic"
] |
|
16752_T | Autumn Leaves (painting) | How does Autumn Leaves (painting) elucidate its abstract? | Autumn Leaves (1856) is a painting by John Everett Millais exhibited at the Royal Academy in 1856. It was described by the critic John Ruskin as "the first instance of a perfectly painted twilight." Millais's wife Effie wrote that he had intended to create a picture that was "full of beauty and without a subject".The picture depicts four girls in the twilight collecting and raking together fallen leaves in a garden, a location now occupied by Rodney Gardens in Perth, Scotland. They are making a bonfire, but the fire itself is invisible, only smoke emerging from between the leaves. The two girls on the left, modelled on Millais's sisters-in-law Alice and Sophie Gray, are portrayed in middle-class clothing of the era; the two on the right are in rougher, working class clothing.
The painting has been seen as one of the earliest influences on the development of the aesthetic movement. A sculpture in Rodney Gardens, known as "Millais Viewpoint", recreates the view through two lower corners of a picture frame, made of stone. | [
"John Everett Millais",
"Effie",
"John Ruskin",
"Royal Academy",
"Sophie Gray",
"Rodney Gardens",
"aesthetic movement",
"Perth, Scotland"
] |
|
16752_NT | Autumn Leaves (painting) | How does this artwork elucidate its abstract? | Autumn Leaves (1856) is a painting by John Everett Millais exhibited at the Royal Academy in 1856. It was described by the critic John Ruskin as "the first instance of a perfectly painted twilight." Millais's wife Effie wrote that he had intended to create a picture that was "full of beauty and without a subject".The picture depicts four girls in the twilight collecting and raking together fallen leaves in a garden, a location now occupied by Rodney Gardens in Perth, Scotland. They are making a bonfire, but the fire itself is invisible, only smoke emerging from between the leaves. The two girls on the left, modelled on Millais's sisters-in-law Alice and Sophie Gray, are portrayed in middle-class clothing of the era; the two on the right are in rougher, working class clothing.
The painting has been seen as one of the earliest influences on the development of the aesthetic movement. A sculpture in Rodney Gardens, known as "Millais Viewpoint", recreates the view through two lower corners of a picture frame, made of stone. | [
"John Everett Millais",
"Effie",
"John Ruskin",
"Royal Academy",
"Sophie Gray",
"Rodney Gardens",
"aesthetic movement",
"Perth, Scotland"
] |
|
16753_T | Autumn Leaves (painting) | Focus on Autumn Leaves (painting) and analyze the Interpretations. | The painting has typically been interpreted as a representation of the transience of youth and beauty, a common theme in Millais's art. Malcolm Warner argues that Millais was influenced by the poetry of Tennyson, at whose house he had once helped to rake together autumn leaves. Warner suggests that lines from Tennyson's song "Tears, Idle Tears" in The Princess (1847) may have influenced him:Tears, idle tears, I know not what they mean.
Tears from the depth of some divine despair
Rise in the heart, and gather to the eyes,
In looking on the happy Autumn-fields,
And thinking on the days that are no more.The apple held by the youngest girl at the right may allude to the loss of childhood innocence implied by reference to original sin and the expulsion from the Garden of Eden.After a positive review from F.G. Stephens, Millais wrote to him that he had "intended the picture to awaken by its solemnity the deepest religious reflection. I chose the subject of burning leaves as most calculated to produce this feeling." | [
"Garden of Eden",
"original sin",
"Malcolm Warner",
"F.G. Stephens",
"Tears, Idle Tears",
"Tennyson"
] |
|
16753_NT | Autumn Leaves (painting) | Focus on this artwork and analyze the Interpretations. | The painting has typically been interpreted as a representation of the transience of youth and beauty, a common theme in Millais's art. Malcolm Warner argues that Millais was influenced by the poetry of Tennyson, at whose house he had once helped to rake together autumn leaves. Warner suggests that lines from Tennyson's song "Tears, Idle Tears" in The Princess (1847) may have influenced him:Tears, idle tears, I know not what they mean.
Tears from the depth of some divine despair
Rise in the heart, and gather to the eyes,
In looking on the happy Autumn-fields,
And thinking on the days that are no more.The apple held by the youngest girl at the right may allude to the loss of childhood innocence implied by reference to original sin and the expulsion from the Garden of Eden.After a positive review from F.G. Stephens, Millais wrote to him that he had "intended the picture to awaken by its solemnity the deepest religious reflection. I chose the subject of burning leaves as most calculated to produce this feeling." | [
"Garden of Eden",
"original sin",
"Malcolm Warner",
"F.G. Stephens",
"Tears, Idle Tears",
"Tennyson"
] |
|
16754_T | The Son of Man | Focus on The Son of Man and explore the abstract. | The Son of Man (French: Le fils de l'homme) is a 1964 painting by the Belgian surrealist painter René Magritte. It is perhaps his best-known artwork.Magritte painted it as a self-portrait. The painting consists of a man in an overcoat and a bowler hat standing in front of a low wall, beyond which are the sea and a cloudy sky. The man's face is largely obscured by a hovering green apple. However, the man's eyes can be seen peeking over the edge of the apple. Another subtle feature is that the man's left arm appears to bend backwards at the elbow.
About the painting, Magritte said: At least it hides the face partly well, so you have the apparent face, the apple, hiding the visible but hidden, the face of the person. It's something that happens constantly. Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present. | [
"Belgian",
"surrealist",
"René Magritte",
"self-portrait",
"overcoat",
"bowler hat"
] |
|
16754_NT | The Son of Man | Focus on this artwork and explore the abstract. | The Son of Man (French: Le fils de l'homme) is a 1964 painting by the Belgian surrealist painter René Magritte. It is perhaps his best-known artwork.Magritte painted it as a self-portrait. The painting consists of a man in an overcoat and a bowler hat standing in front of a low wall, beyond which are the sea and a cloudy sky. The man's face is largely obscured by a hovering green apple. However, the man's eyes can be seen peeking over the edge of the apple. Another subtle feature is that the man's left arm appears to bend backwards at the elbow.
About the painting, Magritte said: At least it hides the face partly well, so you have the apparent face, the apple, hiding the visible but hidden, the face of the person. It's something that happens constantly. Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present. | [
"Belgian",
"surrealist",
"René Magritte",
"self-portrait",
"overcoat",
"bowler hat"
] |
|
16755_T | The Son of Man | Focus on The Son of Man and explain the Similar paintings. | The Son of Man closely resembles two other Magritte paintings. The Great War (La grande guerre, 1964) is a variation on The Son of Man which pictures only the figure from the torso up. The Taste of the Invisible (Le Gout de l'invisible) is a gouache painting of the same subject.Another painting from the same year, called The Great War on Facades (La Grande Guerre Façades, 1964), features a person standing in front of a wall overlooking the sea (as in The Son of Man), but it is a woman, holding an umbrella, her face covered by flowers. There is also Man in the Bowler Hat, a similar painting wherein a man's face is obscured by a bird rather than an apple. | [
"gouache"
] |
|
16755_NT | The Son of Man | Focus on this artwork and explain the Similar paintings. | The Son of Man closely resembles two other Magritte paintings. The Great War (La grande guerre, 1964) is a variation on The Son of Man which pictures only the figure from the torso up. The Taste of the Invisible (Le Gout de l'invisible) is a gouache painting of the same subject.Another painting from the same year, called The Great War on Facades (La Grande Guerre Façades, 1964), features a person standing in front of a wall overlooking the sea (as in The Son of Man), but it is a woman, holding an umbrella, her face covered by flowers. There is also Man in the Bowler Hat, a similar painting wherein a man's face is obscured by a bird rather than an apple. | [
"gouache"
] |
|
16756_T | The Son of Man | Explore the In popular culture of this artwork, The Son of Man. | In 1970, Norman Rockwell created a playful homage to The Son of Man as a 330 by 440 mm (13 by 17.5 in) oil painting entitled Mr. Apple, in which a man's head is replaced, rather than hidden, by a red apple.
The painting plays an important role in the 1999 version of The Thomas Crown Affair. It appears several times, first when Crown and Catherine Banning are walking through the museum and she jokingly calls it his portrait, and particularly in the final robbery scenes when numerous men wearing bowler hats and trench coats carry briefcases throughout the museum to cover Crown's movements and confuse the security team.
The green apple was an ongoing motif in Magritte's work. His use of it in the 1966 painting Le Jeu De Morre, owned by Paul McCartney, inspired the Beatles to name their record company Apple Corps. | [
"Paul McCartney",
"the Beatles",
"The Thomas Crown Affair",
"Apple Corps",
"Norman Rockwell",
"motif",
"bowler hat"
] |
|
16756_NT | The Son of Man | Explore the In popular culture of this artwork. | In 1970, Norman Rockwell created a playful homage to The Son of Man as a 330 by 440 mm (13 by 17.5 in) oil painting entitled Mr. Apple, in which a man's head is replaced, rather than hidden, by a red apple.
The painting plays an important role in the 1999 version of The Thomas Crown Affair. It appears several times, first when Crown and Catherine Banning are walking through the museum and she jokingly calls it his portrait, and particularly in the final robbery scenes when numerous men wearing bowler hats and trench coats carry briefcases throughout the museum to cover Crown's movements and confuse the security team.
The green apple was an ongoing motif in Magritte's work. His use of it in the 1966 painting Le Jeu De Morre, owned by Paul McCartney, inspired the Beatles to name their record company Apple Corps. | [
"Paul McCartney",
"the Beatles",
"The Thomas Crown Affair",
"Apple Corps",
"Norman Rockwell",
"motif",
"bowler hat"
] |
|
16757_T | Shrovetide Revellers | Focus on Shrovetide Revellers and discuss the abstract. | Shrovetide Revellers, also known as Merrymakers at Shrovetide, is a painting by the Dutch Golden Age painter Frans Hals, painted in around 1616–17. It is one of the earliest surviving works by Hals, and has been held by the Metropolitan Museum of Art, New York City since 1913. The painting shows people festivities at Shrovetide (Dutch: Carnaval), an annual carnival of food and jollity which takes place before the Christian fasting season of Lent. | [
"Shrovetide",
"Carnaval",
"New York City",
"Dutch Golden Age painter",
"Frans Hals",
"Metropolitan Museum of Art",
"Lent"
] |
|
16757_NT | Shrovetide Revellers | Focus on this artwork and discuss the abstract. | Shrovetide Revellers, also known as Merrymakers at Shrovetide, is a painting by the Dutch Golden Age painter Frans Hals, painted in around 1616–17. It is one of the earliest surviving works by Hals, and has been held by the Metropolitan Museum of Art, New York City since 1913. The painting shows people festivities at Shrovetide (Dutch: Carnaval), an annual carnival of food and jollity which takes place before the Christian fasting season of Lent. | [
"Shrovetide",
"Carnaval",
"New York City",
"Dutch Golden Age painter",
"Frans Hals",
"Metropolitan Museum of Art",
"Lent"
] |
|
16758_T | Shrovetide Revellers | How does Shrovetide Revellers elucidate its Painting? | The painting shows the face of an elegantly dressed smiling woman raising her right finger to make a point, while a man grabs her shoulder to whisper in her ear: he has a string of herring, eggs and mussels around his neck, with a pig's trotter and a fox tail, symbols of gluttony and foolishness respectively. Another amused gentleman, with a wurst hanging from his cap, leans on the first man's shoulder and listens to their banter. Some claim these are the Baroque theatre characters Peeckelhaeringh and Hans Wurst. Behind them other people are talking and laughing. The flagon Bears the initials "fh".
The female wears much more brightly colored clothing than any of Hals other sitters, and shows a strong resemblance to the young woman portrayed in Hals' Yonker Ramp and His Sweetheart. Both are considered to be genre works today, so the models could be anyone in Hals circle such as his children or pupils. In his 1989 catalog of the international Frans Hals exhibition, Slive included a full color photo of this work to demonstrate Hals' "love of life". The painting itself could not be included in the exhibition because it can never be lent out. In the same year that Slive was writing his exhibition catalog, Claus Grimm rejected the attribution of this painting to Frans Hals, though he conceded it was probably after a painting by Hals, calling it a copy of a lost original.Hals' positioning of the figures are related to two other known paintings: | [
"Claus Grimm",
"Hans Wurst",
"pig's trotter",
"Peeckelhaeringh",
"fox tail",
"Frans Hals",
"Yonker Ramp and His Sweetheart",
"wurst"
] |
|
16758_NT | Shrovetide Revellers | How does this artwork elucidate its Painting? | The painting shows the face of an elegantly dressed smiling woman raising her right finger to make a point, while a man grabs her shoulder to whisper in her ear: he has a string of herring, eggs and mussels around his neck, with a pig's trotter and a fox tail, symbols of gluttony and foolishness respectively. Another amused gentleman, with a wurst hanging from his cap, leans on the first man's shoulder and listens to their banter. Some claim these are the Baroque theatre characters Peeckelhaeringh and Hans Wurst. Behind them other people are talking and laughing. The flagon Bears the initials "fh".
The female wears much more brightly colored clothing than any of Hals other sitters, and shows a strong resemblance to the young woman portrayed in Hals' Yonker Ramp and His Sweetheart. Both are considered to be genre works today, so the models could be anyone in Hals circle such as his children or pupils. In his 1989 catalog of the international Frans Hals exhibition, Slive included a full color photo of this work to demonstrate Hals' "love of life". The painting itself could not be included in the exhibition because it can never be lent out. In the same year that Slive was writing his exhibition catalog, Claus Grimm rejected the attribution of this painting to Frans Hals, though he conceded it was probably after a painting by Hals, calling it a copy of a lost original.Hals' positioning of the figures are related to two other known paintings: | [
"Claus Grimm",
"Hans Wurst",
"pig's trotter",
"Peeckelhaeringh",
"fox tail",
"Frans Hals",
"Yonker Ramp and His Sweetheart",
"wurst"
] |
|
16759_T | Shrovetide Revellers | Focus on Shrovetide Revellers and analyze the Provenance. | The painting was first documented by Wilhelm von Bode in 1883, and after that was included in most catalogs of Hals' works, including by Ernst Wilhelm Moes in 1909, Hofstede de Groot in 1910, by W.R. Valentiner in 1923, and by Gerrit David Gratama in 1946. The Metropolitan Museum of Art lists an Amsterdam sale entry from 1765 mentioning a genre work of Vasten-Avond, or Shrove Tuesday, and Seymour Slive mentions a period drawing by Mathys van den Bergh.
The painting was bequeathed to the Metropolitan Museum of Art, New York City on the death of Benjamin Altman in 1913. Altman paid $89,102 to acquire it from a Monsieur Cocret in 1907. Cleaning in 1951 uncovered six heads in the background that had been painted out. | [
"New York City",
"Wilhelm von Bode",
"Hofstede de Groot",
"Ernst Wilhelm Moes",
"Mathys van den Bergh",
"Seymour Slive",
"Shrove Tuesday",
"W.R. Valentiner",
"Gerrit David Gratama",
"Benjamin Altman",
"Metropolitan Museum of Art"
] |
|
16759_NT | Shrovetide Revellers | Focus on this artwork and analyze the Provenance. | The painting was first documented by Wilhelm von Bode in 1883, and after that was included in most catalogs of Hals' works, including by Ernst Wilhelm Moes in 1909, Hofstede de Groot in 1910, by W.R. Valentiner in 1923, and by Gerrit David Gratama in 1946. The Metropolitan Museum of Art lists an Amsterdam sale entry from 1765 mentioning a genre work of Vasten-Avond, or Shrove Tuesday, and Seymour Slive mentions a period drawing by Mathys van den Bergh.
The painting was bequeathed to the Metropolitan Museum of Art, New York City on the death of Benjamin Altman in 1913. Altman paid $89,102 to acquire it from a Monsieur Cocret in 1907. Cleaning in 1951 uncovered six heads in the background that had been painted out. | [
"New York City",
"Wilhelm von Bode",
"Hofstede de Groot",
"Ernst Wilhelm Moes",
"Mathys van den Bergh",
"Seymour Slive",
"Shrove Tuesday",
"W.R. Valentiner",
"Gerrit David Gratama",
"Benjamin Altman",
"Metropolitan Museum of Art"
] |
|
16760_T | San Rossore Reliquary | In San Rossore Reliquary, how is the abstract discussed? | The San Rossore Reliquary is a gilded bronze sculpture of 1424–1427 by Donatello. The monks of Ognissanti, Florence had acquired the skull of Saint Luxorius (popularly known in Pisa as "san Rossore") in 1422 and two years later they commissioned the reliquary to house it. The casting was handled by Jacopo degli Stroza who created it of five individual cold-assembled parts. The sculpture is documented as being in Pisa in 1591 and is now in the city's Museo Nazionale di San Matteo. | [
"Museo Nazionale di San Matteo",
"Pisa",
"Saint Luxorius",
"Ognissanti, Florence",
"Donatello"
] |
|
16760_NT | San Rossore Reliquary | In this artwork, how is the abstract discussed? | The San Rossore Reliquary is a gilded bronze sculpture of 1424–1427 by Donatello. The monks of Ognissanti, Florence had acquired the skull of Saint Luxorius (popularly known in Pisa as "san Rossore") in 1422 and two years later they commissioned the reliquary to house it. The casting was handled by Jacopo degli Stroza who created it of five individual cold-assembled parts. The sculpture is documented as being in Pisa in 1591 and is now in the city's Museo Nazionale di San Matteo. | [
"Museo Nazionale di San Matteo",
"Pisa",
"Saint Luxorius",
"Ognissanti, Florence",
"Donatello"
] |
|
16761_T | San Rossore Reliquary | Focus on San Rossore Reliquary and explore the Description. | The work marks a clear break with the previous medieval tradition of the production of reliquaries. The sculpted saint is very far from the hieratic and metaphysical typification that a devotional object traditionally required, being worked as a realistic "Roman-style" bust, that is, like ancient statues. Some details are selectively taken up from ancient portraits, such as the definition of the short beard with engraved dashes, as in the Roman portraiture of the third century. The face has strong and expressive features, which may lead to the assumption that it could be a portrait or even a self-portrait. In reality, the sacredness of the object makes these hypotheses rather unlikely. Indicated by the saint looking down the reliquary was meant to stand somewhere higher up, where it was safe from theft. | [] |
|
16761_NT | San Rossore Reliquary | Focus on this artwork and explore the Description. | The work marks a clear break with the previous medieval tradition of the production of reliquaries. The sculpted saint is very far from the hieratic and metaphysical typification that a devotional object traditionally required, being worked as a realistic "Roman-style" bust, that is, like ancient statues. Some details are selectively taken up from ancient portraits, such as the definition of the short beard with engraved dashes, as in the Roman portraiture of the third century. The face has strong and expressive features, which may lead to the assumption that it could be a portrait or even a self-portrait. In reality, the sacredness of the object makes these hypotheses rather unlikely. Indicated by the saint looking down the reliquary was meant to stand somewhere higher up, where it was safe from theft. | [] |
|
16762_T | Luther Monument (Washington, D.C.) | Focus on Luther Monument (Washington, D.C.) and explain the abstract. | The Luther Monument is a public artwork located at Luther Place Memorial Church in Washington, D.C., United States. The monument to Martin Luther, the theologian and Protestant Reformer, is a bronze full-length portrait. It is a copy of the statue created by Ernst Friedrich August Rietschel as part of the 1868 Luther Monument in Worms, Germany. The monument was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. | [
"Ernst Friedrich August Rietschel",
"Luther Monument",
"Luther Place Memorial Church",
"Martin Luther",
"Save Outdoor Sculpture!",
"United States",
"Washington, D.C.",
"Worms, Germany"
] |
|
16762_NT | Luther Monument (Washington, D.C.) | Focus on this artwork and explain the abstract. | The Luther Monument is a public artwork located at Luther Place Memorial Church in Washington, D.C., United States. The monument to Martin Luther, the theologian and Protestant Reformer, is a bronze full-length portrait. It is a copy of the statue created by Ernst Friedrich August Rietschel as part of the 1868 Luther Monument in Worms, Germany. The monument was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. | [
"Ernst Friedrich August Rietschel",
"Luther Monument",
"Luther Place Memorial Church",
"Martin Luther",
"Save Outdoor Sculpture!",
"United States",
"Washington, D.C.",
"Worms, Germany"
] |
|
16763_T | Luther Monument (Washington, D.C.) | Explore the Information of this artwork, Luther Monument (Washington, D.C.). | Martin Luther is cast from an original mold of a statue by Rietschel which is part of the Luther Monument, in Worms, Germany, a group of sculptures installed there in 1868. The version in Washington inspired the installation of eleven other castings across the United States. It was installed in 1884. | [
"Luther Monument",
"Martin Luther",
"United States",
"Worms, Germany"
] |
|
16763_NT | Luther Monument (Washington, D.C.) | Explore the Information of this artwork. | Martin Luther is cast from an original mold of a statue by Rietschel which is part of the Luther Monument, in Worms, Germany, a group of sculptures installed there in 1868. The version in Washington inspired the installation of eleven other castings across the United States. It was installed in 1884. | [
"Luther Monument",
"Martin Luther",
"United States",
"Worms, Germany"
] |
|
16764_T | El Gato del Río | Focus on El Gato del Río and discuss the abstract. | El Gato del Río ("The River Cat") is a sculpture by Colombian artist Hernando Tejada. The sculpture was inaugurated on July 3, 1996 and is located on the side of the Cali River in Cali, Colombia. Over time, it has turned into a famous landmark of the city along with the monument to Sebastián de Belalcázar and Cristo Rey.
Today the area near the sculpture has turned into a park with cat sculptures by several artists known as the Parque El Gato De Tejada or the "Cat Park". | [
"Cali River",
"Hernando Tejada",
"Sebastián de Belalcázar",
"Cali, Colombia",
"Cristo Rey",
"Cali"
] |
|
16764_NT | El Gato del Río | Focus on this artwork and discuss the abstract. | El Gato del Río ("The River Cat") is a sculpture by Colombian artist Hernando Tejada. The sculpture was inaugurated on July 3, 1996 and is located on the side of the Cali River in Cali, Colombia. Over time, it has turned into a famous landmark of the city along with the monument to Sebastián de Belalcázar and Cristo Rey.
Today the area near the sculpture has turned into a park with cat sculptures by several artists known as the Parque El Gato De Tejada or the "Cat Park". | [
"Cali River",
"Hernando Tejada",
"Sebastián de Belalcázar",
"Cali, Colombia",
"Cristo Rey",
"Cali"
] |
|
16765_T | El Gato del Río | How does El Gato del Río elucidate its History? | In 1996, a plan was created to beautify the banks of the Cali River on the city’s north side. For this project, Tejada donated this sculpture to the city. The sculpture was created in bronze in the studio of Rafael Franco in Bogotá. To transport the sculpture to the city, the roof of the studio had to be removed.El Gato del Río was inaugurated on July 3, 1996, which is celebrated as the independence day in Cali. The monument was situated on the Avenida del Río in an area with high foot traffic.
Below the sculpture is a plaque that reads: | [
"Cali River",
"Cali"
] |
|
16765_NT | El Gato del Río | How does this artwork elucidate its History? | In 1996, a plan was created to beautify the banks of the Cali River on the city’s north side. For this project, Tejada donated this sculpture to the city. The sculpture was created in bronze in the studio of Rafael Franco in Bogotá. To transport the sculpture to the city, the roof of the studio had to be removed.El Gato del Río was inaugurated on July 3, 1996, which is celebrated as the independence day in Cali. The monument was situated on the Avenida del Río in an area with high foot traffic.
Below the sculpture is a plaque that reads: | [
"Cali River",
"Cali"
] |
|
16766_T | El Gato del Río | In the context of El Gato del Río, analyze the Las novias del gato of the History. | In 2006, the city planned a revitalization project for the area, which included adding new sculptures near El Gato del Río by other artists. The project consisted of adding 15 new cat sculptures of the same size and shape but painted by different Colombian artists. These new cat sculptures became known as las novies del gato ("the cat's girlfriends"). Famous Colombian artists contributed cats, including Maripaz Jaramillo, Roberto Molano, Diego Pombo, Cecilia Coronel, Pedro Alcántara, and Omar Rayo.
Today, there are more than 15 cat sculptures exhibited and some of these have been distributed throughout the city. | [
"Omar Rayo"
] |
|
16766_NT | El Gato del Río | In the context of this artwork, analyze the Las novias del gato of the History. | In 2006, the city planned a revitalization project for the area, which included adding new sculptures near El Gato del Río by other artists. The project consisted of adding 15 new cat sculptures of the same size and shape but painted by different Colombian artists. These new cat sculptures became known as las novies del gato ("the cat's girlfriends"). Famous Colombian artists contributed cats, including Maripaz Jaramillo, Roberto Molano, Diego Pombo, Cecilia Coronel, Pedro Alcántara, and Omar Rayo.
Today, there are more than 15 cat sculptures exhibited and some of these have been distributed throughout the city. | [
"Omar Rayo"
] |
|
16767_T | Statue of Constantine the Great, York | In Statue of Constantine the Great, York, how is the abstract discussed? | The Statue of Constantine the Great is a bronze statue depicting the Roman emperor Constantine I seated on a throne, commissioned by York Civic Trust and designed by the sculptor Philip Jackson. It was unveiled in 1998 and is situated on Minster Yard, outside York Minster. It commemorates the accession of Constantine as Roman emperor in AD 306 on this site, after the death of his father Constantius Chlorus in York. | [
"Constantine I",
"York Minster",
"Minster Yard",
"York Civic Trust",
"Constantine the Great",
"Constantius Chlorus",
"York",
"Philip Jackson"
] |
|
16767_NT | Statue of Constantine the Great, York | In this artwork, how is the abstract discussed? | The Statue of Constantine the Great is a bronze statue depicting the Roman emperor Constantine I seated on a throne, commissioned by York Civic Trust and designed by the sculptor Philip Jackson. It was unveiled in 1998 and is situated on Minster Yard, outside York Minster. It commemorates the accession of Constantine as Roman emperor in AD 306 on this site, after the death of his father Constantius Chlorus in York. | [
"Constantine I",
"York Minster",
"Minster Yard",
"York Civic Trust",
"Constantine the Great",
"Constantius Chlorus",
"York",
"Philip Jackson"
] |
|
16768_T | Statue of Constantine the Great, York | Focus on Statue of Constantine the Great, York and explore the Description. | The statue depicts a seated Constantine wearing military dress. His right arm is outstretched behind him and his left holds the pommel of a sword, the tip of which is shown to be broken. A legend inscribed on the base reads "Constantine by this sign conquer". This phrase is a translation of the Latin in hoc signo vinces; a reference to a passage from the historian Eusebius of Caesaria, who recounts how Constantine was marching with his army and looked up to the sun and saw a cross of light above it, and with it the Greek words "(ἐν) τούτῳ νίκα" ("In this, conquer"). | [
"τούτῳ",
"νίκα",
"in hoc signo vinces",
"Eusebius",
"ἐν"
] |
|
16768_NT | Statue of Constantine the Great, York | Focus on this artwork and explore the Description. | The statue depicts a seated Constantine wearing military dress. His right arm is outstretched behind him and his left holds the pommel of a sword, the tip of which is shown to be broken. A legend inscribed on the base reads "Constantine by this sign conquer". This phrase is a translation of the Latin in hoc signo vinces; a reference to a passage from the historian Eusebius of Caesaria, who recounts how Constantine was marching with his army and looked up to the sun and saw a cross of light above it, and with it the Greek words "(ἐν) τούτῳ νίκα" ("In this, conquer"). | [
"τούτῳ",
"νίκα",
"in hoc signo vinces",
"Eusebius",
"ἐν"
] |
|
16769_T | Statue of Constantine the Great, York | Explore the Yorkshire Day about the Interactions with the statue of this artwork, Statue of Constantine the Great, York. | The statue was one of several in York gagged by the Yorkshire Party on Yorkshire Day (1 August) 2016 as part of a campaign to highlight the lack of devolved government in the region.On Yorkshire Day 2018 the statue was dressed in a flat cap and given two chocolate themed props: a giant Kit Kat and Terry's Chocolate Orange. | [
"Yorkshire Day",
"Terry's Chocolate Orange",
"flat cap",
"York",
"Kit Kat",
"Yorkshire Party"
] |
|
16769_NT | Statue of Constantine the Great, York | Explore the Yorkshire Day about the Interactions with the statue of this artwork. | The statue was one of several in York gagged by the Yorkshire Party on Yorkshire Day (1 August) 2016 as part of a campaign to highlight the lack of devolved government in the region.On Yorkshire Day 2018 the statue was dressed in a flat cap and given two chocolate themed props: a giant Kit Kat and Terry's Chocolate Orange. | [
"Yorkshire Day",
"Terry's Chocolate Orange",
"flat cap",
"York",
"Kit Kat",
"Yorkshire Party"
] |
|
16770_T | Statue of Constantine the Great, York | In the context of Statue of Constantine the Great, York, discuss the Theft of sword of the Interactions with the statue. | The statue's sword was stolen in September 2016. A homeless man, John Flanagan, was prosecuted for the damage – the sword had been kicked from the statue and then brandished by Flanagan before he deposited it in a drain. The restoration of the statue by York Civic Trust was undertaken in November 2016 and cost £783. | [
"York Civic Trust",
"York"
] |
|
16770_NT | Statue of Constantine the Great, York | In the context of this artwork, discuss the Theft of sword of the Interactions with the statue. | The statue's sword was stolen in September 2016. A homeless man, John Flanagan, was prosecuted for the damage – the sword had been kicked from the statue and then brandished by Flanagan before he deposited it in a drain. The restoration of the statue by York Civic Trust was undertaken in November 2016 and cost £783. | [
"York Civic Trust",
"York"
] |
|
16771_T | Statue of Constantine the Great, York | In Statue of Constantine the Great, York, how is the Coronavirus pandemic of the Interactions with the statue elucidated? | The statue was found to be wearing a protective face mask during the COVID-19 pandemic. | [
"COVID-19 pandemic"
] |
|
16771_NT | Statue of Constantine the Great, York | In this artwork, how is the Coronavirus pandemic of the Interactions with the statue elucidated? | The statue was found to be wearing a protective face mask during the COVID-19 pandemic. | [
"COVID-19 pandemic"
] |
|
16772_T | Statue of Constantine the Great, York | In the context of Statue of Constantine the Great, York, analyze the 'Culture War' of the Interactions with the statue. | In June 2020 the Daily Telegraph reported that the statue was 'under review' following complaints received by York Minster about Constantine's support of slavery in light of the Black Lives Matter movement. In subsequent articles in The Guardian and the York Press it was reported that the York Minster had not received any complaints about the statue and that it was not specifically under review. The Guardian described the story as an "imaginary statue scandal" as part of a culture war. | [
"York Minster",
"culture war",
"Daily Telegraph",
"York",
"Black Lives Matter",
"The Guardian",
"York Press"
] |
|
16772_NT | Statue of Constantine the Great, York | In the context of this artwork, analyze the 'Culture War' of the Interactions with the statue. | In June 2020 the Daily Telegraph reported that the statue was 'under review' following complaints received by York Minster about Constantine's support of slavery in light of the Black Lives Matter movement. In subsequent articles in The Guardian and the York Press it was reported that the York Minster had not received any complaints about the statue and that it was not specifically under review. The Guardian described the story as an "imaginary statue scandal" as part of a culture war. | [
"York Minster",
"culture war",
"Daily Telegraph",
"York",
"Black Lives Matter",
"The Guardian",
"York Press"
] |
|
16773_T | Statue of Constantine the Great, York | In Statue of Constantine the Great, York, how is the Popular culture discussed? | In CD Projekt RED's card game, Gwent: The Witcher Card Game, Nilfgaardian deck leader Emperor Jan Calveit's artwork by Lorenzo Mastroianni was inspired by this statue. | [
"Gwent: The Witcher Card Game",
"CD Projekt"
] |
|
16773_NT | Statue of Constantine the Great, York | In this artwork, how is the Popular culture discussed? | In CD Projekt RED's card game, Gwent: The Witcher Card Game, Nilfgaardian deck leader Emperor Jan Calveit's artwork by Lorenzo Mastroianni was inspired by this statue. | [
"Gwent: The Witcher Card Game",
"CD Projekt"
] |
|
16774_T | Portrait of the Artist's Mother (Van Gogh) | Focus on Portrait of the Artist's Mother (Van Gogh) and explore the Background. | Anna Carbentus van Gogh was an amateur artist who enjoyed making drawings of plants and flowers and was a "keen watercolorist". At the same time, it should be recognized that drawing and painting with watercolors was a common activity by the bourgeois strata at that time. From a large family, one of six children, Anna raised six children: Vincent, Anna, Elizabeth, Theo, Wilhelmien and Cornelius. Anna enjoyed sharing her love of art with her children. Among Vincent's earliest drawings are copies of his mother's sketches of a bouquet of flowers and thistles.Anna's husband, Theodorus van Gogh, was a pastor, a long-standing family profession. Theodorus, known for his good looks and long sermons, came from a family of seven children. Anna and Theodorus devotedly served the rural communities in which they were stationed; their actions modeled their religious beliefs. Both mother and father believed that God was omnipotent, continually watching over them. They taught their children to look for God's presence in nature, such as the shape of the clouds or in the many colors in the sunsets. Theodorus van Gogh's favorite poet, Reverend Bernard ter Haar wrote in the poem "Song of Praise to Creation":
"I lose myself in you, Nature,
How my mental powers yield,
Around which the Universe turns,
Exclaim the glory of the centuries,
Proclaim!
Or — be quiet, my toy, be silent!
Hear what Creation
Is singing!
To fall silent is very meaningful here —
And might be called reverence."At the age of eleven Van Gogh was sent to boarding schools for training, which initiated his lifelong feelings of exile. Van Gogh felt even more removed from the family after failing as an art dealer and in the ministry. When he decided to become an artist, his family members suggested possible alternate, more lucrative vocations which widened the division between Vincent and his family. Van Gogh's manner of dress, behavior and unusual love life was unsettling and embarrassing to the family. Vincent too felt a division. By 1881 Vincent had developed his personal view of the world and realized it was quite different than his parents. To his brother, Theo he wrote "I can't settle into Father's and Mother's system, it is too stifling and would suffocate me." He continues, "I find Father and Mother's sermons and ideas about God, people, morality and virtue a lot of stuff and nonsense."When Vincent was hospitalized in Arles in 1888–1889, his mother wrote to Theo, "I believe he was always ill and his suffering and ours was a result of it. Poor brother of Vincent, sweetest dearest Theo, you to have been very worried and troubled because of him." She then said, "I would ask, 'Take him, Lord.'"As Vincent rose to the height of his career, he enjoyed passing on prized paintings to his family. "Great bouquets of flowers, violet-colored irises, great bouquets of roses," went to his mother. Another example, "the most resolved and stylized of the three" paintings of women picking olives was made for his sister and mother. | [
"Wil",
"Theo",
"Arles"
] |
|
16774_NT | Portrait of the Artist's Mother (Van Gogh) | Focus on this artwork and explore the Background. | Anna Carbentus van Gogh was an amateur artist who enjoyed making drawings of plants and flowers and was a "keen watercolorist". At the same time, it should be recognized that drawing and painting with watercolors was a common activity by the bourgeois strata at that time. From a large family, one of six children, Anna raised six children: Vincent, Anna, Elizabeth, Theo, Wilhelmien and Cornelius. Anna enjoyed sharing her love of art with her children. Among Vincent's earliest drawings are copies of his mother's sketches of a bouquet of flowers and thistles.Anna's husband, Theodorus van Gogh, was a pastor, a long-standing family profession. Theodorus, known for his good looks and long sermons, came from a family of seven children. Anna and Theodorus devotedly served the rural communities in which they were stationed; their actions modeled their religious beliefs. Both mother and father believed that God was omnipotent, continually watching over them. They taught their children to look for God's presence in nature, such as the shape of the clouds or in the many colors in the sunsets. Theodorus van Gogh's favorite poet, Reverend Bernard ter Haar wrote in the poem "Song of Praise to Creation":
"I lose myself in you, Nature,
How my mental powers yield,
Around which the Universe turns,
Exclaim the glory of the centuries,
Proclaim!
Or — be quiet, my toy, be silent!
Hear what Creation
Is singing!
To fall silent is very meaningful here —
And might be called reverence."At the age of eleven Van Gogh was sent to boarding schools for training, which initiated his lifelong feelings of exile. Van Gogh felt even more removed from the family after failing as an art dealer and in the ministry. When he decided to become an artist, his family members suggested possible alternate, more lucrative vocations which widened the division between Vincent and his family. Van Gogh's manner of dress, behavior and unusual love life was unsettling and embarrassing to the family. Vincent too felt a division. By 1881 Vincent had developed his personal view of the world and realized it was quite different than his parents. To his brother, Theo he wrote "I can't settle into Father's and Mother's system, it is too stifling and would suffocate me." He continues, "I find Father and Mother's sermons and ideas about God, people, morality and virtue a lot of stuff and nonsense."When Vincent was hospitalized in Arles in 1888–1889, his mother wrote to Theo, "I believe he was always ill and his suffering and ours was a result of it. Poor brother of Vincent, sweetest dearest Theo, you to have been very worried and troubled because of him." She then said, "I would ask, 'Take him, Lord.'"As Vincent rose to the height of his career, he enjoyed passing on prized paintings to his family. "Great bouquets of flowers, violet-colored irises, great bouquets of roses," went to his mother. Another example, "the most resolved and stylized of the three" paintings of women picking olives was made for his sister and mother. | [
"Wil",
"Theo",
"Arles"
] |
|
16775_T | Portrait of the Artist's Mother (Van Gogh) | Focus on Portrait of the Artist's Mother (Van Gogh) and explain the Description. | Van Gogh set out to complete a series of portraits of his family. This portrait was based upon a black-and-white photograph of his mother. In a letter to his brother Theo, Van Gogh wrote, "I am doing a portrait of Mother for myself. I cannot stand the colorless photograph, and I am trying to do one in a harmony of color, as I see her in my memory." Van Gogh's mother appears to be a respectable middle-class woman, attentive and proud, against a green background. | [
"Theo"
] |
|
16775_NT | Portrait of the Artist's Mother (Van Gogh) | Focus on this artwork and explain the Description. | Van Gogh set out to complete a series of portraits of his family. This portrait was based upon a black-and-white photograph of his mother. In a letter to his brother Theo, Van Gogh wrote, "I am doing a portrait of Mother for myself. I cannot stand the colorless photograph, and I am trying to do one in a harmony of color, as I see her in my memory." Van Gogh's mother appears to be a respectable middle-class woman, attentive and proud, against a green background. | [
"Theo"
] |
|
16776_T | Portrait of the Artist's Mother (Van Gogh) | Explore the Memory of the Garden at Etten of this artwork, Portrait of the Artist's Mother (Van Gogh). | Van Gogh painted Memory of the Garden at Etten to hang in his bedroom. He envisioned the older woman was his mother and the younger in a plaid shawl his sister Wil. To Wil he said he had "an impression of you like those in Dickens’s novels." | [
"Wil",
"Dickens’s",
"Memory of the Garden at Etten"
] |
|
16776_NT | Portrait of the Artist's Mother (Van Gogh) | Explore the Memory of the Garden at Etten of this artwork. | Van Gogh painted Memory of the Garden at Etten to hang in his bedroom. He envisioned the older woman was his mother and the younger in a plaid shawl his sister Wil. To Wil he said he had "an impression of you like those in Dickens’s novels." | [
"Wil",
"Dickens’s",
"Memory of the Garden at Etten"
] |
|
16777_T | Portrait of the Artist's Mother (Van Gogh) | Focus on Portrait of the Artist's Mother (Van Gogh) and discuss the Portraits. | Van Gogh, known for his landscapes, seemed to find painting portraits his greatest ambition. He said of portrait studies, "the only thing in painting that excites me to the depths of my soul, and which makes me feel the infinite more than anything else." To his sister he wrote, "I should like to paint portraits which appear after a century to people living then as apparitions. By which I mean that I do not endeavor to achieve this through photographic resemblance, but my means of our impassioned emotions -- that is to say using our knowledge and our modern taste for color as a means of arriving at the expression and the intensification of the character."As much as Van Gogh liked to paint portraits of people, there were few opportunities for him to pay or arrange for models for his work which may have been another factor in his desire to make a portrait of his mother. | [] |
|
16777_NT | Portrait of the Artist's Mother (Van Gogh) | Focus on this artwork and discuss the Portraits. | Van Gogh, known for his landscapes, seemed to find painting portraits his greatest ambition. He said of portrait studies, "the only thing in painting that excites me to the depths of my soul, and which makes me feel the infinite more than anything else." To his sister he wrote, "I should like to paint portraits which appear after a century to people living then as apparitions. By which I mean that I do not endeavor to achieve this through photographic resemblance, but my means of our impassioned emotions -- that is to say using our knowledge and our modern taste for color as a means of arriving at the expression and the intensification of the character."As much as Van Gogh liked to paint portraits of people, there were few opportunities for him to pay or arrange for models for his work which may have been another factor in his desire to make a portrait of his mother. | [] |
|
16778_T | Monument of Zalongo | How does Monument of Zalongo elucidate its abstract? | The Monument of Zalongo is a 1961 monumental sculpture by George Zongolopoulos, commemorating the Dance of Zalongo, a mass suicide of women and children in 1803. It is located at 700 meters altitude on Mount Zalongo, near Preveza, Greece, from which it is visible. The closest village is Kamarina. One can access the monument from Saint Dimitrios Monastery (590 meters altitude), which leads to the top via a cobbled lane of 410 steps.
The monument depicts six abstract female figures holding hands. It is 18 meters in length, 13 meters high and is made of concrete supported by 4,300 whitish limestone blocks (40x30x25 cm each). The construction took six years, from 1954 to 1960, and was financed by two Pan-Hellenic student fundraising drives. | [
"Kamarina",
"Dance of Zalongo",
"Saint Dimitrios Monastery",
"limestone block",
"monumental",
"sculpture",
"Mount Zalongo",
"George Zongolopoulos",
"Monument",
"Preveza",
"mass suicide",
"monument"
] |
|
16778_NT | Monument of Zalongo | How does this artwork elucidate its abstract? | The Monument of Zalongo is a 1961 monumental sculpture by George Zongolopoulos, commemorating the Dance of Zalongo, a mass suicide of women and children in 1803. It is located at 700 meters altitude on Mount Zalongo, near Preveza, Greece, from which it is visible. The closest village is Kamarina. One can access the monument from Saint Dimitrios Monastery (590 meters altitude), which leads to the top via a cobbled lane of 410 steps.
The monument depicts six abstract female figures holding hands. It is 18 meters in length, 13 meters high and is made of concrete supported by 4,300 whitish limestone blocks (40x30x25 cm each). The construction took six years, from 1954 to 1960, and was financed by two Pan-Hellenic student fundraising drives. | [
"Kamarina",
"Dance of Zalongo",
"Saint Dimitrios Monastery",
"limestone block",
"monumental",
"sculpture",
"Mount Zalongo",
"George Zongolopoulos",
"Monument",
"Preveza",
"mass suicide",
"monument"
] |
|
16779_T | Monument of Zalongo | Focus on Monument of Zalongo and analyze the History. | June 10, 1950: At a teachers' meeting in the district of Preveza, the principal of Kamarina's Primary School, George Sakkas, suggested the construction of a monument to honor the heroic women of Souli.
September 1, 1950: The governor of Preveza, Spiros Kafetzis, invited all the mayors to raise money in order to construct the monument of Zalongo. In November, Giorgos Chronis, the district inspector of primary schools, decided to conduct fundraising through the schools.
October 29, 1950: A symbolic laying of the foundation for the monument of Zalongo was held. The political, military and religious leaders of the region attended the ceremony along with many citizens.
May, 1953: With 500,000 drachmas raised for the monument, the Ministry of Education announced a National contest for sculptors and architects. The examination board consisted of the General Commander of Ipiros, K. Tsitsaras; the governor of Preveza, Sp. Kafetsis; the Director of the Ministry of Education, G. Pantzaris as well as the sculptors M. Tompros and V. Falireas. The board awarded the proposal of sculptor George Zongolopoulos and architect Patroklos Karantinos.
July 1954: Construction of the monument began under the direction of George Zongolopoulos and Patroklos Karantinos, who offered their supervision without pay. The technical part of the monument was assigned to the marble craftsman Eleftherio Giftopoulo. Every spring-summer and until the completion of the project, George Zongolopoulos and his wife, Eleni Paschalidou-Zongolopoulou, traveling by the military vehicles, spent 3-4 months working on the construction. All the materials (sand, gravel, concrete, water, wood, etc.) were transferred by hand until an improvised mechanism was created to lift the materials.
During the monument’s construction, Kamarina’s citizens as well as military forces provided extremely helpful assistance.
June 10, 1961: The monument was completed and the unveiling ceremony took place with political leaders and citizens attending.
On the east side of the base of monument there is a marble inscription with the names of the people who contributed to the work: “Sculptor: George Zongolopoulos, Architect: Patroklos Karantinos, Technician: Eleftherios Giftopoulos ”.
Between 2008-2013 the municipality of Preveza in co-operation with the George Zongolopoulos Foundation undertook the restoration and maintenance of the Monument of Zalongo.
Every year, 30.000 people visit the monument of Zalongo. Every summer the municipality of Preveza organizes the “Zalongeia”, a feast and celebration in the central square of Kamarina. | [
"Kamarina",
"Eleni Paschalidou-Zongolopoulou",
"Patroklos Karantinos",
"George Zongolopoulos",
"Monument",
"Preveza",
"monument"
] |
|
16779_NT | Monument of Zalongo | Focus on this artwork and analyze the History. | June 10, 1950: At a teachers' meeting in the district of Preveza, the principal of Kamarina's Primary School, George Sakkas, suggested the construction of a monument to honor the heroic women of Souli.
September 1, 1950: The governor of Preveza, Spiros Kafetzis, invited all the mayors to raise money in order to construct the monument of Zalongo. In November, Giorgos Chronis, the district inspector of primary schools, decided to conduct fundraising through the schools.
October 29, 1950: A symbolic laying of the foundation for the monument of Zalongo was held. The political, military and religious leaders of the region attended the ceremony along with many citizens.
May, 1953: With 500,000 drachmas raised for the monument, the Ministry of Education announced a National contest for sculptors and architects. The examination board consisted of the General Commander of Ipiros, K. Tsitsaras; the governor of Preveza, Sp. Kafetsis; the Director of the Ministry of Education, G. Pantzaris as well as the sculptors M. Tompros and V. Falireas. The board awarded the proposal of sculptor George Zongolopoulos and architect Patroklos Karantinos.
July 1954: Construction of the monument began under the direction of George Zongolopoulos and Patroklos Karantinos, who offered their supervision without pay. The technical part of the monument was assigned to the marble craftsman Eleftherio Giftopoulo. Every spring-summer and until the completion of the project, George Zongolopoulos and his wife, Eleni Paschalidou-Zongolopoulou, traveling by the military vehicles, spent 3-4 months working on the construction. All the materials (sand, gravel, concrete, water, wood, etc.) were transferred by hand until an improvised mechanism was created to lift the materials.
During the monument’s construction, Kamarina’s citizens as well as military forces provided extremely helpful assistance.
June 10, 1961: The monument was completed and the unveiling ceremony took place with political leaders and citizens attending.
On the east side of the base of monument there is a marble inscription with the names of the people who contributed to the work: “Sculptor: George Zongolopoulos, Architect: Patroklos Karantinos, Technician: Eleftherios Giftopoulos ”.
Between 2008-2013 the municipality of Preveza in co-operation with the George Zongolopoulos Foundation undertook the restoration and maintenance of the Monument of Zalongo.
Every year, 30.000 people visit the monument of Zalongo. Every summer the municipality of Preveza organizes the “Zalongeia”, a feast and celebration in the central square of Kamarina. | [
"Kamarina",
"Eleni Paschalidou-Zongolopoulou",
"Patroklos Karantinos",
"George Zongolopoulos",
"Monument",
"Preveza",
"monument"
] |
|
16780_T | William Penn (Calder) | In William Penn (Calder), how is the abstract discussed? | William Penn is a bronze statue of William Penn, the founder of the Commonwealth of Pennsylvania, by Alexander Milne Calder.It is located atop the Philadelphia City Hall in Philadelphia, Pennsylvania. It was installed in 1894. It was cast in fourteen sections, and took almost two years to finish.
For almost 90 years, an unwritten gentlemen's agreement forbade any building in the city from rising above the hat on the Penn statue. This agreement ended in 1985, when final approval was given to the Liberty Place complex. Its centerpieces are two skyscrapers, One Liberty Place and Two Liberty Place, which rose well above the height of Penn's hat.A copy of the statue stands at Welcome Park. In 2024, the National Park Service proposed renovation of the park, which would include removal of the statue there. | [
"Alexander Milne Calder",
"Welcome Park",
"Pennsylvania",
"gentlemen's agreement",
"Philadelphia",
"Liberty Place",
"Philadelphia City Hall",
"William Penn"
] |
|
16780_NT | William Penn (Calder) | In this artwork, how is the abstract discussed? | William Penn is a bronze statue of William Penn, the founder of the Commonwealth of Pennsylvania, by Alexander Milne Calder.It is located atop the Philadelphia City Hall in Philadelphia, Pennsylvania. It was installed in 1894. It was cast in fourteen sections, and took almost two years to finish.
For almost 90 years, an unwritten gentlemen's agreement forbade any building in the city from rising above the hat on the Penn statue. This agreement ended in 1985, when final approval was given to the Liberty Place complex. Its centerpieces are two skyscrapers, One Liberty Place and Two Liberty Place, which rose well above the height of Penn's hat.A copy of the statue stands at Welcome Park. In 2024, the National Park Service proposed renovation of the park, which would include removal of the statue there. | [
"Alexander Milne Calder",
"Welcome Park",
"Pennsylvania",
"gentlemen's agreement",
"Philadelphia",
"Liberty Place",
"Philadelphia City Hall",
"William Penn"
] |
|
16781_T | The Descent from the Cross (Rembrandt, 1650–1652) | Focus on The Descent from the Cross (Rembrandt, 1650–1652) and explore the abstract. | The Descent from the Cross is a 1650–1652 painting of the Descent from the Cross by an unknown painter in the workshop of Rembrandt. It is an oil painting on canvas and is now in the National Gallery of Art in Washington.
Rembrandt's student Constantijn van Renesse has been proposed as the painter. The picture's composition would have been conceived by Rembrandt, who may have drawn it onto the canvas for van Renesse to complete, as the finished work does not show Rembrandt's touch. | [
"Descent from the Cross",
"National Gallery of Art",
"Rembrandt",
"Constantijn van Renesse"
] |
|
16781_NT | The Descent from the Cross (Rembrandt, 1650–1652) | Focus on this artwork and explore the abstract. | The Descent from the Cross is a 1650–1652 painting of the Descent from the Cross by an unknown painter in the workshop of Rembrandt. It is an oil painting on canvas and is now in the National Gallery of Art in Washington.
Rembrandt's student Constantijn van Renesse has been proposed as the painter. The picture's composition would have been conceived by Rembrandt, who may have drawn it onto the canvas for van Renesse to complete, as the finished work does not show Rembrandt's touch. | [
"Descent from the Cross",
"National Gallery of Art",
"Rembrandt",
"Constantijn van Renesse"
] |
|
16782_T | Wheat Fields | Focus on Wheat Fields and explain the abstract. | Wheat Fields is a series of dozens of paintings by Dutch Post-Impressionist artist Vincent van Gogh, borne out of his religious studies and sermons, connection to nature, appreciation of manual laborers and desire to provide a means of offering comfort to others. The wheat field works demonstrate his progression as an artist from the drab Wheat Sheaves made in 1885 in the Netherlands to the colorful and dramatic 1888–1890 paintings from Arles, Saint-Rémy and Auvers-sur-Oise in rural France. | [
"France",
"Impressionist",
"Saint-Rémy",
"Arles",
"Wheat",
"Vincent van Gogh",
"Post-Impressionist",
"Auvers-sur-Oise",
"Netherlands"
] |
|
16782_NT | Wheat Fields | Focus on this artwork and explain the abstract. | Wheat Fields is a series of dozens of paintings by Dutch Post-Impressionist artist Vincent van Gogh, borne out of his religious studies and sermons, connection to nature, appreciation of manual laborers and desire to provide a means of offering comfort to others. The wheat field works demonstrate his progression as an artist from the drab Wheat Sheaves made in 1885 in the Netherlands to the colorful and dramatic 1888–1890 paintings from Arles, Saint-Rémy and Auvers-sur-Oise in rural France. | [
"France",
"Impressionist",
"Saint-Rémy",
"Arles",
"Wheat",
"Vincent van Gogh",
"Post-Impressionist",
"Auvers-sur-Oise",
"Netherlands"
] |
|
16783_T | Wheat Fields | Explore the Wheat as a subject of this artwork, Wheat Fields. | Failing to find a vocation in ministry, Van Gogh turned to art as a means to express and communicate his deepest sense of the meaning of life. Cliff Edwards, author of Van Gogh and God: A Creative Spiritual Quest wrote: "Vincent's life was a quest for unification, a search for how to integrate the ideas of religion, art, literature, and nature that motivated him."Van Gogh came to view painting as a calling, "I feel a certain indebtedness [to the world] and ... out of gratitude, want to leave some souvenir in the shape of drawings or pictures – not made to please a certain taste in art, but to express a sincere feeling." When Van Gogh left Paris for Arles, he sought an antidote to the ills of city life and work among laborers in the field "giving his art and life the value he recognized in rural toil."In the series of paintings about wheat fields, Van Gogh expresses through symbolism and use of color his deeply felt spiritual beliefs, appreciation of manual laborers and connection to nature. | [
"God",
"Arles",
"Wheat",
"Paris",
"ministry"
] |
|
16783_NT | Wheat Fields | Explore the Wheat as a subject of this artwork. | Failing to find a vocation in ministry, Van Gogh turned to art as a means to express and communicate his deepest sense of the meaning of life. Cliff Edwards, author of Van Gogh and God: A Creative Spiritual Quest wrote: "Vincent's life was a quest for unification, a search for how to integrate the ideas of religion, art, literature, and nature that motivated him."Van Gogh came to view painting as a calling, "I feel a certain indebtedness [to the world] and ... out of gratitude, want to leave some souvenir in the shape of drawings or pictures – not made to please a certain taste in art, but to express a sincere feeling." When Van Gogh left Paris for Arles, he sought an antidote to the ills of city life and work among laborers in the field "giving his art and life the value he recognized in rural toil."In the series of paintings about wheat fields, Van Gogh expresses through symbolism and use of color his deeply felt spiritual beliefs, appreciation of manual laborers and connection to nature. | [
"God",
"Arles",
"Wheat",
"Paris",
"ministry"
] |
|
16784_T | Wheat Fields | In the context of Wheat Fields, discuss the Spiritual significance of the Wheat as a subject. | As a young man Van Gogh pursued what he saw as a religious calling, wanting to minister to working people. In 1876 he was assigned a post in Isleworth, England to teach Bible classes and occasionally preach in the Methodist church.When he returned to the Netherlands he studied for the ministry and also for lay ministry or missionary work without finishing either field of study. With support from his father, Van Gogh went to Borinage in southern Belgium where he nursed and ministered to coal miners. There he obtained a six-month trial position for a small salary where he preached in an old dance hall and established and taught Bible school. His self-imposed zeal and asceticism cost him the position.After a nine-month period of withdrawal from society and family; he rejected the church establishment, yet found his personal vision of spirituality, "The best way to know God is to love many things. Love a friend, a wife, something – whatever you like – (and) you will be on the way to knowing more about Him; this is what I say to myself. But one must love with a lofty and serious intimate sympathy, with strength, with intelligence." By 1879, he made a shift in the direction of his life and found he could express his "love of God and man" through painting.Drawn to Biblical parables, Van Gogh found wheat fields metaphors for humanity's cycles of life, as both celebrations of growth and realization of the susceptibility of nature's powerful forces.
Of the Biblical symbolism of sowing and reaping Van Gogh taught in his Bible lessons: "One does not expect to get from life what one has already learned it cannot give; rather, one begins to see more clearly that life is a kind of sowing time, and the harvest is not here."
The image of the sower came to Van Gogh in Biblical teachings from his childhood, such as:"A sower went out to sow. As he sowed, some seed fell along the path, and the birds came and devoured it. Other seed fell on rocky ground, where it had not much soil, and immediately it sprang up, since it had no depth of soil; and when the sun rose it was scorched, and since it had no root it withered away. Other seed fell among thorns and the thorns grew up and choked it, and it yielded no grain. And other seeds fell into good soil and brought forth grain, growing up and increasing and yielding thirty fold, and sixty fold and a hundredfold.Van Gogh used the digger and ploughman as symbols of struggle to reach the kingdom of God.
He was particularly enamored with "the good God sun" and called anyone who didn't believe in the sun infidels. The painting of the haloed sun was a characteristic style seen in many of his paintings, representing the divine, in reference to the nimbus in Delacroix's Christ Asleep During the Tempest.
Van Gogh found storms important for their restorative nature, symbolizing "the better times of pure air and the rejuvenation of all society." Van Gogh also found storms to reveal the divine. | [
"Bible",
"God",
"spirituality",
"Methodist",
"England",
"missionary",
"asceticism",
"Delacroix's",
"Belgium",
"Isleworth",
"nimbus",
"lay ministry",
"plough",
"ministry",
"Borinage",
"divine",
"Netherlands"
] |
|
16784_NT | Wheat Fields | In the context of this artwork, discuss the Spiritual significance of the Wheat as a subject. | As a young man Van Gogh pursued what he saw as a religious calling, wanting to minister to working people. In 1876 he was assigned a post in Isleworth, England to teach Bible classes and occasionally preach in the Methodist church.When he returned to the Netherlands he studied for the ministry and also for lay ministry or missionary work without finishing either field of study. With support from his father, Van Gogh went to Borinage in southern Belgium where he nursed and ministered to coal miners. There he obtained a six-month trial position for a small salary where he preached in an old dance hall and established and taught Bible school. His self-imposed zeal and asceticism cost him the position.After a nine-month period of withdrawal from society and family; he rejected the church establishment, yet found his personal vision of spirituality, "The best way to know God is to love many things. Love a friend, a wife, something – whatever you like – (and) you will be on the way to knowing more about Him; this is what I say to myself. But one must love with a lofty and serious intimate sympathy, with strength, with intelligence." By 1879, he made a shift in the direction of his life and found he could express his "love of God and man" through painting.Drawn to Biblical parables, Van Gogh found wheat fields metaphors for humanity's cycles of life, as both celebrations of growth and realization of the susceptibility of nature's powerful forces.
Of the Biblical symbolism of sowing and reaping Van Gogh taught in his Bible lessons: "One does not expect to get from life what one has already learned it cannot give; rather, one begins to see more clearly that life is a kind of sowing time, and the harvest is not here."
The image of the sower came to Van Gogh in Biblical teachings from his childhood, such as:"A sower went out to sow. As he sowed, some seed fell along the path, and the birds came and devoured it. Other seed fell on rocky ground, where it had not much soil, and immediately it sprang up, since it had no depth of soil; and when the sun rose it was scorched, and since it had no root it withered away. Other seed fell among thorns and the thorns grew up and choked it, and it yielded no grain. And other seeds fell into good soil and brought forth grain, growing up and increasing and yielding thirty fold, and sixty fold and a hundredfold.Van Gogh used the digger and ploughman as symbols of struggle to reach the kingdom of God.
He was particularly enamored with "the good God sun" and called anyone who didn't believe in the sun infidels. The painting of the haloed sun was a characteristic style seen in many of his paintings, representing the divine, in reference to the nimbus in Delacroix's Christ Asleep During the Tempest.
Van Gogh found storms important for their restorative nature, symbolizing "the better times of pure air and the rejuvenation of all society." Van Gogh also found storms to reveal the divine. | [
"Bible",
"God",
"spirituality",
"Methodist",
"England",
"missionary",
"asceticism",
"Delacroix's",
"Belgium",
"Isleworth",
"nimbus",
"lay ministry",
"plough",
"ministry",
"Borinage",
"divine",
"Netherlands"
] |
|
16785_T | Wheat Fields | In Wheat Fields, how is the Field workers of the Wheat as a subject elucidated? | The "peasant genre" that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art. He described the works of Millet and Breton of religious significance, "something on high," and described them as the "voices of the wheat."Throughout Van Gogh's adulthood he had an interest in serving others, especially manual workers. As a young man he served and ministered to coal miners in Borinage, Belgium which seemed to bring him close to his calling of being a missionary or minister to workers.A common denominator in his favored authors and artists was sentimental treatment of the destitute and downtrodden. Referring to painting of peasants Van Gogh wrote to his brother Theo: "How shall I ever manage to paint what I love so much?" He held laborers up to a high standard of how dedicatedly he should approach painting, "One must undertake with confidence, with a certain assurance that one is doing a reasonable thing, like the farmer who drives his plow... (one who) drags the harrow behind himself. If one hasn't a horse, one is one's own horse." | [
"Theo",
"Jean-François Millet",
"missionary",
"Jules Breton",
"Belgium",
"harrow",
"Borinage"
] |
|
16785_NT | Wheat Fields | In this artwork, how is the Field workers of the Wheat as a subject elucidated? | The "peasant genre" that greatly influenced Van Gogh began in the 1840s with the works of Jean-François Millet, Jules Breton, and others. In 1885 Van Gogh described the painting of peasants as the most essential contribution to modern art. He described the works of Millet and Breton of religious significance, "something on high," and described them as the "voices of the wheat."Throughout Van Gogh's adulthood he had an interest in serving others, especially manual workers. As a young man he served and ministered to coal miners in Borinage, Belgium which seemed to bring him close to his calling of being a missionary or minister to workers.A common denominator in his favored authors and artists was sentimental treatment of the destitute and downtrodden. Referring to painting of peasants Van Gogh wrote to his brother Theo: "How shall I ever manage to paint what I love so much?" He held laborers up to a high standard of how dedicatedly he should approach painting, "One must undertake with confidence, with a certain assurance that one is doing a reasonable thing, like the farmer who drives his plow... (one who) drags the harrow behind himself. If one hasn't a horse, one is one's own horse." | [
"Theo",
"Jean-François Millet",
"missionary",
"Jules Breton",
"Belgium",
"harrow",
"Borinage"
] |
|
16786_T | Wheat Fields | In the context of Wheat Fields, analyze the Connection to nature of the Wheat as a subject. | Van Gogh used nature for inspiration, preferring that to abstract studies from imagination. He wrote that rather than making abstract studies: "I am getting well acquainted with nature. I exaggerate, sometime I make change in motif; but for all that, I do not invent the whole picture; on the contrary, I find it already in nature, only it must be disentangled."The close association of peasants and the cycles of nature particularly interested Van Gogh, such as the sowing of seeds, harvest and sheaves of wheat in the fields. Van Gogh saw plowing, sowing and harvesting symbolic to man's efforts to overwhelm the cycles of nature: "the sower and the wheat sheaf stood for eternity, and the reaper and his scythe for irrevocable death." The dark hours conducive to germination and regeneration are depicted in The Sower and wheat fields at sunset.
In 1889 Van Gogh wrote of the way in which wheat was symbolic to him: "What can a person do when he thinks of all the things he cannot understand, but look at the fields of wheat... We, who live by bread, are we not ourselves very much like wheat... to be reaped when we are ripe."
Van Gogh saw in his paintings of wheat fields an opportunity for people to find a sense of calm and meaning, offering more to suffering people than guessing at what they may learn "on the other side of life."Van Gogh writes Theo that he hopes that his family brings to him "what nature, clods of earth, the grass, yellow wheat, the peasant, are for me, in other words, that you find in your love for people something not only to work for, but to comfort and restore you when there is a need." Further exploring the connection between man and nature, Van Gogh wrote his sister Wil, "What the germinating force is in a grain of wheat, love is in us."At times Van Gogh was so enamored with nature that his sense of self seemed lost in the intensity of his work: "I have a terrible lucidity at moments, these days when nature is so beautiful, I am not conscious of myself any more, and the picture comes to me as in a dream." | [
"Theo",
"germinating",
"scythe",
"germination"
] |
|
16786_NT | Wheat Fields | In the context of this artwork, analyze the Connection to nature of the Wheat as a subject. | Van Gogh used nature for inspiration, preferring that to abstract studies from imagination. He wrote that rather than making abstract studies: "I am getting well acquainted with nature. I exaggerate, sometime I make change in motif; but for all that, I do not invent the whole picture; on the contrary, I find it already in nature, only it must be disentangled."The close association of peasants and the cycles of nature particularly interested Van Gogh, such as the sowing of seeds, harvest and sheaves of wheat in the fields. Van Gogh saw plowing, sowing and harvesting symbolic to man's efforts to overwhelm the cycles of nature: "the sower and the wheat sheaf stood for eternity, and the reaper and his scythe for irrevocable death." The dark hours conducive to germination and regeneration are depicted in The Sower and wheat fields at sunset.
In 1889 Van Gogh wrote of the way in which wheat was symbolic to him: "What can a person do when he thinks of all the things he cannot understand, but look at the fields of wheat... We, who live by bread, are we not ourselves very much like wheat... to be reaped when we are ripe."
Van Gogh saw in his paintings of wheat fields an opportunity for people to find a sense of calm and meaning, offering more to suffering people than guessing at what they may learn "on the other side of life."Van Gogh writes Theo that he hopes that his family brings to him "what nature, clods of earth, the grass, yellow wheat, the peasant, are for me, in other words, that you find in your love for people something not only to work for, but to comfort and restore you when there is a need." Further exploring the connection between man and nature, Van Gogh wrote his sister Wil, "What the germinating force is in a grain of wheat, love is in us."At times Van Gogh was so enamored with nature that his sense of self seemed lost in the intensity of his work: "I have a terrible lucidity at moments, these days when nature is so beautiful, I am not conscious of myself any more, and the picture comes to me as in a dream." | [
"Theo",
"germinating",
"scythe",
"germination"
] |
|
16787_T | Wheat Fields | Describe the characteristics of the Color in Wheat Fields's Wheat as a subject. | Wheat fields provided a subject in which Van Gogh could experiment with color. Tired of his work in the Netherlands made with dull, gray colors, van Gogh sought to create work that was more creative and colorful. In Paris Van Gogh met leading French artists Edgar Degas, Georges Seurat and others who provided illuminating influences on the use of color and technique. His work, previously somber and dark, now "blazed with color." His use of color was so dramatic that Van Gogh was sometimes called an Expressionist.While Van Gogh learned much about color and technique in Paris, southern France provided an opportunity to express his "surging emotions." Enlightened by the effects of the sun drenched countryside in southern France, Van Gogh reported that above all, his work "promises color." This is where he began development of his masterpieces.Van Gogh used complementary, contrasting colors to bring an intensity to his work, which evolved over the periods of his work. Two complementary colors of the same degree of vividness and contrast." Van Gogh mentioned the liveliness and interplay of "a wedding of two complementary colors, their mingling and opposition, the mysterious vibrations of two kindred souls." An example of use of complementary colors is The Sower where gold is contrasted to purple and blue with orange to intensify the impact of the work.The four seasons were reflected in lime green and silver of spring, yellow when the wheat matured, beige and then burnished gold. | [
"Georges Seurat",
"France",
"complementary, contrasting colors",
"seasons",
"complementary colors",
"Edgar Degas",
"Expressionist",
"Wheat",
"Paris",
"Netherlands"
] |
|
16787_NT | Wheat Fields | Describe the characteristics of the Color in this artwork's Wheat as a subject. | Wheat fields provided a subject in which Van Gogh could experiment with color. Tired of his work in the Netherlands made with dull, gray colors, van Gogh sought to create work that was more creative and colorful. In Paris Van Gogh met leading French artists Edgar Degas, Georges Seurat and others who provided illuminating influences on the use of color and technique. His work, previously somber and dark, now "blazed with color." His use of color was so dramatic that Van Gogh was sometimes called an Expressionist.While Van Gogh learned much about color and technique in Paris, southern France provided an opportunity to express his "surging emotions." Enlightened by the effects of the sun drenched countryside in southern France, Van Gogh reported that above all, his work "promises color." This is where he began development of his masterpieces.Van Gogh used complementary, contrasting colors to bring an intensity to his work, which evolved over the periods of his work. Two complementary colors of the same degree of vividness and contrast." Van Gogh mentioned the liveliness and interplay of "a wedding of two complementary colors, their mingling and opposition, the mysterious vibrations of two kindred souls." An example of use of complementary colors is The Sower where gold is contrasted to purple and blue with orange to intensify the impact of the work.The four seasons were reflected in lime green and silver of spring, yellow when the wheat matured, beige and then burnished gold. | [
"Georges Seurat",
"France",
"complementary, contrasting colors",
"seasons",
"complementary colors",
"Edgar Degas",
"Expressionist",
"Wheat",
"Paris",
"Netherlands"
] |
|
16788_T | Wheat Fields | In the context of Wheat Fields, explain the Nuenen and Paris of the Periods. | Prior to Van Gogh's exploration of southern France, there were just a few of his paintings where wheat was the subject.
The first, Sheaves of Wheat in a Field was painted July–August 1885 in Nuenen, Netherlands. Here the emphasis is on the land and labor is suggested by the "bulging wheat stacks." This work was made several months after The Potato Eaters at a time when he was looking to free himself physically, emotionally and artistically from the gray colors of his art and life, moving away from Nuenen to develop, as author Albert Lubin describes, a more "imaginative, colorful art that suited him much better."Van Gogh, who "particularly admired a poem written by Walt Whitman about the beauty in a blade of grass", began painting waving stalks of wheat in Paris. In 1887, he made Wheat Field with a Lark where Impressionist influences are reflected in his use of color and management of light and shadow. Brush strokes are made to reflect the objects, like the stalks of wheat. The work reflects the motion of the wheat blowing in the wind, the lark flying and the clouds streaking from the currents in the sky. The cycles of life are reflected in the land left by harvested wheat and the growing wheat subject to the forces of the wind, as we are subject to the pressures in our lives. The cycle of life depicted here is both tragic and comforting. The stubble of the harvested wheat reflect the inevitable cycle of death, while the stalks of wheat, flying bird and windswept clouds reflect continual change. Edge of a Wheat Field with Poppies, shown below, was also painted in 1887. | [
"France",
"Impressionist",
"Walt Whitman",
"The Potato Eaters",
"Wheat Field with a Lark",
"Nuenen",
"Wheat",
"Paris",
"Netherlands"
] |
|
16788_NT | Wheat Fields | In the context of this artwork, explain the Nuenen and Paris of the Periods. | Prior to Van Gogh's exploration of southern France, there were just a few of his paintings where wheat was the subject.
The first, Sheaves of Wheat in a Field was painted July–August 1885 in Nuenen, Netherlands. Here the emphasis is on the land and labor is suggested by the "bulging wheat stacks." This work was made several months after The Potato Eaters at a time when he was looking to free himself physically, emotionally and artistically from the gray colors of his art and life, moving away from Nuenen to develop, as author Albert Lubin describes, a more "imaginative, colorful art that suited him much better."Van Gogh, who "particularly admired a poem written by Walt Whitman about the beauty in a blade of grass", began painting waving stalks of wheat in Paris. In 1887, he made Wheat Field with a Lark where Impressionist influences are reflected in his use of color and management of light and shadow. Brush strokes are made to reflect the objects, like the stalks of wheat. The work reflects the motion of the wheat blowing in the wind, the lark flying and the clouds streaking from the currents in the sky. The cycles of life are reflected in the land left by harvested wheat and the growing wheat subject to the forces of the wind, as we are subject to the pressures in our lives. The cycle of life depicted here is both tragic and comforting. The stubble of the harvested wheat reflect the inevitable cycle of death, while the stalks of wheat, flying bird and windswept clouds reflect continual change. Edge of a Wheat Field with Poppies, shown below, was also painted in 1887. | [
"France",
"Impressionist",
"Walt Whitman",
"The Potato Eaters",
"Wheat Field with a Lark",
"Nuenen",
"Wheat",
"Paris",
"Netherlands"
] |
|
16789_T | Wheat Fields | Explore the Arles about the Periods of this artwork, Wheat Fields. | Van Gogh was about 35 years of age when he moved to Arles in southern France. There he was at the height of his career, producing some of his best work. His paintings represented different aspects of ordinary life, such as Harvest at La Crau. The sunflower paintings, some of the most recognizable of Van Gogh's paintings, were created in this time. He worked continuously to keep up with his ideas for paintings. This is likely one of Van Gogh's happier periods of life. He is confident, clear-minded and seemingly content.In a letter to his brother, Theo, he wrote, "Painting as it is now, promises to become more subtle – more like music and less like sculpture – and above all, it promises color." As a means of explanation, Van Gogh explains that being like music means being comforting.A prolific time, in less than 444 days van Gogh made about 100 drawings and produced more than 200 paintings. Yet, he still found time and energy to write more than 200 letters. While he painted quickly, mindful of the pace farmers would need to work in the hot sun, he spent time thinking about his paintings long before he put brush to canvas.His work during this period represents a culmination of influences, such as Impressionism, Neo-Impressionism and Japanese art (see Japonism). His style evolved into one with vivid colors and energetic, impasto brush strokes. | [
"France",
"Theo",
"Impressionism",
"Arles",
"Neo-Impressionism",
"impasto",
"La Crau",
"sunflower paintings",
"Japonism"
] |
|
16789_NT | Wheat Fields | Explore the Arles about the Periods of this artwork. | Van Gogh was about 35 years of age when he moved to Arles in southern France. There he was at the height of his career, producing some of his best work. His paintings represented different aspects of ordinary life, such as Harvest at La Crau. The sunflower paintings, some of the most recognizable of Van Gogh's paintings, were created in this time. He worked continuously to keep up with his ideas for paintings. This is likely one of Van Gogh's happier periods of life. He is confident, clear-minded and seemingly content.In a letter to his brother, Theo, he wrote, "Painting as it is now, promises to become more subtle – more like music and less like sculpture – and above all, it promises color." As a means of explanation, Van Gogh explains that being like music means being comforting.A prolific time, in less than 444 days van Gogh made about 100 drawings and produced more than 200 paintings. Yet, he still found time and energy to write more than 200 letters. While he painted quickly, mindful of the pace farmers would need to work in the hot sun, he spent time thinking about his paintings long before he put brush to canvas.His work during this period represents a culmination of influences, such as Impressionism, Neo-Impressionism and Japanese art (see Japonism). His style evolved into one with vivid colors and energetic, impasto brush strokes. | [
"France",
"Theo",
"Impressionism",
"Arles",
"Neo-Impressionism",
"impasto",
"La Crau",
"sunflower paintings",
"Japonism"
] |
|
16790_T | Wheat Fields | Focusing on the Periods of Wheat Fields, discuss the May farmhouses about the Arles. | May farmhouses Both Farmhouse in a Wheat Field and Farmhouses in Wheat Field Near Arles were made in May, 1888 which Van Gogh described at the time: "A little town surrounded by fields completely blooming with yellow and purple flowers; you know, it is a beautiful Japanese dream." | [
"Arles",
"Wheat"
] |
|
16790_NT | Wheat Fields | Focusing on the Periods of this artwork, discuss the May farmhouses about the Arles. | May farmhouses Both Farmhouse in a Wheat Field and Farmhouses in Wheat Field Near Arles were made in May, 1888 which Van Gogh described at the time: "A little town surrounded by fields completely blooming with yellow and purple flowers; you know, it is a beautiful Japanese dream." | [
"Arles",
"Wheat"
] |
|
16791_T | Wheat Fields | Regarding Wheat Fields, how does the Periods's Arles incorporate the June – The Sower? | June – The Sower The audience is drawn into the painting by the glowing disk of the rising Sun in citron-yellow which Van Gogh intended to represent the divine, replicating the nimbus from Eugène Delacroix's Christ Asleep during the Tempest. Van Gogh depicts the cycle of life in the sowing of wheat against the field of mature wheat, there is death, like the setting Sun, but also rebirth. The Sun will rise again. Wheat has been cut, but the sower plants seeds for a new crop. Leaves have fallen from the tree in the distance, but leaves will grow again.In The Sower, Van Gogh uses complementary colors to bring intensity to the picture. Blue and orange flecks in the plowed field and violet and gold in the spring wheat behind the sower. Van Gogh used colors symbolically and for effect, when speaking of the colors in this work he said: I couldn't care less what the colours are in reality.Inspired by Jean-François Millet van Gogh made several paintings after The Sower by Millet. Van Gogh made seven other "Sower" paintings, one in 1883 and the other six after this work. | [
"Jean-François Millet",
"complementary colors",
"Delacroix's",
"Wheat",
"nimbus",
"Eugène Delacroix",
"divine"
] |
|
16791_NT | Wheat Fields | Regarding this artwork, how does the Periods's Arles incorporate the June – The Sower? | June – The Sower The audience is drawn into the painting by the glowing disk of the rising Sun in citron-yellow which Van Gogh intended to represent the divine, replicating the nimbus from Eugène Delacroix's Christ Asleep during the Tempest. Van Gogh depicts the cycle of life in the sowing of wheat against the field of mature wheat, there is death, like the setting Sun, but also rebirth. The Sun will rise again. Wheat has been cut, but the sower plants seeds for a new crop. Leaves have fallen from the tree in the distance, but leaves will grow again.In The Sower, Van Gogh uses complementary colors to bring intensity to the picture. Blue and orange flecks in the plowed field and violet and gold in the spring wheat behind the sower. Van Gogh used colors symbolically and for effect, when speaking of the colors in this work he said: I couldn't care less what the colours are in reality.Inspired by Jean-François Millet van Gogh made several paintings after The Sower by Millet. Van Gogh made seven other "Sower" paintings, one in 1883 and the other six after this work. | [
"Jean-François Millet",
"complementary colors",
"Delacroix's",
"Wheat",
"nimbus",
"Eugène Delacroix",
"divine"
] |
|
16792_T | Wheat Fields | Focusing on the Periods of Wheat Fields, analyze the June – Harvest about the Arles. | June – Harvest During the last half of June he worked on a group of ten "Harvest" paintings, which allowed him to experiment with color and technique. "I have now spent a week working hard in the wheatfields, under the blazing sun," Van Gogh wrote on 21 June 1888 to his brother Theo. He described the series of wheat fields as "…landscapes, yellow—old gold—done quickly, quickly, quickly, and in a hurry just like the harvester who is silent under the blazing sun, intent only on the reaping."Wheat Fields also Wheat Fields with the Alpilles Foothills in the Background is a view of the vast, spreading plain against a low horizon. Nearly the entire canvas is filled with the wheat field. In the foreground is green wheat of yellow, green, red, brown and black colors, which sets off the more mature, golden yellow wheat. The Alpilles range is just visible in the distance.
Van Gogh wrote about Sunset: Wheat Fields Near Arles: "A summer sun... town purple, celestial body yellow, sky green-blue. The wheat has all the hues of old gold, copper, green-gold or red-gold, yellow gold, yellow bronze, red-green." He made this work during the height of the mistral winds. To prevent his canvas from flying away, van Gogh drove the easel into the ground and secured the canvas to the easel with rope.Arles: View from the Wheat Fields (Wheat Field with Sheaves and Arles in the Background), another painting of this series, represents the harvest. In the foreground are sheaves of harvested wheat leaning against one another. The center of the painting depicts the harvesting process.
Wheat Stacks with Reaper was made in June, 1888 (as indicated by the F number sequence) or June 1890 in Auvers as noted by the Toledo Museum of Art, where it resides. Of the figure "the reaper" Van Gogh expressed his symbolic, spiritual view of those who worked close to nature in a letter to his sister in 1889: "aren’t we, who live on bread, to a considerable extent like wheat, at least aren't we forced to submit to growing like a plant without the power to move, by which I mean in whatever way our imagination impels us, and to being reaped when we are ripe, like the same wheat?"
Harvest in Provence is a particularly relaxed version of the harvest paintings. The painting, made just outside Arles, is an example of how Van Gogh used color in full brilliance to depict "the burning brightness of the heat wave." The painting is also called the Grain Harvest of Provence or Corn Harvest of Provence.
In the foreground of Honolulu Museum of Art's Wheat Field are sheaves of harvested wheat. Horizontal bands mark the wheat fields, behind which are trees and houses on the horizon. His work, like that of his friend Paul Gauguin, that emphasized personal expression over literal composition led to the expressionist movement and towards twentieth-century Modernism. | [
"Toledo Museum of Art",
"Theo",
"Arles: View from the Wheat Fields",
"Modernism",
"Honolulu",
"mistral",
"Alpilles",
"Toledo",
"right",
"Arles",
"Paul Gauguin",
"Wheat",
"expressionist movement",
"Honolulu Museum of Art"
] |
|
16792_NT | Wheat Fields | Focusing on the Periods of this artwork, analyze the June – Harvest about the Arles. | June – Harvest During the last half of June he worked on a group of ten "Harvest" paintings, which allowed him to experiment with color and technique. "I have now spent a week working hard in the wheatfields, under the blazing sun," Van Gogh wrote on 21 June 1888 to his brother Theo. He described the series of wheat fields as "…landscapes, yellow—old gold—done quickly, quickly, quickly, and in a hurry just like the harvester who is silent under the blazing sun, intent only on the reaping."Wheat Fields also Wheat Fields with the Alpilles Foothills in the Background is a view of the vast, spreading plain against a low horizon. Nearly the entire canvas is filled with the wheat field. In the foreground is green wheat of yellow, green, red, brown and black colors, which sets off the more mature, golden yellow wheat. The Alpilles range is just visible in the distance.
Van Gogh wrote about Sunset: Wheat Fields Near Arles: "A summer sun... town purple, celestial body yellow, sky green-blue. The wheat has all the hues of old gold, copper, green-gold or red-gold, yellow gold, yellow bronze, red-green." He made this work during the height of the mistral winds. To prevent his canvas from flying away, van Gogh drove the easel into the ground and secured the canvas to the easel with rope.Arles: View from the Wheat Fields (Wheat Field with Sheaves and Arles in the Background), another painting of this series, represents the harvest. In the foreground are sheaves of harvested wheat leaning against one another. The center of the painting depicts the harvesting process.
Wheat Stacks with Reaper was made in June, 1888 (as indicated by the F number sequence) or June 1890 in Auvers as noted by the Toledo Museum of Art, where it resides. Of the figure "the reaper" Van Gogh expressed his symbolic, spiritual view of those who worked close to nature in a letter to his sister in 1889: "aren’t we, who live on bread, to a considerable extent like wheat, at least aren't we forced to submit to growing like a plant without the power to move, by which I mean in whatever way our imagination impels us, and to being reaped when we are ripe, like the same wheat?"
Harvest in Provence is a particularly relaxed version of the harvest paintings. The painting, made just outside Arles, is an example of how Van Gogh used color in full brilliance to depict "the burning brightness of the heat wave." The painting is also called the Grain Harvest of Provence or Corn Harvest of Provence.
In the foreground of Honolulu Museum of Art's Wheat Field are sheaves of harvested wheat. Horizontal bands mark the wheat fields, behind which are trees and houses on the horizon. His work, like that of his friend Paul Gauguin, that emphasized personal expression over literal composition led to the expressionist movement and towards twentieth-century Modernism. | [
"Toledo Museum of Art",
"Theo",
"Arles: View from the Wheat Fields",
"Modernism",
"Honolulu",
"mistral",
"Alpilles",
"Toledo",
"right",
"Arles",
"Paul Gauguin",
"Wheat",
"expressionist movement",
"Honolulu Museum of Art"
] |
|
16793_T | Wheat Fields | When looking at the Periods of Wheat Fields, how do you discuss its Arles's June – complementary harvest paintings? | June – complementary harvest paintings Harvest, named by Van Gogh himself, or Harvest at La Crau, with Montmajour in the Background is made in horizontal planes. The harvested wheat lies in the foreground. In the center the activities for harvest are represented by the haystack, ladders, carts and a man with a pitchfork. The background is purple-blue mountains against a turquoise sky. He was interested in depicting "the essence of country life." In June Van Gogh wrote of the landscape at La Crau that it was "beautiful and endless as the sea." One of his most important works, the landscape reminded him of paintings by 17th century Dutch masters, Ruysdael and Philips Koninck. He also compared this work favorably with his painting The White Orchard.Wheat Stacks in Provence, made about the 12th or 13 June, was intended by Van Gogh to be a complementary work to the Harvest painting. Ladders appear in both paintings which help to create a pastoral feeling. | [
"Philips Koninck",
"Montmajour",
"pastoral",
"Wheat",
"La Crau",
"Dutch masters",
"Ruysdael"
] |
|
16793_NT | Wheat Fields | When looking at the Periods of this artwork, how do you discuss its Arles's June – complementary harvest paintings? | June – complementary harvest paintings Harvest, named by Van Gogh himself, or Harvest at La Crau, with Montmajour in the Background is made in horizontal planes. The harvested wheat lies in the foreground. In the center the activities for harvest are represented by the haystack, ladders, carts and a man with a pitchfork. The background is purple-blue mountains against a turquoise sky. He was interested in depicting "the essence of country life." In June Van Gogh wrote of the landscape at La Crau that it was "beautiful and endless as the sea." One of his most important works, the landscape reminded him of paintings by 17th century Dutch masters, Ruysdael and Philips Koninck. He also compared this work favorably with his painting The White Orchard.Wheat Stacks in Provence, made about the 12th or 13 June, was intended by Van Gogh to be a complementary work to the Harvest painting. Ladders appear in both paintings which help to create a pastoral feeling. | [
"Philips Koninck",
"Montmajour",
"pastoral",
"Wheat",
"La Crau",
"Dutch masters",
"Ruysdael"
] |
|
16794_T | Wheat Fields | In the context of Wheat Fields, explore the Saint-Rémy of the Periods. | In May 1889, Van Gogh voluntarily entered the asylum of St. Paul near Saint-Rémy in Provence. There Van Gogh had access to an adjacent cell he used as his studio. He was initially confined to the immediate asylum grounds and painted (without the bars) the world he saw from his room, such as ivy covered trees, lilacs, and irises of the garden. Through the open bars Van Gogh could also see an enclosed wheat field, subject of many paintings at Saint-Rémy. As he ventured outside of the asylum walls, he painted the wheat fields, olive groves, and cypress trees of the surrounding countryside, which he saw as "characteristic of Provence." Over the course of the year, he painted about 150 canvases. | [
"Saint-Rémy"
] |
|
16794_NT | Wheat Fields | In the context of this artwork, explore the Saint-Rémy of the Periods. | In May 1889, Van Gogh voluntarily entered the asylum of St. Paul near Saint-Rémy in Provence. There Van Gogh had access to an adjacent cell he used as his studio. He was initially confined to the immediate asylum grounds and painted (without the bars) the world he saw from his room, such as ivy covered trees, lilacs, and irises of the garden. Through the open bars Van Gogh could also see an enclosed wheat field, subject of many paintings at Saint-Rémy. As he ventured outside of the asylum walls, he painted the wheat fields, olive groves, and cypress trees of the surrounding countryside, which he saw as "characteristic of Provence." Over the course of the year, he painted about 150 canvases. | [
"Saint-Rémy"
] |
|
16795_T | Wheat Fields | Focusing on the Periods of Wheat Fields, explain the The Wheat Field about the Saint-Rémy. | The Wheat Field Van Gogh worked on a group of paintings of the wheat field that he could see from his cell at Saint-Paul Hospital. From the studio room he could see a field of wheat, enclosed by a wall. Beyond that were the mountains from Arles. During his stay at the asylum he made about twelve paintings of the view of the enclosed wheat field and distant mountains. In May Van Gogh wrote to Theo, "Through the iron-barred window I see a square field of wheat in an enclosure, a perspective like Van Goyen, above which I see the morning sun rising in all its glory." The stone wall, like a picture frame, helped to display the changing colors of the wheat field. | [
"Theo",
"The Wheat Field",
"group of paintings of the wheat field",
"Arles",
"Wheat"
] |
|
16795_NT | Wheat Fields | Focusing on the Periods of this artwork, explain the The Wheat Field about the Saint-Rémy. | The Wheat Field Van Gogh worked on a group of paintings of the wheat field that he could see from his cell at Saint-Paul Hospital. From the studio room he could see a field of wheat, enclosed by a wall. Beyond that were the mountains from Arles. During his stay at the asylum he made about twelve paintings of the view of the enclosed wheat field and distant mountains. In May Van Gogh wrote to Theo, "Through the iron-barred window I see a square field of wheat in an enclosure, a perspective like Van Goyen, above which I see the morning sun rising in all its glory." The stone wall, like a picture frame, helped to display the changing colors of the wheat field. | [
"Theo",
"The Wheat Field",
"group of paintings of the wheat field",
"Arles",
"Wheat"
] |
|
16796_T | Wheat Fields | Explore the Wheat field with cypresses about the Saint-Rémy of the Periods in this artwork, Wheat Fields. | Wheat field with cypresses The wheat field with cypresses paintings were made when van Gogh was able to leave the asylum. Van Gogh had a fondness for cypresses and wheat fields of which he wrote: "Only I have no news to tell you, for the days are all the same, I have no ideas, except to think that a field of wheat or a cypress well worth the trouble of looking at closeup."In early July, Van Gogh wrote to his brother Theo of a work he began in June, Wheat Field with Cypresses: "I have a canvas of cypresses with some ears of wheat, some poppies, a blue sky like a piece of Scotch plaid; the former painted with a thick impasto . . . and the wheat field in the sun, which represents the extreme heat, very thick too." Van Gogh who regarded this landscape as one of his "best" summer paintings made two additional oil paintings very similar in composition that fall. One of the two is in a private collection.
London's National Gallery A Wheat Field, with Cypresses painting was made in September which Janson & Janson 1977, p. 308 describes: "the field is like a stormy sea; the trees spring flamelike from the ground; and the hills and clouds heave with the same surge of motion. Every stroke stands out boldly in a long ribbon of strong, unmixed color."
There is also another version of Wheat Fields with Cypresses made in September with a blue-green sky, reportedly held at the Tate Gallery in London (F743). | [
"Theo",
"National Gallery",
"Scotch plaid",
"Tate",
"impasto",
"Wheat Field with Cypresses",
"Tate Gallery",
"Wheat",
"London"
] |
|
16796_NT | Wheat Fields | Explore the Wheat field with cypresses about the Saint-Rémy of the Periods in this artwork. | Wheat field with cypresses The wheat field with cypresses paintings were made when van Gogh was able to leave the asylum. Van Gogh had a fondness for cypresses and wheat fields of which he wrote: "Only I have no news to tell you, for the days are all the same, I have no ideas, except to think that a field of wheat or a cypress well worth the trouble of looking at closeup."In early July, Van Gogh wrote to his brother Theo of a work he began in June, Wheat Field with Cypresses: "I have a canvas of cypresses with some ears of wheat, some poppies, a blue sky like a piece of Scotch plaid; the former painted with a thick impasto . . . and the wheat field in the sun, which represents the extreme heat, very thick too." Van Gogh who regarded this landscape as one of his "best" summer paintings made two additional oil paintings very similar in composition that fall. One of the two is in a private collection.
London's National Gallery A Wheat Field, with Cypresses painting was made in September which Janson & Janson 1977, p. 308 describes: "the field is like a stormy sea; the trees spring flamelike from the ground; and the hills and clouds heave with the same surge of motion. Every stroke stands out boldly in a long ribbon of strong, unmixed color."
There is also another version of Wheat Fields with Cypresses made in September with a blue-green sky, reportedly held at the Tate Gallery in London (F743). | [
"Theo",
"National Gallery",
"Scotch plaid",
"Tate",
"impasto",
"Wheat Field with Cypresses",
"Tate Gallery",
"Wheat",
"London"
] |
|
16797_T | Wheat Fields | Focusing on the Periods of Wheat Fields, discuss the Other wheat field paintings about the Saint-Rémy. | Other wheat field paintings Van Gogh describes the ripening Green Wheat Field with Cypress painted in June: "a field of wheat turning yellow, surrounded by blackberry bushes and green shrubs. At the end of the field there is a little house with a tall somber cypress which stands out against the far-off hills with their violet-like and bluish tones, and against a sky the colour of forget-me-nots with pink streaks, whose pure hues form a contrast with the scorched ears, which are already heavy, and have the warm tones of a bread crust."In October Van Gogh made Enclosed Wheat Field with Ploughman.
Wheat Fields in a Mountainous Landscape, also titled Meadow in the Mountains was painted in late November – early December 1889. In November, Wheat Field Behind Saint-Paul was painted by Van Gogh, now owned by Virginia Museum of Fine Arts. | [
"Virginia",
"Green Wheat Field with Cypress",
"Plough",
"Virginia Museum of Fine Arts",
"Wheat",
"Museum of Fine Arts"
] |
|
16797_NT | Wheat Fields | Focusing on the Periods of this artwork, discuss the Other wheat field paintings about the Saint-Rémy. | Other wheat field paintings Van Gogh describes the ripening Green Wheat Field with Cypress painted in June: "a field of wheat turning yellow, surrounded by blackberry bushes and green shrubs. At the end of the field there is a little house with a tall somber cypress which stands out against the far-off hills with their violet-like and bluish tones, and against a sky the colour of forget-me-nots with pink streaks, whose pure hues form a contrast with the scorched ears, which are already heavy, and have the warm tones of a bread crust."In October Van Gogh made Enclosed Wheat Field with Ploughman.
Wheat Fields in a Mountainous Landscape, also titled Meadow in the Mountains was painted in late November – early December 1889. In November, Wheat Field Behind Saint-Paul was painted by Van Gogh, now owned by Virginia Museum of Fine Arts. | [
"Virginia",
"Green Wheat Field with Cypress",
"Plough",
"Virginia Museum of Fine Arts",
"Wheat",
"Museum of Fine Arts"
] |
|
16798_T | Wheat Fields | In Wheat Fields, how is the Auvers-sur-Oise of the Periods elucidated? | In May 1890, Van Gogh traveled from Saint-Rémy to Paris, where he had a three-day stay with his brother, Theo, Theo's wife Johanna and their new baby Vincent. Van Gogh found that unlike his past experiences in Paris, he was no longer used to the commotion of the city and was too agitated to paint. His brother, Theo and artist Camille Pissarro developed a plan for Van Gogh to go to Auvers-sur-Oise with a letter of introduction for Dr. Paul Gachet, a homeopathic physician and art patron who lived in Auvers. Van Gogh had a room at the inn Auberge Ravoux in Auvers and was under the care and supervision of Dr. Gachet with whom he grew to have a close relationship, "something like another brother."For a time, Van Gogh seemed to improve. He began to paint at such a steady pace, there was barely space in his room for all the finished paintings. From May until his death on July 29, Van Gogh made about 70 paintings, more than one a day, and many drawings.." Van Gogh painted buildings around the town of Auvers, such as The Church at Auvers, portraits, and the nearby fields.Van Gogh arrived in Auvers in late spring as pea plants and wheat fields on gently sloping hills ripened for harvest. The area bustled as migrant workers from France and Brussels descended on the area for the harvest. Partial to rural life, Van Gogh strongly portrayed the beauty of the Auvers country side. He wrote his brother, "I have one study of old thatched roofs with a field of peas in flower in the foreground and some wheat, the background of hills, a study which I think you will like." | [
"France",
"Theo",
"Auberge Ravoux",
"Saint-Rémy",
"Johanna",
"The Church at Auvers",
"Camille Pissarro",
"Paris",
"Paul Gachet",
"Auvers-sur-Oise"
] |
|
16798_NT | Wheat Fields | In this artwork, how is the Auvers-sur-Oise of the Periods elucidated? | In May 1890, Van Gogh traveled from Saint-Rémy to Paris, where he had a three-day stay with his brother, Theo, Theo's wife Johanna and their new baby Vincent. Van Gogh found that unlike his past experiences in Paris, he was no longer used to the commotion of the city and was too agitated to paint. His brother, Theo and artist Camille Pissarro developed a plan for Van Gogh to go to Auvers-sur-Oise with a letter of introduction for Dr. Paul Gachet, a homeopathic physician and art patron who lived in Auvers. Van Gogh had a room at the inn Auberge Ravoux in Auvers and was under the care and supervision of Dr. Gachet with whom he grew to have a close relationship, "something like another brother."For a time, Van Gogh seemed to improve. He began to paint at such a steady pace, there was barely space in his room for all the finished paintings. From May until his death on July 29, Van Gogh made about 70 paintings, more than one a day, and many drawings.." Van Gogh painted buildings around the town of Auvers, such as The Church at Auvers, portraits, and the nearby fields.Van Gogh arrived in Auvers in late spring as pea plants and wheat fields on gently sloping hills ripened for harvest. The area bustled as migrant workers from France and Brussels descended on the area for the harvest. Partial to rural life, Van Gogh strongly portrayed the beauty of the Auvers country side. He wrote his brother, "I have one study of old thatched roofs with a field of peas in flower in the foreground and some wheat, the background of hills, a study which I think you will like." | [
"France",
"Theo",
"Auberge Ravoux",
"Saint-Rémy",
"Johanna",
"The Church at Auvers",
"Camille Pissarro",
"Paris",
"Paul Gachet",
"Auvers-sur-Oise"
] |
|
16799_T | Wheat Fields | Focusing on the Periods of Wheat Fields, analyze the Wheat harvest series about the Auvers-sur-Oise. | Wheat harvest series Van Gogh painted thirteen large canvases of horizontal landscapes of the wheat harvest that occurs in the region from the middle to late July. The series began with Wheat Field under Cloudy Sky then Wheatfield with Crows was painted when the crop was on the verge of harvest. Sheaves of Wheat painted after the harvest and concluding with Field with Haystacks (private collection).
Green Wheat Fields or Field with Green Wheat was made in May.
Wheat Field at Auvers with White House was made in June. The painting is mainly a large green field of wheat. In the background is a white house behind a wall and a tree.The outlying fields of Auvers, setting for Wheat Fields after the Rain (The Plain of Auvers), form a "zig-zag, patchwork pattern," of yellows, blues, and greens. In the last letter that Van Gogh wrote to his mother he described being very calm, something needed for this work, an "immense plain with wheat fields up as far as the hills, boundless as the ocean, delicate yellow, delicate soft green, the delicate purple of a tilled and weeded piece of ground, with the regular speckle of the green of flowering potato plants, everything under a sky of delicate tones of blue, white, pink and violet." This painting was also called Wheat Fields at Auvers Under Clouded Sky.
Van Gogh described Ears of Wheat to painter and friend Paul Gauguin as "nothing more than ears of wheat, green-blue stalks long, ribbon-like leaves, under a sheen of green & pink; ears of wheat, yellowing slightly, with an edge made pale pink by the dusty manner of flowering; at the bottom, a pink bindweed winding round a stalk. I would like to paint portraits against a background that is so lively and yet so still." The painting depicts "the soft rustle of the ears of grain swaying back and forth in the wind." He used the motif as the background to a portrait.
The Fields was painted in July and held in a private collection.
An animated Wheatfield with Cornflowers shows the effect of a gust of wind that ripples through the yellow stalks, seeming to "overflow" into the blue background. The heads of a few stalks of wheat seem to have detached themselves, diving into the blue of the hills in the background.
Wheat Fields near Auvers, 1890, owned by Österreichische Galerie Belvedere, Vienna was also described by van Gogh as a landscape of the vast wheat fields after a rain.Van Gogh brings the spectator directly into Sheaves of Wheat by filling the picture plane with eight sheaves of wheat, as if seeing it from a worker's perspective. The sheaves, bathed in yellow light, appear to be recently cut. For contrast, Van Gogh uses the complementary, vivid lavender for shadows and earth in the nearby field.
In van Gogh's Wheatfields Under Thunderclouds, also called Wheat Fields Under Clouded Sky, landscape he depicts the loneliness of the countryside and the degree to which it was "healthy and heartening."
The Van Gogh Museum's Wheatfield with Crows was made in July 1890, in the last weeks of Van Gogh's life, many have claimed it was his last work. Others have claimed Tree Roots was his last painting. Wheatfield with Crows, made on an elongated canvas, depicts a dramatic cloudy sky filled with crows over a wheat field. The wind-swept wheat field fills two thirds of the canvas. An empty path pulls the audience into the painting. Jules Michelet, one of Van Gogh's favorite authors, wrote of the crow: "They interest themselves in everything, and observe everything. The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions so prudent and sage a bird." Of making the painting Van Gogh wrote that he did not have a hard time depicting the sadness and emptiness of the painting, which was powerfully offset by the restorative nature of the countryside. Erickson 1998, pp. 103, 148, cautious of attributing stylistic changes in his work to mental illness, finds the painting expresses both the sorrow and the sense of his life coming to an end. The crows, used by Van Gogh as symbol of death and rebirth or resurrection, visually draw the spectator into the painting. The road, in contrasting colors of red and green, is thought to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoicing because the Eternal City waits at the journey's end.Erickson 1998, p. 162
Wheat Stack Under Clouded Sky also called Haystack under a Rainy Sky, was made July 1890, Kröller-Müller Museum, Otterlo, Netherlands (F563).
Field with Stacks of Grain, at Beyeler Foundation, Riehen, Switzerland (F809) is one of van Gogh's last paintings, is both more rigid and at the same time more abstract than other paintings of this series, such as Wheatfield with Cornflowers. Two large stacks of wheat fill the painting like "abandoned buildings," seeming to cut off the sky.
Wheat Fields with Auvers in the Background also painted in July is part of the Musée d'Art et d'Histoire collection in Geneva (F801). | [
"Wheatfield with Crows",
"Beyeler Foundation",
"Tree Roots",
"Otterlo",
"Wheatfields Under Thunderclouds",
"Kröller-Müller Museum",
"The Pilgrim's Progress",
"Paul Gauguin",
"Österreichische Galerie Belvedere",
"Wheat",
"Switzerland",
"Van Gogh Museum",
"Rain",
"Netherlands"
] |
|
16799_NT | Wheat Fields | Focusing on the Periods of this artwork, analyze the Wheat harvest series about the Auvers-sur-Oise. | Wheat harvest series Van Gogh painted thirteen large canvases of horizontal landscapes of the wheat harvest that occurs in the region from the middle to late July. The series began with Wheat Field under Cloudy Sky then Wheatfield with Crows was painted when the crop was on the verge of harvest. Sheaves of Wheat painted after the harvest and concluding with Field with Haystacks (private collection).
Green Wheat Fields or Field with Green Wheat was made in May.
Wheat Field at Auvers with White House was made in June. The painting is mainly a large green field of wheat. In the background is a white house behind a wall and a tree.The outlying fields of Auvers, setting for Wheat Fields after the Rain (The Plain of Auvers), form a "zig-zag, patchwork pattern," of yellows, blues, and greens. In the last letter that Van Gogh wrote to his mother he described being very calm, something needed for this work, an "immense plain with wheat fields up as far as the hills, boundless as the ocean, delicate yellow, delicate soft green, the delicate purple of a tilled and weeded piece of ground, with the regular speckle of the green of flowering potato plants, everything under a sky of delicate tones of blue, white, pink and violet." This painting was also called Wheat Fields at Auvers Under Clouded Sky.
Van Gogh described Ears of Wheat to painter and friend Paul Gauguin as "nothing more than ears of wheat, green-blue stalks long, ribbon-like leaves, under a sheen of green & pink; ears of wheat, yellowing slightly, with an edge made pale pink by the dusty manner of flowering; at the bottom, a pink bindweed winding round a stalk. I would like to paint portraits against a background that is so lively and yet so still." The painting depicts "the soft rustle of the ears of grain swaying back and forth in the wind." He used the motif as the background to a portrait.
The Fields was painted in July and held in a private collection.
An animated Wheatfield with Cornflowers shows the effect of a gust of wind that ripples through the yellow stalks, seeming to "overflow" into the blue background. The heads of a few stalks of wheat seem to have detached themselves, diving into the blue of the hills in the background.
Wheat Fields near Auvers, 1890, owned by Österreichische Galerie Belvedere, Vienna was also described by van Gogh as a landscape of the vast wheat fields after a rain.Van Gogh brings the spectator directly into Sheaves of Wheat by filling the picture plane with eight sheaves of wheat, as if seeing it from a worker's perspective. The sheaves, bathed in yellow light, appear to be recently cut. For contrast, Van Gogh uses the complementary, vivid lavender for shadows and earth in the nearby field.
In van Gogh's Wheatfields Under Thunderclouds, also called Wheat Fields Under Clouded Sky, landscape he depicts the loneliness of the countryside and the degree to which it was "healthy and heartening."
The Van Gogh Museum's Wheatfield with Crows was made in July 1890, in the last weeks of Van Gogh's life, many have claimed it was his last work. Others have claimed Tree Roots was his last painting. Wheatfield with Crows, made on an elongated canvas, depicts a dramatic cloudy sky filled with crows over a wheat field. The wind-swept wheat field fills two thirds of the canvas. An empty path pulls the audience into the painting. Jules Michelet, one of Van Gogh's favorite authors, wrote of the crow: "They interest themselves in everything, and observe everything. The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions so prudent and sage a bird." Of making the painting Van Gogh wrote that he did not have a hard time depicting the sadness and emptiness of the painting, which was powerfully offset by the restorative nature of the countryside. Erickson 1998, pp. 103, 148, cautious of attributing stylistic changes in his work to mental illness, finds the painting expresses both the sorrow and the sense of his life coming to an end. The crows, used by Van Gogh as symbol of death and rebirth or resurrection, visually draw the spectator into the painting. The road, in contrasting colors of red and green, is thought to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoicing because the Eternal City waits at the journey's end.Erickson 1998, p. 162
Wheat Stack Under Clouded Sky also called Haystack under a Rainy Sky, was made July 1890, Kröller-Müller Museum, Otterlo, Netherlands (F563).
Field with Stacks of Grain, at Beyeler Foundation, Riehen, Switzerland (F809) is one of van Gogh's last paintings, is both more rigid and at the same time more abstract than other paintings of this series, such as Wheatfield with Cornflowers. Two large stacks of wheat fill the painting like "abandoned buildings," seeming to cut off the sky.
Wheat Fields with Auvers in the Background also painted in July is part of the Musée d'Art et d'Histoire collection in Geneva (F801). | [
"Wheatfield with Crows",
"Beyeler Foundation",
"Tree Roots",
"Otterlo",
"Wheatfields Under Thunderclouds",
"Kröller-Müller Museum",
"The Pilgrim's Progress",
"Paul Gauguin",
"Österreichische Galerie Belvedere",
"Wheat",
"Switzerland",
"Van Gogh Museum",
"Rain",
"Netherlands"
] |
|
16800_T | Wheat Fields | When looking at the Periods of Wheat Fields, how do you discuss its Auvers-sur-Oise's Emotional turmoil? | Emotional turmoil Illness had struck Theo's baby, Vincent, and Theo had health problems and employment issues. He was considering leaving his employer to start his own business. Gachet, said to have his own eccentricities and neurosis, caused van Gogh to write: "Now when one blind man leads another blind man, don't they both end up in the ditch?"After visiting Paris for a family conference, Van Gogh returned to Auvers feeling more bleak. In a letter he wrote, "And the prospect grows darker, I see no future at all."Wallace 1969, pp. 162–163 states, "But for all his appearance of a renewed well-being his life was very near its end."
He later had a period where he said that "the trouble I had in my head has considerably calmed...I am completely absorbed in that immense plain covered with fields of wheat against the hills boundless as the sea in delicate colors of yellow and green, the pale violet of the plowed and weeded earth checkered at regular intervals with the green of the flowering potato plants, everything under a sky of delicate blue, white, pink, and violet. I am almost too calm, a state that is necessary to paint all that."
Four days after completing Wheat Fields after the Rain he shot himself in the Auvers wheat fields. Van Gogh died on July 29, 1890. | [
"Theo",
"Wheat",
"Paris",
"Rain"
] |
|
16800_NT | Wheat Fields | When looking at the Periods of this artwork, how do you discuss its Auvers-sur-Oise's Emotional turmoil? | Emotional turmoil Illness had struck Theo's baby, Vincent, and Theo had health problems and employment issues. He was considering leaving his employer to start his own business. Gachet, said to have his own eccentricities and neurosis, caused van Gogh to write: "Now when one blind man leads another blind man, don't they both end up in the ditch?"After visiting Paris for a family conference, Van Gogh returned to Auvers feeling more bleak. In a letter he wrote, "And the prospect grows darker, I see no future at all."Wallace 1969, pp. 162–163 states, "But for all his appearance of a renewed well-being his life was very near its end."
He later had a period where he said that "the trouble I had in my head has considerably calmed...I am completely absorbed in that immense plain covered with fields of wheat against the hills boundless as the sea in delicate colors of yellow and green, the pale violet of the plowed and weeded earth checkered at regular intervals with the green of the flowering potato plants, everything under a sky of delicate blue, white, pink, and violet. I am almost too calm, a state that is necessary to paint all that."
Four days after completing Wheat Fields after the Rain he shot himself in the Auvers wheat fields. Van Gogh died on July 29, 1890. | [
"Theo",
"Wheat",
"Paris",
"Rain"
] |
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