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16801_T | Fur Traders Descending the Missouri | Focus on Fur Traders Descending the Missouri and explore the abstract. | Fur Traders Descending the Missouri is an 1845 painting by George Caleb Bingham. It is one of his most famous paintings, and is owned by the Metropolitan Museum of Art in New York City. He had brought it to St. Louis, Missouri on June 4, 1845, along with several other pieces of artwork.
It was painted around 1845 in the style called luminism by some historians of American art, and was originally titled French-Trader, Half-breed Son. The American Art Union thought the title potentially controversial and renamed it when it was first exhibited. It reflects the reality of fur traders' common marriages with Native American women, which resulted in the formation of the Métis ethnic group in Canada. The father's toque cap suggests that he is a voyageur of French descent. A black fox is in the front of the canoe, with pointed ears, long, sharp snout, and tongue. Black fox pelts were the most expensive, and therefore most desirable, furs of the time. Many Native American tribes regarded black foxes as spiritually symbolic creatures. | [
"Métis",
"New York City",
"luminism",
"American Art Union",
"St. Louis, Missouri",
"George Caleb Bingham",
"Metropolitan Museum of Art",
"Half-breed",
"St. Louis"
] |
|
16801_NT | Fur Traders Descending the Missouri | Focus on this artwork and explore the abstract. | Fur Traders Descending the Missouri is an 1845 painting by George Caleb Bingham. It is one of his most famous paintings, and is owned by the Metropolitan Museum of Art in New York City. He had brought it to St. Louis, Missouri on June 4, 1845, along with several other pieces of artwork.
It was painted around 1845 in the style called luminism by some historians of American art, and was originally titled French-Trader, Half-breed Son. The American Art Union thought the title potentially controversial and renamed it when it was first exhibited. It reflects the reality of fur traders' common marriages with Native American women, which resulted in the formation of the Métis ethnic group in Canada. The father's toque cap suggests that he is a voyageur of French descent. A black fox is in the front of the canoe, with pointed ears, long, sharp snout, and tongue. Black fox pelts were the most expensive, and therefore most desirable, furs of the time. Many Native American tribes regarded black foxes as spiritually symbolic creatures. | [
"Métis",
"New York City",
"luminism",
"American Art Union",
"St. Louis, Missouri",
"George Caleb Bingham",
"Metropolitan Museum of Art",
"Half-breed",
"St. Louis"
] |
|
16802_T | Dresden From the Right Bank of the Elbe Below the Augustus Bridge | Focus on Dresden From the Right Bank of the Elbe Below the Augustus Bridge and explain the abstract. | Dresden From the Right Bank of the Elbe Below the Augustus Bridge is an oil on canvas by the Italian urban landscape painter Bernardo Bellotto. Painted in 1748, it depicts the view of Dresden from the right bank of the River Elbe, including the Dresden Frauenkirche, the Dresden Cathedral, and the Augustus Bridge. One year earlier, he painted another piece titled Dresden From the Right Bank of the Elbe Above the Augustus Bridge, looking in the other direction from above the Augustus Bridge. Both of the paintings are in the permanent collection of the Gemäldegalerie Alte Meister. The paintings have proved invaluable in rebuilding parts of the city that were destroyed during the World War II. | [
"Elbe",
"Dresden",
"Bernardo Bellotto",
"Dresden From the Right Bank of the Elbe Above the Augustus Bridge",
"Gemäldegalerie Alte Meister",
"River Elbe",
"Dresden Frauenkirche",
"Augustus Bridge",
"Dresden Cathedral",
"World War II"
] |
|
16802_NT | Dresden From the Right Bank of the Elbe Below the Augustus Bridge | Focus on this artwork and explain the abstract. | Dresden From the Right Bank of the Elbe Below the Augustus Bridge is an oil on canvas by the Italian urban landscape painter Bernardo Bellotto. Painted in 1748, it depicts the view of Dresden from the right bank of the River Elbe, including the Dresden Frauenkirche, the Dresden Cathedral, and the Augustus Bridge. One year earlier, he painted another piece titled Dresden From the Right Bank of the Elbe Above the Augustus Bridge, looking in the other direction from above the Augustus Bridge. Both of the paintings are in the permanent collection of the Gemäldegalerie Alte Meister. The paintings have proved invaluable in rebuilding parts of the city that were destroyed during the World War II. | [
"Elbe",
"Dresden",
"Bernardo Bellotto",
"Dresden From the Right Bank of the Elbe Above the Augustus Bridge",
"Gemäldegalerie Alte Meister",
"River Elbe",
"Dresden Frauenkirche",
"Augustus Bridge",
"Dresden Cathedral",
"World War II"
] |
|
16803_T | Dresden From the Right Bank of the Elbe Below the Augustus Bridge | Explore the Lists of replicas of this artwork, Dresden From the Right Bank of the Elbe Below the Augustus Bridge. | Between 1751 and 1753, Bellotto also executed smaller replicas of the two paintings. There are some other replicas from his own hand.Dresden From the Right Bank of the Elbe Below the Augustus Bridge, ca. 1750, National Gallery of Ireland.
Dresden From the Right Bank of the Elbe Below the Augustus Bridge, Private Collection (Madrid).
Dresden From the Right Bank of the Elbe Below the Augustus Bridge, 1751–53, Gemäldegalerie Alte Meister. | [
"Elbe",
"Dresden",
"Gemäldegalerie Alte Meister",
"National Gallery of Ireland",
"Augustus Bridge"
] |
|
16803_NT | Dresden From the Right Bank of the Elbe Below the Augustus Bridge | Explore the Lists of replicas of this artwork. | Between 1751 and 1753, Bellotto also executed smaller replicas of the two paintings. There are some other replicas from his own hand.Dresden From the Right Bank of the Elbe Below the Augustus Bridge, ca. 1750, National Gallery of Ireland.
Dresden From the Right Bank of the Elbe Below the Augustus Bridge, Private Collection (Madrid).
Dresden From the Right Bank of the Elbe Below the Augustus Bridge, 1751–53, Gemäldegalerie Alte Meister. | [
"Elbe",
"Dresden",
"Gemäldegalerie Alte Meister",
"National Gallery of Ireland",
"Augustus Bridge"
] |
|
16804_T | Diptych of the Lampadii | Focus on Diptych of the Lampadii and discuss the History. | The work, datable to the beginning of the fifth century, was made to celebrate an important event in the life of the person named in the inscription, whose only legible fragment reads "AMPADIORVM" - probably indicating a member of the family of the Lampadii.
In general, diptychs were commissioned to celebrate an individual's appointment to the consulship, so one possible identity of the person named by the inscription is Flavius Lampadius, who was consul in 530. However, since the diptych is dated to the beginning of the fifth century on stylistic grounds, it is possible that it was produced on the appointment of another member of the family, a poorly known Lampadius who was praefectus urbi of Rome in 398.Only the left plate is conserved and that is damaged on several sides. It was acquired by the Cardinal and collector Angelo Maria Querini in the first half of the eighteenth century and he left it to the commune of Brescia in his will.It was initially displayed in the Museo dell'Era Cristiana, which was located in some rooms of the suppressed Monastery of St. Julia at the beginning of the nineteenth century. There it remained until 1998, when, with the opening of the Museo di Santa Giulia, the diptych reached its current location in the "Collectibles and Applied Art" department, in the vitrines dedicated to Querini's collection. | [
"consulship",
"diptych",
"Museo di Santa Giulia",
"Flavius Lampadius",
"praefectus urbi",
"Angelo Maria Querini",
"Lampadius",
"Brescia",
"commissioned to celebrate",
"Monastery of St. Julia"
] |
|
16804_NT | Diptych of the Lampadii | Focus on this artwork and discuss the History. | The work, datable to the beginning of the fifth century, was made to celebrate an important event in the life of the person named in the inscription, whose only legible fragment reads "AMPADIORVM" - probably indicating a member of the family of the Lampadii.
In general, diptychs were commissioned to celebrate an individual's appointment to the consulship, so one possible identity of the person named by the inscription is Flavius Lampadius, who was consul in 530. However, since the diptych is dated to the beginning of the fifth century on stylistic grounds, it is possible that it was produced on the appointment of another member of the family, a poorly known Lampadius who was praefectus urbi of Rome in 398.Only the left plate is conserved and that is damaged on several sides. It was acquired by the Cardinal and collector Angelo Maria Querini in the first half of the eighteenth century and he left it to the commune of Brescia in his will.It was initially displayed in the Museo dell'Era Cristiana, which was located in some rooms of the suppressed Monastery of St. Julia at the beginning of the nineteenth century. There it remained until 1998, when, with the opening of the Museo di Santa Giulia, the diptych reached its current location in the "Collectibles and Applied Art" department, in the vitrines dedicated to Querini's collection. | [
"consulship",
"diptych",
"Museo di Santa Giulia",
"Flavius Lampadius",
"praefectus urbi",
"Angelo Maria Querini",
"Lampadius",
"Brescia",
"commissioned to celebrate",
"Monastery of St. Julia"
] |
|
16805_T | Diptych of the Lampadii | How does Diptych of the Lampadii elucidate its Description and style? | The image on the surviving panel is divided into two parts.
On the upper register there is an important individual, most likely the senator Lampadius, who holds a sceptre topped by an image of the Emperor in one hand and the white cloth (or mappa) for giving the signal to begin the games in his other hand. Either side of him, depicted at a smaller scale are two other functionaries, perhaps his sons. The three individuals are inside a box decorated with panels with geometric patterns. Behind them a cornice supports a curvilinear architrave, above which the fragmentary inscription is found.In the lower register of the panel is a stylisted version of the race course in the circus, which four quadrigae, each drawn by four horses which run around the spina (the median strip) which has an obelisk in the centre, covered with stylised simplifications of Egyptian hieroglyphs. This might recall the Circus Maximus and its obelisks. At the two ends of the spina are things which seem to represent groups of statuary.
The depiction of the race track is very interesting both for its subject matter and for its technical execution, which stylises the course and all its features within the restricted space of the panel in a very efficient way, using side, front, and back views of the space alternately. | [
"Egyptian hieroglyphs",
"Circus Maximus",
"circus",
"architrave",
"senator",
"Lampadius",
"quadriga",
"obelisk"
] |
|
16805_NT | Diptych of the Lampadii | How does this artwork elucidate its Description and style? | The image on the surviving panel is divided into two parts.
On the upper register there is an important individual, most likely the senator Lampadius, who holds a sceptre topped by an image of the Emperor in one hand and the white cloth (or mappa) for giving the signal to begin the games in his other hand. Either side of him, depicted at a smaller scale are two other functionaries, perhaps his sons. The three individuals are inside a box decorated with panels with geometric patterns. Behind them a cornice supports a curvilinear architrave, above which the fragmentary inscription is found.In the lower register of the panel is a stylisted version of the race course in the circus, which four quadrigae, each drawn by four horses which run around the spina (the median strip) which has an obelisk in the centre, covered with stylised simplifications of Egyptian hieroglyphs. This might recall the Circus Maximus and its obelisks. At the two ends of the spina are things which seem to represent groups of statuary.
The depiction of the race track is very interesting both for its subject matter and for its technical execution, which stylises the course and all its features within the restricted space of the panel in a very efficient way, using side, front, and back views of the space alternately. | [
"Egyptian hieroglyphs",
"Circus Maximus",
"circus",
"architrave",
"senator",
"Lampadius",
"quadriga",
"obelisk"
] |
|
16806_T | Portrait of the Marquise de la Solana | Focus on Portrait of the Marquise de la Solana and analyze the abstract. | Portrait of the Marquise de la Solana is a 1795 full length portrait by Francisco Goya of his friend the Marquise de la Solana. It now hangs in the Louvre in Paris, to which it was given in 1953 by Carlos de Beistegui. | [
"Louvre",
"Carlos de Beistegui",
"Francisco Goya",
"Paris",
"Marquise de la Solana"
] |
|
16806_NT | Portrait of the Marquise de la Solana | Focus on this artwork and analyze the abstract. | Portrait of the Marquise de la Solana is a 1795 full length portrait by Francisco Goya of his friend the Marquise de la Solana. It now hangs in the Louvre in Paris, to which it was given in 1953 by Carlos de Beistegui. | [
"Louvre",
"Carlos de Beistegui",
"Francisco Goya",
"Paris",
"Marquise de la Solana"
] |
|
16807_T | In the Magic Mirror | In In the Magic Mirror, how is the abstract discussed? | In the Magic Mirror is an abstract oil painting produced in 1934 by the Swiss-based German artist Paul Klee. It is now in the collection of the Art Institute of Chicago. | [
"Art Institute of Chicago",
"Chicago",
"Paul Klee"
] |
|
16807_NT | In the Magic Mirror | In this artwork, how is the abstract discussed? | In the Magic Mirror is an abstract oil painting produced in 1934 by the Swiss-based German artist Paul Klee. It is now in the collection of the Art Institute of Chicago. | [
"Art Institute of Chicago",
"Chicago",
"Paul Klee"
] |
|
16808_T | In the Magic Mirror | Focus on In the Magic Mirror and explore the Description. | It features a blank face on which a vertical line snakes from top to bottom, "taking a line for a walk", as Klee was wont to say. In the process three faces evolve, one looking left, one looking right and one looking out of the canvas with two tear-shaped eyes. Below the faces is a single isolated black heart. | [] |
|
16808_NT | In the Magic Mirror | Focus on this artwork and explore the Description. | It features a blank face on which a vertical line snakes from top to bottom, "taking a line for a walk", as Klee was wont to say. In the process three faces evolve, one looking left, one looking right and one looking out of the canvas with two tear-shaped eyes. Below the faces is a single isolated black heart. | [] |
|
16809_T | In the Magic Mirror | Focus on In the Magic Mirror and explain the Degenerate artist. | Produced shortly after Klee was branded a degenerate artist by the ruling Nazi Party in 1933, with the subsequent loss of his position in Germany and an enforced move to Switzerland, the picture appears to represent his disillusionment. The knotted brow, the tear-shaped eyes and the black heart communicate anxiety, distress and bitterness. | [] |
|
16809_NT | In the Magic Mirror | Focus on this artwork and explain the Degenerate artist. | Produced shortly after Klee was branded a degenerate artist by the ruling Nazi Party in 1933, with the subsequent loss of his position in Germany and an enforced move to Switzerland, the picture appears to represent his disillusionment. The knotted brow, the tear-shaped eyes and the black heart communicate anxiety, distress and bitterness. | [] |
|
16810_T | Statue of Queen Victoria, Hove | Explore the abstract of this artwork, Statue of Queen Victoria, Hove. | The Statue of Queen Victoria stands on the sea front at the bottom of Grand Avenue in Hove on the south coast of England. The statue is one of 14 by Thomas Brock and was unveiled in February 1901, the month after Queen Victoria's death. It is a grade II listed building. | [
"Thomas Brock",
"Hove",
"listed building",
"Queen Victoria"
] |
|
16810_NT | Statue of Queen Victoria, Hove | Explore the abstract of this artwork. | The Statue of Queen Victoria stands on the sea front at the bottom of Grand Avenue in Hove on the south coast of England. The statue is one of 14 by Thomas Brock and was unveiled in February 1901, the month after Queen Victoria's death. It is a grade II listed building. | [
"Thomas Brock",
"Hove",
"listed building",
"Queen Victoria"
] |
|
16811_T | Statue of Queen Victoria, Hove | Focus on Statue of Queen Victoria, Hove and discuss the History. | The statue is one of fourteen of Queen Victoria by Thomas Brock and the first of them to be completed after the monarch's death. Brock designed the statue in 1897, having been commissioned for Victoria's diamond jubilee, which provided work for many sculptors. It was not unveiled until 9 February 1901, a month after she died. Hove's statue was the fourth of fourteen by Brock of Queen Victoria to be commissioned. It cost £3,000. The committee wanted a large memorial (it asked Brock to "design a Memorial Statue of large proportions and of the highest class"), so Brock made Victoria taller than his previous version in Worcester and increased the perception of height by placing the statue on a substantial plinth. Similar versions appear in Carlisle, Birmingham, and Belfast, though Brock's most famous work was the Victoria Memorial, on which the queen is depicted in a seated position. Work began in March 1899, when the Hove Borough Surveyor gave permission for the concrete foundations to be laid.Because it was intended to commemorate Victoria's diamond jubilee, the statue has been described as "the one tangible reminder of [the] jubilee in Hove". This jubilee had been celebrated in an unexpectedly muted way in Hove, with little in the way of special events, illuminations, bunting or similar, although there was a special service at All Saints Church and a procession followed by a sports day event at Hove recreation ground.The statue was unveiled a week after Victoria's funeral on a "great day of mourning", according to the mayoress of Hove. The ceremony was kept simple out of respect for the late queen. A wreath was laid on behalf of the women of the town. The programme for the day was printed with a black mourning border and noted that there would be no speeches or "the popular demonstrations which are usual on such occasions".The statue has been cleaned and restored on several occasions, most substantially in 1992 when a specialist firm re-burnished the bronzework and applied a new chemical coating. Vandalism has occurred on several occasions since the 1980s, with paint being thrown over the statue. | [
"Carlisle",
"Victoria Memorial",
"bronze",
"Thomas Brock",
"Hove",
"Birmingham",
"Belfast",
"Worcester",
"Queen Victoria",
"plinth",
"Victoria's diamond jubilee",
"All Saints Church"
] |
|
16811_NT | Statue of Queen Victoria, Hove | Focus on this artwork and discuss the History. | The statue is one of fourteen of Queen Victoria by Thomas Brock and the first of them to be completed after the monarch's death. Brock designed the statue in 1897, having been commissioned for Victoria's diamond jubilee, which provided work for many sculptors. It was not unveiled until 9 February 1901, a month after she died. Hove's statue was the fourth of fourteen by Brock of Queen Victoria to be commissioned. It cost £3,000. The committee wanted a large memorial (it asked Brock to "design a Memorial Statue of large proportions and of the highest class"), so Brock made Victoria taller than his previous version in Worcester and increased the perception of height by placing the statue on a substantial plinth. Similar versions appear in Carlisle, Birmingham, and Belfast, though Brock's most famous work was the Victoria Memorial, on which the queen is depicted in a seated position. Work began in March 1899, when the Hove Borough Surveyor gave permission for the concrete foundations to be laid.Because it was intended to commemorate Victoria's diamond jubilee, the statue has been described as "the one tangible reminder of [the] jubilee in Hove". This jubilee had been celebrated in an unexpectedly muted way in Hove, with little in the way of special events, illuminations, bunting or similar, although there was a special service at All Saints Church and a procession followed by a sports day event at Hove recreation ground.The statue was unveiled a week after Victoria's funeral on a "great day of mourning", according to the mayoress of Hove. The ceremony was kept simple out of respect for the late queen. A wreath was laid on behalf of the women of the town. The programme for the day was printed with a black mourning border and noted that there would be no speeches or "the popular demonstrations which are usual on such occasions".The statue has been cleaned and restored on several occasions, most substantially in 1992 when a specialist firm re-burnished the bronzework and applied a new chemical coating. Vandalism has occurred on several occasions since the 1980s, with paint being thrown over the statue. | [
"Carlisle",
"Victoria Memorial",
"bronze",
"Thomas Brock",
"Hove",
"Birmingham",
"Belfast",
"Worcester",
"Queen Victoria",
"plinth",
"Victoria's diamond jubilee",
"All Saints Church"
] |
|
16812_T | Statue of Queen Victoria, Hove | How does Statue of Queen Victoria, Hove elucidate its Description? | The statue is in bronze and stands 13 feet (4.0 m) high on an Aberdeen granite plinth which is embellished with four bronze panels. The statue is life-size and depicts Victoria standing in royal regalia, wearing a crown and veil. In her left hand is an orb and in her right a sceptre. The orb is surmounted by a winged Victory, possibly a reference to the statue Napoleon as Mars the Peacemaker in Apsley House, London. She faces south, out to sea. The panels contain low reliefs of allegorical figures which represent commerce, education, science and art, and the British Empire—each captioned in incised lettering in the stonework—advancements made during Victoria's reign. These were added after the original design was complete. The plinth was originally surrounded by four small bollards, one of which has since been lost. An inscription on the plinth at the front reads "Erected by the inhabitants of Hove to commemorate the 60th anniversary of the accession of Queen Victoria June 20 AD 1897". Circling the top of the plinth is a Latin inscription, "Victoria dei gra Britanniae Regina fidei defensor in imperatix" ("Victory of God, Queen of Britain, defender of the faith and the empire").The front relief (the south side of the monument), Empire, is the most detailed of the four and is in the best condition. It depicts a female figure of Justice, holding a pair of scales in her right hand and an orb in her left. She is surrounded by figures representing parts of the British Empire—Australia and Canada to the right and India and Africa to the left. The rear (north) relief, Science and Art, depicts a woman embracing a child who sits on an anvil and holds a machine. Behind the child is another, also holding a machine. On the eastern side is Education, which depicts a mother holding a book and teaching a child to read; behind are three scholars. The western relief is Commerce, in which a merchant is kneeling with his wares spread around him being examined by two men; a third man is examining a vase. The sea is in the background and a galley is depicted with its sails raised.The four reliefs on the plinth | [
"bronze",
"Hove",
"Victory",
"British Empire",
"orb",
"relief",
"galley",
"Queen Victoria",
"plinth",
"sceptre",
"Apsley House",
"Justice",
"Napoleon as Mars the Peacemaker"
] |
|
16812_NT | Statue of Queen Victoria, Hove | How does this artwork elucidate its Description? | The statue is in bronze and stands 13 feet (4.0 m) high on an Aberdeen granite plinth which is embellished with four bronze panels. The statue is life-size and depicts Victoria standing in royal regalia, wearing a crown and veil. In her left hand is an orb and in her right a sceptre. The orb is surmounted by a winged Victory, possibly a reference to the statue Napoleon as Mars the Peacemaker in Apsley House, London. She faces south, out to sea. The panels contain low reliefs of allegorical figures which represent commerce, education, science and art, and the British Empire—each captioned in incised lettering in the stonework—advancements made during Victoria's reign. These were added after the original design was complete. The plinth was originally surrounded by four small bollards, one of which has since been lost. An inscription on the plinth at the front reads "Erected by the inhabitants of Hove to commemorate the 60th anniversary of the accession of Queen Victoria June 20 AD 1897". Circling the top of the plinth is a Latin inscription, "Victoria dei gra Britanniae Regina fidei defensor in imperatix" ("Victory of God, Queen of Britain, defender of the faith and the empire").The front relief (the south side of the monument), Empire, is the most detailed of the four and is in the best condition. It depicts a female figure of Justice, holding a pair of scales in her right hand and an orb in her left. She is surrounded by figures representing parts of the British Empire—Australia and Canada to the right and India and Africa to the left. The rear (north) relief, Science and Art, depicts a woman embracing a child who sits on an anvil and holds a machine. Behind the child is another, also holding a machine. On the eastern side is Education, which depicts a mother holding a book and teaching a child to read; behind are three scholars. The western relief is Commerce, in which a merchant is kneeling with his wares spread around him being examined by two men; a third man is examining a vase. The sea is in the background and a galley is depicted with its sails raised.The four reliefs on the plinth | [
"bronze",
"Hove",
"Victory",
"British Empire",
"orb",
"relief",
"galley",
"Queen Victoria",
"plinth",
"sceptre",
"Apsley House",
"Justice",
"Napoleon as Mars the Peacemaker"
] |
|
16813_T | Mr and Mrs Clark and Percy | Focus on Mr and Mrs Clark and Percy and analyze the abstract. | Mr and Mrs Clark and Percy is a 1971 painting by the British artist David Hockney. Painted between 1970 and 1971, it depicts the fashion designer Ossie Clark and the textile designer Celia Birtwell in their flat in Notting Hill Gate shortly after their wedding, with one of the couple's cats on Clark's knee. The white cat depicted in the painting was Blanche; Percy was another of their cats, but Hockney thought "Percy" made a better title. | [
"David Hockney",
"Notting Hill Gate",
"Ossie Clark",
"Celia Birtwell"
] |
|
16813_NT | Mr and Mrs Clark and Percy | Focus on this artwork and analyze the abstract. | Mr and Mrs Clark and Percy is a 1971 painting by the British artist David Hockney. Painted between 1970 and 1971, it depicts the fashion designer Ossie Clark and the textile designer Celia Birtwell in their flat in Notting Hill Gate shortly after their wedding, with one of the couple's cats on Clark's knee. The white cat depicted in the painting was Blanche; Percy was another of their cats, but Hockney thought "Percy" made a better title. | [
"David Hockney",
"Notting Hill Gate",
"Ossie Clark",
"Celia Birtwell"
] |
|
16814_T | Mr and Mrs Clark and Percy | In Mr and Mrs Clark and Percy, how is the Background discussed? | The work is part of a series of double portraits made by Hockney from 1968, often portraying his friends. Hockney and Clark had been friends since meeting in Manchester in 1961, and Hockney was Clark's best man at his wedding to Birtwell in 1969. Hockney did preparatory work for the painting from 1969, making drawings and taking photographs. He worked on the painting from early 1970 to early 1971. | [
"best man"
] |
|
16814_NT | Mr and Mrs Clark and Percy | In this artwork, how is the Background discussed? | The work is part of a series of double portraits made by Hockney from 1968, often portraying his friends. Hockney and Clark had been friends since meeting in Manchester in 1961, and Hockney was Clark's best man at his wedding to Birtwell in 1969. Hockney did preparatory work for the painting from 1969, making drawings and taking photographs. He worked on the painting from early 1970 to early 1971. | [
"best man"
] |
|
16815_T | Mr and Mrs Clark and Percy | Focus on Mr and Mrs Clark and Percy and explore the Description. | The couple are depicted in the bedroom of their flat in Notting Hill Gate, near life size, either side of a tall window with a pair of shutters, one open to reveal the balustrade of a balcony looking out over trees to a Georgian façade beyond. To the left, Birtwell stands in a purple dress with hand on hip; to the right sits Clark in green jumper and trousers, lounging on a modern metal-framed chair with his bare feet in the thick pile of a rug and a cigarette in his left hand, and with a white cat on his lap. Both Birtwell and Clark are looking out at the viewer, drawing them as a third person into the composition. The cat rebels by ignoring the viewer, looking out of the window instead.
The room is relatively bare and uncluttered, in simple 1960s minimalist style, with a telephone and a lamp on the floor to the right of Clark, and a plain table to the left of Birtwell bearing a vase of lilies and a yellow book. There is a framed print on the wall behind her.
Hockney worked and reworked the portraits many times until he was satisfied, repainting Clark's head perhaps twelve times. He has described the style of the painting as being close to naturalism, although the surfaces are characteristically abstracted and flattened. Hockney achieves the difficult task of balancing the dark figures "contre-jour", against the light flooding in through the window behind them.
The work is in acrylic on canvas, and measures 213.4 by 304.8 centimetres (84.0 in × 120.0 in) (or 217.0 by 308.4 centimetres (85.4 in × 121.4 in) in its frame). The painting was presented to the Tate Gallery by the friends of the gallery in 1971, and remains in the Tate collection. It featured in the final ten of the Greatest Painting in Britain Vote in 2005, the only work by a living artist to do so. | [
"Notting Hill Gate",
"naturalism",
"canvas",
"Tate",
"Tate Gallery",
"contre-jour",
"Greatest Painting in Britain Vote",
"minimalist"
] |
|
16815_NT | Mr and Mrs Clark and Percy | Focus on this artwork and explore the Description. | The couple are depicted in the bedroom of their flat in Notting Hill Gate, near life size, either side of a tall window with a pair of shutters, one open to reveal the balustrade of a balcony looking out over trees to a Georgian façade beyond. To the left, Birtwell stands in a purple dress with hand on hip; to the right sits Clark in green jumper and trousers, lounging on a modern metal-framed chair with his bare feet in the thick pile of a rug and a cigarette in his left hand, and with a white cat on his lap. Both Birtwell and Clark are looking out at the viewer, drawing them as a third person into the composition. The cat rebels by ignoring the viewer, looking out of the window instead.
The room is relatively bare and uncluttered, in simple 1960s minimalist style, with a telephone and a lamp on the floor to the right of Clark, and a plain table to the left of Birtwell bearing a vase of lilies and a yellow book. There is a framed print on the wall behind her.
Hockney worked and reworked the portraits many times until he was satisfied, repainting Clark's head perhaps twelve times. He has described the style of the painting as being close to naturalism, although the surfaces are characteristically abstracted and flattened. Hockney achieves the difficult task of balancing the dark figures "contre-jour", against the light flooding in through the window behind them.
The work is in acrylic on canvas, and measures 213.4 by 304.8 centimetres (84.0 in × 120.0 in) (or 217.0 by 308.4 centimetres (85.4 in × 121.4 in) in its frame). The painting was presented to the Tate Gallery by the friends of the gallery in 1971, and remains in the Tate collection. It featured in the final ten of the Greatest Painting in Britain Vote in 2005, the only work by a living artist to do so. | [
"Notting Hill Gate",
"naturalism",
"canvas",
"Tate",
"Tate Gallery",
"contre-jour",
"Greatest Painting in Britain Vote",
"minimalist"
] |
|
16816_T | Mr and Mrs Clark and Percy | Focus on Mr and Mrs Clark and Percy and explain the Symbolism. | Hockney drew on both the Arnolfini Portrait by Jan van Eyck and A Rake's Progress by William Hogarth in the symbolism and composition of the painting. A copy of a Hockney etching, showing his own interpretation of A Rake's Progress (1961–63), is on the wall behind Birtwell.
The positions of the two figures are reversed from the Arnolfini Portrait, with the implication that Birtwell is the assertive partner. Hockney's portrait, with the bride standing and the groom sitting, also reverses the convention of traditional wedding portraiture, such as Mr and Mrs Andrews by Thomas Gainsborough. The lilies next to Birtwell, a symbol of female purity, are also associated with depictions of the Annunciation (at the time of the portrait Birtwell was pregnant). The cat "Percy" (slang for penis) sits erect on Clark's crotch. The cat is a symbol of infidelity and envy, echoing the dog (a symbol of fidelity) in the Arnolfini Portrait. In this case, Clark continued to have affairs with men and women, which contributed to the breakdown of the marriage in 1974: Hockney's depiction of the couple together but separated foreshadows their divorce.
The informal interior scene littered with symbolic objects echoes Victorian paintings, such as William Holman Hunt's The Awakening Conscience. | [
"Arnolfini Portrait",
"Annunciation",
"A Rake's Progress",
"William Holman Hunt",
"Mr and Mrs Andrews",
"The Awakening Conscience",
"Jan van Eyck",
"Thomas Gainsborough",
"William Hogarth"
] |
|
16816_NT | Mr and Mrs Clark and Percy | Focus on this artwork and explain the Symbolism. | Hockney drew on both the Arnolfini Portrait by Jan van Eyck and A Rake's Progress by William Hogarth in the symbolism and composition of the painting. A copy of a Hockney etching, showing his own interpretation of A Rake's Progress (1961–63), is on the wall behind Birtwell.
The positions of the two figures are reversed from the Arnolfini Portrait, with the implication that Birtwell is the assertive partner. Hockney's portrait, with the bride standing and the groom sitting, also reverses the convention of traditional wedding portraiture, such as Mr and Mrs Andrews by Thomas Gainsborough. The lilies next to Birtwell, a symbol of female purity, are also associated with depictions of the Annunciation (at the time of the portrait Birtwell was pregnant). The cat "Percy" (slang for penis) sits erect on Clark's crotch. The cat is a symbol of infidelity and envy, echoing the dog (a symbol of fidelity) in the Arnolfini Portrait. In this case, Clark continued to have affairs with men and women, which contributed to the breakdown of the marriage in 1974: Hockney's depiction of the couple together but separated foreshadows their divorce.
The informal interior scene littered with symbolic objects echoes Victorian paintings, such as William Holman Hunt's The Awakening Conscience. | [
"Arnolfini Portrait",
"Annunciation",
"A Rake's Progress",
"William Holman Hunt",
"Mr and Mrs Andrews",
"The Awakening Conscience",
"Jan van Eyck",
"Thomas Gainsborough",
"William Hogarth"
] |
|
16817_T | Saint Bartholomew (Rembrandt) | Explore the abstract of this artwork, Saint Bartholomew (Rembrandt). | Saint Bartholomew is a 1657 oil painting on canvas by Rembrandt. It is in the Timken Museum of Art in San Diego, California, U.S. | [
"San Diego",
"Timken Museum of Art",
"California",
"Rembrandt"
] |
|
16817_NT | Saint Bartholomew (Rembrandt) | Explore the abstract of this artwork. | Saint Bartholomew is a 1657 oil painting on canvas by Rembrandt. It is in the Timken Museum of Art in San Diego, California, U.S. | [
"San Diego",
"Timken Museum of Art",
"California",
"Rembrandt"
] |
|
16818_T | The Temptation of St. Anthony (Joos van Craesbeeck) | Focus on The Temptation of St. Anthony (Joos van Craesbeeck) and discuss the abstract. | The Temptation of Saint Anthony is a (circa) 1650 painting by the Flemish artist Joos van Craesbeeck. | [
"Joos van Craesbeeck"
] |
|
16818_NT | The Temptation of St. Anthony (Joos van Craesbeeck) | Focus on this artwork and discuss the abstract. | The Temptation of Saint Anthony is a (circa) 1650 painting by the Flemish artist Joos van Craesbeeck. | [
"Joos van Craesbeeck"
] |
|
16819_T | The Temptation of St. Anthony (Joos van Craesbeeck) | How does The Temptation of St. Anthony (Joos van Craesbeeck) elucidate its Description? | Artists and authors have long represented the temptation of St. Anthony in their art. Many homages to Bosch's Triptych of the Temptation of St. Anthony were made, of which Craesbeeck clearly draws inspiration.
A large screaming head dominates the painting, spewing forth many devils as a metaphor for evil thoughts given physical form. It has an open forehead which contains a miniature artist. This use of a human head as a container is likely derived from Bosch's iconography.
St. Anthony is seen in the front of the painting, sitting in a shelter and holding the Scriptures to fortify himself. The sea in front of him washes up a variety of evil spirits and other temptations. | [
"Triptych of the Temptation of St. Anthony",
"Bosch's",
"temptation of St. Anthony"
] |
|
16819_NT | The Temptation of St. Anthony (Joos van Craesbeeck) | How does this artwork elucidate its Description? | Artists and authors have long represented the temptation of St. Anthony in their art. Many homages to Bosch's Triptych of the Temptation of St. Anthony were made, of which Craesbeeck clearly draws inspiration.
A large screaming head dominates the painting, spewing forth many devils as a metaphor for evil thoughts given physical form. It has an open forehead which contains a miniature artist. This use of a human head as a container is likely derived from Bosch's iconography.
St. Anthony is seen in the front of the painting, sitting in a shelter and holding the Scriptures to fortify himself. The sea in front of him washes up a variety of evil spirits and other temptations. | [
"Triptych of the Temptation of St. Anthony",
"Bosch's",
"temptation of St. Anthony"
] |
|
16820_T | Hand of Hope | Focus on Hand of Hope and analyze the abstract. | Hand of Hope is a 1999 medical photograph taken by Michael Clancy during open fetal surgery, showing the hand of the fetus extending from the incision in the mother's uterus and seeming to grasp a surgeon's finger. Clancy was documenting a procedure being developed at Vanderbilt University to treat spina bifida. The photograph was taken on 19 August and the baby (Samuel Alexander Armas) was safely delivered on 2 December. | [
"open fetal surgery",
"spina bifida",
"uterus",
"medical photograph",
"Michael Clancy",
"fetal surgery",
"Vanderbilt University",
"fetus"
] |
|
16820_NT | Hand of Hope | Focus on this artwork and analyze the abstract. | Hand of Hope is a 1999 medical photograph taken by Michael Clancy during open fetal surgery, showing the hand of the fetus extending from the incision in the mother's uterus and seeming to grasp a surgeon's finger. Clancy was documenting a procedure being developed at Vanderbilt University to treat spina bifida. The photograph was taken on 19 August and the baby (Samuel Alexander Armas) was safely delivered on 2 December. | [
"open fetal surgery",
"spina bifida",
"uterus",
"medical photograph",
"Michael Clancy",
"fetal surgery",
"Vanderbilt University",
"fetus"
] |
|
16821_T | Hand of Hope | In Hand of Hope, how is the Story behind the photograph discussed? | The photograph was taken during a medical procedure to fix the spina bifida lesion of a 21-week-old fetus. The operation was performed by a surgical team at Vanderbilt University in Nashville. The team, Dr. Joseph Bruner and Dr. Noel Tulipan, had been developing a technique for correcting certain fetal problems in mid-pregnancy. Their procedure involved temporarily opening the uterus, draining the amniotic fluid, partially extracting and performing surgery on the tiny fetus, and then restoring the fetus to the uterus back inside the mother. | [
"Nashville",
"amniotic fluid",
"spina bifida",
"uterus",
"Vanderbilt University",
"fetus"
] |
|
16821_NT | Hand of Hope | In this artwork, how is the Story behind the photograph discussed? | The photograph was taken during a medical procedure to fix the spina bifida lesion of a 21-week-old fetus. The operation was performed by a surgical team at Vanderbilt University in Nashville. The team, Dr. Joseph Bruner and Dr. Noel Tulipan, had been developing a technique for correcting certain fetal problems in mid-pregnancy. Their procedure involved temporarily opening the uterus, draining the amniotic fluid, partially extracting and performing surgery on the tiny fetus, and then restoring the fetus to the uterus back inside the mother. | [
"Nashville",
"amniotic fluid",
"spina bifida",
"uterus",
"Vanderbilt University",
"fetus"
] |
|
16822_T | Hand of Hope | In the context of Hand of Hope, explore the Samuel Armas of the Story behind the photograph. | Alex and Julie Armas first discovered that their baby had spina bifida during an ultrasound 14 weeks after conception. The Armases came across the Vanderbilt procedure while researching their options online.This was the surgical team's 54th operation on a fetus still in the uterus. During the operation, Dr. Joseph Bruner opened the womb and Dr. Tulipan successfully alleviated the effects of the opening in Samuel's spine caused by the spina bifida. | [
"conception",
"spina bifida",
"uterus",
"fetus"
] |
|
16822_NT | Hand of Hope | In the context of this artwork, explore the Samuel Armas of the Story behind the photograph. | Alex and Julie Armas first discovered that their baby had spina bifida during an ultrasound 14 weeks after conception. The Armases came across the Vanderbilt procedure while researching their options online.This was the surgical team's 54th operation on a fetus still in the uterus. During the operation, Dr. Joseph Bruner opened the womb and Dr. Tulipan successfully alleviated the effects of the opening in Samuel's spine caused by the spina bifida. | [
"conception",
"spina bifida",
"uterus",
"fetus"
] |
|
16823_T | Hand of Hope | Focus on Hand of Hope and explain the Around the world. | Pictures from the surgery were printed in a number of newspapers in the U.S. and around the world, including USA Today. As a result of the operation, Armas was healthy when he was delivered on December 2, 1999.
On September 25, 2003, the boy's parents, Alex and Julie, testified before the U.S. Senate Subcommittee on Science, Technology, and Space about the photograph and their experience with in-utero surgery.Today, Samuel is nearly four years old and has not had to endure the surgeries that are common for most children with spina bifida. He's walking with leg braces, is cognitively normal, and loves looking for bugs. | [
"spina bifida",
"USA Today"
] |
|
16823_NT | Hand of Hope | Focus on this artwork and explain the Around the world. | Pictures from the surgery were printed in a number of newspapers in the U.S. and around the world, including USA Today. As a result of the operation, Armas was healthy when he was delivered on December 2, 1999.
On September 25, 2003, the boy's parents, Alex and Julie, testified before the U.S. Senate Subcommittee on Science, Technology, and Space about the photograph and their experience with in-utero surgery.Today, Samuel is nearly four years old and has not had to endure the surgeries that are common for most children with spina bifida. He's walking with leg braces, is cognitively normal, and loves looking for bugs. | [
"spina bifida",
"USA Today"
] |
|
16824_T | Hand of Hope | Explore the Matt Drudge of this artwork, Hand of Hope. | In 1999, Matt Drudge hosted a Saturday night television show called Drudge on the Fox News Channel. In Nov 1999 he attempted to show Samuel's picture on his Fox News program, but was not allowed to by the network. This led to his leaving of the show for what he claimed to be the network's censorship. Fox News directors did not want to use the picture because they feared Drudge would use it to support an anti-abortion argument. They viewed this to be misleading because the tabloid photo dealt not with abortion, but with an emergency operation on the baby for spina bifida. | [
"Fox News",
"Drudge",
"spina bifida",
"abortion",
"anti-abortion",
"Matt Drudge",
"Fox News Channel"
] |
|
16824_NT | Hand of Hope | Explore the Matt Drudge of this artwork. | In 1999, Matt Drudge hosted a Saturday night television show called Drudge on the Fox News Channel. In Nov 1999 he attempted to show Samuel's picture on his Fox News program, but was not allowed to by the network. This led to his leaving of the show for what he claimed to be the network's censorship. Fox News directors did not want to use the picture because they feared Drudge would use it to support an anti-abortion argument. They viewed this to be misleading because the tabloid photo dealt not with abortion, but with an emergency operation on the baby for spina bifida. | [
"Fox News",
"Drudge",
"spina bifida",
"abortion",
"anti-abortion",
"Matt Drudge",
"Fox News Channel"
] |
|
16825_T | Hand of Hope | Focus on Hand of Hope and discuss the Controversy. | The picture attracted a lot of attention when it was released, as it was used by opponents of abortion who asserted that the baby reached through the womb and grabbed the doctor's hand, thus showing signs of life at the 21st week of pregnancy. Indeed, the photograph and many of the texts which often accompany it seem to support this view, including the account of the photographer Michael Clancy:As a doctor asked me what speed of film I was using, out of the corner of my eye I saw the uterus shake, but no one's hands were near it. It was shaking from within. Suddenly, an entire arm thrust out of the opening, then pulled back until just a little hand was showing. The doctor reached over and lifted the hand, which reacted and squeezed the doctor's finger. As if testing for strength, the doctor shook the tiny fist. Samuel held firm. I took the picture! Wow!
It happened so fast that the nurse standing next to me asked, "What happened?"
"The child reached out," I said."Oh. They do that all the time," she responded.
However, the surgeon later stated that Samuel and his mother Julie were under anesthesia and could not move.
"The baby did not reach out," Dr Bruner said. "The baby was anesthetized. The baby was not aware of what was going on."The surgeon who operated on the mother stated that rather than the fetus' hand clutching on to his finger, he was simply pushing the fetus' arm that had suddenly jolted out of the womb back into the womb in order to finish the surgery. | [
"abortion",
"uterus",
"Michael Clancy",
"fetus"
] |
|
16825_NT | Hand of Hope | Focus on this artwork and discuss the Controversy. | The picture attracted a lot of attention when it was released, as it was used by opponents of abortion who asserted that the baby reached through the womb and grabbed the doctor's hand, thus showing signs of life at the 21st week of pregnancy. Indeed, the photograph and many of the texts which often accompany it seem to support this view, including the account of the photographer Michael Clancy:As a doctor asked me what speed of film I was using, out of the corner of my eye I saw the uterus shake, but no one's hands were near it. It was shaking from within. Suddenly, an entire arm thrust out of the opening, then pulled back until just a little hand was showing. The doctor reached over and lifted the hand, which reacted and squeezed the doctor's finger. As if testing for strength, the doctor shook the tiny fist. Samuel held firm. I took the picture! Wow!
It happened so fast that the nurse standing next to me asked, "What happened?"
"The child reached out," I said."Oh. They do that all the time," she responded.
However, the surgeon later stated that Samuel and his mother Julie were under anesthesia and could not move.
"The baby did not reach out," Dr Bruner said. "The baby was anesthetized. The baby was not aware of what was going on."The surgeon who operated on the mother stated that rather than the fetus' hand clutching on to his finger, he was simply pushing the fetus' arm that had suddenly jolted out of the womb back into the womb in order to finish the surgery. | [
"abortion",
"uterus",
"Michael Clancy",
"fetus"
] |
|
16826_T | Hand of Hope | How does Hand of Hope elucidate its Cultural references? | The event has been referred to in three TV series: the drama House, in the episode "Fetal Position", the sitcom Scrubs, in the episode "My Road to Nowhere", and in the political drama TV series The Good Wife, in the episode "Heart" in which the photograph was shown. | [
"Fetal Position",
"The Good Wife",
"House",
"Scrubs",
"My Road to Nowhere"
] |
|
16826_NT | Hand of Hope | How does this artwork elucidate its Cultural references? | The event has been referred to in three TV series: the drama House, in the episode "Fetal Position", the sitcom Scrubs, in the episode "My Road to Nowhere", and in the political drama TV series The Good Wife, in the episode "Heart" in which the photograph was shown. | [
"Fetal Position",
"The Good Wife",
"House",
"Scrubs",
"My Road to Nowhere"
] |
|
16827_T | Hand of Hope | Focus on Hand of Hope and analyze the Similar image. | An image of the hand of a newborn grasping the finger of the doctor during a C-section operation became a viral hit in January 2013. | [
"C-section"
] |
|
16827_NT | Hand of Hope | Focus on this artwork and analyze the Similar image. | An image of the hand of a newborn grasping the finger of the doctor during a C-section operation became a viral hit in January 2013. | [
"C-section"
] |
|
16828_T | Enwrought Light | In Enwrought Light, how is the abstract discussed? | Enwrought Light is a sculpture in Bedford Park, London. It was sculpted by Conrad Shawcross and commemorates the poet W. B. Yeats who was a resident of the area for many years. It was unveiled on 6 September 2022 by Rowan Williams, the former Archbishop of Canterbury. The sculpture stands on Bath Rd and The Avenue, outside St Michael & All Angels Church at the corner of The Avenue and Bath Road. | [
"Rowan Williams",
"Archbishop of Canterbury",
"St Michael & All Angels Church",
"Conrad Shawcross",
"Bedford Park, London",
"W. B. Yeats"
] |
|
16828_NT | Enwrought Light | In this artwork, how is the abstract discussed? | Enwrought Light is a sculpture in Bedford Park, London. It was sculpted by Conrad Shawcross and commemorates the poet W. B. Yeats who was a resident of the area for many years. It was unveiled on 6 September 2022 by Rowan Williams, the former Archbishop of Canterbury. The sculpture stands on Bath Rd and The Avenue, outside St Michael & All Angels Church at the corner of The Avenue and Bath Road. | [
"Rowan Williams",
"Archbishop of Canterbury",
"St Michael & All Angels Church",
"Conrad Shawcross",
"Bedford Park, London",
"W. B. Yeats"
] |
|
16829_T | The Effects of Intemperance | Focus on The Effects of Intemperance and explore the abstract. | The Effects of Intemperance is an oil-on-panel painting executed c.1663–1665 by the Dutch artist Jan Steen. It was bought by the National Gallery, London in 1977 and is still in its collection.
The work depicts an issue which Steen addressed several times, that of the unfortunate consequences of excessive drinking. As keeper of a tavern himself he was well acquainted with the problem but chose to portray it in a light-hearted manner. In this case a wife and mother has fallen into a drunken sleep and the rest of the family has taken advantage of the fact to misbehave. One is trying to persuade the parrot to drink wine, others are giving their food to the cat and roses to the pig, a young boy is trying to steal from his mother's purse and the woman's husband is in the garden engaged in a dalliance with the maid.
Several of these themes can also be found in Steen's 1663 painting Beware of Luxury, which also portrays an out-of-control household. | [
"Jan Steen",
"National Gallery",
"Beware of Luxury",
"London",
"National Gallery, London"
] |
|
16829_NT | The Effects of Intemperance | Focus on this artwork and explore the abstract. | The Effects of Intemperance is an oil-on-panel painting executed c.1663–1665 by the Dutch artist Jan Steen. It was bought by the National Gallery, London in 1977 and is still in its collection.
The work depicts an issue which Steen addressed several times, that of the unfortunate consequences of excessive drinking. As keeper of a tavern himself he was well acquainted with the problem but chose to portray it in a light-hearted manner. In this case a wife and mother has fallen into a drunken sleep and the rest of the family has taken advantage of the fact to misbehave. One is trying to persuade the parrot to drink wine, others are giving their food to the cat and roses to the pig, a young boy is trying to steal from his mother's purse and the woman's husband is in the garden engaged in a dalliance with the maid.
Several of these themes can also be found in Steen's 1663 painting Beware of Luxury, which also portrays an out-of-control household. | [
"Jan Steen",
"National Gallery",
"Beware of Luxury",
"London",
"National Gallery, London"
] |
|
16830_T | Moder Gorob | Focus on Moder Gorob and explain the abstract. | Moder Gorob or Our Pride is a sculpture situated in front of Bangla Academy building in Dhaka, Bangladesh. It was dedicated to the memory of those killed during the Bengali Language Movement demonstrations of 1952, when protesters demanding Bengali as a state language of former Dominion of Pakistan were massacred by Pakistan Police. | [
"Dominion of Pakistan",
"Bengali",
"Dhaka",
"Bangla Academy",
"Bangladesh",
"Bengali Language Movement"
] |
|
16830_NT | Moder Gorob | Focus on this artwork and explain the abstract. | Moder Gorob or Our Pride is a sculpture situated in front of Bangla Academy building in Dhaka, Bangladesh. It was dedicated to the memory of those killed during the Bengali Language Movement demonstrations of 1952, when protesters demanding Bengali as a state language of former Dominion of Pakistan were massacred by Pakistan Police. | [
"Dominion of Pakistan",
"Bengali",
"Dhaka",
"Bangla Academy",
"Bangladesh",
"Bengali Language Movement"
] |
|
16831_T | Moder Gorob | Explore the Structure of this artwork, Moder Gorob. | There are five different metal sculptures of Abdus Salam, Rafiq Uddin Ahmed, Abdul Jabbar, Shafiur Rahman and Abul Barkat.
These are situated on a base. In the rear part, there is a long wall rising. There are three steps on the upper part of the wall. Both sides of the wall and other brick-made parts are ornamented by frescoes of the Language movement of 1952. | [
"Abdus Salam",
"Abul Barkat",
"Shafiur Rahman",
"Rafiq Uddin Ahmed",
"Abdul Jabbar"
] |
|
16831_NT | Moder Gorob | Explore the Structure of this artwork. | There are five different metal sculptures of Abdus Salam, Rafiq Uddin Ahmed, Abdul Jabbar, Shafiur Rahman and Abul Barkat.
These are situated on a base. In the rear part, there is a long wall rising. There are three steps on the upper part of the wall. Both sides of the wall and other brick-made parts are ornamented by frescoes of the Language movement of 1952. | [
"Abdus Salam",
"Abul Barkat",
"Shafiur Rahman",
"Rafiq Uddin Ahmed",
"Abdul Jabbar"
] |
|
16832_T | Moder Gorob | Focus on Moder Gorob and discuss the History. | Moder Gorob was completed and installed at a cost of 1.3 million taka (equivalent to US$19,000 in 2007). Telecom company GrameenPhone donated 1 million taka, the remainder came from Bangla Academy funds. The sculpture was unveiled on 1 February 2007 by Fakhruddin Ahmed, Chief Adviser of the caretaker government, as part of the opening of the annual Ekushey Book Fair. | [
"GrameenPhone",
"Bangla Academy",
"Ekushey Book Fair",
"Fakhruddin Ahmed",
"taka"
] |
|
16832_NT | Moder Gorob | Focus on this artwork and discuss the History. | Moder Gorob was completed and installed at a cost of 1.3 million taka (equivalent to US$19,000 in 2007). Telecom company GrameenPhone donated 1 million taka, the remainder came from Bangla Academy funds. The sculpture was unveiled on 1 February 2007 by Fakhruddin Ahmed, Chief Adviser of the caretaker government, as part of the opening of the annual Ekushey Book Fair. | [
"GrameenPhone",
"Bangla Academy",
"Ekushey Book Fair",
"Fakhruddin Ahmed",
"taka"
] |
|
16833_T | Leif, the Discoverer (Whitney) | How does Leif, the Discoverer (Whitney) elucidate its abstract? | Leif, the Discoverer is a bronze sculpture of Leif Ericson created by American sculptor Anne Whitney. The statue was erected on November 15, 1887 in Juneau Park in Milwaukee, Wisconsin, United States. | [
"American",
"Juneau Park",
"Anne Whitney",
"Leif Ericson",
"Wisconsin",
"Milwaukee"
] |
|
16833_NT | Leif, the Discoverer (Whitney) | How does this artwork elucidate its abstract? | Leif, the Discoverer is a bronze sculpture of Leif Ericson created by American sculptor Anne Whitney. The statue was erected on November 15, 1887 in Juneau Park in Milwaukee, Wisconsin, United States. | [
"American",
"Juneau Park",
"Anne Whitney",
"Leif Ericson",
"Wisconsin",
"Milwaukee"
] |
|
16834_T | Leif, the Discoverer (Whitney) | Focus on Leif, the Discoverer (Whitney) and analyze the History. | The first casting of the statue resides in Boston, Massachusetts on Commonwealth Avenue. In November 1887, the Milwaukee copy was erected; however, at the request of its donor, Mrs. Joseph T. Gilbert, there was no dedication ceremony.By the 1990s, evidence of structural instability, manifest through cracks, erosion, and the deterioration of caulking in the pedestal was observable. In February 1995, the statue was moved 20 feet to the west to prevent it falling off the bluff. Additionally, in September of that year, the statue was cleaned and covered in acrylic resin. During the cleaning, residue of gold size was found, indicating the statue may have originally been gilded. The recently moved and restored statue was dedicated on May 17, 1996, Norway's annual Constitution Day celebration.In October 2001, the Sons of Norway Fosselyngen Lodge held a ceremony to celebrate the recent addition of a lighting system for the statue, which cost $3,800 (equivalent to $6,280 in 2022). The funds were bequested by the late lodge member, Duane Olson. The addition was a joint effort between the Fosselyngen Lodge, Milwaukee County and the city of Milwaukee. This lighting system was replaced, and the statue again professionally cleaned, during a project by Juneau Park Friends in 2017. | [
"Juneau Park",
"Commonwealth Avenue",
"Boston",
"gilded",
"Norway's",
"first casting",
"Sons of Norway",
"Milwaukee County",
"Milwaukee",
"Constitution Day",
"Norway",
"Massachusetts"
] |
|
16834_NT | Leif, the Discoverer (Whitney) | Focus on this artwork and analyze the History. | The first casting of the statue resides in Boston, Massachusetts on Commonwealth Avenue. In November 1887, the Milwaukee copy was erected; however, at the request of its donor, Mrs. Joseph T. Gilbert, there was no dedication ceremony.By the 1990s, evidence of structural instability, manifest through cracks, erosion, and the deterioration of caulking in the pedestal was observable. In February 1995, the statue was moved 20 feet to the west to prevent it falling off the bluff. Additionally, in September of that year, the statue was cleaned and covered in acrylic resin. During the cleaning, residue of gold size was found, indicating the statue may have originally been gilded. The recently moved and restored statue was dedicated on May 17, 1996, Norway's annual Constitution Day celebration.In October 2001, the Sons of Norway Fosselyngen Lodge held a ceremony to celebrate the recent addition of a lighting system for the statue, which cost $3,800 (equivalent to $6,280 in 2022). The funds were bequested by the late lodge member, Duane Olson. The addition was a joint effort between the Fosselyngen Lodge, Milwaukee County and the city of Milwaukee. This lighting system was replaced, and the statue again professionally cleaned, during a project by Juneau Park Friends in 2017. | [
"Juneau Park",
"Commonwealth Avenue",
"Boston",
"gilded",
"Norway's",
"first casting",
"Sons of Norway",
"Milwaukee County",
"Milwaukee",
"Constitution Day",
"Norway",
"Massachusetts"
] |
|
16835_T | Grrrrrrrrrrr!! | In Grrrrrrrrrrr!!, how is the abstract discussed? | Grrrrrrrrrrr!! is a 1965 oil and Magna on canvas painting by Roy Lichtenstein. Measuring 68 in × 56.125 in (172.7 cm × 142.6 cm), it was bequeathed to the Solomon R. Guggenheim Museum collection from Lichtenstein's estate. It depicts a head-on representation of an angry dog growling with the onomatopoeic expression "Grrrrrrrrrrr!!". The work was derived from Our Fighting Forces, which also served as the source for other military dog paintwork by Lichtenstein. | [
"onomatopoeic",
"Roy Lichtenstein",
"Our Fighting Forces",
"Magna",
"Solomon R. Guggenheim Museum"
] |
|
16835_NT | Grrrrrrrrrrr!! | In this artwork, how is the abstract discussed? | Grrrrrrrrrrr!! is a 1965 oil and Magna on canvas painting by Roy Lichtenstein. Measuring 68 in × 56.125 in (172.7 cm × 142.6 cm), it was bequeathed to the Solomon R. Guggenheim Museum collection from Lichtenstein's estate. It depicts a head-on representation of an angry dog growling with the onomatopoeic expression "Grrrrrrrrrrr!!". The work was derived from Our Fighting Forces, which also served as the source for other military dog paintwork by Lichtenstein. | [
"onomatopoeic",
"Roy Lichtenstein",
"Our Fighting Forces",
"Magna",
"Solomon R. Guggenheim Museum"
] |
|
16836_T | Grrrrrrrrrrr!! | Focus on Grrrrrrrrrrr!! and explore the Background. | The Lichtenstein foundation notes that the inspiration for this painting is a frame of Our Fighting Forces #66 (February 1962), which was published by National Periodical Publications (now DC Comics). In that frame only a portion of the dog's head is visible and the speech balloon says "Grrrrr!" In addition to the painting itself, Lichtenstein produced a small 5.75 in × 4.5 in (14.6 cm × 11.4 cm) graphite on paper study.The painting was bestowed to the Guggenheim Museum after Lichtenstein's 1997 death, following a promise made in 1992. The museum used Grrrrrrrrrrr!! in the promotional posters for the 1993 exhibition "Roy Lichtenstein: A Retrospective", which ran from October 7, 1993 – January 16, 1994. Other notable exhibitions where this work was shown include "Rendezvous: Masterpieces from the Centre Georges Pompidou and the Guggenheim Museums" which ran from October 16, 1998 – January 24, 1999 at the Guggenheim Museum in New York, as well as "Art in America: 300 Years of Innovation" which traveled to several museums in China between 2007 and 2008. The work appeared on the cover of the November 1993 issue of ARTnews. | [
"speech balloon",
"DC Comics",
"Roy Lichtenstein",
"National Periodical Publications",
"Our Fighting Forces",
"ARTnews"
] |
|
16836_NT | Grrrrrrrrrrr!! | Focus on this artwork and explore the Background. | The Lichtenstein foundation notes that the inspiration for this painting is a frame of Our Fighting Forces #66 (February 1962), which was published by National Periodical Publications (now DC Comics). In that frame only a portion of the dog's head is visible and the speech balloon says "Grrrrr!" In addition to the painting itself, Lichtenstein produced a small 5.75 in × 4.5 in (14.6 cm × 11.4 cm) graphite on paper study.The painting was bestowed to the Guggenheim Museum after Lichtenstein's 1997 death, following a promise made in 1992. The museum used Grrrrrrrrrrr!! in the promotional posters for the 1993 exhibition "Roy Lichtenstein: A Retrospective", which ran from October 7, 1993 – January 16, 1994. Other notable exhibitions where this work was shown include "Rendezvous: Masterpieces from the Centre Georges Pompidou and the Guggenheim Museums" which ran from October 16, 1998 – January 24, 1999 at the Guggenheim Museum in New York, as well as "Art in America: 300 Years of Innovation" which traveled to several museums in China between 2007 and 2008. The work appeared on the cover of the November 1993 issue of ARTnews. | [
"speech balloon",
"DC Comics",
"Roy Lichtenstein",
"National Periodical Publications",
"Our Fighting Forces",
"ARTnews"
] |
|
16837_T | Grrrrrrrrrrr!! | Focus on Grrrrrrrrrrr!! and explain the Details. | Although Grrrrrrrrrrr!! is derived from what Guggenheim Senior Curator Susan Davidson calls a "low-grade comic strip" that is a typical Lichtenstein source, it is representative of Lichtenstein's fascination with "the atomic language of Ben-Day dots, black outlines and the three primary colors as the elementary vocabulary of low-budget commercial imagery."According to Jennifer Blessing of the Guggenheim, "There is also an element of humor in creating fine art out of what has customarily been considered 'low,' a playfulness that is equally evident in the onomatopoeic caption and bellicose expression of the dog in Grrrrrrrrrrr!!" | [
"onomatopoeic",
"Ben-Day dots"
] |
|
16837_NT | Grrrrrrrrrrr!! | Focus on this artwork and explain the Details. | Although Grrrrrrrrrrr!! is derived from what Guggenheim Senior Curator Susan Davidson calls a "low-grade comic strip" that is a typical Lichtenstein source, it is representative of Lichtenstein's fascination with "the atomic language of Ben-Day dots, black outlines and the three primary colors as the elementary vocabulary of low-budget commercial imagery."According to Jennifer Blessing of the Guggenheim, "There is also an element of humor in creating fine art out of what has customarily been considered 'low,' a playfulness that is equally evident in the onomatopoeic caption and bellicose expression of the dog in Grrrrrrrrrrr!!" | [
"onomatopoeic",
"Ben-Day dots"
] |
|
16838_T | Grrrrrrrrrrr!! | Explore the Related works of this artwork, Grrrrrrrrrrr!!. | In 1962, Lichtenstein created Arrrrrff!, an oil and graphite pencil on canvas painting depicting a dog from a subsequent issue of Our Fighting Forces, the series that was the source of Grrrrrrrrrrr!! That source depicts the dog by the name of "Pooch" in profile with a text bubble reading "Sniff--Sniff--Sniff--Sniff--Arrrrrff!" above his head. The inspiration for this painting came from Our Fighting Forces #69 (July 1962). Arrrrrff! was sold at Christie's in 1996 for $420,500 to an undisclosed buyer. | [
"Christie's",
"Our Fighting Forces"
] |
|
16838_NT | Grrrrrrrrrrr!! | Explore the Related works of this artwork. | In 1962, Lichtenstein created Arrrrrff!, an oil and graphite pencil on canvas painting depicting a dog from a subsequent issue of Our Fighting Forces, the series that was the source of Grrrrrrrrrrr!! That source depicts the dog by the name of "Pooch" in profile with a text bubble reading "Sniff--Sniff--Sniff--Sniff--Arrrrrff!" above his head. The inspiration for this painting came from Our Fighting Forces #69 (July 1962). Arrrrrff! was sold at Christie's in 1996 for $420,500 to an undisclosed buyer. | [
"Christie's",
"Our Fighting Forces"
] |
|
16839_T | The Crucifixion (Margkazinis) | Focus on The Crucifixion (Margkazinis) and discuss the abstract. | The Crucifixion is a painting created by Georgio Markazini. Markazini was a Greek painter from the island of Crete. He migrated to Venice. He was active during the middle part of the 17th century. Two of the painter's works survived. The crucifixion was a very popular subject among Cretan painters. Andreas Pavias, Emmanuel Lambardos, and Theophanes the Cretan created a similar style crucifixion. The Cretan painters frequently influenced each other.Jan Sadeler I was a Renaissance Flemish engraver who migrated to Venice with his son and nephew. He was active during the second half of the 16th century. His engravings of the crucifixion series influenced Markazini's Work. Around this same period, the engravings were circulating through the Venetian Greek community. Theodore Poulakis and Konstantinos Tzanes both used the engravings as inspiration. They were Georgio Markazini's contemporaries active during the same period.Greek and Italian Painters frequently added many figures to the Crucifixion scene. For instance, Andreas Pavias's Crucifixion features the dice player scene and the resurrection of the Christian saints. Both stories are part of Matthew's gospel. Other painters such as Ioannis Moskos featured the same pictorial representation of the gospel in his Crucifixion namely the dice players. The crucifixion paintings offer a rich array of symbols and meanings. The Crucifixion by Markazini is part of the collection of the Hellenic Institute in Venice, Italy. | [
"Konstantinos Tzanes",
"Jan Sadeler I",
"Hellenic Institute",
"Theophanes the Cretan",
"Theodore Poulakis",
"Ioannis Moskos",
"Venice",
"Andreas Pavias",
"Pavias",
"Matthew",
"Moskos",
"Georgio Markazini",
"Crucifixion",
"Emmanuel Lambardos",
" Moskos",
"Matthew's"
] |
|
16839_NT | The Crucifixion (Margkazinis) | Focus on this artwork and discuss the abstract. | The Crucifixion is a painting created by Georgio Markazini. Markazini was a Greek painter from the island of Crete. He migrated to Venice. He was active during the middle part of the 17th century. Two of the painter's works survived. The crucifixion was a very popular subject among Cretan painters. Andreas Pavias, Emmanuel Lambardos, and Theophanes the Cretan created a similar style crucifixion. The Cretan painters frequently influenced each other.Jan Sadeler I was a Renaissance Flemish engraver who migrated to Venice with his son and nephew. He was active during the second half of the 16th century. His engravings of the crucifixion series influenced Markazini's Work. Around this same period, the engravings were circulating through the Venetian Greek community. Theodore Poulakis and Konstantinos Tzanes both used the engravings as inspiration. They were Georgio Markazini's contemporaries active during the same period.Greek and Italian Painters frequently added many figures to the Crucifixion scene. For instance, Andreas Pavias's Crucifixion features the dice player scene and the resurrection of the Christian saints. Both stories are part of Matthew's gospel. Other painters such as Ioannis Moskos featured the same pictorial representation of the gospel in his Crucifixion namely the dice players. The crucifixion paintings offer a rich array of symbols and meanings. The Crucifixion by Markazini is part of the collection of the Hellenic Institute in Venice, Italy. | [
"Konstantinos Tzanes",
"Jan Sadeler I",
"Hellenic Institute",
"Theophanes the Cretan",
"Theodore Poulakis",
"Ioannis Moskos",
"Venice",
"Andreas Pavias",
"Pavias",
"Matthew",
"Moskos",
"Georgio Markazini",
"Crucifixion",
"Emmanuel Lambardos",
" Moskos",
"Matthew's"
] |
|
16840_T | The Crucifixion (Margkazinis) | How does The Crucifixion (Margkazinis) elucidate its Description? | The Crucifixion is an oil painting on limestone in a wood frame with gold trim. The height is 41 cm (16 in.) and the width is 26 cm (10.2 in.). The painter chose a different medium than wood. His contemporary Elias Moskos similarly broke the norm when he painted the Virgin and Child on bronze instead of gold. The Crucifixion was finished in 1647. The painting was first mentioned in an archive in 1683. In 1904, the icon was listed as an oil painting created on stone, and in 1949, the signature was authenticated. The painting was in San Giorgio dei Greci.In the foreground of the painting on limestone, Margkazini used one of Sadeler's prints from 1582 as his inspiration for the passion of jesus. He painted the figures nailing Jesus to the cross in Venetian-influenced attire. The painting follows the Italian cangiante technique. Bright colors blend with the landscape. Gold is specifically implemented throughout the piece because the painter boldly removed the gold leaf prevalent in most of the paintings of this style. Gold boots and gold helmets detract attention from the golden halo's around the Virgin and John the Evangelist. Mary Magdalene is at the foot of the cross she does not have a gold halo. Instead of a golden halo, Margkazini paints a golden glow around the head of Jesus while he is nailed to the cross in the foreground.
In the background, Jerusalem and the clouds are gray similar to Ioannis Moskos's Crucifixion. Both feature variations of the grey color. Another common characteristic is the orientation of the cross. They are in triangular form but the Impenitent thief on our right is closer to Jesus's cross than the Penitent thief. The Penitent thief on our left is speaking. Greek letters close to his mouth say: remember me lord in your kingdom. There is similar text in the Moskos painting.
A crowd gathered behind the crosses, The Virgin Mary is present. Some of the people are followers of Jesus. They are looking up. Underneath the cross members of the Sanhedrin, and soldiers are gathered. Some of the soldiers are on horseback. Four individuals gamble for Jesus's clothing to the right of the middle cross. They are nobles and soldiers. The dead are also rising. Both scenes are pictorial representations of Matthew's Gospel 27:35–37 and 27:52–53. | [
"cangiante",
"Mary Magdalene",
"Virgin",
"Sanhedrin",
"Impenitent thief",
"Elias Moskos",
"Virgin and Child",
"Penitent thief",
"San Giorgio dei Greci",
"Ioannis Moskos",
"Matthew",
"Moskos",
"Sadeler's",
"Virgin Mary",
"Crucifixion",
"passion of jesus",
"John the Evangelist",
" Moskos",
"Matthew's"
] |
|
16840_NT | The Crucifixion (Margkazinis) | How does this artwork elucidate its Description? | The Crucifixion is an oil painting on limestone in a wood frame with gold trim. The height is 41 cm (16 in.) and the width is 26 cm (10.2 in.). The painter chose a different medium than wood. His contemporary Elias Moskos similarly broke the norm when he painted the Virgin and Child on bronze instead of gold. The Crucifixion was finished in 1647. The painting was first mentioned in an archive in 1683. In 1904, the icon was listed as an oil painting created on stone, and in 1949, the signature was authenticated. The painting was in San Giorgio dei Greci.In the foreground of the painting on limestone, Margkazini used one of Sadeler's prints from 1582 as his inspiration for the passion of jesus. He painted the figures nailing Jesus to the cross in Venetian-influenced attire. The painting follows the Italian cangiante technique. Bright colors blend with the landscape. Gold is specifically implemented throughout the piece because the painter boldly removed the gold leaf prevalent in most of the paintings of this style. Gold boots and gold helmets detract attention from the golden halo's around the Virgin and John the Evangelist. Mary Magdalene is at the foot of the cross she does not have a gold halo. Instead of a golden halo, Margkazini paints a golden glow around the head of Jesus while he is nailed to the cross in the foreground.
In the background, Jerusalem and the clouds are gray similar to Ioannis Moskos's Crucifixion. Both feature variations of the grey color. Another common characteristic is the orientation of the cross. They are in triangular form but the Impenitent thief on our right is closer to Jesus's cross than the Penitent thief. The Penitent thief on our left is speaking. Greek letters close to his mouth say: remember me lord in your kingdom. There is similar text in the Moskos painting.
A crowd gathered behind the crosses, The Virgin Mary is present. Some of the people are followers of Jesus. They are looking up. Underneath the cross members of the Sanhedrin, and soldiers are gathered. Some of the soldiers are on horseback. Four individuals gamble for Jesus's clothing to the right of the middle cross. They are nobles and soldiers. The dead are also rising. Both scenes are pictorial representations of Matthew's Gospel 27:35–37 and 27:52–53. | [
"cangiante",
"Mary Magdalene",
"Virgin",
"Sanhedrin",
"Impenitent thief",
"Elias Moskos",
"Virgin and Child",
"Penitent thief",
"San Giorgio dei Greci",
"Ioannis Moskos",
"Matthew",
"Moskos",
"Sadeler's",
"Virgin Mary",
"Crucifixion",
"passion of jesus",
"John the Evangelist",
" Moskos",
"Matthew's"
] |
|
16841_T | La Nymphe surprise | Focus on La Nymphe surprise and analyze the abstract. | La Nymphe surprise, or Surprised Nymph, is a painting by the French impressionist painter Édouard Manet, created in 1861. The model was Suzanne Leenhoff, a pianist whom he married two years later. The painting is a key work in Manet's production, marking the beginning of a new period in his artistic career and generally in the history of modernism in French painting. It is in National Museum of Fine Arts in Buenos Aires and it is considered one of the collection's highlights. La Nymphe surprise remained in the artist's possession his entire life, and there is evidence that, apart from the emotional significance it represented for the artist, Manet considered this painting as one of his most important works. | [
"impressionist",
"modernism",
"National Museum of Fine Arts in Buenos Aires",
"Suzanne Leenhoff",
"French painting",
"Nymph",
"Buenos Aires",
"Édouard Manet"
] |
|
16841_NT | La Nymphe surprise | Focus on this artwork and analyze the abstract. | La Nymphe surprise, or Surprised Nymph, is a painting by the French impressionist painter Édouard Manet, created in 1861. The model was Suzanne Leenhoff, a pianist whom he married two years later. The painting is a key work in Manet's production, marking the beginning of a new period in his artistic career and generally in the history of modernism in French painting. It is in National Museum of Fine Arts in Buenos Aires and it is considered one of the collection's highlights. La Nymphe surprise remained in the artist's possession his entire life, and there is evidence that, apart from the emotional significance it represented for the artist, Manet considered this painting as one of his most important works. | [
"impressionist",
"modernism",
"National Museum of Fine Arts in Buenos Aires",
"Suzanne Leenhoff",
"French painting",
"Nymph",
"Buenos Aires",
"Édouard Manet"
] |
|
16842_T | La Nymphe surprise | In La Nymphe surprise, how is the History discussed? | The model of the painting is Édouard Manet's lover, the Dutchwoman Suzanne Leenhoff, with whom he had a secret affair. This affair developed while the young Manet was still living in his parents' house, where Suzanne–who was three years Manet's senior– was engaged as his brothers' piano teacher in 1849. Their relationship was kept secret from his family. Manet and Suzanne married in 1863, two years after the completion of this painting in 1861. The relationship lasted throughout their lives.Nymphs were female spirits of nature, female deities from Greek mythology, often depicted as young women, who dwell in mountains and small woods, by springs and rivers. Several authors think that the motif is similar to Rembrandt's Susanna and the Elders, considering that the model's name is Suzanne, she was Dutch and the figure's pose is identical with the one in the painting. In a different point, Françoise Cachin argues that Manet was probably inspired by Jean-Baptiste Santerre's 1704 painting of the same subject, pointing out the position of the arm and the treatment of the material.Manet kept this painting in his atelier. The painting was exhibited at the Salon des Artistes Français in 1865. This painting was painted two years before the Le Déjeuner sur l'herbe (The Luncheon on the Grass) and Olympia. The painting was purchased by the National Museum of Fine Arts in Buenos Aires and was placed on display at the Museum, as one of the institution's highlights. | [
"springs",
"Françoise Cachin",
"Olympia",
"Le Déjeuner sur l'herbe",
"Dutch",
"Greek mythology",
"Rembrandt",
"Jean-Baptiste Santerre",
"National Museum of Fine Arts in Buenos Aires",
"Suzanne Leenhoff",
"Nymph",
"Susanna and the Elders",
"Buenos Aires",
"Édouard Manet",
"Salon des Artistes Français"
] |
|
16842_NT | La Nymphe surprise | In this artwork, how is the History discussed? | The model of the painting is Édouard Manet's lover, the Dutchwoman Suzanne Leenhoff, with whom he had a secret affair. This affair developed while the young Manet was still living in his parents' house, where Suzanne–who was three years Manet's senior– was engaged as his brothers' piano teacher in 1849. Their relationship was kept secret from his family. Manet and Suzanne married in 1863, two years after the completion of this painting in 1861. The relationship lasted throughout their lives.Nymphs were female spirits of nature, female deities from Greek mythology, often depicted as young women, who dwell in mountains and small woods, by springs and rivers. Several authors think that the motif is similar to Rembrandt's Susanna and the Elders, considering that the model's name is Suzanne, she was Dutch and the figure's pose is identical with the one in the painting. In a different point, Françoise Cachin argues that Manet was probably inspired by Jean-Baptiste Santerre's 1704 painting of the same subject, pointing out the position of the arm and the treatment of the material.Manet kept this painting in his atelier. The painting was exhibited at the Salon des Artistes Français in 1865. This painting was painted two years before the Le Déjeuner sur l'herbe (The Luncheon on the Grass) and Olympia. The painting was purchased by the National Museum of Fine Arts in Buenos Aires and was placed on display at the Museum, as one of the institution's highlights. | [
"springs",
"Françoise Cachin",
"Olympia",
"Le Déjeuner sur l'herbe",
"Dutch",
"Greek mythology",
"Rembrandt",
"Jean-Baptiste Santerre",
"National Museum of Fine Arts in Buenos Aires",
"Suzanne Leenhoff",
"Nymph",
"Susanna and the Elders",
"Buenos Aires",
"Édouard Manet",
"Salon des Artistes Français"
] |
|
16843_T | La Nymphe surprise | Focus on La Nymphe surprise and explore the Painting. | Manet's La Nymphe surprise depicts a young woman sitting in a wooded landscape beside a lake, looking surprised at the viewer. There is a blue iris growing at her feet, and she wears nothing on her body except the white pearls around her neck and a ring on her little finger. The nymph's glance, contrary to Olympia's provocative glance, is surprised and shy, as if she has found the viewer watching her, invading her privacy, disturbing her. | [
"Olympia",
"Nymph",
"iris"
] |
|
16843_NT | La Nymphe surprise | Focus on this artwork and explore the Painting. | Manet's La Nymphe surprise depicts a young woman sitting in a wooded landscape beside a lake, looking surprised at the viewer. There is a blue iris growing at her feet, and she wears nothing on her body except the white pearls around her neck and a ring on her little finger. The nymph's glance, contrary to Olympia's provocative glance, is surprised and shy, as if she has found the viewer watching her, invading her privacy, disturbing her. | [
"Olympia",
"Nymph",
"iris"
] |
|
16844_T | Zonnebeke (painting) | Focus on Zonnebeke (painting) and explain the abstract. | Zonnebeke is an oil-on-canvas painting created in 1918 by the Irish artist William Orpen. It was one of the series of paintings that he made when he was a British official war artist in World War I. The painting has the dimensions of 63.5 cm by 76.2 cm. It belongs to the collection of the Tate in London. | [
"World War I",
"Tate",
"London",
"Zonnebeke",
"William Orpen"
] |
|
16844_NT | Zonnebeke (painting) | Focus on this artwork and explain the abstract. | Zonnebeke is an oil-on-canvas painting created in 1918 by the Irish artist William Orpen. It was one of the series of paintings that he made when he was a British official war artist in World War I. The painting has the dimensions of 63.5 cm by 76.2 cm. It belongs to the collection of the Tate in London. | [
"World War I",
"Tate",
"London",
"Zonnebeke",
"William Orpen"
] |
|
16845_T | Zonnebeke (painting) | Explore the Description of this artwork, Zonnebeke (painting). | The painting follows the same pattern of brutal realism of those he had created the previous year, while in France, when he witnessed the Battle of the Somme. In 1918, he was doing more allegorical paintings on the subject of the war, but he still made some realistic works.This painting takes his name from the municipality of Zonnebeke, in Flanders, Belgium, which had been completely destroyed as part of the Passchendaele campaign, from June to November 1917. The offensive took a massive toil of British and German lives, while the Allies had just advanced five miles at the end of the campaign. The painting depicts the desolate landscape of a battlefield, with grey skies, the remains of the trenches filled with water, and a corpse lying at the right, while a heavily damaged tree is at the left.Orpen wrote on his memoirs of the war, An Onlooker in France 1917–1919 (1921), that a British officer described the scenery of the battle in these words: "‘I remember an officer saying to me, Paint the Somme? I could do it from memory – just a flat horizon line and mud-holes and water, and the stumps of a few battered trees.’ but one could not paint the smell.". Orpen also described what he had seen vividly, as reflected in this work: "A hand lying on the duckboards, a Bosche and a Highlander locked in a deadly embrace at the edge of Highwood; the 'Cough-Drop' with the stench coming from its watery bottom; the shell-holes with the shapes of bodies faintly showing through the putrid water – all these things made one think terribly of what human beings had been through." | [
"Battle of the Somme",
"Flanders",
"Zonnebeke",
"Passchendaele",
"Belgium"
] |
|
16845_NT | Zonnebeke (painting) | Explore the Description of this artwork. | The painting follows the same pattern of brutal realism of those he had created the previous year, while in France, when he witnessed the Battle of the Somme. In 1918, he was doing more allegorical paintings on the subject of the war, but he still made some realistic works.This painting takes his name from the municipality of Zonnebeke, in Flanders, Belgium, which had been completely destroyed as part of the Passchendaele campaign, from June to November 1917. The offensive took a massive toil of British and German lives, while the Allies had just advanced five miles at the end of the campaign. The painting depicts the desolate landscape of a battlefield, with grey skies, the remains of the trenches filled with water, and a corpse lying at the right, while a heavily damaged tree is at the left.Orpen wrote on his memoirs of the war, An Onlooker in France 1917–1919 (1921), that a British officer described the scenery of the battle in these words: "‘I remember an officer saying to me, Paint the Somme? I could do it from memory – just a flat horizon line and mud-holes and water, and the stumps of a few battered trees.’ but one could not paint the smell.". Orpen also described what he had seen vividly, as reflected in this work: "A hand lying on the duckboards, a Bosche and a Highlander locked in a deadly embrace at the edge of Highwood; the 'Cough-Drop' with the stench coming from its watery bottom; the shell-holes with the shapes of bodies faintly showing through the putrid water – all these things made one think terribly of what human beings had been through." | [
"Battle of the Somme",
"Flanders",
"Zonnebeke",
"Passchendaele",
"Belgium"
] |
|
16846_T | The Blue Bird (Metzinger) | Focus on The Blue Bird (Metzinger) and discuss the abstract. | The Blue Bird (French: L'Oiseau bleu) is an oil painting created in 1912–1913 by the French artist and theorist Jean Metzinger. L'Oiseau bleu, one of Metzinger's most recognizable and frequently referenced works, was first exhibited in Paris at the Salon des Indépendants in the spring of 1913 (cat. no. 2087), several months after the publication of the first (and only) Cubist manifesto, Du "Cubisme", written by Jean Metzinger and Albert Gleizes (1912). It was subsequently exhibited at the 1913 Erster Deutscher Herbstsalon in Berlin (titled Der blaue Vogel, cat. no. 287).Apollinaire described L'Oiseau bleu as a 'very brilliant painting' and 'his most important work to date'. L'Oiseau bleu, acquired by the City of Paris in 1937, forms part of the permanent collection at the Musée d'Art Moderne de la Ville de Paris. | [
"Albert Gleizes",
"Cubism",
"Du \"Cubisme\"",
"Musée d'Art Moderne de la Ville de Paris",
"Erster Deutscher Herbstsalon",
"Paris",
"Jean Metzinger",
"The Blue Bird",
"Salon des Indépendants"
] |
|
16846_NT | The Blue Bird (Metzinger) | Focus on this artwork and discuss the abstract. | The Blue Bird (French: L'Oiseau bleu) is an oil painting created in 1912–1913 by the French artist and theorist Jean Metzinger. L'Oiseau bleu, one of Metzinger's most recognizable and frequently referenced works, was first exhibited in Paris at the Salon des Indépendants in the spring of 1913 (cat. no. 2087), several months after the publication of the first (and only) Cubist manifesto, Du "Cubisme", written by Jean Metzinger and Albert Gleizes (1912). It was subsequently exhibited at the 1913 Erster Deutscher Herbstsalon in Berlin (titled Der blaue Vogel, cat. no. 287).Apollinaire described L'Oiseau bleu as a 'very brilliant painting' and 'his most important work to date'. L'Oiseau bleu, acquired by the City of Paris in 1937, forms part of the permanent collection at the Musée d'Art Moderne de la Ville de Paris. | [
"Albert Gleizes",
"Cubism",
"Du \"Cubisme\"",
"Musée d'Art Moderne de la Ville de Paris",
"Erster Deutscher Herbstsalon",
"Paris",
"Jean Metzinger",
"The Blue Bird",
"Salon des Indépendants"
] |
|
16847_T | The Blue Bird (Metzinger) | How does The Blue Bird (Metzinger) elucidate its Description? | L'Oiseau bleu is an oil painting on canvas with dimensions 230 x 196 cm (90.5 by 77.2 in). The work represents three nude women in a scene that contains a wide variety of components. L'Oiseau bleu, writes Joann Moser, uses a wealth of anecdotal detail "which comprises a compendium of motifs found in earlier and later paintings by Metzinger: bathers, fan, mirror, ibis, necklace, a boat with water, foliage and an urban scene. It is a mélange of interior and exterior elements integrated into one of Metzinger's most intriguing and successful compositions."The central standing 'foreground' figure is shown affectionately holding in both hands a blue bird (thus the title of the painting). The reclining figure wearing a necklace shown in the lower center of the canvas is placed next to a pedestal fruit bowl and another bird with the unmistakable coloration of the rare Scarlet ibis (L'Ibis rouge), a rich symbol for both exoticism and fashion. Costume designers for Parisian cabarets such as Le Lido, Folies Bergère, the Moulin Rouge and haute couture houses in Paris during the 1910s used the feathers of the scarlet Ibis in their shows and collections. The Ibis is a bird to which the ancient Egyptians paid religious worship and attributed to it a 'virgin purity'. A mysterious pyramidal shape is seen as if through a porthole to the right of the reclining figure's head, though it remains a matter of speculation whether there exists any relation to the ibis or pyramids of ancient Egypt. In front of the pyramid appears a shape that resembles a sundial, perhaps meant as the element of time, or 'duration', as the clock placed in the upper right hand corner of his Nu à la cheminée (Nude) of 1910.Two other birds, in addition to the blue bird and scarlet ibis can be seen in the composition, one of which resembles a green heron. A large steamship can be seen bellowing gaseous vapor from its funnel in the distant sea or ocean, and a smaller boat (or canot) is visible below.
On the left half of Metzinger's L'Oiseau Bleu, holding in her right hand a yellow fan (éventail) is a sitting nude who in her left hand holds a mirror into which she gazes. In the rest of the scene, various items and divers elements are placed, including in the upper center (practically at the highest point of the painting) the Sacré-Cœur Basilica, located at the summit of the butte Montmartre, the highest point of the city. This popular monument is just up the hill from where Metzinger lived and worked (Rue Lamarck) prior to his move to Meudon around 1912. It is also a short distance from Le Bateau-Lavoir, widely known as the birthplace of Cubism. | [
"Bateau-Lavoir",
"fashion",
"Nu à la cheminée",
"Folies Bergère",
"Meudon",
"green heron",
"Le Lido",
"right",
"Cubism",
"porthole",
"blue bird",
"Nu à la cheminée (Nude)",
"Scarlet ibis",
"Sacré-Cœur Basilica",
"sundial",
"Moulin Rouge",
"Paris",
"Le Bateau-Lavoir",
"Montmartre",
"exoticism",
"left",
"scarlet ibis",
"haute couture"
] |
|
16847_NT | The Blue Bird (Metzinger) | How does this artwork elucidate its Description? | L'Oiseau bleu is an oil painting on canvas with dimensions 230 x 196 cm (90.5 by 77.2 in). The work represents three nude women in a scene that contains a wide variety of components. L'Oiseau bleu, writes Joann Moser, uses a wealth of anecdotal detail "which comprises a compendium of motifs found in earlier and later paintings by Metzinger: bathers, fan, mirror, ibis, necklace, a boat with water, foliage and an urban scene. It is a mélange of interior and exterior elements integrated into one of Metzinger's most intriguing and successful compositions."The central standing 'foreground' figure is shown affectionately holding in both hands a blue bird (thus the title of the painting). The reclining figure wearing a necklace shown in the lower center of the canvas is placed next to a pedestal fruit bowl and another bird with the unmistakable coloration of the rare Scarlet ibis (L'Ibis rouge), a rich symbol for both exoticism and fashion. Costume designers for Parisian cabarets such as Le Lido, Folies Bergère, the Moulin Rouge and haute couture houses in Paris during the 1910s used the feathers of the scarlet Ibis in their shows and collections. The Ibis is a bird to which the ancient Egyptians paid religious worship and attributed to it a 'virgin purity'. A mysterious pyramidal shape is seen as if through a porthole to the right of the reclining figure's head, though it remains a matter of speculation whether there exists any relation to the ibis or pyramids of ancient Egypt. In front of the pyramid appears a shape that resembles a sundial, perhaps meant as the element of time, or 'duration', as the clock placed in the upper right hand corner of his Nu à la cheminée (Nude) of 1910.Two other birds, in addition to the blue bird and scarlet ibis can be seen in the composition, one of which resembles a green heron. A large steamship can be seen bellowing gaseous vapor from its funnel in the distant sea or ocean, and a smaller boat (or canot) is visible below.
On the left half of Metzinger's L'Oiseau Bleu, holding in her right hand a yellow fan (éventail) is a sitting nude who in her left hand holds a mirror into which she gazes. In the rest of the scene, various items and divers elements are placed, including in the upper center (practically at the highest point of the painting) the Sacré-Cœur Basilica, located at the summit of the butte Montmartre, the highest point of the city. This popular monument is just up the hill from where Metzinger lived and worked (Rue Lamarck) prior to his move to Meudon around 1912. It is also a short distance from Le Bateau-Lavoir, widely known as the birthplace of Cubism. | [
"Bateau-Lavoir",
"fashion",
"Nu à la cheminée",
"Folies Bergère",
"Meudon",
"green heron",
"Le Lido",
"right",
"Cubism",
"porthole",
"blue bird",
"Nu à la cheminée (Nude)",
"Scarlet ibis",
"Sacré-Cœur Basilica",
"sundial",
"Moulin Rouge",
"Paris",
"Le Bateau-Lavoir",
"Montmartre",
"exoticism",
"left",
"scarlet ibis",
"haute couture"
] |
|
16848_T | The Blue Bird (Metzinger) | In the context of The Blue Bird (Metzinger), analyze the The flag of the Description. | Edward F. Fry writes in Cubism (1978): "Three female nudes are in various postures, and the blue bird is held by the uppermost figure; in other parts of the composition are numerous birds, grapes in a dish on a table, the striped canopy of a Paris cafe, the dome of Sacre-Coeur in Montmartre, and a ship at sea." (Bold added). Noticeably, the 'striped canopy' to which Fry refers has the same color pattern as the American flag. Recall that L'Oiseau bleu was painted as the International Exhibition of Modern Art (the Armory Show) in New York was beginning to materialize; when Arthur B. Davies and Walt Kuhn came to Paris in the fall of 1912 to select works for the Armory Show, with the help of Walter Pach. The paintings of Metzinger, however, did not appear at the exhibition (to the surprise of many in his entourage); and this despite Picasso's 1912 recommendation. In a note to Kuhn, Picasso's handwritten list of artists recommended for the Armory Show include Gris, Metzinger, Gleizes, Léger, Duchamp, Delaunay, Le Fauconnier, Laurencin, La Fresnaye and Braque. He did however exhibit at the Exhibition of Cubist and Futurist Pictures, Boggs & Buhl Department Store, Pittsburgh, July 1913. His Portrait of an American Smoking (Man with a Pipe), 1911–12 (Lawrence University, Appleton, Wisconsin) was reproduced on the front cover of the catalogue. It is highly likely, since Walter Pach knew practically all the artists in the exhibition (a good friend of Metzinger and other members of the Section d'Or group; e.g., Gleizes, Picabia and the Duchamp brothers), that he had something to do with the organization of the show. Sponsored by the Gimbel Brothers department store from May through the summer of 1913 the Cubist and Futurist show toured Milwaukee, Cleveland, Pittsburgh, Philadelphia and New York.Metzinger had already been interviewed, circa 1908, by Gelett Burgess for his Wild Men of Paris article, published in The Architectural Record, May 1910 (New York). In 1915 (8 March - 3 April) Metzinger exhibited at the Third Exhibition of Contemporary French Art—Carstairs (Carroll) Gallery, New York—with Pach, Gleizes, Picasso, de la Fresnaye, Van Gogh, Gauguin, Derain, Duchamp, Duchamp-Villon and Villon.Metzinger would soon exhibit six works in New York at the Montross Gallery, 550 Fifth Avenue (4–22 April 1916) with Gleizes, Picabia, Duchamp, and Jean Crotti. In 1917 Metzinger exhibited at the People's Art Guild (founded in 1915 to disseminate art to the masses) in New York, with Pach, Picabia, Picasso, Derain and Joseph Stella. In December 1917 Metzinger exhibited at the Exhibition of Paintings by the Moderns, held at Vassar College (located in the heart of the Hudson Valley in New York), with Pach, Derain, Edward Hopper, Diego Rivera and Max Weber.Duchamp, Picabia, Gleizes and his wife (via Hamilton Bermuda) would soon leave for New York where they would stay an extended period of time. Maurice Metzinger, Jean's brother, made several trips to the United States, in 1906, 1910 and would soon move there permanently in pursuit of his career as a Cellist. In light of the turmoil surrounding his non-acceptance at the Armory show, his brother's experiences in New York, his soon to be exposition at the Cubist Exhibition, Boggs & Buhl's, and the representation of a steamship in the upper right quadrant of L'Oiseau bleu, it would not be out of the question that Metzinger made reference to the American flag (as opposed to a red and white stripped canopy of a Parisian café as suggested by Fry).This would be remarkable in light of the growing trend of Nationalism surrounding modern art exhibitions in Paris, within which Metzinger was recognized as a French Cubist, and his work, in the French tradition: 'cubisme dans une tradition française'. Painting an American flag might have been seen as provocative, especially so as Roger de La Fresnaye was painting French flags: Fourteenth of July, 1913-14 (Museum of Fine Arts, Houston, TX), and The Conquest of the Air, 1913 (Museum of Modern Art, New York), two of his most original contributions to the diverse salons. André Lhote appears to show both the flag of the United Kingdom and the stripes of the American flag in his L'Escale, of 1913 (Musée d’Art Moderne de la Ville de Paris). The Futurist Gino Severini, too, included the French flag in his 1913 painting Train of the Wounded. | [
"Man with a Pipe",
"Gino Severini",
"Roger de La Fresnaye",
"Walter Pach",
"right",
"Arthur B. Davies",
"war",
"Cubism",
"Vassar College",
"Walt Kuhn",
"blue bird",
"Jean Crotti",
"Portrait of an American Smoking (Man with a Pipe)",
"Gimbel Brothers",
"Paris",
"L'Escale",
"Section d'Or",
"Futurist",
"Diego Rivera",
"Edward Hopper",
"Gelett Burgess",
"Joseph Stella",
"Montmartre",
"Armory Show",
"André Lhote",
"Max Weber"
] |
|
16848_NT | The Blue Bird (Metzinger) | In the context of this artwork, analyze the The flag of the Description. | Edward F. Fry writes in Cubism (1978): "Three female nudes are in various postures, and the blue bird is held by the uppermost figure; in other parts of the composition are numerous birds, grapes in a dish on a table, the striped canopy of a Paris cafe, the dome of Sacre-Coeur in Montmartre, and a ship at sea." (Bold added). Noticeably, the 'striped canopy' to which Fry refers has the same color pattern as the American flag. Recall that L'Oiseau bleu was painted as the International Exhibition of Modern Art (the Armory Show) in New York was beginning to materialize; when Arthur B. Davies and Walt Kuhn came to Paris in the fall of 1912 to select works for the Armory Show, with the help of Walter Pach. The paintings of Metzinger, however, did not appear at the exhibition (to the surprise of many in his entourage); and this despite Picasso's 1912 recommendation. In a note to Kuhn, Picasso's handwritten list of artists recommended for the Armory Show include Gris, Metzinger, Gleizes, Léger, Duchamp, Delaunay, Le Fauconnier, Laurencin, La Fresnaye and Braque. He did however exhibit at the Exhibition of Cubist and Futurist Pictures, Boggs & Buhl Department Store, Pittsburgh, July 1913. His Portrait of an American Smoking (Man with a Pipe), 1911–12 (Lawrence University, Appleton, Wisconsin) was reproduced on the front cover of the catalogue. It is highly likely, since Walter Pach knew practically all the artists in the exhibition (a good friend of Metzinger and other members of the Section d'Or group; e.g., Gleizes, Picabia and the Duchamp brothers), that he had something to do with the organization of the show. Sponsored by the Gimbel Brothers department store from May through the summer of 1913 the Cubist and Futurist show toured Milwaukee, Cleveland, Pittsburgh, Philadelphia and New York.Metzinger had already been interviewed, circa 1908, by Gelett Burgess for his Wild Men of Paris article, published in The Architectural Record, May 1910 (New York). In 1915 (8 March - 3 April) Metzinger exhibited at the Third Exhibition of Contemporary French Art—Carstairs (Carroll) Gallery, New York—with Pach, Gleizes, Picasso, de la Fresnaye, Van Gogh, Gauguin, Derain, Duchamp, Duchamp-Villon and Villon.Metzinger would soon exhibit six works in New York at the Montross Gallery, 550 Fifth Avenue (4–22 April 1916) with Gleizes, Picabia, Duchamp, and Jean Crotti. In 1917 Metzinger exhibited at the People's Art Guild (founded in 1915 to disseminate art to the masses) in New York, with Pach, Picabia, Picasso, Derain and Joseph Stella. In December 1917 Metzinger exhibited at the Exhibition of Paintings by the Moderns, held at Vassar College (located in the heart of the Hudson Valley in New York), with Pach, Derain, Edward Hopper, Diego Rivera and Max Weber.Duchamp, Picabia, Gleizes and his wife (via Hamilton Bermuda) would soon leave for New York where they would stay an extended period of time. Maurice Metzinger, Jean's brother, made several trips to the United States, in 1906, 1910 and would soon move there permanently in pursuit of his career as a Cellist. In light of the turmoil surrounding his non-acceptance at the Armory show, his brother's experiences in New York, his soon to be exposition at the Cubist Exhibition, Boggs & Buhl's, and the representation of a steamship in the upper right quadrant of L'Oiseau bleu, it would not be out of the question that Metzinger made reference to the American flag (as opposed to a red and white stripped canopy of a Parisian café as suggested by Fry).This would be remarkable in light of the growing trend of Nationalism surrounding modern art exhibitions in Paris, within which Metzinger was recognized as a French Cubist, and his work, in the French tradition: 'cubisme dans une tradition française'. Painting an American flag might have been seen as provocative, especially so as Roger de La Fresnaye was painting French flags: Fourteenth of July, 1913-14 (Museum of Fine Arts, Houston, TX), and The Conquest of the Air, 1913 (Museum of Modern Art, New York), two of his most original contributions to the diverse salons. André Lhote appears to show both the flag of the United Kingdom and the stripes of the American flag in his L'Escale, of 1913 (Musée d’Art Moderne de la Ville de Paris). The Futurist Gino Severini, too, included the French flag in his 1913 painting Train of the Wounded. | [
"Man with a Pipe",
"Gino Severini",
"Roger de La Fresnaye",
"Walter Pach",
"right",
"Arthur B. Davies",
"war",
"Cubism",
"Vassar College",
"Walt Kuhn",
"blue bird",
"Jean Crotti",
"Portrait of an American Smoking (Man with a Pipe)",
"Gimbel Brothers",
"Paris",
"L'Escale",
"Section d'Or",
"Futurist",
"Diego Rivera",
"Edward Hopper",
"Gelett Burgess",
"Joseph Stella",
"Montmartre",
"Armory Show",
"André Lhote",
"Max Weber"
] |
|
16849_T | The Blue Bird (Metzinger) | In The Blue Bird (Metzinger), how is the Divisionism to Multiple perspective discussed? | As in the works of Étienne-Jules Marey and Eadweard Muybridge there is no smooth transition between the elements and sections of Metzinger's painting, but when sutured together (with the eye) in succession or simultaneously a dynamic ensemble emerges. The composition is divided, fragmented, splintered or faceted into series, not only of individual rectangles, squares or 'cubes' of color, but into individual planes or surfaces delineated by color and form. Just as other paintings by Metzinger of the pre-war period (such as En Canot, 1913) there is some continuity that transits between the foreground and background, blending perspective of objects close and far, the notion of depth perception has not been abolished, i.e., the spatial attributes of the scene have not been flattened, yet there is no absolute frame of reference.
Though not the first painting by Jean Metzinger to employ the concept of multiple perspective—three years had passed since he first propounded the idea in Note sur la peinture, published in 1910—L'Oiseau bleu arguably exemplifies the extreme, a maxima, a summum bonum of such pictorial processes, while still maintaining elements of recognizable form; the extreme activity of geometric faceting visible in L'Oiseau bleu is not frenzied to the point that any understandable link between physicality or naturalness is lost. Yet, what is achieved is, of course, fundamentally anti-naturalistic; at great distance from the appearance of the natural world.Aimed at a large audience (the Salon des Indépendants, rather than a gallery setting), L'Oiseau bleu deliberately sets out to agitate and confront the standard expectation of art, in an attempt to implicated the viewer, to transfer beauty and elegance into a fresh cohesive dialogue that most accurately represents Modernism—one that is in tune with the intricacies of modern life, one that describes Cubism, his Cubism, whose order was only a phase in a continuous process of change.
To achieve his goal, Metzinger raises the concept of mobile perspective (as opposed to single-point perspective of the Renaissance) to a poetic principle: a form of literary art which uses the aesthetic qualities of iconography to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. L'Oiseau bleu contains something that Metzinger spoke of as early as 1907; a "chromatic versification", as if for syllables. The rhythm of its pictorial phraseology translates the diverse emotions aroused by nature (in the words of Metzinger). L'Oiseau bleu no longer represented nature as seen, but was a complete byproduct of the human 'sensation.' A departure from nature it was, and a departure from all that had been painted to date it was too.
Metzinger's Divisionist technique had its parallel in literature. For him, there was an emblematic alliance between the Symbolist writers and Neo-Impressionism. Each brushstroke of color was equivalent to a word (or "syllable"). Together the pigments formed sentences (or "phrases") which translated the various emotions that nature would pass on to the artist. This is an important aspect of Metzinger's early work, and an important aspect of Metzinger's entire artistic output (as a painter, writer, poet, and theorist). Already then, Metzinger coupled Symbolist/Neo-Impressionist color theory with Cézannian perspective, beyond not just the preoccupations of Paul Signac and Henri-Edmond Cross, but beyond too the preoccupations of his avant-garde entourage.
"I ask of divided brushwork not the objective rendering of light, but iridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification and for syllables I use strokes which, variable in quantity, cannot differ in dimension without modifying the rhythm of a pictorial phraseology destined to translate the diverse emotions aroused by nature." (Metzinger, 1907)An interpretation of this statement was made by Robert L. Herbert: "What Metzinger meant is that each little tile of pigment has two lives: it exists as a plane where mere size and direction are fundamental to the rhythm of the painting and, secondly, it also has color which can vary independently of size and placement." (Herbert, 1968)
During Metzinger's Divisionist period, each individual square of pigment associated with another of similar shape and color to form a group; each grouping of color juxtaposed with an adjacent collection of differing colors; just as syllables combine to form sentences, and sentences combine to form paragraphs, and so on. Now, the same concept formerly related to color has been adapted to form. Each individual facet associated with another adjacent shape form a group; each grouping juxtaposed with an adjacent collection of facets connect or become associated with a larger organization—just as the association of syllables combine to form sentences, and sentences combine to form paragraphs, and so on—forming what Metzinger described as the 'total image'. | [
"summum bonum",
"Paul Signac",
"meaning",
"Henri-Edmond Cross",
"Modernism",
"depth perception",
"Eadweard Muybridge",
"aesthetic",
"multiple perspective",
"Divisionism",
"literature",
"war",
"Cubism",
"literary art",
"Neo-Impressionism",
"prosaic",
"Symbolist",
"En Canot",
"Jean Metzinger",
"Cézannian",
"Divisionist",
"iconography",
"Étienne-Jules Marey",
"frame of reference",
"Salon des Indépendants"
] |
|
16849_NT | The Blue Bird (Metzinger) | In this artwork, how is the Divisionism to Multiple perspective discussed? | As in the works of Étienne-Jules Marey and Eadweard Muybridge there is no smooth transition between the elements and sections of Metzinger's painting, but when sutured together (with the eye) in succession or simultaneously a dynamic ensemble emerges. The composition is divided, fragmented, splintered or faceted into series, not only of individual rectangles, squares or 'cubes' of color, but into individual planes or surfaces delineated by color and form. Just as other paintings by Metzinger of the pre-war period (such as En Canot, 1913) there is some continuity that transits between the foreground and background, blending perspective of objects close and far, the notion of depth perception has not been abolished, i.e., the spatial attributes of the scene have not been flattened, yet there is no absolute frame of reference.
Though not the first painting by Jean Metzinger to employ the concept of multiple perspective—three years had passed since he first propounded the idea in Note sur la peinture, published in 1910—L'Oiseau bleu arguably exemplifies the extreme, a maxima, a summum bonum of such pictorial processes, while still maintaining elements of recognizable form; the extreme activity of geometric faceting visible in L'Oiseau bleu is not frenzied to the point that any understandable link between physicality or naturalness is lost. Yet, what is achieved is, of course, fundamentally anti-naturalistic; at great distance from the appearance of the natural world.Aimed at a large audience (the Salon des Indépendants, rather than a gallery setting), L'Oiseau bleu deliberately sets out to agitate and confront the standard expectation of art, in an attempt to implicated the viewer, to transfer beauty and elegance into a fresh cohesive dialogue that most accurately represents Modernism—one that is in tune with the intricacies of modern life, one that describes Cubism, his Cubism, whose order was only a phase in a continuous process of change.
To achieve his goal, Metzinger raises the concept of mobile perspective (as opposed to single-point perspective of the Renaissance) to a poetic principle: a form of literary art which uses the aesthetic qualities of iconography to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. L'Oiseau bleu contains something that Metzinger spoke of as early as 1907; a "chromatic versification", as if for syllables. The rhythm of its pictorial phraseology translates the diverse emotions aroused by nature (in the words of Metzinger). L'Oiseau bleu no longer represented nature as seen, but was a complete byproduct of the human 'sensation.' A departure from nature it was, and a departure from all that had been painted to date it was too.
Metzinger's Divisionist technique had its parallel in literature. For him, there was an emblematic alliance between the Symbolist writers and Neo-Impressionism. Each brushstroke of color was equivalent to a word (or "syllable"). Together the pigments formed sentences (or "phrases") which translated the various emotions that nature would pass on to the artist. This is an important aspect of Metzinger's early work, and an important aspect of Metzinger's entire artistic output (as a painter, writer, poet, and theorist). Already then, Metzinger coupled Symbolist/Neo-Impressionist color theory with Cézannian perspective, beyond not just the preoccupations of Paul Signac and Henri-Edmond Cross, but beyond too the preoccupations of his avant-garde entourage.
"I ask of divided brushwork not the objective rendering of light, but iridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification and for syllables I use strokes which, variable in quantity, cannot differ in dimension without modifying the rhythm of a pictorial phraseology destined to translate the diverse emotions aroused by nature." (Metzinger, 1907)An interpretation of this statement was made by Robert L. Herbert: "What Metzinger meant is that each little tile of pigment has two lives: it exists as a plane where mere size and direction are fundamental to the rhythm of the painting and, secondly, it also has color which can vary independently of size and placement." (Herbert, 1968)
During Metzinger's Divisionist period, each individual square of pigment associated with another of similar shape and color to form a group; each grouping of color juxtaposed with an adjacent collection of differing colors; just as syllables combine to form sentences, and sentences combine to form paragraphs, and so on. Now, the same concept formerly related to color has been adapted to form. Each individual facet associated with another adjacent shape form a group; each grouping juxtaposed with an adjacent collection of facets connect or become associated with a larger organization—just as the association of syllables combine to form sentences, and sentences combine to form paragraphs, and so on—forming what Metzinger described as the 'total image'. | [
"summum bonum",
"Paul Signac",
"meaning",
"Henri-Edmond Cross",
"Modernism",
"depth perception",
"Eadweard Muybridge",
"aesthetic",
"multiple perspective",
"Divisionism",
"literature",
"war",
"Cubism",
"literary art",
"Neo-Impressionism",
"prosaic",
"Symbolist",
"En Canot",
"Jean Metzinger",
"Cézannian",
"Divisionist",
"iconography",
"Étienne-Jules Marey",
"frame of reference",
"Salon des Indépendants"
] |
|
16850_T | The Blue Bird (Metzinger) | Focus on The Blue Bird (Metzinger) and explore the Underlying geometric armature. | Though the primary role of Metzinger's syntax was played by the relations of its intricate parts within the whole, there was another key factor that emerged: the mobile underlying geometric armature organized as a dynamic composition of superimposed planes. Metzinger, Juan Gris and to some extent Jacques Lipchitz, would develop this concept further during the war; something Gleizes would notice when he returned to Paris from New York, and develop further still in Painting and its Laws (La Peinture et ses lois), written in 1922 and published in 1923. In that text Gleizes would attribute to this underlying armature 'objective notions of translation and rotation', words in which 'movement is implicit'.In this sense Metzinger's L'Oiseau bleu was a precursor in its genre, more so perhaps than his Le goûter (Tea Time) of 1911, La Femme au Cheval, 1911–12, or Dancer in a café (Danseuse) of 1912.Now, the emergence of the 'total image' arises out of a multiplicity of relatively simple interacting planes or surfaces, loosely based on the Golden triangle and Fibonacci spiral. Whereas before, each disconnected element would unite forming complex relationships as a collective, now (and progressively), the collective components would be organized into an abstract mathematical concept that is much more general; giving rise to a global topology. This underlying geometric armature would facilitate the union of a set (or sets) of complex structures on a given orientable surface. | [
"syntax",
"Dancer in a café",
"Fibonacci spiral",
"Painting and its Laws (La Peinture et ses lois)",
"multiplicity",
"war",
"Golden triangle",
"Jacques Lipchitz",
"La Femme au Cheval",
"Paris",
"Le goûter (Tea Time)",
"Juan Gris"
] |
|
16850_NT | The Blue Bird (Metzinger) | Focus on this artwork and explore the Underlying geometric armature. | Though the primary role of Metzinger's syntax was played by the relations of its intricate parts within the whole, there was another key factor that emerged: the mobile underlying geometric armature organized as a dynamic composition of superimposed planes. Metzinger, Juan Gris and to some extent Jacques Lipchitz, would develop this concept further during the war; something Gleizes would notice when he returned to Paris from New York, and develop further still in Painting and its Laws (La Peinture et ses lois), written in 1922 and published in 1923. In that text Gleizes would attribute to this underlying armature 'objective notions of translation and rotation', words in which 'movement is implicit'.In this sense Metzinger's L'Oiseau bleu was a precursor in its genre, more so perhaps than his Le goûter (Tea Time) of 1911, La Femme au Cheval, 1911–12, or Dancer in a café (Danseuse) of 1912.Now, the emergence of the 'total image' arises out of a multiplicity of relatively simple interacting planes or surfaces, loosely based on the Golden triangle and Fibonacci spiral. Whereas before, each disconnected element would unite forming complex relationships as a collective, now (and progressively), the collective components would be organized into an abstract mathematical concept that is much more general; giving rise to a global topology. This underlying geometric armature would facilitate the union of a set (or sets) of complex structures on a given orientable surface. | [
"syntax",
"Dancer in a café",
"Fibonacci spiral",
"Painting and its Laws (La Peinture et ses lois)",
"multiplicity",
"war",
"Golden triangle",
"Jacques Lipchitz",
"La Femme au Cheval",
"Paris",
"Le goûter (Tea Time)",
"Juan Gris"
] |
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