ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
list |
|---|---|---|---|---|---|
16851_T | The Blue Bird (Metzinger) | Focus on The Blue Bird (Metzinger) and explain the Symbolism and interpretations. | In The Introduction to Metaphysics (1903) Henri Bergson described in his theory of images how uniting a collection of disparate images acts on the consciousness and intuition, creating an alogical disposition. The Symbolist poet Tancrède de Visan, who prior to 1904 and some time leading up to 1911 attended the lectures of Bergson at the College de France, met regularly with the Cubists at the poet Paul Fort's soirees at the fashionable La Closerie des Lilas. He related Bergson's notion of 'accumulated successive images' to the writings of Maurice Maeterlinck circa 1907, and in 1910 advocated the technique in Vers et Prose.In Note su la peinture of the same year Metzinger argues that Delaunay's Tour Eiffel combines several different views captured throughout the day in one image. 'Intuitive, Delaunay has defined intuition as the brusque deflagration of all the reasonings accumulated each day'. The following year, in Cubisme et Tradition (1911) Metzinger writes of the immobility of paintings of the past, and that now, artists permit themselves the liberty of 'moving around the object to give, under the control of intelligence, a concrete representation derived from several successive aspects.' He continues, 'The painting possesses space, and now it also reigns in the duration' ["voilà qu'il règne aussi dans la durée"]., With motion and time, intuition and consciousness, Metzinger could now claim his art had moved closer to nature, closer to a true, yet subjective, reality.
Parallel to the theories of Bergson, embraced by Metzinger, Gleizes and other members of the Section d'Or, Maeterlinck's ideas became of interest. Bolstered by mathematics, Reimannian geometry, and new discoveries in science that revealed existence of unseen realms (such as X-rays), and attracted to the concept of extra dimension (in addition the three spatial dimensions: the fourth dimension), Metzinger likely responded positively to Maeterlinck's popular stage play The Blue Bird (written in 1908), finding in it, perhaps, the analogy to the Cubist quest for higher realities.
Maeterlinck’s play, The Blue Bird, premiered in Moscow in 1908, New York 1910, and on 2 March 1911 the play premiered in Paris at the Théâtre Réjane (owned and run by the French actress Réjane from 1906 to 1918). The play subsequently was adapted to several films titled The Blue Bird. The French composer Albert Wolff wrote an opera (first performed at the N.Y. Metropolitan, 27 December 1919, in the presence of Maeterlinck) based on Maeterlinck's original 1908 play. Due to the early popularity of the play and Metzinger's various interests in science and Symbolism, and as his 1913 painting bears the same name as the play, it is relatively safe to assume that Metzinger was familiar with the work of Maeterlinck.
Edward Fry commented in Cubism that Metzinger's L’Oiseau bleu has "no significant connection with Maeterlinck’s 1910 play of the same name" may not be entirely justified. Aside from the presence of the blue bird (The Blue Bird of Happiness in Maeterlinck's play) there is no iconographic evidence relating to the painting to the play, but at the very least a connection between Maeterlinck and Symbolism, with Bergson and Cubism, has been established through Tancrede de Visan.
"The Cubists also found support in Maeterlinck for their ideas regarding successive images and simultaneity. Contemporary critics like Visan recognized the parallel between Bergson and Maeterlinck, claiming that Maeterlinck had anticipated Bergson’s technique of successive images in Serres chaudes. While Bergson argued that the artist must induce an alogical state in the beholder by juxtaposing images as disparate as possible to enable the spectator to reconstruct his or her original intuition, Maeterlinck took the same approach in Serres chaudes, according to Visan. Furthermore, Maeterlinck used words and gestures in unusual ways and placed them in strange contexts with the same aim in mind. Maeterlinck’s highly popular L’Oiseau bleu and other writings, including Le temple enseveli, espoused a continuity of time previously suggested by Bergson. In addition, the faceted diamond of L’Oiseau bleu not only gave the children "true sight" that closely mimicked the X-ray, but also allowed them to perceive distant times and places. Clearly responding the play, Metzinger, in his painting of the same name, breaks the objects into facets and reveals a simultaneous view of places separated by great distance. Just as Poincaré advocated that a combination of multiple perspectives could represent a higher-dimensional object, Metzinger must have seen a parallel with Maeterlinck’s diamond—a faceted object that revealed higher reality". (Laura Kathleen Valeri, 2011)
LIGHT: "We are in the Kingdom of the Future," said Light, a character in Meaterlinck's play, "in the midst of the children who are not yet born. As the diamond allows us to see clearly in this region which is hidden from men, we shall perhaps find the Blue Bird here..."THE FAIRY: (Pointing to the diamond) "When you hold it like this, do you see?… One little turn more and you behold the past…. Another little turn and you behold the future…"LIGHT: "We are in the Kingdom of the Future, in the midst of the children who are not yet born. As the diamond allows us to see clearly in this region which is hidden from men, we shall very probably find the Blue Bird here..."The enchanted diamond in The Blue Bird, when turned, has the virtue of setting free the spirits temporarily, a diamond " which opens your eyes" and "makes people see", even "the inside of things".The same year that he painted L’Oiseau bleu Metzinger wrote: 'We will not consider the forms as signs of an idea, but as living portions of the universe.' (1913)Guillaume Apollinaire, in a poem written in 1907 entitled La Tzigane, writes of a blue bird: "Et l'oiseau bleu perdit ses plumes Et les mendiants leurs Avé". He does so again in 1908 in another poem, entitled Fiançailles: "Le printemps laisse errer les fiancés parjures, Et laisse feuilloler longtemps les plumes bleues, Que secoue le cyprès où niche l'oiseau bleu". And yet again, this time in 1918, in Un oiseau chante: Moi seul l'oiseau bleu s'égosille, Oiseau bleu comme le coeur bleu, De mon amour au coeur céleste".The Blue Bird is also 1910 silent film, based on the play by Maurice Maeterlinck and starring Pauline Gilmer as Mytyl and Olive Walter as Tytyl. It was filmed in England. The original Broadway production of The Blue Bird or L'Oiseau Bleu by Maurice Maeterlinck opened at the New Theatre in New York (followed by the Majestic Theater) on October 1, 1910, and closed on January 21, 1911. Revivals were produced in 1911 and 1924. | [
"fashion",
"Prose",
"Guillaume Apollinaire",
"Paul Fort",
"multiple perspective",
"Albert Wolff",
"Réjane",
"war",
"Cubism",
"Tancrède de Visan",
"blue bird",
"Symbolist",
"Henri Bergson",
"Paris",
"Section d'Or",
"fourth dimension",
"The Blue Bird",
"Maurice Maeterlinck",
"La Closerie des Lilas"
]
|
|
16851_NT | The Blue Bird (Metzinger) | Focus on this artwork and explain the Symbolism and interpretations. | In The Introduction to Metaphysics (1903) Henri Bergson described in his theory of images how uniting a collection of disparate images acts on the consciousness and intuition, creating an alogical disposition. The Symbolist poet Tancrède de Visan, who prior to 1904 and some time leading up to 1911 attended the lectures of Bergson at the College de France, met regularly with the Cubists at the poet Paul Fort's soirees at the fashionable La Closerie des Lilas. He related Bergson's notion of 'accumulated successive images' to the writings of Maurice Maeterlinck circa 1907, and in 1910 advocated the technique in Vers et Prose.In Note su la peinture of the same year Metzinger argues that Delaunay's Tour Eiffel combines several different views captured throughout the day in one image. 'Intuitive, Delaunay has defined intuition as the brusque deflagration of all the reasonings accumulated each day'. The following year, in Cubisme et Tradition (1911) Metzinger writes of the immobility of paintings of the past, and that now, artists permit themselves the liberty of 'moving around the object to give, under the control of intelligence, a concrete representation derived from several successive aspects.' He continues, 'The painting possesses space, and now it also reigns in the duration' ["voilà qu'il règne aussi dans la durée"]., With motion and time, intuition and consciousness, Metzinger could now claim his art had moved closer to nature, closer to a true, yet subjective, reality.
Parallel to the theories of Bergson, embraced by Metzinger, Gleizes and other members of the Section d'Or, Maeterlinck's ideas became of interest. Bolstered by mathematics, Reimannian geometry, and new discoveries in science that revealed existence of unseen realms (such as X-rays), and attracted to the concept of extra dimension (in addition the three spatial dimensions: the fourth dimension), Metzinger likely responded positively to Maeterlinck's popular stage play The Blue Bird (written in 1908), finding in it, perhaps, the analogy to the Cubist quest for higher realities.
Maeterlinck’s play, The Blue Bird, premiered in Moscow in 1908, New York 1910, and on 2 March 1911 the play premiered in Paris at the Théâtre Réjane (owned and run by the French actress Réjane from 1906 to 1918). The play subsequently was adapted to several films titled The Blue Bird. The French composer Albert Wolff wrote an opera (first performed at the N.Y. Metropolitan, 27 December 1919, in the presence of Maeterlinck) based on Maeterlinck's original 1908 play. Due to the early popularity of the play and Metzinger's various interests in science and Symbolism, and as his 1913 painting bears the same name as the play, it is relatively safe to assume that Metzinger was familiar with the work of Maeterlinck.
Edward Fry commented in Cubism that Metzinger's L’Oiseau bleu has "no significant connection with Maeterlinck’s 1910 play of the same name" may not be entirely justified. Aside from the presence of the blue bird (The Blue Bird of Happiness in Maeterlinck's play) there is no iconographic evidence relating to the painting to the play, but at the very least a connection between Maeterlinck and Symbolism, with Bergson and Cubism, has been established through Tancrede de Visan.
"The Cubists also found support in Maeterlinck for their ideas regarding successive images and simultaneity. Contemporary critics like Visan recognized the parallel between Bergson and Maeterlinck, claiming that Maeterlinck had anticipated Bergson’s technique of successive images in Serres chaudes. While Bergson argued that the artist must induce an alogical state in the beholder by juxtaposing images as disparate as possible to enable the spectator to reconstruct his or her original intuition, Maeterlinck took the same approach in Serres chaudes, according to Visan. Furthermore, Maeterlinck used words and gestures in unusual ways and placed them in strange contexts with the same aim in mind. Maeterlinck’s highly popular L’Oiseau bleu and other writings, including Le temple enseveli, espoused a continuity of time previously suggested by Bergson. In addition, the faceted diamond of L’Oiseau bleu not only gave the children "true sight" that closely mimicked the X-ray, but also allowed them to perceive distant times and places. Clearly responding the play, Metzinger, in his painting of the same name, breaks the objects into facets and reveals a simultaneous view of places separated by great distance. Just as Poincaré advocated that a combination of multiple perspectives could represent a higher-dimensional object, Metzinger must have seen a parallel with Maeterlinck’s diamond—a faceted object that revealed higher reality". (Laura Kathleen Valeri, 2011)
LIGHT: "We are in the Kingdom of the Future," said Light, a character in Meaterlinck's play, "in the midst of the children who are not yet born. As the diamond allows us to see clearly in this region which is hidden from men, we shall perhaps find the Blue Bird here..."THE FAIRY: (Pointing to the diamond) "When you hold it like this, do you see?… One little turn more and you behold the past…. Another little turn and you behold the future…"LIGHT: "We are in the Kingdom of the Future, in the midst of the children who are not yet born. As the diamond allows us to see clearly in this region which is hidden from men, we shall very probably find the Blue Bird here..."The enchanted diamond in The Blue Bird, when turned, has the virtue of setting free the spirits temporarily, a diamond " which opens your eyes" and "makes people see", even "the inside of things".The same year that he painted L’Oiseau bleu Metzinger wrote: 'We will not consider the forms as signs of an idea, but as living portions of the universe.' (1913)Guillaume Apollinaire, in a poem written in 1907 entitled La Tzigane, writes of a blue bird: "Et l'oiseau bleu perdit ses plumes Et les mendiants leurs Avé". He does so again in 1908 in another poem, entitled Fiançailles: "Le printemps laisse errer les fiancés parjures, Et laisse feuilloler longtemps les plumes bleues, Que secoue le cyprès où niche l'oiseau bleu". And yet again, this time in 1918, in Un oiseau chante: Moi seul l'oiseau bleu s'égosille, Oiseau bleu comme le coeur bleu, De mon amour au coeur céleste".The Blue Bird is also 1910 silent film, based on the play by Maurice Maeterlinck and starring Pauline Gilmer as Mytyl and Olive Walter as Tytyl. It was filmed in England. The original Broadway production of The Blue Bird or L'Oiseau Bleu by Maurice Maeterlinck opened at the New Theatre in New York (followed by the Majestic Theater) on October 1, 1910, and closed on January 21, 1911. Revivals were produced in 1911 and 1924. | [
"fashion",
"Prose",
"Guillaume Apollinaire",
"Paul Fort",
"multiple perspective",
"Albert Wolff",
"Réjane",
"war",
"Cubism",
"Tancrède de Visan",
"blue bird",
"Symbolist",
"Henri Bergson",
"Paris",
"Section d'Or",
"fourth dimension",
"The Blue Bird",
"Maurice Maeterlinck",
"La Closerie des Lilas"
]
|
|
16852_T | The Blue Bird (Metzinger) | Explore the L'Oiseau bleu (Tchaikovsky and Stravinsky) of this artwork, The Blue Bird (Metzinger). | L'Oiseau bleu et la Princesse Florine appear in a Pas de deux, Act III of The Sleeping Beauty, a ballet in three acts first performed in 1890. The music was by Pyotr Tchaikovsky (his Opus 66). The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault's La Belle au bois dormant. Marius Petipa choreographed the original production. The premiere performance took place at the Mariinsky Theatre in St. Petersburg in 1890.
Russian composer Igor Stravinsky, working for Sergei Diaghilev and the Ballets Russes, achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (L'Oiseau de feu) (1910), Petrushka (1911) and The Rite of Spring (1913). The rhythmic structure of these compositions were largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design.
Stravinsky's admiration for Tchaikovsky is well documented. Stravinsky's music has often been compared with Cubism. His path often crossed with the Cubists, notably Picasso and Gleizes, and through Ricciotto Canudo contributed to and became closely associated with the pro-Cubist publication Montjoie., Gleizes published an article in Canudo's Montjoie entitled Cubisme et la tradition, 10 February 1913. It was through the intermediary of Ricciotto Canudo that Gleizes would meet the artist Juliette Roche (soon to become Juliette Roche-Gleizes); a childhood friend of Jean Cocteau. Stravinsky would later collaborate with both Picasso (Pulcinella, 1920), and Cocteau (Oedipus Rex, 1927).
Albert Gleizes painted the Portrait of Igor Stravinsky in 1914.The connection between Tchaikovsky's L'Oiseau Bleu and Metzinger's L'Oiseau Bleu is not entirely far fetched in light of the close association between Stravinsky and both circles: that of the Russian Ballets and that of the Cubists. At the opening night of the Ballets Russes in Paris, May 1909, Vaslav Nijinsky's performed with Tamara Karsavina in the Bluebird pas de deux. | [
"La Belle au bois dormant",
"The Firebird",
"ballet",
"Pas de deux",
"Albert Gleizes",
"The Sleeping Beauty",
"Mariinsky Theatre",
"Cubism",
"Sleeping Beauty",
"Juliette Roche",
"Ballets Russes",
"Russian Ballets",
"Tamara Karsavina",
"Petrushka",
"Ballet",
"Marius Petipa",
"Pyotr Tchaikovsky",
"Igor Stravinsky",
"Paris",
"Jean Cocteau",
"Ricciotto Canudo",
"Opus",
"Ivan Vsevolozhsky",
"The Rite of Spring",
"Vaslav Nijinsky",
"St. Petersburg",
"Sergei Diaghilev",
"Charles Perrault"
]
|
|
16852_NT | The Blue Bird (Metzinger) | Explore the L'Oiseau bleu (Tchaikovsky and Stravinsky) of this artwork. | L'Oiseau bleu et la Princesse Florine appear in a Pas de deux, Act III of The Sleeping Beauty, a ballet in three acts first performed in 1890. The music was by Pyotr Tchaikovsky (his Opus 66). The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault's La Belle au bois dormant. Marius Petipa choreographed the original production. The premiere performance took place at the Mariinsky Theatre in St. Petersburg in 1890.
Russian composer Igor Stravinsky, working for Sergei Diaghilev and the Ballets Russes, achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (L'Oiseau de feu) (1910), Petrushka (1911) and The Rite of Spring (1913). The rhythmic structure of these compositions were largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design.
Stravinsky's admiration for Tchaikovsky is well documented. Stravinsky's music has often been compared with Cubism. His path often crossed with the Cubists, notably Picasso and Gleizes, and through Ricciotto Canudo contributed to and became closely associated with the pro-Cubist publication Montjoie., Gleizes published an article in Canudo's Montjoie entitled Cubisme et la tradition, 10 February 1913. It was through the intermediary of Ricciotto Canudo that Gleizes would meet the artist Juliette Roche (soon to become Juliette Roche-Gleizes); a childhood friend of Jean Cocteau. Stravinsky would later collaborate with both Picasso (Pulcinella, 1920), and Cocteau (Oedipus Rex, 1927).
Albert Gleizes painted the Portrait of Igor Stravinsky in 1914.The connection between Tchaikovsky's L'Oiseau Bleu and Metzinger's L'Oiseau Bleu is not entirely far fetched in light of the close association between Stravinsky and both circles: that of the Russian Ballets and that of the Cubists. At the opening night of the Ballets Russes in Paris, May 1909, Vaslav Nijinsky's performed with Tamara Karsavina in the Bluebird pas de deux. | [
"La Belle au bois dormant",
"The Firebird",
"ballet",
"Pas de deux",
"Albert Gleizes",
"The Sleeping Beauty",
"Mariinsky Theatre",
"Cubism",
"Sleeping Beauty",
"Juliette Roche",
"Ballets Russes",
"Russian Ballets",
"Tamara Karsavina",
"Petrushka",
"Ballet",
"Marius Petipa",
"Pyotr Tchaikovsky",
"Igor Stravinsky",
"Paris",
"Jean Cocteau",
"Ricciotto Canudo",
"Opus",
"Ivan Vsevolozhsky",
"The Rite of Spring",
"Vaslav Nijinsky",
"St. Petersburg",
"Sergei Diaghilev",
"Charles Perrault"
]
|
|
16853_T | The Blue Bird (Metzinger) | Focus on The Blue Bird (Metzinger) and discuss the L'Oiseau bleu (Madame d'Aulnoy). | The title L'Oiseau bleu (The Blue Bird) can be traced back to a French literary fairy tale by Madame d'Aulnoy (1650/1651 – 4 January 1705), published in 1697. When d'Aulnoy termed her works contes de fées (fairy tales), she originated the term that is now generally used for the genre. Prince Charming, in the story, is transformed by the fairy godmother into a blue bird. Aside from the subject of the title of Madame d'Aulnoy's story, there is further iconographic evidence in Metzinger's painting that suggests a link between the two. The first relates to the woman gazing into a mirror on the left side of Metzinger's painting.
In the Madame d'Aulnoy 1697 story it is written:'The entire valley was a mirror. Around the valley there were more than sixty thousand women who gazed at themselves with extreme pleasure... Each saw herself as she wanted to be: the redhead seemed blonde, the brunette had black hair, the old thought she was young, the young didn't become old; finally, all defects were so well hidden that the people came from all over the world'.
With reference to the fruit visible in Metzinger's work, a link could be established as articulated in d'Aulnoy's tale: 'As soon as the day broke, the [blue] bird flew deep into the tree where fruits served as food.'And with reference to the necklace worn by Metzinger's reclining figure, a comparison could be made with d'Aulnoy's story:'No day passed without [the Blue Bird – King Charming] bringing a present [présent] to Florine: sometimes a perl necklace, or the brightest and well-made rings, fastened with diamonds, an official marking [des poinçons], with bouquets of precious cut gems, that mimic the colors of flowers, pleasant books, medals, finally, she had a collection of wonderful treasures'. | [
"L'Oiseau bleu (The Blue Bird)",
"Madame d'Aulnoy",
"right",
"blue bird",
"The Blue Bird",
"left"
]
|
|
16853_NT | The Blue Bird (Metzinger) | Focus on this artwork and discuss the L'Oiseau bleu (Madame d'Aulnoy). | The title L'Oiseau bleu (The Blue Bird) can be traced back to a French literary fairy tale by Madame d'Aulnoy (1650/1651 – 4 January 1705), published in 1697. When d'Aulnoy termed her works contes de fées (fairy tales), she originated the term that is now generally used for the genre. Prince Charming, in the story, is transformed by the fairy godmother into a blue bird. Aside from the subject of the title of Madame d'Aulnoy's story, there is further iconographic evidence in Metzinger's painting that suggests a link between the two. The first relates to the woman gazing into a mirror on the left side of Metzinger's painting.
In the Madame d'Aulnoy 1697 story it is written:'The entire valley was a mirror. Around the valley there were more than sixty thousand women who gazed at themselves with extreme pleasure... Each saw herself as she wanted to be: the redhead seemed blonde, the brunette had black hair, the old thought she was young, the young didn't become old; finally, all defects were so well hidden that the people came from all over the world'.
With reference to the fruit visible in Metzinger's work, a link could be established as articulated in d'Aulnoy's tale: 'As soon as the day broke, the [blue] bird flew deep into the tree where fruits served as food.'And with reference to the necklace worn by Metzinger's reclining figure, a comparison could be made with d'Aulnoy's story:'No day passed without [the Blue Bird – King Charming] bringing a present [présent] to Florine: sometimes a perl necklace, or the brightest and well-made rings, fastened with diamonds, an official marking [des poinçons], with bouquets of precious cut gems, that mimic the colors of flowers, pleasant books, medals, finally, she had a collection of wonderful treasures'. | [
"L'Oiseau bleu (The Blue Bird)",
"Madame d'Aulnoy",
"right",
"blue bird",
"The Blue Bird",
"left"
]
|
|
16854_T | The Blue Bird (Metzinger) | How does The Blue Bird (Metzinger) elucidate its Diversity and inspiration? | It is difficult to ascertain to what extent Metzinger was influenced, moved, provoked or inspired by the works of Maeterlinck, Tchaikovsky, Stravinsky or d'Aulnoy. What does emerge is the closer iconographic detail visible in Metzinger's painting with the original version of L'Oiseau bleu (the first version, that also happens to be French, of 1697) by Madame d'Aulnoy. In fact, it is the only version of L'Oiseau bleu that appears to be mirrored iconographically in Metzinger's painting.
The fact that the difficulty even exists attests to the diversity of Metzinger's interest in widely disparate subjects, widely faceted interests and sensitivities, ranging from women to fashion, from literature to science, in passing through mathematics, geometry, physics, metaphysics, philosophy, nature, classical music, opera, dance, theater, cafés, travel and poetry. He was open to all the idioms that he considered genuinely popular.
'The art that does not pass leans on mathematics' Metzinger wrote, 'Whether the result of patient study or of flashing intuition, it alone is capable of reducing our diverse, pathetic sensations to the strict unity of a mass (Bach), a fresco (Michelangelo), a bust (antiquity).""Jean Metzinger, then" wrote art historian Daniel Robbins, "was at the center of Cubism, not only because of his role as intermediary among the orthodox Montmartre group and right bank or Passy Cubists, not only because of his great identification with the movement when it was recognized, but above all because of his artistic personality. His concerns were balanced; he was deliberately at the intersection of high intellectuality and the passing spectacle." | [
"Daniel Robbins",
"fashion",
"Madame d'Aulnoy",
"literature",
"right",
"Cubism",
"Jean Metzinger",
"Montmartre"
]
|
|
16854_NT | The Blue Bird (Metzinger) | How does this artwork elucidate its Diversity and inspiration? | It is difficult to ascertain to what extent Metzinger was influenced, moved, provoked or inspired by the works of Maeterlinck, Tchaikovsky, Stravinsky or d'Aulnoy. What does emerge is the closer iconographic detail visible in Metzinger's painting with the original version of L'Oiseau bleu (the first version, that also happens to be French, of 1697) by Madame d'Aulnoy. In fact, it is the only version of L'Oiseau bleu that appears to be mirrored iconographically in Metzinger's painting.
The fact that the difficulty even exists attests to the diversity of Metzinger's interest in widely disparate subjects, widely faceted interests and sensitivities, ranging from women to fashion, from literature to science, in passing through mathematics, geometry, physics, metaphysics, philosophy, nature, classical music, opera, dance, theater, cafés, travel and poetry. He was open to all the idioms that he considered genuinely popular.
'The art that does not pass leans on mathematics' Metzinger wrote, 'Whether the result of patient study or of flashing intuition, it alone is capable of reducing our diverse, pathetic sensations to the strict unity of a mass (Bach), a fresco (Michelangelo), a bust (antiquity).""Jean Metzinger, then" wrote art historian Daniel Robbins, "was at the center of Cubism, not only because of his role as intermediary among the orthodox Montmartre group and right bank or Passy Cubists, not only because of his great identification with the movement when it was recognized, but above all because of his artistic personality. His concerns were balanced; he was deliberately at the intersection of high intellectuality and the passing spectacle." | [
"Daniel Robbins",
"fashion",
"Madame d'Aulnoy",
"literature",
"right",
"Cubism",
"Jean Metzinger",
"Montmartre"
]
|
|
16855_T | The Blue Bird (Metzinger) | Describe the characteristics of the Salon des Indépendants, 1913 in The Blue Bird (Metzinger)'s Selected exhibitions. | The Salon des Indépendants was held 19 March through 18 May, the Cubist works were shown in room 46. Metzinger exhibited three works: Paysage, Nature Morte, and his large L'Oiseau bleu, number 2087 of the catalogue — Albert Gleizes exhibited three works: Paysage, Le port marchand, 1912, Art Gallery of Ontario, and Les Joueurs de football (Football Players) 1912–13, National Gallery of Art, Washington D.C. m. 1293 of the catalogue — Robert Delaunay, L'équipe du Cardiff F.C., 1912–13, Van Abbemuseum, Eindhoven, n. 787 of the catalogue — Fernand Léger, Le modèle nu dans l'atelier (Nude Model In The Studio) 1912–13, Solomon R. Guggenheim Museum, New York — Juan Gris, L'Homme dans le Café (Man in Café) 1912, Philadelphia Museum of Art.In room 45 hung the works of Robert Delaunay, Sonia Delaunay, František Kupka, Morgan Russell and Macdonald-Wright. This was the first exhibition where Orphism and Synchromism were emphatically present. Apollinaire in L'Intransigeant mentioned la Salle hollandaise (room 43), which included Jacoba van Heemskerck, Piet Mondrian, Otto van Rees, Jan Sluyters en Leo Gestel and Lodewijk Schelfhout. | [
"Orphism",
"Leo Gestel",
"Albert Gleizes",
"Jan Sluyters",
"Les Joueurs de football (Football Players)",
"Football Players",
"right",
"Sonia Delaunay",
"Morgan Russell",
"Piet Mondrian",
"Robert Delaunay",
"Les Joueurs de football",
"Macdonald-Wright",
"Synchromism",
"František Kupka",
"Juan Gris",
"Fernand Léger",
"Salon des Indépendants"
]
|
|
16855_NT | The Blue Bird (Metzinger) | Describe the characteristics of the Salon des Indépendants, 1913 in this artwork's Selected exhibitions. | The Salon des Indépendants was held 19 March through 18 May, the Cubist works were shown in room 46. Metzinger exhibited three works: Paysage, Nature Morte, and his large L'Oiseau bleu, number 2087 of the catalogue — Albert Gleizes exhibited three works: Paysage, Le port marchand, 1912, Art Gallery of Ontario, and Les Joueurs de football (Football Players) 1912–13, National Gallery of Art, Washington D.C. m. 1293 of the catalogue — Robert Delaunay, L'équipe du Cardiff F.C., 1912–13, Van Abbemuseum, Eindhoven, n. 787 of the catalogue — Fernand Léger, Le modèle nu dans l'atelier (Nude Model In The Studio) 1912–13, Solomon R. Guggenheim Museum, New York — Juan Gris, L'Homme dans le Café (Man in Café) 1912, Philadelphia Museum of Art.In room 45 hung the works of Robert Delaunay, Sonia Delaunay, František Kupka, Morgan Russell and Macdonald-Wright. This was the first exhibition where Orphism and Synchromism were emphatically present. Apollinaire in L'Intransigeant mentioned la Salle hollandaise (room 43), which included Jacoba van Heemskerck, Piet Mondrian, Otto van Rees, Jan Sluyters en Leo Gestel and Lodewijk Schelfhout. | [
"Orphism",
"Leo Gestel",
"Albert Gleizes",
"Jan Sluyters",
"Les Joueurs de football (Football Players)",
"Football Players",
"right",
"Sonia Delaunay",
"Morgan Russell",
"Piet Mondrian",
"Robert Delaunay",
"Les Joueurs de football",
"Macdonald-Wright",
"Synchromism",
"František Kupka",
"Juan Gris",
"Fernand Léger",
"Salon des Indépendants"
]
|
|
16856_T | The Blue Bird (Metzinger) | In the context of The Blue Bird (Metzinger), explore the Erster Deutscher Herbstsalon, Berlin, 1913 of the Selected exhibitions. |
20 September — 1 November 1913: Metzinger exhibited L'Oiseau bleu (Der Blaue Vogel), catalogue number 287, at Erster Deutscher Herbstsalon in Berlin, an exhibition organized by Herwarth Walden (Galerie Der Sturm). Artists include Henri Rousseau, the Delaunays, Gleizes, Léger, Marcoussis, Archipenko, Picabia, Kandinsky, Severini, Chagal, Klee, Jawlensky, Russolo, Mondrian and others.Following the Salon d'Automne of 1913 in Paris this show took place at Potsdamer Strasse 75, Berlin. 75 artists from 12 countries exhibited 366 works. This exhibition was supported financially by the manufacturer and art collector Bernhardt Köhler.Apollinaire described the Herbst salon of 1913 as the first Orphist Salon. There were many works by Robert and Sonia Delaunay, in addition to abstract works by Picabia and Cubist works by Metzinger, Gleizes, Léger and a large number of Futurist paintings. This exhibition was a turning-point in Apollinaire's artistic strategy for Orphism. After becoming entangled through some remarks in an argument between Delaunay and Umberto Boccioni about the ambiguousness of the term ‘simultaneity’ he did not use the term Orphism again in his art related articles. The artists labeled Orphists also brushed off the term and developed stylistic trends of their own. | [
"Orphism",
"Der Sturm",
"Orphist",
"Sonia Delaunay",
"war",
"Erster Deutscher Herbstsalon",
"Umberto Boccioni",
"Henri Rousseau",
"Paris",
"Futurist",
"Bernhardt Köhler",
"Herwarth Walden"
]
|
|
16856_NT | The Blue Bird (Metzinger) | In the context of this artwork, explore the Erster Deutscher Herbstsalon, Berlin, 1913 of the Selected exhibitions. |
20 September — 1 November 1913: Metzinger exhibited L'Oiseau bleu (Der Blaue Vogel), catalogue number 287, at Erster Deutscher Herbstsalon in Berlin, an exhibition organized by Herwarth Walden (Galerie Der Sturm). Artists include Henri Rousseau, the Delaunays, Gleizes, Léger, Marcoussis, Archipenko, Picabia, Kandinsky, Severini, Chagal, Klee, Jawlensky, Russolo, Mondrian and others.Following the Salon d'Automne of 1913 in Paris this show took place at Potsdamer Strasse 75, Berlin. 75 artists from 12 countries exhibited 366 works. This exhibition was supported financially by the manufacturer and art collector Bernhardt Köhler.Apollinaire described the Herbst salon of 1913 as the first Orphist Salon. There were many works by Robert and Sonia Delaunay, in addition to abstract works by Picabia and Cubist works by Metzinger, Gleizes, Léger and a large number of Futurist paintings. This exhibition was a turning-point in Apollinaire's artistic strategy for Orphism. After becoming entangled through some remarks in an argument between Delaunay and Umberto Boccioni about the ambiguousness of the term ‘simultaneity’ he did not use the term Orphism again in his art related articles. The artists labeled Orphists also brushed off the term and developed stylistic trends of their own. | [
"Orphism",
"Der Sturm",
"Orphist",
"Sonia Delaunay",
"war",
"Erster Deutscher Herbstsalon",
"Umberto Boccioni",
"Henri Rousseau",
"Paris",
"Futurist",
"Bernhardt Köhler",
"Herwarth Walden"
]
|
|
16857_T | The Blue Bird (Metzinger) | In the context of The Blue Bird (Metzinger), explain the Paris International Exposition, 1937 of the Selected exhibitions. | The Exposition Internationale des Arts et Techniques dans la Vie Moderne, dedicated to Art and Technology in Modern Life, was held from May 25 to November 25, 1937, in Paris. L'Oiseau Bleu (n. 11) was exhibited in a show entitled Les Maitres de I'Art Indépendant 1895-1937, held at the Petit Palais, in Paris. L'Oiseau Bleu was purchased by la Ville de Paris (the City of Paris) the same year. The Musée d'Art Moderne de la Ville de Paris, within the Palais de Tokyo, which would soon house L'Oiseau Bleu, was designed for the International Art and Technical Exhibition of 1937. This exhibition provided the opportunity for some remarkable acquisitions including: The Dance (La Danse) by Henri Matisse, Nude in the bath and The Garden by Pierre Bonnard, The Cardiff Team (L'équipe de Cardiff ) by Robert Delaunay, The River by André Derain, Discs (Les Disques) by Fernand Léger, The Stopover (l'Escale) by André Lhote, L'Oiseau Bleu (The Blue Bird) by Jean Metzinger, Les Baigneuses (The Bathers) by Albert Gleizes, four Artists’ Portraits by Édouard Vuillard, which still number among the museum's masterpieces, not forgetting the large murals by Robert and Sonia Delaunay, Albert Gleizes and Jacques Villon, acquired during the exhibition (donated by the Salon des Réalités Nouvelles in 1939).For this same massive exhibition Metzinger was commissioned to paint a large mural, Mystique of Travel, which he executed for the Salle de Cinema in the railway pavilion. | [
"Jacques Villon",
"Petit Palais",
"Édouard Vuillard",
"Albert Gleizes",
"Pierre Bonnard",
"Palais de Tokyo",
"Salon des Réalités Nouvelles",
"Sonia Delaunay",
"André Derain",
"Robert Delaunay",
"Musée d'Art Moderne de la Ville de Paris",
"Henri Matisse",
"Paris",
"Jean Metzinger",
"Fernand Léger",
"The Blue Bird",
"André Lhote",
"Exposition Internationale des Arts et Techniques dans la Vie Moderne",
"Les Baigneuses (The Bathers)"
]
|
|
16857_NT | The Blue Bird (Metzinger) | In the context of this artwork, explain the Paris International Exposition, 1937 of the Selected exhibitions. | The Exposition Internationale des Arts et Techniques dans la Vie Moderne, dedicated to Art and Technology in Modern Life, was held from May 25 to November 25, 1937, in Paris. L'Oiseau Bleu (n. 11) was exhibited in a show entitled Les Maitres de I'Art Indépendant 1895-1937, held at the Petit Palais, in Paris. L'Oiseau Bleu was purchased by la Ville de Paris (the City of Paris) the same year. The Musée d'Art Moderne de la Ville de Paris, within the Palais de Tokyo, which would soon house L'Oiseau Bleu, was designed for the International Art and Technical Exhibition of 1937. This exhibition provided the opportunity for some remarkable acquisitions including: The Dance (La Danse) by Henri Matisse, Nude in the bath and The Garden by Pierre Bonnard, The Cardiff Team (L'équipe de Cardiff ) by Robert Delaunay, The River by André Derain, Discs (Les Disques) by Fernand Léger, The Stopover (l'Escale) by André Lhote, L'Oiseau Bleu (The Blue Bird) by Jean Metzinger, Les Baigneuses (The Bathers) by Albert Gleizes, four Artists’ Portraits by Édouard Vuillard, which still number among the museum's masterpieces, not forgetting the large murals by Robert and Sonia Delaunay, Albert Gleizes and Jacques Villon, acquired during the exhibition (donated by the Salon des Réalités Nouvelles in 1939).For this same massive exhibition Metzinger was commissioned to paint a large mural, Mystique of Travel, which he executed for the Salle de Cinema in the railway pavilion. | [
"Jacques Villon",
"Petit Palais",
"Édouard Vuillard",
"Albert Gleizes",
"Pierre Bonnard",
"Palais de Tokyo",
"Salon des Réalités Nouvelles",
"Sonia Delaunay",
"André Derain",
"Robert Delaunay",
"Musée d'Art Moderne de la Ville de Paris",
"Henri Matisse",
"Paris",
"Jean Metzinger",
"Fernand Léger",
"The Blue Bird",
"André Lhote",
"Exposition Internationale des Arts et Techniques dans la Vie Moderne",
"Les Baigneuses (The Bathers)"
]
|
|
16858_T | The Blue Bird (Metzinger) | Explore the Paris 1937, l'art indépendant, 1987 about the Selected exhibitions of this artwork, The Blue Bird (Metzinger). | Paris 1937, l'art indépendant: MAM, Musée d'art moderne de la Ville de Paris. From 12 June to 30 August 1987 L'Oiseau bleu (n. 254) was exhibited at the Musée d'art moderne de la Ville de Paris in a show entitled Paris 1937, l'art indépendant, held for the occasion of the 50th anniversary of the Paris International Exposition of 1937. At the 1987 memorial exhibition, consisting of 122 artists exhibiting 354 works, there were displayed considerably less works than the 1,557 presented in 1937. | [
"Paris"
]
|
|
16858_NT | The Blue Bird (Metzinger) | Explore the Paris 1937, l'art indépendant, 1987 about the Selected exhibitions of this artwork. | Paris 1937, l'art indépendant: MAM, Musée d'art moderne de la Ville de Paris. From 12 June to 30 August 1987 L'Oiseau bleu (n. 254) was exhibited at the Musée d'art moderne de la Ville de Paris in a show entitled Paris 1937, l'art indépendant, held for the occasion of the 50th anniversary of the Paris International Exposition of 1937. At the 1987 memorial exhibition, consisting of 122 artists exhibiting 354 works, there were displayed considerably less works than the 1,557 presented in 1937. | [
"Paris"
]
|
|
16859_T | The Blue Bird (Metzinger) | In the context of The Blue Bird (Metzinger), discuss the Centre Pompidou, Kunstmuseum Basel of the Selected exhibitions. | Le cubisme, 17 October 2018 to 25 February 2019, Centre Pompidou, the first large-scale exhibition devoted to Cubism in France since 1973, with over 300 works on display. The 1973 exhibition, Les Cubistes, included over 180 works and was held at the Musée d'Art Moderne de la Ville de Paris and Galerie des Beaux-Arts, Bordeaux. The motivation for the Pompidou exhibition resides in broadening the scope of Cubism, usually focused on Georges Braque and Pablo Picasso, to include the major contributions of the Salon Cubists, the Section d'Or, and others who participated in the over-all movement. The exhibition is held at Kunstmuseum Basel, from March 31 to August 5, 2019. | [
"Georges Braque",
"Centre Pompidou",
"Cubism",
"Galerie des Beaux-Arts",
"Pablo Picasso",
"Musée d'Art Moderne de la Ville de Paris",
"Kunstmuseum Basel",
"Paris",
"Section d'Or"
]
|
|
16859_NT | The Blue Bird (Metzinger) | In the context of this artwork, discuss the Centre Pompidou, Kunstmuseum Basel of the Selected exhibitions. | Le cubisme, 17 October 2018 to 25 February 2019, Centre Pompidou, the first large-scale exhibition devoted to Cubism in France since 1973, with over 300 works on display. The 1973 exhibition, Les Cubistes, included over 180 works and was held at the Musée d'Art Moderne de la Ville de Paris and Galerie des Beaux-Arts, Bordeaux. The motivation for the Pompidou exhibition resides in broadening the scope of Cubism, usually focused on Georges Braque and Pablo Picasso, to include the major contributions of the Salon Cubists, the Section d'Or, and others who participated in the over-all movement. The exhibition is held at Kunstmuseum Basel, from March 31 to August 5, 2019. | [
"Georges Braque",
"Centre Pompidou",
"Cubism",
"Galerie des Beaux-Arts",
"Pablo Picasso",
"Musée d'Art Moderne de la Ville de Paris",
"Kunstmuseum Basel",
"Paris",
"Section d'Or"
]
|
|
16860_T | The Blue Bird (Metzinger) | How does The Blue Bird (Metzinger) elucidate its L'Oiseau Bleu postage stamp? | For the occasion of the 100th anniversary of the publication of the Cubist manifesto Du "Cubisme", 1912–2012, a French postage stamp was printed with the image of Metzinger's L'Oiseau bleu. A postage stamp representing Le Chant de guerre, portrait de Florent Schmitt (1915) by Albert Gleizes was also printed, in a series that includes stamps representing the works of other Cubists such as Roger de La Fresnaye, Georges Braque, Fernand Léger, Pablo Picasso and others. For the same occasion in 2012 the Musée national de la Poste (France) (the logo of which is a blue bird) mounted an exhibition entitled Gleizes-Metzinger. Du Cubisme et après dedicated to Jean Metzinger and Albert Gleizes, in which appeared the works of other members of the Section d'Or group. | [
"Georges Braque",
"Roger de La Fresnaye",
"Albert Gleizes",
"la Poste (France)",
"Cubism",
"blue bird",
"Pablo Picasso",
"Du \"Cubisme\"",
"Jean Metzinger",
"Section d'Or",
"Fernand Léger"
]
|
|
16860_NT | The Blue Bird (Metzinger) | How does this artwork elucidate its L'Oiseau Bleu postage stamp? | For the occasion of the 100th anniversary of the publication of the Cubist manifesto Du "Cubisme", 1912–2012, a French postage stamp was printed with the image of Metzinger's L'Oiseau bleu. A postage stamp representing Le Chant de guerre, portrait de Florent Schmitt (1915) by Albert Gleizes was also printed, in a series that includes stamps representing the works of other Cubists such as Roger de La Fresnaye, Georges Braque, Fernand Léger, Pablo Picasso and others. For the same occasion in 2012 the Musée national de la Poste (France) (the logo of which is a blue bird) mounted an exhibition entitled Gleizes-Metzinger. Du Cubisme et après dedicated to Jean Metzinger and Albert Gleizes, in which appeared the works of other members of the Section d'Or group. | [
"Georges Braque",
"Roger de La Fresnaye",
"Albert Gleizes",
"la Poste (France)",
"Cubism",
"blue bird",
"Pablo Picasso",
"Du \"Cubisme\"",
"Jean Metzinger",
"Section d'Or",
"Fernand Léger"
]
|
|
16861_T | The Blue Bird (Metzinger) | Focus on The Blue Bird (Metzinger) and analyze the 1913 in context. | Niels Bohr presents his quantum model of the atom. — Robert Millikan measures the fundamental unit of electric charge — Georges Sagnac demonstrates the Sagnac effect, showing that light propagates at a speed independent of the speed of its source. — William Henry Bragg and William Lawrence Bragg work out the Bragg condition for strong X-ray reflection — Publication of the 3rd volume of Principia Mathematica by Alfred North Whitehead and Bertrand Russell, one of the most important and seminal works in mathematical logic and philosophy — February 17 - The Armory Show opens in New York City. It displays works of artists who are to become some of the most influential painters of the early 20th century — Marcel Proust, Swann's Way — D. H. Lawrence, Sons and Lovers — Franz Kafka, The Judgement — Blaise Cendrars, La prose du Transsibérien et de la Petite Jehanne de France — Guillaume Apollinaire, Alcools: Poemes 1898-1913, edited by Tristan Tzara — Blaise Cendrars, La prose du Transsibérien et de la Petite Jehanne de France, a collaborative artists' book with near abstract pochoir print by Sonia Delaunay-Terk — Francis Jammes, Feuilles dans le vent — 29 May - Igor Stravinsky's ballet score The Rite of Spring is premiered in Paris — 12 December - Vincenzo Perugia tries to sell Mona Lisa in Florence and is arrested. Apollinaire had been a suspect in Paris for its theft — 30 December - Italy returns Mona Lisa to France — 23 September - Aviator Roland Garros flies over the Mediterranean | [
"William Henry Bragg",
"pochoir",
"Sonia Delaunay-Terk",
"Niels Bohr",
"ballet",
"quantum model of the atom",
"Tristan Tzara",
"artists' book",
"Franz Kafka",
"Guillaume Apollinaire",
"Alfred North Whitehead",
"Swann's Way",
"Blaise Cendrars",
"Roland Garros",
"Bertrand Russell",
"fundamental unit of electric charge",
"Sonia Delaunay",
"Marcel Proust",
"Italy",
"Lawrence Bragg",
"Sons and Lovers",
"Robert Millikan",
"D. H. Lawrence",
"Sagnac effect",
"Georges Sagnac",
"Igor Stravinsky",
"The Judgement",
"La prose du Transsibérien et de la Petite Jehanne de France",
"Paris",
"Francis Jammes",
"Vincenzo Perugia",
"Mediterranean",
"The Rite of Spring",
"Armory Show",
"William Lawrence Bragg",
"Mona Lisa",
"Principia Mathematica"
]
|
|
16861_NT | The Blue Bird (Metzinger) | Focus on this artwork and analyze the 1913 in context. | Niels Bohr presents his quantum model of the atom. — Robert Millikan measures the fundamental unit of electric charge — Georges Sagnac demonstrates the Sagnac effect, showing that light propagates at a speed independent of the speed of its source. — William Henry Bragg and William Lawrence Bragg work out the Bragg condition for strong X-ray reflection — Publication of the 3rd volume of Principia Mathematica by Alfred North Whitehead and Bertrand Russell, one of the most important and seminal works in mathematical logic and philosophy — February 17 - The Armory Show opens in New York City. It displays works of artists who are to become some of the most influential painters of the early 20th century — Marcel Proust, Swann's Way — D. H. Lawrence, Sons and Lovers — Franz Kafka, The Judgement — Blaise Cendrars, La prose du Transsibérien et de la Petite Jehanne de France — Guillaume Apollinaire, Alcools: Poemes 1898-1913, edited by Tristan Tzara — Blaise Cendrars, La prose du Transsibérien et de la Petite Jehanne de France, a collaborative artists' book with near abstract pochoir print by Sonia Delaunay-Terk — Francis Jammes, Feuilles dans le vent — 29 May - Igor Stravinsky's ballet score The Rite of Spring is premiered in Paris — 12 December - Vincenzo Perugia tries to sell Mona Lisa in Florence and is arrested. Apollinaire had been a suspect in Paris for its theft — 30 December - Italy returns Mona Lisa to France — 23 September - Aviator Roland Garros flies over the Mediterranean | [
"William Henry Bragg",
"pochoir",
"Sonia Delaunay-Terk",
"Niels Bohr",
"ballet",
"quantum model of the atom",
"Tristan Tzara",
"artists' book",
"Franz Kafka",
"Guillaume Apollinaire",
"Alfred North Whitehead",
"Swann's Way",
"Blaise Cendrars",
"Roland Garros",
"Bertrand Russell",
"fundamental unit of electric charge",
"Sonia Delaunay",
"Marcel Proust",
"Italy",
"Lawrence Bragg",
"Sons and Lovers",
"Robert Millikan",
"D. H. Lawrence",
"Sagnac effect",
"Georges Sagnac",
"Igor Stravinsky",
"The Judgement",
"La prose du Transsibérien et de la Petite Jehanne de France",
"Paris",
"Francis Jammes",
"Vincenzo Perugia",
"Mediterranean",
"The Rite of Spring",
"Armory Show",
"William Lawrence Bragg",
"Mona Lisa",
"Principia Mathematica"
]
|
|
16862_T | The Blue Bird (Metzinger) | Describe the characteristics of the Further exhibitions in The Blue Bird (Metzinger)'s 1913 in context. | Apollinaire critique d'art, Pavillon des Arts, Paris, 1993, n. 86
De Picasso à Soulages, Otsu (Japan), Museum of Modern Art, Shiga, 3 April 1999 – 9 May 1999, Akita (Japan), Akita Senshu Museum of Art, 15 May 1999 – 13 June 1999, Tokyo (Japon), Yasuda Kasai Museum of Art, 19 June 1999 – 15 August 1999
De Picasso à Soulages, Marugame (Japan), Marugame Genichiro-Inokuma Museum of Contemporary Art, 21 August 1999 – 26 September 1999
Der Sturm - Aufbruch zur Moderne, Wuppertal (Germany), Von der Heydt-Museum Wuppertal, 11 March 2012 – 11 June 2012
Apollinaire, le regard du poète, Paris (France), Musée de l'Orangerie, 5 April 2016 – 18 July 2016, n. 97
Le Cubisme : Repenser le monde, Paris (France), Musée national d'art moderne, Centre de création industrielle, 17 October 2018 – 25 February 2019
Paris Moderne, Schwäbisch Hall (Germany), Kunsthalle Würth, 15 April 2019 – 15 September 2019
Accrochage automne 2019, Paris (France), Musée d'art moderne de la Ville de Paris, 8 October 2019 – 31 December 2020 | [
"Der Sturm",
"Cubism",
"Paris"
]
|
|
16862_NT | The Blue Bird (Metzinger) | Describe the characteristics of the Further exhibitions in this artwork's 1913 in context. | Apollinaire critique d'art, Pavillon des Arts, Paris, 1993, n. 86
De Picasso à Soulages, Otsu (Japan), Museum of Modern Art, Shiga, 3 April 1999 – 9 May 1999, Akita (Japan), Akita Senshu Museum of Art, 15 May 1999 – 13 June 1999, Tokyo (Japon), Yasuda Kasai Museum of Art, 19 June 1999 – 15 August 1999
De Picasso à Soulages, Marugame (Japan), Marugame Genichiro-Inokuma Museum of Contemporary Art, 21 August 1999 – 26 September 1999
Der Sturm - Aufbruch zur Moderne, Wuppertal (Germany), Von der Heydt-Museum Wuppertal, 11 March 2012 – 11 June 2012
Apollinaire, le regard du poète, Paris (France), Musée de l'Orangerie, 5 April 2016 – 18 July 2016, n. 97
Le Cubisme : Repenser le monde, Paris (France), Musée national d'art moderne, Centre de création industrielle, 17 October 2018 – 25 February 2019
Paris Moderne, Schwäbisch Hall (Germany), Kunsthalle Würth, 15 April 2019 – 15 September 2019
Accrochage automne 2019, Paris (France), Musée d'art moderne de la Ville de Paris, 8 October 2019 – 31 December 2020 | [
"Der Sturm",
"Cubism",
"Paris"
]
|
|
16863_T | The Railway | Focus on The Railway and explore the abstract. | The Railway, widely known as Gare Saint-Lazare, is an 1873 painting by Édouard Manet. It is the last painting by Manet of his favourite model, the fellow painter Victorine Meurent, who was also the model for his earlier works Olympia and the Luncheon on the Grass. It was exhibited at the Paris Salon in 1874, and donated to the National Gallery of Art in Washington, D.C. in 1956. | [
"Victorine Meurent",
"National Gallery of Art",
"Paris Salon",
"Washington, D.C.",
"Olympia",
"Gare Saint-Lazare",
"Édouard Manet",
"Luncheon on the Grass"
]
|
|
16863_NT | The Railway | Focus on this artwork and explore the abstract. | The Railway, widely known as Gare Saint-Lazare, is an 1873 painting by Édouard Manet. It is the last painting by Manet of his favourite model, the fellow painter Victorine Meurent, who was also the model for his earlier works Olympia and the Luncheon on the Grass. It was exhibited at the Paris Salon in 1874, and donated to the National Gallery of Art in Washington, D.C. in 1956. | [
"Victorine Meurent",
"National Gallery of Art",
"Paris Salon",
"Washington, D.C.",
"Olympia",
"Gare Saint-Lazare",
"Édouard Manet",
"Luncheon on the Grass"
]
|
|
16864_T | The Railway | Focus on The Railway and explain the Painting. | Meurent is depicted sitting to the left side of the frame, in front of an iron fence near the Gare Saint-Lazare in Paris. The pensive subject is wearing a dark hat and sombre deep blue dress with white details, and is looking towards the viewer, while a sleeping puppy, a fan and an open book rest in her lap. Next to her is a little girl, modelled by the daughter of Manet's neighbour Alphonse Hirsch, a contrasting figure wearing a white dress with large blue bow, standing her back to the viewer, watching through the railings as a train passes beneath them. The black band in the girl's hair echoes the black band around the neck of the woman. Instead of choosing the traditional natural view as background for an outdoor scene, Manet opted for the iron grating which "stretches across the canvas." The only evidence of the train is its white cloud of steam. Modern apartment buildings can be seen in the background – including the house on the Rue de Saint-Pétersbourg, near the Place de l'Europe, where Manet had rented a studio since July 1872 — and also a signal box and the Pont de l'Europe.
The arrangement compresses the foreground into a narrow focus, separated from the background by the row of railings. The traditional convention of deep space is ignored. Resting on a parapet to the right of the painting is a bunch of grapes, perhaps indicating that the painting was made in the autumn. The dog may be a reference to Titian's Venus of Urbino; Manet had earlier echoed Titian's composition in his Olympia. | [
"signal box",
"Olympia",
"Pont de l'Europe",
"Rue de Saint-Pétersbourg",
"Titian",
"Gare Saint-Lazare",
"Place de l'Europe",
"Venus of Urbino",
"Alphonse Hirsch"
]
|
|
16864_NT | The Railway | Focus on this artwork and explain the Painting. | Meurent is depicted sitting to the left side of the frame, in front of an iron fence near the Gare Saint-Lazare in Paris. The pensive subject is wearing a dark hat and sombre deep blue dress with white details, and is looking towards the viewer, while a sleeping puppy, a fan and an open book rest in her lap. Next to her is a little girl, modelled by the daughter of Manet's neighbour Alphonse Hirsch, a contrasting figure wearing a white dress with large blue bow, standing her back to the viewer, watching through the railings as a train passes beneath them. The black band in the girl's hair echoes the black band around the neck of the woman. Instead of choosing the traditional natural view as background for an outdoor scene, Manet opted for the iron grating which "stretches across the canvas." The only evidence of the train is its white cloud of steam. Modern apartment buildings can be seen in the background – including the house on the Rue de Saint-Pétersbourg, near the Place de l'Europe, where Manet had rented a studio since July 1872 — and also a signal box and the Pont de l'Europe.
The arrangement compresses the foreground into a narrow focus, separated from the background by the row of railings. The traditional convention of deep space is ignored. Resting on a parapet to the right of the painting is a bunch of grapes, perhaps indicating that the painting was made in the autumn. The dog may be a reference to Titian's Venus of Urbino; Manet had earlier echoed Titian's composition in his Olympia. | [
"signal box",
"Olympia",
"Pont de l'Europe",
"Rue de Saint-Pétersbourg",
"Titian",
"Gare Saint-Lazare",
"Place de l'Europe",
"Venus of Urbino",
"Alphonse Hirsch"
]
|
|
16865_T | The Railway | Explore the Reception of this artwork, The Railway. | Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: "Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today".Shortly after it was completed, the painting was sold to baritone Jean-Baptiste Faure. It was sold in 1881 for 5,400 francs to the art dealer Paul Durand-Ruel, who gave it several names: Enfant regardant le chemin de fer, Le pont de l'Europe, A la Gare St. Lazare, and later just Gare St. Lazare. It was sold on 31 December 1898 for 100,000 francs to American Henry Osborne Havemeyer. His wife Louisine Havemeyer left 2,000 artworks to the Metropolitan Museum of Art in New York on her death in 1929, but she divided a small collection, including The Railway, among her three children. The painting was donated to the National Gallery of Art in Washington, D.C. in 1956 on the death of her son Horace Havemeyer. | [
"National Gallery of Art",
"Paris Salon",
"Washington, D.C.",
"Louisine Havemeyer",
"Jean-Baptiste Faure",
"Henry Osborne Havemeyer",
"Paul Durand-Ruel",
"Caricaturists",
"Metropolitan Museum of Art"
]
|
|
16865_NT | The Railway | Explore the Reception of this artwork. | Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: "Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today".Shortly after it was completed, the painting was sold to baritone Jean-Baptiste Faure. It was sold in 1881 for 5,400 francs to the art dealer Paul Durand-Ruel, who gave it several names: Enfant regardant le chemin de fer, Le pont de l'Europe, A la Gare St. Lazare, and later just Gare St. Lazare. It was sold on 31 December 1898 for 100,000 francs to American Henry Osborne Havemeyer. His wife Louisine Havemeyer left 2,000 artworks to the Metropolitan Museum of Art in New York on her death in 1929, but she divided a small collection, including The Railway, among her three children. The painting was donated to the National Gallery of Art in Washington, D.C. in 1956 on the death of her son Horace Havemeyer. | [
"National Gallery of Art",
"Paris Salon",
"Washington, D.C.",
"Louisine Havemeyer",
"Jean-Baptiste Faure",
"Henry Osborne Havemeyer",
"Paul Durand-Ruel",
"Caricaturists",
"Metropolitan Museum of Art"
]
|
|
16866_T | Statue of Winfield Scott Hancock | Focus on Statue of Winfield Scott Hancock and discuss the abstract. | General Winfield Scott Hancock (1913) is a sculpture by Cyrus E. Dallin on the east side of the Pennsylvania State Memorial in Gettysburg, Pennsylvania. Winfield Scott Hancock, a Union Army officer in the U.S. Civil War, is one of eight military figures depicted on the monument.The bronze sculpture measures eight feet in height. It shows Hancock standing and dressed in his military regalia, holding a sword in his left hand. It was cast by Gorham Manufacturing Company of Providence, Rhode Island, installed in April 1913, and formally dedicated on July 4, 1913. | [
"General Winfield Scott Hancock",
"Gettysburg, Pennsylvania",
"Pennsylvania",
"Cyrus E. Dallin",
"Providence, Rhode Island",
"Pennsylvania State Memorial",
"Gettysburg",
"Gorham Manufacturing Company",
"Winfield Scott Hancock"
]
|
|
16866_NT | Statue of Winfield Scott Hancock | Focus on this artwork and discuss the abstract. | General Winfield Scott Hancock (1913) is a sculpture by Cyrus E. Dallin on the east side of the Pennsylvania State Memorial in Gettysburg, Pennsylvania. Winfield Scott Hancock, a Union Army officer in the U.S. Civil War, is one of eight military figures depicted on the monument.The bronze sculpture measures eight feet in height. It shows Hancock standing and dressed in his military regalia, holding a sword in his left hand. It was cast by Gorham Manufacturing Company of Providence, Rhode Island, installed in April 1913, and formally dedicated on July 4, 1913. | [
"General Winfield Scott Hancock",
"Gettysburg, Pennsylvania",
"Pennsylvania",
"Cyrus E. Dallin",
"Providence, Rhode Island",
"Pennsylvania State Memorial",
"Gettysburg",
"Gorham Manufacturing Company",
"Winfield Scott Hancock"
]
|
|
16867_T | Girl in Mirror | How does Girl in Mirror elucidate its Analysis? | Girl in Mirror uses Ben-Day dots like many of his other works, but it was inspired by the hard reflective finish of signs in the New York City Subway system and, in turn, they inspired his subsequent ceramic head works. Enamel facilitated a more mechanical appearance than even his paintings while remaining in two dimensions. After 1963, Lichtenstein's comics-based women "... look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the hair flows beyond the edges of the canvas. | [
"New York City Subway",
"Ben-Day dots",
"comics"
]
|
|
16867_NT | Girl in Mirror | How does this artwork elucidate its Analysis? | Girl in Mirror uses Ben-Day dots like many of his other works, but it was inspired by the hard reflective finish of signs in the New York City Subway system and, in turn, they inspired his subsequent ceramic head works. Enamel facilitated a more mechanical appearance than even his paintings while remaining in two dimensions. After 1963, Lichtenstein's comics-based women "... look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the hair flows beyond the edges of the canvas. | [
"New York City Subway",
"Ben-Day dots",
"comics"
]
|
|
16868_T | Girl in Mirror | Focus on Girl in Mirror and analyze the Editions. | One edition of this painting was the subject of a legal dispute involving 2009 sale without consent. Another edition of this work sold at auction at Christie's (New York, Rockefeller Plaza ) Post-War and Contemporary Evening Sale for $4,898,500 (premium) on November 10, 2010 although it was only expected to sell in the $3–4 million range. Girl in Mirror exists in eight editions according to most, however, "Clare Bell of the Roy Lichtenstein Foundation said that inventory records for the Leo Castelli Gallery, where Lichtenstein showed in the 1960s, say that there may be 10 versions of the work, some of them original proofs". One edition exhibited at the Gagosian Gallery in New York in 2008. There had been three previous auction sales of this work: May 5, 1986 at Sotheby's New York for $ 100,000 USD (hammer), May 4, 1987 at Sotheby's New York for $150,000 USD (hammer), and May 15, 2007 Sotheby's New York for $3,600,000 (hammer)/$4,072,000 (premium). | [
"Gagosian Gallery",
"Roy Lichtenstein",
"Christie's",
"Sotheby's"
]
|
|
16868_NT | Girl in Mirror | Focus on this artwork and analyze the Editions. | One edition of this painting was the subject of a legal dispute involving 2009 sale without consent. Another edition of this work sold at auction at Christie's (New York, Rockefeller Plaza ) Post-War and Contemporary Evening Sale for $4,898,500 (premium) on November 10, 2010 although it was only expected to sell in the $3–4 million range. Girl in Mirror exists in eight editions according to most, however, "Clare Bell of the Roy Lichtenstein Foundation said that inventory records for the Leo Castelli Gallery, where Lichtenstein showed in the 1960s, say that there may be 10 versions of the work, some of them original proofs". One edition exhibited at the Gagosian Gallery in New York in 2008. There had been three previous auction sales of this work: May 5, 1986 at Sotheby's New York for $ 100,000 USD (hammer), May 4, 1987 at Sotheby's New York for $150,000 USD (hammer), and May 15, 2007 Sotheby's New York for $3,600,000 (hammer)/$4,072,000 (premium). | [
"Gagosian Gallery",
"Roy Lichtenstein",
"Christie's",
"Sotheby's"
]
|
|
16869_T | Girl in Mirror | In Girl in Mirror, how is the 2012 lawsuit discussed? | On January 18, 2012, a suit was filed in Manhattan in New York State Court in a case related to two earlier federal cases. The suit alleges both lack of consent and fraudulent misrepresentation of the painting's condition. The suit was for $14 million, including $10 million in punitive damages. 93-year-old Jan Cowles claims that in 2008 her son, New York art dealer Charles Cowles, transferred a version of Girl in Mirror to Larry Gagosian for sale without her consent. The suit claims that Gagosian fraudulently claimed the painting was damaged and sold it between August and December 2009 for $2 million, while charging a $1 million commission, rather than sell at or above the $3 million low estimate for a negotiated commission of $500,000. As a result of the edition shown during the summer 2008 "Roy Lichtenstein: Girls" exhibition at the Gagosian Gallery, at one point the gallery was in possession of two editions of Girl in Mirror, one of which was damaged. The intake notes for the Cowles version indicate no damage and Gagosian's international marketing of the work was consistent with the undamaged condition. | [
"fraudulent misrepresentation",
"Larry Gagosian",
"Gagosian Gallery",
"Roy Lichtenstein",
"punitive damages",
"Charles Cowles"
]
|
|
16869_NT | Girl in Mirror | In this artwork, how is the 2012 lawsuit discussed? | On January 18, 2012, a suit was filed in Manhattan in New York State Court in a case related to two earlier federal cases. The suit alleges both lack of consent and fraudulent misrepresentation of the painting's condition. The suit was for $14 million, including $10 million in punitive damages. 93-year-old Jan Cowles claims that in 2008 her son, New York art dealer Charles Cowles, transferred a version of Girl in Mirror to Larry Gagosian for sale without her consent. The suit claims that Gagosian fraudulently claimed the painting was damaged and sold it between August and December 2009 for $2 million, while charging a $1 million commission, rather than sell at or above the $3 million low estimate for a negotiated commission of $500,000. As a result of the edition shown during the summer 2008 "Roy Lichtenstein: Girls" exhibition at the Gagosian Gallery, at one point the gallery was in possession of two editions of Girl in Mirror, one of which was damaged. The intake notes for the Cowles version indicate no damage and Gagosian's international marketing of the work was consistent with the undamaged condition. | [
"fraudulent misrepresentation",
"Larry Gagosian",
"Gagosian Gallery",
"Roy Lichtenstein",
"punitive damages",
"Charles Cowles"
]
|
|
16870_T | Girl in Mirror | Focus on Girl in Mirror and explore the Reception. | The New York Times notes that this was an example of Lichtenstein's ability to "glorify the American woman by giving innocuous images of her generic concocted self and her roiling emotions such blazing formal power". Framing a small fragment of the image in the mirror serves an artistic purpose. "Extraordinary sections like ... linking the falling hair to the semi-reflected face of the girl in the mirror (Girl in the mirror, 1964) ... which cut up, analyse, and unite, all have the one aim of intensifying the signifying fragment." | [
"The New York Times"
]
|
|
16870_NT | Girl in Mirror | Focus on this artwork and explore the Reception. | The New York Times notes that this was an example of Lichtenstein's ability to "glorify the American woman by giving innocuous images of her generic concocted self and her roiling emotions such blazing formal power". Framing a small fragment of the image in the mirror serves an artistic purpose. "Extraordinary sections like ... linking the falling hair to the semi-reflected face of the girl in the mirror (Girl in the mirror, 1964) ... which cut up, analyse, and unite, all have the one aim of intensifying the signifying fragment." | [
"The New York Times"
]
|
|
16871_T | Traffic Light Tree | Focus on Traffic Light Tree and explain the abstract. | Traffic Light Tree is a public sculpture in between Poplar and Blackwall, London, England, created by the French sculptor Pierre Vivant following a competition run by the Public Art Commissions Agency for the London Docklands Development Corporation under their Public Art programme. Originally situated on a roundabout in Limehouse, near Canary Wharf and Millwall, at the junction of Heron Quay, Marsh Wall and Westferry Road, it is now located on a different roundabout near Billingsgate Market in Poplar.
Eight metres tall and containing 75 sets of lights, each controlled by computer, the sculpture was described by Vivant thus:The Sculpture imitates the natural landscape of the adjacent London Plane Trees, while the changing pattern of the lights reveals and reflects the never ending rhythm of the surrounding domestic, financial and commercial activities.The Public Art Commissions Agency has said "the arbitrary cycle of light changes is not supposed to mimic the seasonal rhythm of nature, but the restlessness of Canary Wharf."Traffic Light Tree was installed in 1998 on the site of a plane tree that was suffering as a result of pollution. It was initially intended that the lights would be triggered to reflect flurries of activity on the London Stock Exchange, but this proved to be too expensive to put into practice.Although some motorists were initially confused by the traffic lights, mistaking them for real signals, the sculpture soon became a favourite among both tourists and locals. In 2005, Saga Motor Insurance commissioned a survey asking British motorists about the best and worst roundabouts in the country. The one containing Traffic Light Tree was the clear favourite. | [
"London Docklands Development Corporation",
"Limehouse",
"Blackwall",
"Poplar",
"Pierre Vivant",
"London Stock Exchange",
"Millwall",
"plane tree",
"Canary Wharf",
"London",
"Saga Motor Insurance",
"Blackwall, London",
"England",
"roundabout",
"Billingsgate Market",
"public sculpture"
]
|
|
16871_NT | Traffic Light Tree | Focus on this artwork and explain the abstract. | Traffic Light Tree is a public sculpture in between Poplar and Blackwall, London, England, created by the French sculptor Pierre Vivant following a competition run by the Public Art Commissions Agency for the London Docklands Development Corporation under their Public Art programme. Originally situated on a roundabout in Limehouse, near Canary Wharf and Millwall, at the junction of Heron Quay, Marsh Wall and Westferry Road, it is now located on a different roundabout near Billingsgate Market in Poplar.
Eight metres tall and containing 75 sets of lights, each controlled by computer, the sculpture was described by Vivant thus:The Sculpture imitates the natural landscape of the adjacent London Plane Trees, while the changing pattern of the lights reveals and reflects the never ending rhythm of the surrounding domestic, financial and commercial activities.The Public Art Commissions Agency has said "the arbitrary cycle of light changes is not supposed to mimic the seasonal rhythm of nature, but the restlessness of Canary Wharf."Traffic Light Tree was installed in 1998 on the site of a plane tree that was suffering as a result of pollution. It was initially intended that the lights would be triggered to reflect flurries of activity on the London Stock Exchange, but this proved to be too expensive to put into practice.Although some motorists were initially confused by the traffic lights, mistaking them for real signals, the sculpture soon became a favourite among both tourists and locals. In 2005, Saga Motor Insurance commissioned a survey asking British motorists about the best and worst roundabouts in the country. The one containing Traffic Light Tree was the clear favourite. | [
"London Docklands Development Corporation",
"Limehouse",
"Blackwall",
"Poplar",
"Pierre Vivant",
"London Stock Exchange",
"Millwall",
"plane tree",
"Canary Wharf",
"London",
"Saga Motor Insurance",
"Blackwall, London",
"England",
"roundabout",
"Billingsgate Market",
"public sculpture"
]
|
|
16872_T | Traffic Light Tree | Explore the Relocation of this artwork, Traffic Light Tree. | In December 2011, the sculpture was removed from Limehouse by the owner, Tower Hamlets Council, as part of remodelling work to the Westferry roundabout. In January 2012, the council stated that the work would remain on the Isle of Dogs, but no specific location was named, although it was reported in early 2013 that a planning application had been received by the council to re-install the piece on the Trafalgar Way roundabout near Billingsgate Market. Re-erection was planned to begin at the Trafalgar Way roundabout on 11 November 2013 and to be completed by 11 December 2013.There was an official lighting-up ceremony at the new location on 20 January 2014, led by Mayor of Tower Hamlets Lutfur Rahman. | [
"Limehouse",
"Mayor of Tower Hamlets",
"Isle of Dogs",
"roundabout",
"Lutfur Rahman",
"Billingsgate Market"
]
|
|
16872_NT | Traffic Light Tree | Explore the Relocation of this artwork. | In December 2011, the sculpture was removed from Limehouse by the owner, Tower Hamlets Council, as part of remodelling work to the Westferry roundabout. In January 2012, the council stated that the work would remain on the Isle of Dogs, but no specific location was named, although it was reported in early 2013 that a planning application had been received by the council to re-install the piece on the Trafalgar Way roundabout near Billingsgate Market. Re-erection was planned to begin at the Trafalgar Way roundabout on 11 November 2013 and to be completed by 11 December 2013.There was an official lighting-up ceremony at the new location on 20 January 2014, led by Mayor of Tower Hamlets Lutfur Rahman. | [
"Limehouse",
"Mayor of Tower Hamlets",
"Isle of Dogs",
"roundabout",
"Lutfur Rahman",
"Billingsgate Market"
]
|
|
16873_T | Chocolate Jar with Iron-Locked Lid | Focus on Chocolate Jar with Iron-Locked Lid and discuss the abstract. | Chocolate Jar with Iron-Locked Lid is a piece of earthenware with tin-glaze. It was created in Puebla, Mexico, sometime between 1725 and 1775. It was made in the style of Talavera poblana developed out of the tradition in Talavera, Spain, and was also influenced by Chinese ceramic traditions. This vessel was used to house cacao beans. The jar is part of the Herbert Pickering Lewis Collection of Mexican Pottery at the Art Institute of Chicago and has been included in a handful of exhibitions. | [
"earthenware",
"Art Institute of Chicago",
"tin-glaze",
"Talavera",
"Chicago",
"tradition",
"Puebla"
]
|
|
16873_NT | Chocolate Jar with Iron-Locked Lid | Focus on this artwork and discuss the abstract. | Chocolate Jar with Iron-Locked Lid is a piece of earthenware with tin-glaze. It was created in Puebla, Mexico, sometime between 1725 and 1775. It was made in the style of Talavera poblana developed out of the tradition in Talavera, Spain, and was also influenced by Chinese ceramic traditions. This vessel was used to house cacao beans. The jar is part of the Herbert Pickering Lewis Collection of Mexican Pottery at the Art Institute of Chicago and has been included in a handful of exhibitions. | [
"earthenware",
"Art Institute of Chicago",
"tin-glaze",
"Talavera",
"Chicago",
"tradition",
"Puebla"
]
|
|
16874_T | Chocolate Jar with Iron-Locked Lid | How does Chocolate Jar with Iron-Locked Lid elucidate its Visual Description? | The vessel's opening is slightly narrower than its base. Its midsection bulges out just below the neck and tapers in a few inches from the bottom. The bottom edge does not have any glaze on it leaving the naked clay exposed. The body of the vessel is covered in a white glaze base and is decorated with hand-painted designs in varying opacities of a deep rich blue. The designs are placed in a repeating motif four times around the bulging middle of the vessel. Each contains a mix of swirls, flowers, branches, and scallop designs. In the center of each motif is a bird with a long tail. Over the neck of the vessel, a lid made of iron is placed. The lid's top is decorated with organic leaf filigree and has a key sticking out of it. The top is attached with an iron hinge to the collar of the neck. | []
|
|
16874_NT | Chocolate Jar with Iron-Locked Lid | How does this artwork elucidate its Visual Description? | The vessel's opening is slightly narrower than its base. Its midsection bulges out just below the neck and tapers in a few inches from the bottom. The bottom edge does not have any glaze on it leaving the naked clay exposed. The body of the vessel is covered in a white glaze base and is decorated with hand-painted designs in varying opacities of a deep rich blue. The designs are placed in a repeating motif four times around the bulging middle of the vessel. Each contains a mix of swirls, flowers, branches, and scallop designs. In the center of each motif is a bird with a long tail. Over the neck of the vessel, a lid made of iron is placed. The lid's top is decorated with organic leaf filigree and has a key sticking out of it. The top is attached with an iron hinge to the collar of the neck. | []
|
|
16875_T | Chocolate Jar with Iron-Locked Lid | Describe the characteristics of the Spanish Origins in Chocolate Jar with Iron-Locked Lid's Historical Background. | This artistic tradition and its name originated in Spain, specifically Talavera de la Reina in Toledo, which was known for its tin-glazed earthenware. Margaret Connors McQuade, in her chapter on the “Talavera Poblana: Four Centuries of a Mexican Ceramic Tradition” in Talavera Poblana: Four Centuries of a Mexican Ceramic Tradition, states that it is unclear exactly how the Talavera pottery style made its way over to Mexico. However, she points to a theory that some Dominican friars in Puebla requested that other friars come from Talavera to introduce the techniques. There is still evidence of the Spanish origins in some of the decorations. For example, the slanted parallel lines that make panels with the repeated motif, the fabric swags, and the fringe are all featured on this vessel come from the Talavera style of Spain. | [
"Talavera de la Reina",
"earthenware",
"tin-glaze",
"Talavera",
"tradition",
"Talavera pottery",
"Puebla"
]
|
|
16875_NT | Chocolate Jar with Iron-Locked Lid | Describe the characteristics of the Spanish Origins in this artwork's Historical Background. | This artistic tradition and its name originated in Spain, specifically Talavera de la Reina in Toledo, which was known for its tin-glazed earthenware. Margaret Connors McQuade, in her chapter on the “Talavera Poblana: Four Centuries of a Mexican Ceramic Tradition” in Talavera Poblana: Four Centuries of a Mexican Ceramic Tradition, states that it is unclear exactly how the Talavera pottery style made its way over to Mexico. However, she points to a theory that some Dominican friars in Puebla requested that other friars come from Talavera to introduce the techniques. There is still evidence of the Spanish origins in some of the decorations. For example, the slanted parallel lines that make panels with the repeated motif, the fabric swags, and the fringe are all featured on this vessel come from the Talavera style of Spain. | [
"Talavera de la Reina",
"earthenware",
"tin-glaze",
"Talavera",
"tradition",
"Talavera pottery",
"Puebla"
]
|
|
16876_T | Chocolate Jar with Iron-Locked Lid | In the context of Chocolate Jar with Iron-Locked Lid, explore the Chinese Influence of the Historical Background. | Talavera poblana was also influenced by tin-glazed Chinese porcelain. Chinese porcelain was introduced to Mexico as a part of the shipping route in the later 1500s. Shipments of porcelain would arrive in Acapulco from China and then make their way across the land to Puebla, Orizaba, and finally, Veracruz where they departed for Spain. Besides the use of Blue and white tin-glaze that has impacted several traditions of pottery making through transcontinental interaction, the influence that Chinese pottery left on Talavera poblana pottery is the motif of the phoenix found on pottery known as Swatow.Another part of the Chinese influence of the Talavera Poblana is the use of a Money Jar or chocolatero as they began to be called in Mexico. Money jars were adapted to hold cacao beans and other valuable items. Like this jar, chocolatero often had iron lids that were locked with a key in order to protect its valuable contents from theft. | [
"tin-glaze",
"Talavera",
"tradition",
"Puebla"
]
|
|
16876_NT | Chocolate Jar with Iron-Locked Lid | In the context of this artwork, explore the Chinese Influence of the Historical Background. | Talavera poblana was also influenced by tin-glazed Chinese porcelain. Chinese porcelain was introduced to Mexico as a part of the shipping route in the later 1500s. Shipments of porcelain would arrive in Acapulco from China and then make their way across the land to Puebla, Orizaba, and finally, Veracruz where they departed for Spain. Besides the use of Blue and white tin-glaze that has impacted several traditions of pottery making through transcontinental interaction, the influence that Chinese pottery left on Talavera poblana pottery is the motif of the phoenix found on pottery known as Swatow.Another part of the Chinese influence of the Talavera Poblana is the use of a Money Jar or chocolatero as they began to be called in Mexico. Money jars were adapted to hold cacao beans and other valuable items. Like this jar, chocolatero often had iron lids that were locked with a key in order to protect its valuable contents from theft. | [
"tin-glaze",
"Talavera",
"tradition",
"Puebla"
]
|
|
16877_T | Chocolate Jar with Iron-Locked Lid | Focus on Chocolate Jar with Iron-Locked Lid and explain the Provenance. | The chocolate jar was in the private collection of Herbert Pickering Lewis during the late 1800s and early 1900s. After his death in 1922, his wife donated it along with a large number of other pieces of Mexican pottery to the Art Institute of Chicago in 1924. This is where it has remained for the past century. | [
"Art Institute of Chicago",
"Chicago"
]
|
|
16877_NT | Chocolate Jar with Iron-Locked Lid | Focus on this artwork and explain the Provenance. | The chocolate jar was in the private collection of Herbert Pickering Lewis during the late 1800s and early 1900s. After his death in 1922, his wife donated it along with a large number of other pieces of Mexican pottery to the Art Institute of Chicago in 1924. This is where it has remained for the past century. | [
"Art Institute of Chicago",
"Chicago"
]
|
|
16878_T | Chocolate Jar with Iron-Locked Lid | Explore the Exhibition History of this artwork, Chocolate Jar with Iron-Locked Lid. | During its time at the Art Institute of Chicago, this Chocolate Jar was featured in three exhibitions. The first was in 1985. The vessel was loaned to the David and Alfred Smart Gallery at the University of Chicago for the exhibition: “Blue and White: Chinese Porcelain and Its Impact on the Western World.” It ran from October 3 to December 1, 1985. The second exhibit “Silk Roads and Beyond: Travel, Trade, and Transformation,” took place at the Art Institute of Chicago from September 30 of 2006 to April 22, 2007. The third exhibition was titled “For Kith and Kin: The Folk Art Collection At the Art Institute of Chicago." This exhibit took place in 2012. | [
"Art Institute of Chicago",
"Chicago"
]
|
|
16878_NT | Chocolate Jar with Iron-Locked Lid | Explore the Exhibition History of this artwork. | During its time at the Art Institute of Chicago, this Chocolate Jar was featured in three exhibitions. The first was in 1985. The vessel was loaned to the David and Alfred Smart Gallery at the University of Chicago for the exhibition: “Blue and White: Chinese Porcelain and Its Impact on the Western World.” It ran from October 3 to December 1, 1985. The second exhibit “Silk Roads and Beyond: Travel, Trade, and Transformation,” took place at the Art Institute of Chicago from September 30 of 2006 to April 22, 2007. The third exhibition was titled “For Kith and Kin: The Folk Art Collection At the Art Institute of Chicago." This exhibit took place in 2012. | [
"Art Institute of Chicago",
"Chicago"
]
|
|
16879_T | Fons Americanus | Focus on Fons Americanus and discuss the abstract. | Fons Americanus was a sculpture, taking the form of a functional fountain adorned with allegorical scenes and figures, created by American artist Kara Walker. The sculpture was housed in the Tate Modern’s Turbine Hall from late 2019 to early 2020, and was destroyed at the end of its time there. | [
"Kara Walker"
]
|
|
16879_NT | Fons Americanus | Focus on this artwork and discuss the abstract. | Fons Americanus was a sculpture, taking the form of a functional fountain adorned with allegorical scenes and figures, created by American artist Kara Walker. The sculpture was housed in the Tate Modern’s Turbine Hall from late 2019 to early 2020, and was destroyed at the end of its time there. | [
"Kara Walker"
]
|
|
16880_T | Fons Americanus | How does Fons Americanus elucidate its Development and presentation? | The work was commissioned by the Tate Modern for its Turbine Hall, part of a series funded by the Hyundai Motor Company. Other artists whose work has been featured in the Turbine Hall as part of the series include Tania Bruguera, Philippe Parreno, and Abraham Cruzvillegas. Walker was inspired by the Victoria Memorial, which she first saw from the window of a car.Walker personally designed models for the figures on the sculpture. This involvement differed from the process of creating her 2014 sculpture A Subtlety, where teams created the work, guided by Walker's drawings. | [
"Victoria Memorial",
"Tania Bruguera",
"Abraham Cruzvillegas",
"Hyundai Motor Company",
"Philippe Parreno",
"A Subtlety"
]
|
|
16880_NT | Fons Americanus | How does this artwork elucidate its Development and presentation? | The work was commissioned by the Tate Modern for its Turbine Hall, part of a series funded by the Hyundai Motor Company. Other artists whose work has been featured in the Turbine Hall as part of the series include Tania Bruguera, Philippe Parreno, and Abraham Cruzvillegas. Walker was inspired by the Victoria Memorial, which she first saw from the window of a car.Walker personally designed models for the figures on the sculpture. This involvement differed from the process of creating her 2014 sculpture A Subtlety, where teams created the work, guided by Walker's drawings. | [
"Victoria Memorial",
"Tania Bruguera",
"Abraham Cruzvillegas",
"Hyundai Motor Company",
"Philippe Parreno",
"A Subtlety"
]
|
|
16881_T | Fons Americanus | Focus on Fons Americanus and analyze the Form and materials. | The work was 13 meters tall and was a fully functional fountain. The sculpture was made of cork, metal, and wood coated in jesmonite designed to be recyclable. The fountain includes sculptures evocative of the Atlantic slave trade and history of slavery in British colonies. These culminate in a female figure at the top of the fountain, from whose breasts and slashed throat the fountain's water originates. | [
"jesmonite"
]
|
|
16881_NT | Fons Americanus | Focus on this artwork and analyze the Form and materials. | The work was 13 meters tall and was a fully functional fountain. The sculpture was made of cork, metal, and wood coated in jesmonite designed to be recyclable. The fountain includes sculptures evocative of the Atlantic slave trade and history of slavery in British colonies. These culminate in a female figure at the top of the fountain, from whose breasts and slashed throat the fountain's water originates. | [
"jesmonite"
]
|
|
16882_T | Fons Americanus | In the context of Fons Americanus, explore the Interpretation of the Reception. | The statues on the fountain deal with the slave trade and the impact of European settlement and exploitation on Africa and in the Caribbean. Walker has indicated that the Victoria Memorial on The Mall inspired her work; like Fons Americanus, the memorial includes allegorical statues, figures, and scenes.Many of the sculptures on the fountain allude to other artistic works and to historical events. These include paintings such as John Singleton Copley's Watson and the Shark and Winslow Homer’s The Gulf Stream. | [
"Watson and the Shark",
"The Gulf Stream",
"Victoria Memorial",
"The Mall",
"Winslow Homer",
"John Singleton Copley's",
"Winslow Homer’s",
"John Singleton Copley"
]
|
|
16882_NT | Fons Americanus | In the context of this artwork, explore the Interpretation of the Reception. | The statues on the fountain deal with the slave trade and the impact of European settlement and exploitation on Africa and in the Caribbean. Walker has indicated that the Victoria Memorial on The Mall inspired her work; like Fons Americanus, the memorial includes allegorical statues, figures, and scenes.Many of the sculptures on the fountain allude to other artistic works and to historical events. These include paintings such as John Singleton Copley's Watson and the Shark and Winslow Homer’s The Gulf Stream. | [
"Watson and the Shark",
"The Gulf Stream",
"Victoria Memorial",
"The Mall",
"Winslow Homer",
"John Singleton Copley's",
"Winslow Homer’s",
"John Singleton Copley"
]
|
|
16883_T | Fons Americanus | In the context of Fons Americanus, explain the Critical reception of the Reception. | In a review for the Financial Times, Rachel Spence praised the work for "[rising] to the challenge" of the Turbine Hall. She further praised the use of water due to the noise it provides, comparing it favorably to "sound art" reliant on audio recordings. | [
"Financial Times"
]
|
|
16883_NT | Fons Americanus | In the context of this artwork, explain the Critical reception of the Reception. | In a review for the Financial Times, Rachel Spence praised the work for "[rising] to the challenge" of the Turbine Hall. She further praised the use of water due to the noise it provides, comparing it favorably to "sound art" reliant on audio recordings. | [
"Financial Times"
]
|
|
16884_T | Fons Americanus | Explore the In popular culture about the Reception of this artwork, Fons Americanus. | The 2021 music video for "Don't Judge Me" by FKA twigs, Headie One, and Fred again.. featured Fons Americanus in several scenes. Co-director Emmanuel Adjei said, "In this audio-visual document we get to witness artists FKA twigs and Headie One, amongst other Black British influentials, fighting against invisible forces of judgement and oppression. Having the enormous Victorian-inspired fountain Fons Americanus by visual artist Kara Walker—depicting the historical, sorrowful story of slavery and colonization—as our setting, and particularly as the spirit of the film, this important monument creates another layer of depth and meaning to an invisible yet shared history." | [
"Fred again..",
"Kara Walker",
"Emmanuel Adjei",
"Headie One",
"FKA twigs"
]
|
|
16884_NT | Fons Americanus | Explore the In popular culture about the Reception of this artwork. | The 2021 music video for "Don't Judge Me" by FKA twigs, Headie One, and Fred again.. featured Fons Americanus in several scenes. Co-director Emmanuel Adjei said, "In this audio-visual document we get to witness artists FKA twigs and Headie One, amongst other Black British influentials, fighting against invisible forces of judgement and oppression. Having the enormous Victorian-inspired fountain Fons Americanus by visual artist Kara Walker—depicting the historical, sorrowful story of slavery and colonization—as our setting, and particularly as the spirit of the film, this important monument creates another layer of depth and meaning to an invisible yet shared history." | [
"Fred again..",
"Kara Walker",
"Emmanuel Adjei",
"Headie One",
"FKA twigs"
]
|
|
16885_T | Narashige Koide | Focus on Narashige Koide and discuss the abstract. | Narashige Koide (小出楢重, Koide Narashige, October 13, 1887 – February 13, 1931) was a Japanese painter and illustrator, noted for his work in pioneering the Hanshinkan Modernism trend in yōga (Western-style) portraiture and nude painting in early 20th century Japanese painting. | [
"Japanese painting",
"Hanshinkan Modernism",
"portraiture",
"Japanese",
"yōga"
]
|
|
16885_NT | Narashige Koide | Focus on this artwork and discuss the abstract. | Narashige Koide (小出楢重, Koide Narashige, October 13, 1887 – February 13, 1931) was a Japanese painter and illustrator, noted for his work in pioneering the Hanshinkan Modernism trend in yōga (Western-style) portraiture and nude painting in early 20th century Japanese painting. | [
"Japanese painting",
"Hanshinkan Modernism",
"portraiture",
"Japanese",
"yōga"
]
|
|
16886_T | Narashige Koide | How does Narashige Koide elucidate its Biography? | Koide was born in what is now the Shinsaibashi area of Chūō-ku Osaka. Interested in art from childhood, he studied Nihonga in elementary and middle school. In 1907, he applied to the western arts department of Tokyo School of Fine Art, but failed his entrance examinations, and was accepted into the Nihonga department instead. Although he was able to study under famed Nihonga painter Shimomura Kanzan, he was still drawn to oil painting. After graduating in 1914 he returned to Osaka and continued to paint and entered a yōga-style portrait group titled "N-Family" into the 1919 6th Nikakai (Second Division Society) Exhibition, where he won the Chōgyū Prize. This painting is now recognized by the Agency of Cultural Affairs of the Japanese government as an Important Cultural Properties of Japan. In the Nikakai exhibition of 1920 his portrait of the "Young Girl Omme" received the Nika Prize.
He received numerous commissions following these successes, and experimented with a variety of media, including painting on glass. From 1921–1922, he travelled to France, and established his atelier in Osaka in 1924. (This studio is now preserved at the Ashiya City Art Museum). In his later years, Koide was especially known for his nudes.
He died in Ashiya, Hyōgo in 1931. | [
"Chūō-ku",
"France",
"painting on glass",
"Japanese",
"Important Cultural Properties of Japan",
"Nihonga",
"Tokyo School of Fine Art",
"Ashiya, Hyōgo",
"oil painting",
"Agency of Cultural Affairs",
"yōga",
"Shimomura Kanzan",
"Osaka",
"atelier",
"Shinsaibashi"
]
|
|
16886_NT | Narashige Koide | How does this artwork elucidate its Biography? | Koide was born in what is now the Shinsaibashi area of Chūō-ku Osaka. Interested in art from childhood, he studied Nihonga in elementary and middle school. In 1907, he applied to the western arts department of Tokyo School of Fine Art, but failed his entrance examinations, and was accepted into the Nihonga department instead. Although he was able to study under famed Nihonga painter Shimomura Kanzan, he was still drawn to oil painting. After graduating in 1914 he returned to Osaka and continued to paint and entered a yōga-style portrait group titled "N-Family" into the 1919 6th Nikakai (Second Division Society) Exhibition, where he won the Chōgyū Prize. This painting is now recognized by the Agency of Cultural Affairs of the Japanese government as an Important Cultural Properties of Japan. In the Nikakai exhibition of 1920 his portrait of the "Young Girl Omme" received the Nika Prize.
He received numerous commissions following these successes, and experimented with a variety of media, including painting on glass. From 1921–1922, he travelled to France, and established his atelier in Osaka in 1924. (This studio is now preserved at the Ashiya City Art Museum). In his later years, Koide was especially known for his nudes.
He died in Ashiya, Hyōgo in 1931. | [
"Chūō-ku",
"France",
"painting on glass",
"Japanese",
"Important Cultural Properties of Japan",
"Nihonga",
"Tokyo School of Fine Art",
"Ashiya, Hyōgo",
"oil painting",
"Agency of Cultural Affairs",
"yōga",
"Shimomura Kanzan",
"Osaka",
"atelier",
"Shinsaibashi"
]
|
|
16887_T | Narashige Koide | Focus on Narashige Koide and analyze the Noted Works. | N’s Family (Nの家族, N no kazoku), 1919, Ohara Art Museum, National Important Cultural Property
Boy with a Lamp (ラッパを持てる少年), 1923, National Museum of Modern Art, Tokyo, Japan
Nude with white cloth (裸女と白布), 1929, National Museum of Modern Art, Tokyo, Japan [1]
Nude on a bed (寝台の裸婦), 1930, Ohara Museum of Art, Tokyo, Japan [2] | [
"Ohara Art Museum",
"Ohara Museum of Art"
]
|
|
16887_NT | Narashige Koide | Focus on this artwork and analyze the Noted Works. | N’s Family (Nの家族, N no kazoku), 1919, Ohara Art Museum, National Important Cultural Property
Boy with a Lamp (ラッパを持てる少年), 1923, National Museum of Modern Art, Tokyo, Japan
Nude with white cloth (裸女と白布), 1929, National Museum of Modern Art, Tokyo, Japan [1]
Nude on a bed (寝台の裸婦), 1930, Ohara Museum of Art, Tokyo, Japan [2] | [
"Ohara Art Museum",
"Ohara Museum of Art"
]
|
|
16888_T | Altarpiece of the Halberd | In Altarpiece of the Halberd, how is the abstract discussed? | The Altarpiece of the Halberd is an oil-on-canvas painting created ca.1539 by the Italian High Renaissance painter Lorenzo Lotto. It is housed in the Pinacoteca civica Francesco Podesti of Ancona, central Italy. | [
"Ancona",
"Halberd",
"Pinacoteca civica Francesco Podesti",
"High Renaissance",
"Italy",
"Italian",
"Lorenzo Lotto"
]
|
|
16888_NT | Altarpiece of the Halberd | In this artwork, how is the abstract discussed? | The Altarpiece of the Halberd is an oil-on-canvas painting created ca.1539 by the Italian High Renaissance painter Lorenzo Lotto. It is housed in the Pinacoteca civica Francesco Podesti of Ancona, central Italy. | [
"Ancona",
"Halberd",
"Pinacoteca civica Francesco Podesti",
"High Renaissance",
"Italy",
"Italian",
"Lorenzo Lotto"
]
|
|
16889_T | Altarpiece of the Halberd | Focus on Altarpiece of the Halberd and explore the History. | The work was seen by the art biographer Giorgio Vasari in the church of Sant'Agostino in Ancona, where Lotto had fled in reply to the hostility received in Venice. It was later moved to the church of Santa Maria della Piazza and, after other locations, the current one.
The painting dates to a few years after the coup by which Ancona had been restored to the Papal States. The resistance had been brutally suppressed, many of the rebels having been beheaded by order of the papal legate. The upside-down halberd has been thus interpreted as a symbol of peace. | [
"Giorgio Vasari",
"Ancona",
"Santa Maria della Piazza",
"coup",
"Sant'Agostino",
"Papal States",
"halberd"
]
|
|
16889_NT | Altarpiece of the Halberd | Focus on this artwork and explore the History. | The work was seen by the art biographer Giorgio Vasari in the church of Sant'Agostino in Ancona, where Lotto had fled in reply to the hostility received in Venice. It was later moved to the church of Santa Maria della Piazza and, after other locations, the current one.
The painting dates to a few years after the coup by which Ancona had been restored to the Papal States. The resistance had been brutally suppressed, many of the rebels having been beheaded by order of the papal legate. The upside-down halberd has been thus interpreted as a symbol of peace. | [
"Giorgio Vasari",
"Ancona",
"Santa Maria della Piazza",
"coup",
"Sant'Agostino",
"Papal States",
"halberd"
]
|
|
16890_T | Altarpiece of the Halberd | Focus on Altarpiece of the Halberd and explain the Description. | The monumental composition is taken directly from the tradition of Holy Conversations in the Venetian School, inaugurated by Antonello da Messina's San Cassiano Altarpiece. It shows the Madonna and Child on a high throne, with two angels holding the crown (a 15th-century Flemish painting element also in use in Italy). In the lower part are four saints: Stephen, John the Evangelist, Simon the Zealot and Lawrence. Simon is holding the halberd which gives its name to the altarpiece. At the sides of the throne, between columns and draperies, are two sections of sky with clouds.
As in other paintings by Lotto, the symmetry is broken by the variety of postures and gestures. The work is characterized by a certain archaic style, explainable by the relatively provincial commissioners and the late stage of his career. | [
"Holy Conversation",
"Italy",
"Antonello da Messina",
"San Cassiano Altarpiece",
"Flemish painting",
"halberd",
"Simon the Zealot",
"Lawrence",
"Venetian School"
]
|
|
16890_NT | Altarpiece of the Halberd | Focus on this artwork and explain the Description. | The monumental composition is taken directly from the tradition of Holy Conversations in the Venetian School, inaugurated by Antonello da Messina's San Cassiano Altarpiece. It shows the Madonna and Child on a high throne, with two angels holding the crown (a 15th-century Flemish painting element also in use in Italy). In the lower part are four saints: Stephen, John the Evangelist, Simon the Zealot and Lawrence. Simon is holding the halberd which gives its name to the altarpiece. At the sides of the throne, between columns and draperies, are two sections of sky with clouds.
As in other paintings by Lotto, the symmetry is broken by the variety of postures and gestures. The work is characterized by a certain archaic style, explainable by the relatively provincial commissioners and the late stage of his career. | [
"Holy Conversation",
"Italy",
"Antonello da Messina",
"San Cassiano Altarpiece",
"Flemish painting",
"halberd",
"Simon the Zealot",
"Lawrence",
"Venetian School"
]
|
|
16891_T | Statue of John Huston | Explore the abstract of this artwork, Statue of John Huston. | A statue of John Huston was installed in Isla Cuale, Zona Romántica, Puerto Vallarta, in the Mexican state of Jalisco, in 1988. The sculpture commemorated Huston's film Night of the Iguana (1964) and "its part in local history". | [
"Zona Romántica",
"John Huston",
"Puerto Vallarta",
"Night of the Iguana",
"Jalisco",
"Isla Cuale"
]
|
|
16891_NT | Statue of John Huston | Explore the abstract of this artwork. | A statue of John Huston was installed in Isla Cuale, Zona Romántica, Puerto Vallarta, in the Mexican state of Jalisco, in 1988. The sculpture commemorated Huston's film Night of the Iguana (1964) and "its part in local history". | [
"Zona Romántica",
"John Huston",
"Puerto Vallarta",
"Night of the Iguana",
"Jalisco",
"Isla Cuale"
]
|
|
16892_T | The Descent from the Cross (Rubens, 1618) | Focus on The Descent from the Cross (Rubens, 1618) and discuss the abstract. | The Descent from the Cross is a c.1618 oil on canvas painting by Peter Paul Rubens and his studio. The broad free brushstrokes of the old man's body and robes point to Rubens' pupil Anthony van Dyck. It is now in the Hermitage Museum in St Petersburg.The work was commissioned for the high altar of the Capuchin church in Lier near Antwerp and based on his successful earlier work on the subject for Antwerp Cathedral. Two preparatory drawings for it survive, one each in the EV Thaw collection in New York (previously in the Wrangham collection in the United Kingdom) and the Museum of Fine Arts, Boston. It hung in the chapel until 1794, when it was hidden from the French invaders by the monks. It was next recorded as being given by Bruges to Josephine Beauharnais's collection at Château de Malmaison. It and the rest of her collection were bought in 1814 for the Hermitage. | [
"successful earlier work on the subject for Antwerp Cathedral",
"Josephine Beauharnais",
"Lier",
"Peter Paul Rubens",
"Anthony van Dyck",
"Hermitage Museum",
"Bruges",
"Rubens",
"Château de Malmaison",
"Museum of Fine Arts, Boston"
]
|
|
16892_NT | The Descent from the Cross (Rubens, 1618) | Focus on this artwork and discuss the abstract. | The Descent from the Cross is a c.1618 oil on canvas painting by Peter Paul Rubens and his studio. The broad free brushstrokes of the old man's body and robes point to Rubens' pupil Anthony van Dyck. It is now in the Hermitage Museum in St Petersburg.The work was commissioned for the high altar of the Capuchin church in Lier near Antwerp and based on his successful earlier work on the subject for Antwerp Cathedral. Two preparatory drawings for it survive, one each in the EV Thaw collection in New York (previously in the Wrangham collection in the United Kingdom) and the Museum of Fine Arts, Boston. It hung in the chapel until 1794, when it was hidden from the French invaders by the monks. It was next recorded as being given by Bruges to Josephine Beauharnais's collection at Château de Malmaison. It and the rest of her collection were bought in 1814 for the Hermitage. | [
"successful earlier work on the subject for Antwerp Cathedral",
"Josephine Beauharnais",
"Lier",
"Peter Paul Rubens",
"Anthony van Dyck",
"Hermitage Museum",
"Bruges",
"Rubens",
"Château de Malmaison",
"Museum of Fine Arts, Boston"
]
|
|
16893_T | Prince Balthasar Charles with a Dwarf | How does Prince Balthasar Charles with a Dwarf elucidate its abstract? | Prince Balthasar Charles With a Dwarf is a 1631 portrait by Diego Velázquez of Balthasar Charles, Prince of Asturias and a court dwarf. It is now in the Museum of Fine Arts in Boston. It is the first of several portraits Velázquez painted of the young prince.The prince is shown in the uniform of a captain-general (adapted to his infant state but still including a commander's baton in his right hand, a shoulder sash and a sword hilt in his left hand). The dwarf holds an apple and a rattle, to contrast with the heir to the most powerful monarchy in Europe, who is shown as already in military training and not needing these usual children's attributes. The prince's static posture, in contrast to the dynamism of the dwarf's figure, turning to contemplate the prince, has caused some art historians to think that the painting was originally only of the prince, with the dwarf added later. | [
"Boston",
"Diego Velázquez",
"Museum of Fine Arts",
"court dwarf",
"Balthasar Charles, Prince of Asturias"
]
|
|
16893_NT | Prince Balthasar Charles with a Dwarf | How does this artwork elucidate its abstract? | Prince Balthasar Charles With a Dwarf is a 1631 portrait by Diego Velázquez of Balthasar Charles, Prince of Asturias and a court dwarf. It is now in the Museum of Fine Arts in Boston. It is the first of several portraits Velázquez painted of the young prince.The prince is shown in the uniform of a captain-general (adapted to his infant state but still including a commander's baton in his right hand, a shoulder sash and a sword hilt in his left hand). The dwarf holds an apple and a rattle, to contrast with the heir to the most powerful monarchy in Europe, who is shown as already in military training and not needing these usual children's attributes. The prince's static posture, in contrast to the dynamism of the dwarf's figure, turning to contemplate the prince, has caused some art historians to think that the painting was originally only of the prince, with the dwarf added later. | [
"Boston",
"Diego Velázquez",
"Museum of Fine Arts",
"court dwarf",
"Balthasar Charles, Prince of Asturias"
]
|
|
16894_T | Hope Skip and Jump | Focus on Hope Skip and Jump and analyze the abstract. | Hope Skip and Jump is a 2012 mixed media collage by artist India Cruse-Griffin located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and is part of the Eskenazi Health Art Collection. | [
"Eskenazi Health Art Collection",
"Indianapolis",
"campus",
"Indianapolis, Indiana",
"India Cruse-Griffin",
"Indiana",
"Eskenazi Health",
"mixed media",
"collage"
]
|
|
16894_NT | Hope Skip and Jump | Focus on this artwork and analyze the abstract. | Hope Skip and Jump is a 2012 mixed media collage by artist India Cruse-Griffin located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and is part of the Eskenazi Health Art Collection. | [
"Eskenazi Health Art Collection",
"Indianapolis",
"campus",
"Indianapolis, Indiana",
"India Cruse-Griffin",
"Indiana",
"Eskenazi Health",
"mixed media",
"collage"
]
|
|
16895_T | Hope Skip and Jump | In the context of Hope Skip and Jump, explore the Acquisition of the Historical information. | Hope Skip and Jump was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Hope Skip and Jump is credited "in honor of Greg Kelleher, Lisa E. Harris, M.D." | [
"campus",
"historical art collection",
"Eskenazi Health"
]
|
|
16895_NT | Hope Skip and Jump | In the context of this artwork, explore the Acquisition of the Historical information. | Hope Skip and Jump was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Hope Skip and Jump is credited "in honor of Greg Kelleher, Lisa E. Harris, M.D." | [
"campus",
"historical art collection",
"Eskenazi Health"
]
|
|
16896_T | Hope Skip and Jump | In the context of Hope Skip and Jump, explain the Location of the Historical information. | Hope Skip and Jump is currently displayed in the Robert & Gina Laikin Surgery Registration & Waiting Room on the third floor of Sidney & Lois Eskenazi Hospital. | [
"Sidney & Lois Eskenazi Hospital"
]
|
|
16896_NT | Hope Skip and Jump | In the context of this artwork, explain the Location of the Historical information. | Hope Skip and Jump is currently displayed in the Robert & Gina Laikin Surgery Registration & Waiting Room on the third floor of Sidney & Lois Eskenazi Hospital. | [
"Sidney & Lois Eskenazi Hospital"
]
|
|
16897_T | Hope Skip and Jump | Explore the Artist of this artwork, Hope Skip and Jump. | Indiana-based artist India Cruse-Griffin received her BS in Art Education from Ball State University. She has exhibited extensively, including at the Richmond Art Museum, Indiana University East, the Northern Indiana Arts Association, Indiana State Museum and the National Black Fine Art Show held annually in New York. Her work is included in the permanent collections of the Indiana State Museum, the Indiana Governor’s Residence, Indiana University, Richmond Community Schools, the Richmond Art Museum and Reid Memorial Hospital in Richmond. Cruse-Griffin teaches art at Richmond Senior High School, where she won two Teacher of the Year awards in 2010-2011. | [
"Art Education",
"Indiana University",
"Indiana University East",
"Indiana State Museum",
"India Cruse-Griffin",
"Richmond Art Museum",
"Indiana",
"Ball State University",
"Indiana Governor’s Residence"
]
|
|
16897_NT | Hope Skip and Jump | Explore the Artist of this artwork. | Indiana-based artist India Cruse-Griffin received her BS in Art Education from Ball State University. She has exhibited extensively, including at the Richmond Art Museum, Indiana University East, the Northern Indiana Arts Association, Indiana State Museum and the National Black Fine Art Show held annually in New York. Her work is included in the permanent collections of the Indiana State Museum, the Indiana Governor’s Residence, Indiana University, Richmond Community Schools, the Richmond Art Museum and Reid Memorial Hospital in Richmond. Cruse-Griffin teaches art at Richmond Senior High School, where she won two Teacher of the Year awards in 2010-2011. | [
"Art Education",
"Indiana University",
"Indiana University East",
"Indiana State Museum",
"India Cruse-Griffin",
"Richmond Art Museum",
"Indiana",
"Ball State University",
"Indiana Governor’s Residence"
]
|
|
16898_T | Monument to the Lion of Judah | Focus on Monument to the Lion of Judah and discuss the abstract. | The monument to the Lion of Judah is a statue of the Lion of Judah, a symbol of Ethiopian Emperors and Ethiopia, and is located in Addis Ababa. | [
"Lion of Judah",
"Addis Ababa",
"Ethiopian Emperors",
"Ethiopia"
]
|
|
16898_NT | Monument to the Lion of Judah | Focus on this artwork and discuss the abstract. | The monument to the Lion of Judah is a statue of the Lion of Judah, a symbol of Ethiopian Emperors and Ethiopia, and is located in Addis Ababa. | [
"Lion of Judah",
"Addis Ababa",
"Ethiopian Emperors",
"Ethiopia"
]
|
|
16899_T | Monument to the Lion of Judah | How does Monument to the Lion of Judah elucidate its History? | The monument is located in the square of the Addis Ababa railway station in Addis Ababa and marks the end of Winston Churchill Avenue, one of the main arteries of the city.
The sculpture of the Lion of Judah, in gilded bronze, is placed on a black granite pedestal decorated with relief portraits of emperors Menelik II and Haile Selassie, Empress Zewditu, and Ras Makonnen Wolde Mikael.
The work was made by the French sculptor Georges Gardet in 1930, on the occasion of the coronation of Emperor Haile Selassie on 2 November 1930. After the 1974 revolution, the Derg regime thought of removing the monument, a symbol of the monarchy. However, an association of Arbegnoch veterans claimed that it was a memory of Ethiopian antifascist resistance and a symbol of Ethiopia. Therefore, the regime agreed to leave the monument, which is still in front of the Addis Ababa central station.
In 1954, a new monument was commissioned by Emperor Haile Selassie from sculptor Maurice Calka, around the National Bank of Ethiopia and the National Theater. | [
"Lion of Judah",
"Winston Churchill",
"Addis Ababa central station",
"Menelik II",
"Derg",
"Addis Ababa",
"Maurice Calka",
"Makonnen Wolde Mikael",
"Addis Ababa railway station",
"Ethiopia",
"Haile Selassie",
"Zewditu",
"Ras",
"Arbegnoch",
"Georges Gardet"
]
|
|
16899_NT | Monument to the Lion of Judah | How does this artwork elucidate its History? | The monument is located in the square of the Addis Ababa railway station in Addis Ababa and marks the end of Winston Churchill Avenue, one of the main arteries of the city.
The sculpture of the Lion of Judah, in gilded bronze, is placed on a black granite pedestal decorated with relief portraits of emperors Menelik II and Haile Selassie, Empress Zewditu, and Ras Makonnen Wolde Mikael.
The work was made by the French sculptor Georges Gardet in 1930, on the occasion of the coronation of Emperor Haile Selassie on 2 November 1930. After the 1974 revolution, the Derg regime thought of removing the monument, a symbol of the monarchy. However, an association of Arbegnoch veterans claimed that it was a memory of Ethiopian antifascist resistance and a symbol of Ethiopia. Therefore, the regime agreed to leave the monument, which is still in front of the Addis Ababa central station.
In 1954, a new monument was commissioned by Emperor Haile Selassie from sculptor Maurice Calka, around the National Bank of Ethiopia and the National Theater. | [
"Lion of Judah",
"Winston Churchill",
"Addis Ababa central station",
"Menelik II",
"Derg",
"Addis Ababa",
"Maurice Calka",
"Makonnen Wolde Mikael",
"Addis Ababa railway station",
"Ethiopia",
"Haile Selassie",
"Zewditu",
"Ras",
"Arbegnoch",
"Georges Gardet"
]
|
|
16900_T | Monument to the Lion of Judah | In the context of Monument to the Lion of Judah, analyze the 1935: Looted by Fascist Italian force of the History. | At the end of the so-called March of the Iron Will (Italian: marcia della ferrea volontà) (during the Second Italo-Ethiopian War) that led to the occupation of Addis Ababa by the Royal Italian Army, the statue was transported to Rome, Italy in 1936 at the end of the Second Italo-Ethiopian War.
On 8 May 1937, on the occasion of the first anniversary of the proclamation of the Italian Empire and Italian East Africa, the Lion of Judah sculpture was placed just beyond Square of Five hundred to Rome, under the obelisk that remembers of the Battle of Dogali.
The Lion of Judah statue remained in Rome until the 1960s, when it was returned to Ethiopia after the negotiations in Addis Ababa. Emperor Haile Selassie took part in the new inauguration ceremony in military uniform, also recalling the patriotic gesture of Zerai Derres. | [
"Lion of Judah",
"Battle of Dogali",
"Addis Ababa",
"Italian East Africa",
"Rome",
"Second Italo-Ethiopian War",
"Italy",
"Ethiopia",
"Haile Selassie",
"Royal Italian Army",
"Italian Empire",
"March of the Iron Will"
]
|
|
16900_NT | Monument to the Lion of Judah | In the context of this artwork, analyze the 1935: Looted by Fascist Italian force of the History. | At the end of the so-called March of the Iron Will (Italian: marcia della ferrea volontà) (during the Second Italo-Ethiopian War) that led to the occupation of Addis Ababa by the Royal Italian Army, the statue was transported to Rome, Italy in 1936 at the end of the Second Italo-Ethiopian War.
On 8 May 1937, on the occasion of the first anniversary of the proclamation of the Italian Empire and Italian East Africa, the Lion of Judah sculpture was placed just beyond Square of Five hundred to Rome, under the obelisk that remembers of the Battle of Dogali.
The Lion of Judah statue remained in Rome until the 1960s, when it was returned to Ethiopia after the negotiations in Addis Ababa. Emperor Haile Selassie took part in the new inauguration ceremony in military uniform, also recalling the patriotic gesture of Zerai Derres. | [
"Lion of Judah",
"Battle of Dogali",
"Addis Ababa",
"Italian East Africa",
"Rome",
"Second Italo-Ethiopian War",
"Italy",
"Ethiopia",
"Haile Selassie",
"Royal Italian Army",
"Italian Empire",
"March of the Iron Will"
]
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.