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16901_T | Monument to the Lion of Judah | Describe the characteristics of the Zerai Derres rebellion in Monument to the Lion of Judah's History. | On 15 June 1938, the young Eritrean Zerai Deres made a protest against the Italian occupation of Ethiopia in front of the monument. Brandishing a scimitar, he wounded several onlookers and was shot by soldiers. He was arrested by the fascist militia and imprisoned in a psychiatric hospital (however, contemporary Italian historians doubt the claim that he was mentally unstable) in Sicily, where he died in 1945. For this gesture Zerai Deres is considered a national hero both in Eritrea and Ethiopia. | [
"Italian occupation of Ethiopia",
"Zerai Deres",
"psychiatric hospital",
"Ethiopia",
"scimitar"
] |
|
16901_NT | Monument to the Lion of Judah | Describe the characteristics of the Zerai Derres rebellion in this artwork's History. | On 15 June 1938, the young Eritrean Zerai Deres made a protest against the Italian occupation of Ethiopia in front of the monument. Brandishing a scimitar, he wounded several onlookers and was shot by soldiers. He was arrested by the fascist militia and imprisoned in a psychiatric hospital (however, contemporary Italian historians doubt the claim that he was mentally unstable) in Sicily, where he died in 1945. For this gesture Zerai Deres is considered a national hero both in Eritrea and Ethiopia. | [
"Italian occupation of Ethiopia",
"Zerai Deres",
"psychiatric hospital",
"Ethiopia",
"scimitar"
] |
|
16902_T | Monument to the Lion of Judah | Focus on Monument to the Lion of Judah and explore the Filmography. | The Lion of Judah, life and Reign of Haile Selassie I (Roland van Reenen) on YouTube (19 January 2012)
The Lion of Judah, Prince Ermias Sahle Selsssie (LibraryOfCongress) on YouTube (3 April 2011)
Monuments of Addis Ababa, EthiopiaIl (Ethiopian TV) on YouTube (7 March 2013)
Il leone di Giuda (Cinegiornale Luce) on YouTube (3 March 1937)
Scoperto il Leone di Giuda portato da Addis Abeba (Cinegiornale Luce) on YouTube (12 May 1937) | [
"Lion of Judah",
"Addis Ababa",
"Ethiopia",
"Haile Selassie"
] |
|
16902_NT | Monument to the Lion of Judah | Focus on this artwork and explore the Filmography. | The Lion of Judah, life and Reign of Haile Selassie I (Roland van Reenen) on YouTube (19 January 2012)
The Lion of Judah, Prince Ermias Sahle Selsssie (LibraryOfCongress) on YouTube (3 April 2011)
Monuments of Addis Ababa, EthiopiaIl (Ethiopian TV) on YouTube (7 March 2013)
Il leone di Giuda (Cinegiornale Luce) on YouTube (3 March 1937)
Scoperto il Leone di Giuda portato da Addis Abeba (Cinegiornale Luce) on YouTube (12 May 1937) | [
"Lion of Judah",
"Addis Ababa",
"Ethiopia",
"Haile Selassie"
] |
|
16903_T | Statue of Frederick VI | Focus on Statue of Frederick VI and explain the abstract. | The statue of Frederick VI greets visitors just inside the main entrance to Frederiksberg Park at Frederiksberg Runddel in the Frederiksberg district of Copenhagen, Denmark. Unveiled on 10 September 1858, the bronze statue was created by Herman Wilhelm Bissen and is considered one of his best works. It is the first public depiction of a Danish monarch in everyday, contemporary attire, rather than that of antiquity, or galla uniform, popular in earlier sculpture. | [
"Copenhagen",
"Denmark",
"Frederiksberg Park",
"Frederick VI",
"Herman Wilhelm Bissen",
"Frederiksberg",
"Frederiksberg Runddel"
] |
|
16903_NT | Statue of Frederick VI | Focus on this artwork and explain the abstract. | The statue of Frederick VI greets visitors just inside the main entrance to Frederiksberg Park at Frederiksberg Runddel in the Frederiksberg district of Copenhagen, Denmark. Unveiled on 10 September 1858, the bronze statue was created by Herman Wilhelm Bissen and is considered one of his best works. It is the first public depiction of a Danish monarch in everyday, contemporary attire, rather than that of antiquity, or galla uniform, popular in earlier sculpture. | [
"Copenhagen",
"Denmark",
"Frederiksberg Park",
"Frederick VI",
"Herman Wilhelm Bissen",
"Frederiksberg",
"Frederiksberg Runddel"
] |
|
16904_T | Statue of Frederick VI | Explore the Design of this artwork, Statue of Frederick VI. | The statue offers a down-to-earth portrail of Frederick VI. He is not mounted on a horse and is not wearing a toga or a galla uniform as is normal in older portrails of monarchs. He is instead seen in a relaxed pose, wearing an everyday uniform with long coat and boots, with his right hand rested on his waist and the left hand on his sword. The unsentimental presentation of the king reflects his personality and relationship with the park and may also have been influenced by the recent transition from absolute to constitutional monarchy that was realized with the adoption of the Constitution of Denmark in 1849. The statue is considered one of Bissen's best works.The inscriptions on the plinth was written by J.N. Madvig. The inscription on the front reads "Frederik den Sjette / født 28. januar 1768 / død 3. december 1839". The inscription on the rear side reads " Dette minde rejstes 1858". The inscription on the left-hand side (south) reads "Her følte han sig lykkelig i sit trofaste folks midte". The inscription on the right-hand side (north) reads "Han styrede riget som kronprins og som konge i henved 56 år". | [
"Denmark",
"left",
"Frederick VI",
"Constitution of Denmark"
] |
|
16904_NT | Statue of Frederick VI | Explore the Design of this artwork. | The statue offers a down-to-earth portrail of Frederick VI. He is not mounted on a horse and is not wearing a toga or a galla uniform as is normal in older portrails of monarchs. He is instead seen in a relaxed pose, wearing an everyday uniform with long coat and boots, with his right hand rested on his waist and the left hand on his sword. The unsentimental presentation of the king reflects his personality and relationship with the park and may also have been influenced by the recent transition from absolute to constitutional monarchy that was realized with the adoption of the Constitution of Denmark in 1849. The statue is considered one of Bissen's best works.The inscriptions on the plinth was written by J.N. Madvig. The inscription on the front reads "Frederik den Sjette / født 28. januar 1768 / død 3. december 1839". The inscription on the rear side reads " Dette minde rejstes 1858". The inscription on the left-hand side (south) reads "Her følte han sig lykkelig i sit trofaste folks midte". The inscription on the right-hand side (north) reads "Han styrede riget som kronprins og som konge i henved 56 år". | [
"Denmark",
"left",
"Frederick VI",
"Constitution of Denmark"
] |
|
16905_T | Statue of Frederick VI | Focus on Statue of Frederick VI and discuss the History. | Frederick VI died on 3 December 1839. The initial preparations of a monument to his honour had already started prior to his death. C.F. Wilckens and Just Mathias Thiele states that Bertel Thorvaldsen began to work on a monument to Frederick VI at his own initiative. It depicted the king on his throne wearing his coronation gown and was intended for a location in Rosenborg Castle Gardens. Thiele wrote to Thorvaldsen just two days after the king's death proposing an equestrian statue at Esplanaden but Thorvaldsen ignored this proposal and continued work on his Rosenborg proposal. Christian VIII did however not like Thorvaldsen's proposal and a committee headed by Jonas Collin was instead set up. A memorial concert in the Church of Our Lady was held on the one year's anniversary of the king's death to raise money for the monument but then nothing happened for several years.
The committee was finally revived in 1848 after an anonymously published letter to the editor in a newspaper had brought the project back on the agenda. The money from the concert with interests had now reached 2,321 Danish rigsdaler and 90 skilling. Thorvaldsen had died in 1844 and the task of designing the monument was instead assigned to Herman Wilhelm Bissen. The final commission was not made until November 1855. Bissen presented his final design to an enthusiastic committee on 17 September 1857 but a decision on where to place it had by then still not been taken. Jonas Collin was in favour of a location in front of Thorvaldsens Museum while other proposals included Rosenborg Castle Gardens, Esplanaden and Christiansborg Slotsplads. In the end, Bissen, who had created the statue with a location at the entrance to Frederiksberg Park in mind, did however manage to convince the committee that this was the right location.on 10 September 1858, the monument was finally unveiled in the presence of Frederick VII. | [
"Esplanaden",
"Christiansborg Slotsplads",
"Christian VIII",
"Bertel Thorvaldsen",
"Jonas Collin",
"Frederiksberg Park",
"Frederick VI",
"Herman Wilhelm Bissen",
"Church of Our Lady",
"Frederick VII",
"Rosenborg Castle Gardens",
"Just Mathias Thiele",
"Thorvaldsens Museum",
"Danish rigsdaler",
"Frederiksberg"
] |
|
16905_NT | Statue of Frederick VI | Focus on this artwork and discuss the History. | Frederick VI died on 3 December 1839. The initial preparations of a monument to his honour had already started prior to his death. C.F. Wilckens and Just Mathias Thiele states that Bertel Thorvaldsen began to work on a monument to Frederick VI at his own initiative. It depicted the king on his throne wearing his coronation gown and was intended for a location in Rosenborg Castle Gardens. Thiele wrote to Thorvaldsen just two days after the king's death proposing an equestrian statue at Esplanaden but Thorvaldsen ignored this proposal and continued work on his Rosenborg proposal. Christian VIII did however not like Thorvaldsen's proposal and a committee headed by Jonas Collin was instead set up. A memorial concert in the Church of Our Lady was held on the one year's anniversary of the king's death to raise money for the monument but then nothing happened for several years.
The committee was finally revived in 1848 after an anonymously published letter to the editor in a newspaper had brought the project back on the agenda. The money from the concert with interests had now reached 2,321 Danish rigsdaler and 90 skilling. Thorvaldsen had died in 1844 and the task of designing the monument was instead assigned to Herman Wilhelm Bissen. The final commission was not made until November 1855. Bissen presented his final design to an enthusiastic committee on 17 September 1857 but a decision on where to place it had by then still not been taken. Jonas Collin was in favour of a location in front of Thorvaldsens Museum while other proposals included Rosenborg Castle Gardens, Esplanaden and Christiansborg Slotsplads. In the end, Bissen, who had created the statue with a location at the entrance to Frederiksberg Park in mind, did however manage to convince the committee that this was the right location.on 10 September 1858, the monument was finally unveiled in the presence of Frederick VII. | [
"Esplanaden",
"Christiansborg Slotsplads",
"Christian VIII",
"Bertel Thorvaldsen",
"Jonas Collin",
"Frederiksberg Park",
"Frederick VI",
"Herman Wilhelm Bissen",
"Church of Our Lady",
"Frederick VII",
"Rosenborg Castle Gardens",
"Just Mathias Thiele",
"Thorvaldsens Museum",
"Danish rigsdaler",
"Frederiksberg"
] |
|
16906_T | Statue of Frederick VI | How does Statue of Frederick VI elucidate its In media and culture? | The statue is seen on the 1923 Royal Copenhagen Christmas plate. The plate was designed by Oluf Jensen, | [
"Copenhagen",
"Royal Copenhagen"
] |
|
16906_NT | Statue of Frederick VI | How does this artwork elucidate its In media and culture? | The statue is seen on the 1923 Royal Copenhagen Christmas plate. The plate was designed by Oluf Jensen, | [
"Copenhagen",
"Royal Copenhagen"
] |
|
16907_T | Christ enthroned with the Virgin and St John | Focus on Christ enthroned with the Virgin and St John and analyze the abstract. | Christ enthroned with the Virgin and St John (Italian: Cristo in trono tra la Vergine e san Giovanni) is a mosaic (385x223 cm) in the apse of Pisa Cathedral. It is famous for the depiction of John the Evangelist, the last work by the Italian medieval artist Cimabue. It is also the only work of his, which is dated and has historical documentation attributing it to Cimabue.Cimabue took over the work on the mosaic after Francesco da Pisa, who completed the figure of Christ. Cimabue worked on the mosaic for 94 days until 19 February 1302 and was specifically stated to have finished the figure of St. John by that date. The whole mosaic, including the figure of Virgin, was only completed by the third artist, Vincino da Pistoia in 1321, almost 20 years after Cimabue's death.
The attribution to Cimabue is possible due to documented weekly payments of 10 soldi to the artist.
The work eventually went through four renovations and survived the fire of 1595. | [
"Pisa Cathedral",
"John the Evangelist",
"Pisa",
"soldi",
"Cimabue"
] |
|
16907_NT | Christ enthroned with the Virgin and St John | Focus on this artwork and analyze the abstract. | Christ enthroned with the Virgin and St John (Italian: Cristo in trono tra la Vergine e san Giovanni) is a mosaic (385x223 cm) in the apse of Pisa Cathedral. It is famous for the depiction of John the Evangelist, the last work by the Italian medieval artist Cimabue. It is also the only work of his, which is dated and has historical documentation attributing it to Cimabue.Cimabue took over the work on the mosaic after Francesco da Pisa, who completed the figure of Christ. Cimabue worked on the mosaic for 94 days until 19 February 1302 and was specifically stated to have finished the figure of St. John by that date. The whole mosaic, including the figure of Virgin, was only completed by the third artist, Vincino da Pistoia in 1321, almost 20 years after Cimabue's death.
The attribution to Cimabue is possible due to documented weekly payments of 10 soldi to the artist.
The work eventually went through four renovations and survived the fire of 1595. | [
"Pisa Cathedral",
"John the Evangelist",
"Pisa",
"soldi",
"Cimabue"
] |
|
16908_T | Bust of Jayavarman VII | In Bust of Jayavarman VII, how is the Description discussed? | The bust of Jayavarman VII is a grey-green sandstone head, with downcast eyes and a faint smile. The hairstyle, with the hair pulled into a small round bun at the top of the skull, makes it possible to identify the subject as being a man; the four squatting men sculpted on the pediment of the temple of Banteay Srei, kept at the Guimet museum, have practically the same hairstyle. The square face with full cheeks suggests that the character of Angkor is middle-aged. He wears no adornment and displays a meditative expression. The upper lip, a little longer than the lower lip, seems to protrude slightly; this would make one think that he had his teeth slightly forward, unless this effect is due to the flat mustache which surmounts this lip. The stretched ears indicate that this man usually wore heavy earrings. | [
"Jayavarman VII",
"bust",
"Angkor"
] |
|
16908_NT | Bust of Jayavarman VII | In this artwork, how is the Description discussed? | The bust of Jayavarman VII is a grey-green sandstone head, with downcast eyes and a faint smile. The hairstyle, with the hair pulled into a small round bun at the top of the skull, makes it possible to identify the subject as being a man; the four squatting men sculpted on the pediment of the temple of Banteay Srei, kept at the Guimet museum, have practically the same hairstyle. The square face with full cheeks suggests that the character of Angkor is middle-aged. He wears no adornment and displays a meditative expression. The upper lip, a little longer than the lower lip, seems to protrude slightly; this would make one think that he had his teeth slightly forward, unless this effect is due to the flat mustache which surmounts this lip. The stretched ears indicate that this man usually wore heavy earrings. | [
"Jayavarman VII",
"bust",
"Angkor"
] |
|
16909_T | Bust of Jayavarman VII | Focus on Bust of Jayavarman VII and explore the Identification of the « statue-portraits» of King Jayavarman VII. | Four fragmentary statues representing Jayavarman VII have been found in various places of his Empire, at Angkor, at Preah Khan of Kompong Svay and at Phimai, in Thailand. In these various portraits, though his main traits are very similar, Jayavarman VII appears more or less young, as if these sculptures had been made at different times in his life. The sculptures from Angkor, found between 1910 and 1931, show him obviously older. | [
"Jayavarman VII",
"Angkor"
] |
|
16909_NT | Bust of Jayavarman VII | Focus on this artwork and explore the Identification of the « statue-portraits» of King Jayavarman VII. | Four fragmentary statues representing Jayavarman VII have been found in various places of his Empire, at Angkor, at Preah Khan of Kompong Svay and at Phimai, in Thailand. In these various portraits, though his main traits are very similar, Jayavarman VII appears more or less young, as if these sculptures had been made at different times in his life. The sculptures from Angkor, found between 1910 and 1931, show him obviously older. | [
"Jayavarman VII",
"Angkor"
] |
|
16910_T | Bust of Jayavarman VII | In the context of Bust of Jayavarman VII, explain the Seated portrait of Phimai of the Identification of the « statue-portraits» of King Jayavarman VII. | In the early 20th century, the seated statue of Jayavarman VII in Phimai, with a kneeling woman, was considered to be a representation of Brahmadatta, the legendary ruler of Benares, who ruled during the previous lives of the Buddha according to the Jataka. This statue was found in a laterite tower dating back to the reign of Jayavarman VII in the south-east part of the Phimai complex. | [
"Brahma",
"Jayavarman VII",
"Brahmadatta"
] |
|
16910_NT | Bust of Jayavarman VII | In the context of this artwork, explain the Seated portrait of Phimai of the Identification of the « statue-portraits» of King Jayavarman VII. | In the early 20th century, the seated statue of Jayavarman VII in Phimai, with a kneeling woman, was considered to be a representation of Brahmadatta, the legendary ruler of Benares, who ruled during the previous lives of the Buddha according to the Jataka. This statue was found in a laterite tower dating back to the reign of Jayavarman VII in the south-east part of the Phimai complex. | [
"Brahma",
"Jayavarman VII",
"Brahmadatta"
] |
|
16911_T | Bust of Jayavarman VII | Explore the Seated portrait of Krol Romeas about the Identification of the « statue-portraits» of King Jayavarman VII of this artwork, Bust of Jayavarman VII. | In 1924, the body of a statue and later in 1931, a matching head were identified as a second seated statue of Jayavarman VII. As soon as 1935, Georges Coedes suggested that this statue could instead represent the Khmer ruler Jayavarman VII based on the similarities found with his representations in the bas-relief of the Bayon and Banteay Chhmar. | [
"Bayon",
"Jayavarman VII"
] |
|
16911_NT | Bust of Jayavarman VII | Explore the Seated portrait of Krol Romeas about the Identification of the « statue-portraits» of King Jayavarman VII of this artwork. | In 1924, the body of a statue and later in 1931, a matching head were identified as a second seated statue of Jayavarman VII. As soon as 1935, Georges Coedes suggested that this statue could instead represent the Khmer ruler Jayavarman VII based on the similarities found with his representations in the bas-relief of the Bayon and Banteay Chhmar. | [
"Bayon",
"Jayavarman VII"
] |
|
16912_T | Bust of Jayavarman VII | In the context of Bust of Jayavarman VII, discuss the Seated portrait of the Preah Kahn of Kampong Svay of the Identification of the « statue-portraits» of King Jayavarman VII. | Another similar head was found in 1958 in his stronghold of Jayavarman VII, the Preah Khan of Kompong Svay, in which he is represented slightly younger and less corpulent. His identification decisively corroborated the fact that this head was that if Jayavarman VII. The mutilated body matching that head was found in 2000. | [
"Jayavarman VII"
] |
|
16912_NT | Bust of Jayavarman VII | In the context of this artwork, discuss the Seated portrait of the Preah Kahn of Kampong Svay of the Identification of the « statue-portraits» of King Jayavarman VII. | Another similar head was found in 1958 in his stronghold of Jayavarman VII, the Preah Khan of Kompong Svay, in which he is represented slightly younger and less corpulent. His identification decisively corroborated the fact that this head was that if Jayavarman VII. The mutilated body matching that head was found in 2000. | [
"Jayavarman VII"
] |
|
16913_T | Bust of Jayavarman VII | In Bust of Jayavarman VII, how is the Bust in the Musee Guimet of the Identification of the « statue-portraits» of King Jayavarman VII elucidated? | The bust kept in the Musee Guimet was presumed to be Jayavarman VII since Etienne de La Jonquiere who relied on the proximity of its original place in the Ta Prohm and a 2,60 meter inscription in Sanskrit of the time of Jayavarman VII. It was only recognized in the 2010s as a bust of Jayavarman VII by consensus of the scientific community as the bust of Jayavarman VII originating from Ta Prohm. | [
"Ta Prohm",
"Jayavarman VII",
"bust"
] |
|
16913_NT | Bust of Jayavarman VII | In this artwork, how is the Bust in the Musee Guimet of the Identification of the « statue-portraits» of King Jayavarman VII elucidated? | The bust kept in the Musee Guimet was presumed to be Jayavarman VII since Etienne de La Jonquiere who relied on the proximity of its original place in the Ta Prohm and a 2,60 meter inscription in Sanskrit of the time of Jayavarman VII. It was only recognized in the 2010s as a bust of Jayavarman VII by consensus of the scientific community as the bust of Jayavarman VII originating from Ta Prohm. | [
"Ta Prohm",
"Jayavarman VII",
"bust"
] |
|
16914_T | Bust of Jayavarman VII | Focus on Bust of Jayavarman VII and analyze the Use: official logo of the Cambodian Ministry of Culture and Fine Arts. | The bust of Jayavarman VII notably adorns the logo of the Ministry of Culture and Fine Arts. The original model used is not the bust of Ta Prohm but that of Kampong Svay. | [
"Ta Prohm",
"Ministry of Culture and Fine Arts",
"Jayavarman VII",
"bust"
] |
|
16914_NT | Bust of Jayavarman VII | Focus on this artwork and analyze the Use: official logo of the Cambodian Ministry of Culture and Fine Arts. | The bust of Jayavarman VII notably adorns the logo of the Ministry of Culture and Fine Arts. The original model used is not the bust of Ta Prohm but that of Kampong Svay. | [
"Ta Prohm",
"Ministry of Culture and Fine Arts",
"Jayavarman VII",
"bust"
] |
|
16915_T | Plain near Auvers | In Plain near Auvers, how is the abstract discussed? | Plain near Auvers (original title: Ebene bei Auvers) is an oil on canvas painting created in 1890, by the Dutch post-Impressionist painter Vincent van Gogh. It is on permanent display at the Neue Pinakothek in Munich, Germany. It was acquired in 1929 from the art market Kunsthandel.
As the title implies, van Gogh painted the work while living in Auvers. At the time, the artist while undergoing treatment for depression with Paul Gachet. | [
"oil on canvas",
"post-Impressionist",
"Dutch",
"depression",
"Vincent van Gogh",
"Munich",
"Paul Gachet",
"Neue Pinakothek"
] |
|
16915_NT | Plain near Auvers | In this artwork, how is the abstract discussed? | Plain near Auvers (original title: Ebene bei Auvers) is an oil on canvas painting created in 1890, by the Dutch post-Impressionist painter Vincent van Gogh. It is on permanent display at the Neue Pinakothek in Munich, Germany. It was acquired in 1929 from the art market Kunsthandel.
As the title implies, van Gogh painted the work while living in Auvers. At the time, the artist while undergoing treatment for depression with Paul Gachet. | [
"oil on canvas",
"post-Impressionist",
"Dutch",
"depression",
"Vincent van Gogh",
"Munich",
"Paul Gachet",
"Neue Pinakothek"
] |
|
16916_T | July Reflections | Focus on July Reflections and explore the abstract. | July Reflections is a watercolor on seamed paper by Martha Burchfield that she made in 1972 in Buffalo, New York based on a pencil sketch. | [
"Martha Burchfield",
"watercolor",
"Buffalo, New York"
] |
|
16916_NT | July Reflections | Focus on this artwork and explore the abstract. | July Reflections is a watercolor on seamed paper by Martha Burchfield that she made in 1972 in Buffalo, New York based on a pencil sketch. | [
"Martha Burchfield",
"watercolor",
"Buffalo, New York"
] |
|
16917_T | Christ of the Ohio | Focus on Christ of the Ohio and explain the abstract. | Christ of the Ohio is a statue of Jesus Christ in Troy, Indiana in the United States. It is located on Fulton Hill, which overlooks the Ohio River. | [
"statue",
"Jesus",
"Jesus Christ",
"United States",
"Troy",
"Indiana",
"Ohio River",
"Troy, Indiana"
] |
|
16917_NT | Christ of the Ohio | Focus on this artwork and explain the abstract. | Christ of the Ohio is a statue of Jesus Christ in Troy, Indiana in the United States. It is located on Fulton Hill, which overlooks the Ohio River. | [
"statue",
"Jesus",
"Jesus Christ",
"United States",
"Troy",
"Indiana",
"Ohio River",
"Troy, Indiana"
] |
|
16918_T | Christ of the Ohio | Explore the Description of this artwork, Christ of the Ohio. | The statue depicts Jesus Christ standing with his arms stretched upwards towards the sky. He wears a me'īl. He is barefoot and has a beard. It is made of white portland cement mixed with crushed pink stone. The statue is said to weigh 6,300 pounds (lbs). The statue is placed on top of a pedestal, made of stone from Saint Meinrad and cement, with the following engraving on the front:CHRIST
OF
THE
OHIO
AD
1956
The statue is located on the east side of Troy on the Ohio Riverfront. It resides near a bend in the river and has been used as a beacon for boats since its dedication. It can be seen from Indiana State Road 66. It resides 75 feet above the road. | [
"statue",
"Jesus",
"me'īl",
"Jesus Christ",
"Saint Meinrad",
"Indiana State Road 66",
"Troy",
"Indiana",
"Ohio River",
"portland cement"
] |
|
16918_NT | Christ of the Ohio | Explore the Description of this artwork. | The statue depicts Jesus Christ standing with his arms stretched upwards towards the sky. He wears a me'īl. He is barefoot and has a beard. It is made of white portland cement mixed with crushed pink stone. The statue is said to weigh 6,300 pounds (lbs). The statue is placed on top of a pedestal, made of stone from Saint Meinrad and cement, with the following engraving on the front:CHRIST
OF
THE
OHIO
AD
1956
The statue is located on the east side of Troy on the Ohio Riverfront. It resides near a bend in the river and has been used as a beacon for boats since its dedication. It can be seen from Indiana State Road 66. It resides 75 feet above the road. | [
"statue",
"Jesus",
"me'īl",
"Jesus Christ",
"Saint Meinrad",
"Indiana State Road 66",
"Troy",
"Indiana",
"Ohio River",
"portland cement"
] |
|
16919_T | Christ of the Ohio | Focus on Christ of the Ohio and discuss the Herbert Jogerst. | Herbert Jogerst was a German prisoner of war during World War II. He was incarcerated in Morganfield, Kentucky at Camp Breckenridge in 1943. He worked on sculptures as a prisoner and impressed the camp chaplain, Peter Behrman, who was a priest at the St. Meinrad Archabbey. Jogerst returned to Germany in 1948 and struggled to find work as an artist. He contacted Behrman for assistance and St. Meinrad Archabbey commissioned Jogurst to create some sculptures. Jogerst died in 1993. | [
"chaplain",
"Herbert Jogerst",
"prisoner of war",
"Morganfield, Kentucky",
"St. Meinrad Archabbey",
"World War II"
] |
|
16919_NT | Christ of the Ohio | Focus on this artwork and discuss the Herbert Jogerst. | Herbert Jogerst was a German prisoner of war during World War II. He was incarcerated in Morganfield, Kentucky at Camp Breckenridge in 1943. He worked on sculptures as a prisoner and impressed the camp chaplain, Peter Behrman, who was a priest at the St. Meinrad Archabbey. Jogerst returned to Germany in 1948 and struggled to find work as an artist. He contacted Behrman for assistance and St. Meinrad Archabbey commissioned Jogurst to create some sculptures. Jogerst died in 1993. | [
"chaplain",
"Herbert Jogerst",
"prisoner of war",
"Morganfield, Kentucky",
"St. Meinrad Archabbey",
"World War II"
] |
|
16920_T | Christ of the Ohio | How does Christ of the Ohio elucidate its History? | While working on commissioned works for St. Meinrad, Jogerst met Dr. Nicholas A. James, while James was visiting the Archabbey. James commissioned Jogerst to create the statue for his summer home. The home, which is known as "Grandma's House," was located on the banks of the Ohio River. The work was dedicated on May 1, 1957. Grandma's House was eventually sold and the statue was purchased by the town of Troy. | [
"statue",
"Troy",
"Ohio River"
] |
|
16920_NT | Christ of the Ohio | How does this artwork elucidate its History? | While working on commissioned works for St. Meinrad, Jogerst met Dr. Nicholas A. James, while James was visiting the Archabbey. James commissioned Jogerst to create the statue for his summer home. The home, which is known as "Grandma's House," was located on the banks of the Ohio River. The work was dedicated on May 1, 1957. Grandma's House was eventually sold and the statue was purchased by the town of Troy. | [
"statue",
"Troy",
"Ohio River"
] |
|
16921_T | Christ of the Ohio | Focus on Christ of the Ohio and analyze the Condition. | Christ of the Ohio was surveyed by the Smithsonian Institution's Save Outdoor Sculpture! survey in 1993 and was described as being "well maintained" by surveyors. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
16921_NT | Christ of the Ohio | Focus on this artwork and analyze the Condition. | Christ of the Ohio was surveyed by the Smithsonian Institution's Save Outdoor Sculpture! survey in 1993 and was described as being "well maintained" by surveyors. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
16922_T | Eiaha Ohipa | In Eiaha Ohipa, how is the abstract discussed? | Eiaha Ohipa (English: Not Working) is an 1896 oil on canvas painting by Paul Gauguin, now in Pushkin Museum, Moscow. It was produced during his second stay in TahitiThe painting depicts two young Tahitians passing the time idling in a hut smoking whilst through the window the artist can be seen painting. The motif of an open window with the silhouette of a dog can be seen in other of Gauguin's works such as his Te Faaturuma of 1891. The painting symbolises the relaxed, natural and contemplative lifestyle of the Tahiti islanders. | [
"canvas",
"Paul Gauguin",
"Moscow",
"English",
"Pushkin Museum",
"Tahiti"
] |
|
16922_NT | Eiaha Ohipa | In this artwork, how is the abstract discussed? | Eiaha Ohipa (English: Not Working) is an 1896 oil on canvas painting by Paul Gauguin, now in Pushkin Museum, Moscow. It was produced during his second stay in TahitiThe painting depicts two young Tahitians passing the time idling in a hut smoking whilst through the window the artist can be seen painting. The motif of an open window with the silhouette of a dog can be seen in other of Gauguin's works such as his Te Faaturuma of 1891. The painting symbolises the relaxed, natural and contemplative lifestyle of the Tahiti islanders. | [
"canvas",
"Paul Gauguin",
"Moscow",
"English",
"Pushkin Museum",
"Tahiti"
] |
|
16923_T | Composition X | Focus on Composition X and explore the abstract. | Composition X is an abstract oil painting created in 1939 by the Russian émigré artist Wassily Kandinsky, then living near Paris. It is part of the collection of the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany. | [
"Kunstsammlung Nordrhein-Westfalen",
"Düsseldorf",
"Wassily Kandinsky"
] |
|
16923_NT | Composition X | Focus on this artwork and explore the abstract. | Composition X is an abstract oil painting created in 1939 by the Russian émigré artist Wassily Kandinsky, then living near Paris. It is part of the collection of the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany. | [
"Kunstsammlung Nordrhein-Westfalen",
"Düsseldorf",
"Wassily Kandinsky"
] |
|
16924_T | Composition X | Focus on Composition X and explain the Compositions. | Kandinsky compared abstract painting to the process of musical composition, and called his major conceptual works "compositions", as opposed to his lesser "improvisations". Composition X is the last of the ten compositions he painted during his lifetime (he was 73 at the time). Unusually for Kandinsky, who attached spiritual importance to color and geometric forms, the predominant color of the painting is black, which for him evoked the closure and end of things. On the black background float various geometric shapes, whose meaning is left to the viewer's appreciation. | [] |
|
16924_NT | Composition X | Focus on this artwork and explain the Compositions. | Kandinsky compared abstract painting to the process of musical composition, and called his major conceptual works "compositions", as opposed to his lesser "improvisations". Composition X is the last of the ten compositions he painted during his lifetime (he was 73 at the time). Unusually for Kandinsky, who attached spiritual importance to color and geometric forms, the predominant color of the painting is black, which for him evoked the closure and end of things. On the black background float various geometric shapes, whose meaning is left to the viewer's appreciation. | [] |
|
16925_T | The Brazen Serpent (Jusepe Leonardo) | Explore the abstract of this artwork, The Brazen Serpent (Jusepe Leonardo). | The Brazen Serpent is a 1630–1640 painting by the Aragonese artist Jusepe Leonardo, now in the Real Academia de Bellas Artes de San Fernando in Madrid. It shows the story from Book of Numbers 21: 6–9. In one of the recurrent protests of the Israelites against God and Moses, they are punished by sending poisonous snakes that cause the death of many by their bite. Repentant, they beg Moses to help them. God commands Moses to make a metal sculpture (copper or bronze depending on the version) and for those bitten to fix their eyes on it. Those who do are cured of the sting. Moses, wearing a red tunic, indicates with his rod the saving action offered to the wounded. | [
"Book of Numbers",
"Jusepe Leonardo",
"Real Academia de Bellas Artes de San Fernando",
"Madrid"
] |
|
16925_NT | The Brazen Serpent (Jusepe Leonardo) | Explore the abstract of this artwork. | The Brazen Serpent is a 1630–1640 painting by the Aragonese artist Jusepe Leonardo, now in the Real Academia de Bellas Artes de San Fernando in Madrid. It shows the story from Book of Numbers 21: 6–9. In one of the recurrent protests of the Israelites against God and Moses, they are punished by sending poisonous snakes that cause the death of many by their bite. Repentant, they beg Moses to help them. God commands Moses to make a metal sculpture (copper or bronze depending on the version) and for those bitten to fix their eyes on it. Those who do are cured of the sting. Moses, wearing a red tunic, indicates with his rod the saving action offered to the wounded. | [
"Book of Numbers",
"Jusepe Leonardo",
"Real Academia de Bellas Artes de San Fernando",
"Madrid"
] |
|
16926_T | Stauning or Chaos | Focus on Stauning or Chaos and discuss the abstract. | Stauning or Chaos (Danish:Stauning eller Kaos) is a famous Danish poster and slogan from the parliamentary election of 1935, in which Social Democrat Thorvald Stauning campaigned for re-election. The Social Democrats won the election winning 68 out of 149 seats, and Stauning continued on to be the second-longest serving Prime Minister in Danish history.The campaign with its warning against "chaos", interpreted as the threat of fascism, is an example of the emotional and activist campaign style used by the major political parties in Denmark in the 1920s and 1930s, often capitalizing on the public fear of the perceived threats of radical ideologies such as fascism and communism. | [
"fascism",
"parliamentary election of 1935",
"Thorvald Stauning",
"communism",
"Social Democrat",
"Danish",
"Prime Minister"
] |
|
16926_NT | Stauning or Chaos | Focus on this artwork and discuss the abstract. | Stauning or Chaos (Danish:Stauning eller Kaos) is a famous Danish poster and slogan from the parliamentary election of 1935, in which Social Democrat Thorvald Stauning campaigned for re-election. The Social Democrats won the election winning 68 out of 149 seats, and Stauning continued on to be the second-longest serving Prime Minister in Danish history.The campaign with its warning against "chaos", interpreted as the threat of fascism, is an example of the emotional and activist campaign style used by the major political parties in Denmark in the 1920s and 1930s, often capitalizing on the public fear of the perceived threats of radical ideologies such as fascism and communism. | [
"fascism",
"parliamentary election of 1935",
"Thorvald Stauning",
"communism",
"Social Democrat",
"Danish",
"Prime Minister"
] |
|
16927_T | The Graham Children | How does The Graham Children elucidate its abstract? | The Graham Children is an oil painting completed by William Hogarth in 1742. It is a group portrait depicting the four children of Daniel Graham, apothecary to King George II. The youngest child had died by the time the painting was completed. | [
"apothecary",
"King George II",
"Daniel Graham",
"William Hogarth"
] |
|
16927_NT | The Graham Children | How does this artwork elucidate its abstract? | The Graham Children is an oil painting completed by William Hogarth in 1742. It is a group portrait depicting the four children of Daniel Graham, apothecary to King George II. The youngest child had died by the time the painting was completed. | [
"apothecary",
"King George II",
"Daniel Graham",
"William Hogarth"
] |
|
16928_T | The Graham Children | Focus on The Graham Children and analyze the Provenance. | The painting was in the ownership of Richard Robert Graham, depicted on the far right of the painting, at least until his death in 1816. It then had several owners before it was acquired by Lord Duveen who presented it to the British National Gallery in 1934. | [
"right",
"Lord Duveen",
"Richard",
"Richard Robert Graham",
"National Gallery"
] |
|
16928_NT | The Graham Children | Focus on this artwork and analyze the Provenance. | The painting was in the ownership of Richard Robert Graham, depicted on the far right of the painting, at least until his death in 1816. It then had several owners before it was acquired by Lord Duveen who presented it to the British National Gallery in 1934. | [
"right",
"Lord Duveen",
"Richard",
"Richard Robert Graham",
"National Gallery"
] |
|
16929_T | The Graham Children | In The Graham Children, how is the Composition discussed? | The Graham Children is a conversation piece, an informal group portrait of family or friends, often engaged in conversation or some other kind of activity, though the painting is larger than a typical work of that type. From left to right in the picture are Thomas, born 1740 and dressed in skirts as was typical for small boys until they were breeched, Henrietta, Anna Maria and Richard.Infant mortality in Britain was high in the eighteenth century, even for the children of the wealthy, and Thomas had died before the painting was completed. Hogarth used a study, probably completed after Thomas's death, as the basis for his image. With its numerous references to death and the passage of time, it may be that the painting is a form of memorial for Thomas.The children are painted life size, surrounded by plush furnishings and fabrics that reflect the family's wealth. A gilded bird cage is suspended from a cord and Thomas sits in an ornate baby cart with a fine silver fruit bowl at his feet. Richard plays a tune on a bird-organ, apparently making the bird sing.
The French Rococo was at its height in the 1730s and its influence can be seen in the painting despite Hogarth not visiting France until 1743. William Gaunt thought that Hogarth was more familiar with current French painting than he liked to admit. The girl's aprons form serpentine S's, vertically in the oldest child, ending as it falls over her arm, and horizontally in the younger girl. A similar shape can be seen in the falling curtain on the right. The heads of the children and the cat create another noticeable S shape. The fruit bowl, a common subject in Rococo art, has been described as a "bravura piece of still-life painting" untypical of Hogarth's work. | [
"breeched",
"right",
"Rococo",
"Infant mortality",
"conversation piece",
"William Gaunt",
"Richard",
"bird-organ",
"serpentine S's"
] |
|
16929_NT | The Graham Children | In this artwork, how is the Composition discussed? | The Graham Children is a conversation piece, an informal group portrait of family or friends, often engaged in conversation or some other kind of activity, though the painting is larger than a typical work of that type. From left to right in the picture are Thomas, born 1740 and dressed in skirts as was typical for small boys until they were breeched, Henrietta, Anna Maria and Richard.Infant mortality in Britain was high in the eighteenth century, even for the children of the wealthy, and Thomas had died before the painting was completed. Hogarth used a study, probably completed after Thomas's death, as the basis for his image. With its numerous references to death and the passage of time, it may be that the painting is a form of memorial for Thomas.The children are painted life size, surrounded by plush furnishings and fabrics that reflect the family's wealth. A gilded bird cage is suspended from a cord and Thomas sits in an ornate baby cart with a fine silver fruit bowl at his feet. Richard plays a tune on a bird-organ, apparently making the bird sing.
The French Rococo was at its height in the 1730s and its influence can be seen in the painting despite Hogarth not visiting France until 1743. William Gaunt thought that Hogarth was more familiar with current French painting than he liked to admit. The girl's aprons form serpentine S's, vertically in the oldest child, ending as it falls over her arm, and horizontally in the younger girl. A similar shape can be seen in the falling curtain on the right. The heads of the children and the cat create another noticeable S shape. The fruit bowl, a common subject in Rococo art, has been described as a "bravura piece of still-life painting" untypical of Hogarth's work. | [
"breeched",
"right",
"Rococo",
"Infant mortality",
"conversation piece",
"William Gaunt",
"Richard",
"bird-organ",
"serpentine S's"
] |
|
16930_T | The Graham Children | Focus on The Graham Children and explore the Themes. | David Bindman described The Graham Children as having a theme worthy of a history painting. Hogarth turned what could have been a simple family scene, even one with a tragic edge, into a parable about the “passing of time and the vulnerability of innocence”. The picture plays with time with different parts moving at different speeds. The boys are captured in mid movement, like the cat and bird, while the girls seem to be completely still, so that the picture is both a snap shot of a fleeting moment and a static portrait simultaneously. The oldest, Henrietta, holds the wrist of the youngest, perhaps indicating her future role as a mother, but not tightly and neither exchange looks, but neither do any of the children. Henrietta, instead, looks at the spectator, indicating her awareness of the adult world that she will soon join. The other children, however, remain in the innocent bubble of childhood.Thomas is fascinated by the glistening cherries held by his sister, which in Christian iconography represent the fruit of Paradise and the antidote to original sin, and for Henrietta symbolise the challenges she will soon face as she enters adulthood. Anna Maria practices the dance steps and curtseys that will be required of her in society, and Richard enjoys the musical performance of the finch. His bird-organ bears an image of Orpheus from Greek mythology, referring to the temporary harmony of man and nature that cannot last. On the clock stands a small winged figure with scythe and hour glass representing the passage of time, while the smiling cat eyes the caged bird, referring to the fragility of life. A wooden bird adorns the baby cart, like the caged bird unable to take flight. The crossed flowers at the baby's feet refer to the Christian legend that pink carnations sprang from the earth at the spot where Mary's tears fell after she saw Jesus carrying the cross, thus making the flower a symbol of motherly love.The bird depicted is a goldfinch, which for centuries had symbolised the Redemption, appropriate here because of Thomas's death.Hogarth included wit and pathos in the same scene by audaciously placing the predatory cat in one corner and the recently deceased child in the other. The reaction of Thomas's parents to this combination, which might have been seen as in poor taste, is unknown. The painting remained in Richard Graham's possession until at least 1816. | [
"history painting",
"original sin",
"iconography",
"Mary",
"Orpheus",
"hour glass",
"Richard",
"bird-organ",
"carnations",
"Redemption",
"scythe",
"goldfinch"
] |
|
16930_NT | The Graham Children | Focus on this artwork and explore the Themes. | David Bindman described The Graham Children as having a theme worthy of a history painting. Hogarth turned what could have been a simple family scene, even one with a tragic edge, into a parable about the “passing of time and the vulnerability of innocence”. The picture plays with time with different parts moving at different speeds. The boys are captured in mid movement, like the cat and bird, while the girls seem to be completely still, so that the picture is both a snap shot of a fleeting moment and a static portrait simultaneously. The oldest, Henrietta, holds the wrist of the youngest, perhaps indicating her future role as a mother, but not tightly and neither exchange looks, but neither do any of the children. Henrietta, instead, looks at the spectator, indicating her awareness of the adult world that she will soon join. The other children, however, remain in the innocent bubble of childhood.Thomas is fascinated by the glistening cherries held by his sister, which in Christian iconography represent the fruit of Paradise and the antidote to original sin, and for Henrietta symbolise the challenges she will soon face as she enters adulthood. Anna Maria practices the dance steps and curtseys that will be required of her in society, and Richard enjoys the musical performance of the finch. His bird-organ bears an image of Orpheus from Greek mythology, referring to the temporary harmony of man and nature that cannot last. On the clock stands a small winged figure with scythe and hour glass representing the passage of time, while the smiling cat eyes the caged bird, referring to the fragility of life. A wooden bird adorns the baby cart, like the caged bird unable to take flight. The crossed flowers at the baby's feet refer to the Christian legend that pink carnations sprang from the earth at the spot where Mary's tears fell after she saw Jesus carrying the cross, thus making the flower a symbol of motherly love.The bird depicted is a goldfinch, which for centuries had symbolised the Redemption, appropriate here because of Thomas's death.Hogarth included wit and pathos in the same scene by audaciously placing the predatory cat in one corner and the recently deceased child in the other. The reaction of Thomas's parents to this combination, which might have been seen as in poor taste, is unknown. The painting remained in Richard Graham's possession until at least 1816. | [
"history painting",
"original sin",
"iconography",
"Mary",
"Orpheus",
"hour glass",
"Richard",
"bird-organ",
"carnations",
"Redemption",
"scythe",
"goldfinch"
] |
|
16931_T | The Graham Children | Explore the Antecedents of this artwork, The Graham Children. | The Graham Children invited comparison with Anthony van Dyck's The Five Eldest Children of Charles I (1637). Both included animals for comic effect and took care to give each child an individual character. However, while Van Dyck (1599–1641) was commissioned by King Charles I to paint royalty, Hogarth's portraits were mainly of the rising middle class, and he never broke through to become a court painter. Unlike the children of Charles I, there is nothing aristocratic about The Graham Children, despite their affluence, and the allusion to the earlier work may have been a deliberate attempt by Hogarth to flatter his middle class client. | [
"King Charles I",
"Anthony van Dyck"
] |
|
16931_NT | The Graham Children | Explore the Antecedents of this artwork. | The Graham Children invited comparison with Anthony van Dyck's The Five Eldest Children of Charles I (1637). Both included animals for comic effect and took care to give each child an individual character. However, while Van Dyck (1599–1641) was commissioned by King Charles I to paint royalty, Hogarth's portraits were mainly of the rising middle class, and he never broke through to become a court painter. Unlike the children of Charles I, there is nothing aristocratic about The Graham Children, despite their affluence, and the allusion to the earlier work may have been a deliberate attempt by Hogarth to flatter his middle class client. | [
"King Charles I",
"Anthony van Dyck"
] |
|
16932_T | The Graham Children | Focus on The Graham Children and discuss the Hogarth's paintings of children. | From around the 1730s, Hogarth developed a genre of playful conversation pieces far removed from the grand history paintings that he really wanted to produce but for which he had no commissions. He was working against a background of what has been called a "new world" of childhood where the attitude to children was becoming more liberal. Family groups in painting became less formal and began to show parents and children enjoying recreational activities together. Portraits of individual children became more common than they had been in the seventeenth century and the idea of the "innocence" of childhood began to take root based on the view that the child was an uncorrupted blank slate as advocated by John Locke in his book Some Thoughts Concerning Education (1693). If the child was now innocent, however, the picture remained the product of a commercial transaction between the client and the artist and continued to fulfil a social function of demonstrating the happy family life and social status enjoyed by the customer. It also stood in a tradition of portrait painting of adults and children that had well established conventions.In 1730, Hogarth had produced the "before and after" pair The House of Cards and The Tea Party where various minor mishaps occur relating to a house of cards and a doll's tea party. Numerous clues in both works suggest a more serious message about broken marriage hopes and loss but the full facts are not known.The Cholmondeley Family of 1732 also included similar ingredients of impending disaster as a playful child goes to push over a pile of books while the older generation sit by, frozen, to be reanimated when the books fall. But in this work it is the mother who is included despite having died prior. Well stocked bookcases line the background which the adults can use to civilise the wild children. | [
"history painting",
"John Locke",
"conversation piece",
"Some Thoughts Concerning Education",
"portrait painting"
] |
|
16932_NT | The Graham Children | Focus on this artwork and discuss the Hogarth's paintings of children. | From around the 1730s, Hogarth developed a genre of playful conversation pieces far removed from the grand history paintings that he really wanted to produce but for which he had no commissions. He was working against a background of what has been called a "new world" of childhood where the attitude to children was becoming more liberal. Family groups in painting became less formal and began to show parents and children enjoying recreational activities together. Portraits of individual children became more common than they had been in the seventeenth century and the idea of the "innocence" of childhood began to take root based on the view that the child was an uncorrupted blank slate as advocated by John Locke in his book Some Thoughts Concerning Education (1693). If the child was now innocent, however, the picture remained the product of a commercial transaction between the client and the artist and continued to fulfil a social function of demonstrating the happy family life and social status enjoyed by the customer. It also stood in a tradition of portrait painting of adults and children that had well established conventions.In 1730, Hogarth had produced the "before and after" pair The House of Cards and The Tea Party where various minor mishaps occur relating to a house of cards and a doll's tea party. Numerous clues in both works suggest a more serious message about broken marriage hopes and loss but the full facts are not known.The Cholmondeley Family of 1732 also included similar ingredients of impending disaster as a playful child goes to push over a pile of books while the older generation sit by, frozen, to be reanimated when the books fall. But in this work it is the mother who is included despite having died prior. Well stocked bookcases line the background which the adults can use to civilise the wild children. | [
"history painting",
"John Locke",
"conversation piece",
"Some Thoughts Concerning Education",
"portrait painting"
] |
|
16933_T | Spanish–American War Soldier's Monument | How does Spanish–American War Soldier's Monument elucidate its abstract? | The Spanish–American War Soldier's Monument, also known as the Spanish–American War Memorial or simply Soldiers Monument, is an outdoor sculpture and war memorial monument honoring the dead of the 2nd Oregon Volunteer Infantry Regiment of the Spanish–American War and Philippine–American War. The monument was created by American artist Douglas Tilden and located in Lownsdale Square, in the Plaza Blocks of downtown Portland, Oregon. It features a bronze statue on a marble pedestal and granite base. The monument is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. | [
"Regional Arts & Culture Council",
"Portland, Oregon",
"Spanish–American War",
"Philippine–American War",
"Plaza Blocks",
"Douglas Tilden",
"war memorial",
"2nd Oregon Volunteer Infantry Regiment"
] |
|
16933_NT | Spanish–American War Soldier's Monument | How does this artwork elucidate its abstract? | The Spanish–American War Soldier's Monument, also known as the Spanish–American War Memorial or simply Soldiers Monument, is an outdoor sculpture and war memorial monument honoring the dead of the 2nd Oregon Volunteer Infantry Regiment of the Spanish–American War and Philippine–American War. The monument was created by American artist Douglas Tilden and located in Lownsdale Square, in the Plaza Blocks of downtown Portland, Oregon. It features a bronze statue on a marble pedestal and granite base. The monument is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. | [
"Regional Arts & Culture Council",
"Portland, Oregon",
"Spanish–American War",
"Philippine–American War",
"Plaza Blocks",
"Douglas Tilden",
"war memorial",
"2nd Oregon Volunteer Infantry Regiment"
] |
|
16934_T | Spanish–American War Soldier's Monument | Focus on Spanish–American War Soldier's Monument and analyze the History. | Plans for a monument to honor the dead of the 2nd Oregon Volunteers began early in 1899 with the sale of book subscriptions for $0.25 with a small percentage going toward the monument. The monument committee favored a design similar to one in honor of the 39th Pennsylvania Infantry at Gettysburg with a bronze statue and a marble pedestal. The committee also required that the base, shaft, and cornice be cut from a single piece of granite and remain in one piece. E.W. Wright, the Portland representative of a quarry in Barre, Vermont, received a contract for $8,000, and the stone was cut in Vermont from Barre Granite and shipped to Portland. A $5,000 contract was awarded for the statue. Weight of the pedestal was 64,000 pounds (29,000 kg), and when topped by the statue the height was about 30 feet (9.1 m). | [
"Barre, Vermont",
"Barre Granite"
] |
|
16934_NT | Spanish–American War Soldier's Monument | Focus on this artwork and analyze the History. | Plans for a monument to honor the dead of the 2nd Oregon Volunteers began early in 1899 with the sale of book subscriptions for $0.25 with a small percentage going toward the monument. The monument committee favored a design similar to one in honor of the 39th Pennsylvania Infantry at Gettysburg with a bronze statue and a marble pedestal. The committee also required that the base, shaft, and cornice be cut from a single piece of granite and remain in one piece. E.W. Wright, the Portland representative of a quarry in Barre, Vermont, received a contract for $8,000, and the stone was cut in Vermont from Barre Granite and shipped to Portland. A $5,000 contract was awarded for the statue. Weight of the pedestal was 64,000 pounds (29,000 kg), and when topped by the statue the height was about 30 feet (9.1 m). | [
"Barre, Vermont",
"Barre Granite"
] |
|
16935_T | América Tropical: Oprimida y Destrozada por los Imperialismos | In América Tropical: Oprimida y Destrozada por los Imperialismos, how is the abstract discussed? | América Tropical is a 98-foot wide fresco mural created in 1932 by David Alfaro Siqueiros and other artists in Los Angeles, California, on a second-level exterior wall of the Italian Hall. It was painted over soon after its completion on an external wall of the Italian Hall on Olvera Street, in El Pueblo de Los Angeles Historical Monument of Downtown Los Angeles. It was restored and revealed to the public in 2012, 80 years to the day after its first unveiling. | [
"California",
"El Pueblo de Los Angeles Historical Monument",
"Downtown Los Angeles",
"Los Angeles",
"Olvera Street",
"David Alfaro Siqueiros"
] |
|
16935_NT | América Tropical: Oprimida y Destrozada por los Imperialismos | In this artwork, how is the abstract discussed? | América Tropical is a 98-foot wide fresco mural created in 1932 by David Alfaro Siqueiros and other artists in Los Angeles, California, on a second-level exterior wall of the Italian Hall. It was painted over soon after its completion on an external wall of the Italian Hall on Olvera Street, in El Pueblo de Los Angeles Historical Monument of Downtown Los Angeles. It was restored and revealed to the public in 2012, 80 years to the day after its first unveiling. | [
"California",
"El Pueblo de Los Angeles Historical Monument",
"Downtown Los Angeles",
"Los Angeles",
"Olvera Street",
"David Alfaro Siqueiros"
] |
|
16936_T | América Tropical: Oprimida y Destrozada por los Imperialismos | Focus on América Tropical: Oprimida y Destrozada por los Imperialismos and explore the History. | Siqueiros came to Los Angeles as a political refugee in 1932 and was sponsored by the Plaza Art Center to create a mural that was supposed to be about happy men, parrots, and palms with fruit falling into the mouths of people. However, Siqueiros completely disobeyed the institutional project request in pursuit of his own unique artistic idea by creating his own mural, which turned out to be one of the most controversial art pieces in Los Angeles history, Tropical America (full name: América Tropical: Oprimida y Destrozada por los Imperialismos, or Tropical America: Oppressed and Destroyed by Imperialism).The mural became the center of controversy, as the painting clearly depicted a Maya-like pyramid with surrounding twisted trees, and in the center was an indigenous person crucified, dead on a double edged cross. There are sculptures laying at the bottom of the mural, destroyed, which signify pre-Columbian architecture and ancient indigenous civilization. On the left side of the pyramid there are two snipers overlooking the imperial American eagle which is on top of the crucified indigenous person and the two Mexican revolutionary snipers look ready to shoot at any time.América Tropical is an emblematic part of the Mexican muralism movement that happened from the 1920s–1970s and later inspired the Chicano art movement in the United States for Mexican-Americans. Siqueiros also belonged to one of the most elite groups of artists from the Mexican Revolution known as "the big three", along with Diego Rivera and José Clemente Orozco. The three of them went around all over the Americas painting murals that depicted the struggles of people. | [
"Mexican Revolution",
"Diego Rivera",
"Chicano art movement",
"Los Angeles",
"left",
"Mexican muralism",
"José Clemente Orozco",
"pre-Columbian"
] |
|
16936_NT | América Tropical: Oprimida y Destrozada por los Imperialismos | Focus on this artwork and explore the History. | Siqueiros came to Los Angeles as a political refugee in 1932 and was sponsored by the Plaza Art Center to create a mural that was supposed to be about happy men, parrots, and palms with fruit falling into the mouths of people. However, Siqueiros completely disobeyed the institutional project request in pursuit of his own unique artistic idea by creating his own mural, which turned out to be one of the most controversial art pieces in Los Angeles history, Tropical America (full name: América Tropical: Oprimida y Destrozada por los Imperialismos, or Tropical America: Oppressed and Destroyed by Imperialism).The mural became the center of controversy, as the painting clearly depicted a Maya-like pyramid with surrounding twisted trees, and in the center was an indigenous person crucified, dead on a double edged cross. There are sculptures laying at the bottom of the mural, destroyed, which signify pre-Columbian architecture and ancient indigenous civilization. On the left side of the pyramid there are two snipers overlooking the imperial American eagle which is on top of the crucified indigenous person and the two Mexican revolutionary snipers look ready to shoot at any time.América Tropical is an emblematic part of the Mexican muralism movement that happened from the 1920s–1970s and later inspired the Chicano art movement in the United States for Mexican-Americans. Siqueiros also belonged to one of the most elite groups of artists from the Mexican Revolution known as "the big three", along with Diego Rivera and José Clemente Orozco. The three of them went around all over the Americas painting murals that depicted the struggles of people. | [
"Mexican Revolution",
"Diego Rivera",
"Chicano art movement",
"Los Angeles",
"left",
"Mexican muralism",
"José Clemente Orozco",
"pre-Columbian"
] |
|
16937_T | América Tropical: Oprimida y Destrozada por los Imperialismos | In the context of América Tropical: Oprimida y Destrozada por los Imperialismos, explain the Restoration of the History. | América Tropical is not only a mural but is also an intricate part of Los Angeles history. As the restoration of Siqueiros' mural continues today, the Getty Foundation, via the Getty Conservation Institute, has spent 3.95 million dollars on a restoration project, while the city of Los Angeles has also contributed 5 million dollars for the conservation of the mural. The project's scope is to conserve, interpret, and provide public access to the mural.Josephina Quezada and Jaime Mejía were brought in to restore the mural in 1971, but opted to preserve the mural instead of restoring it at that time. At the time, Siqueiros declined the preservation of his mural.Work has been completed on: documentation, cleaning, reattachment, stabilization, and treatment of the mural; constructing a shelter and viewing platform on an adjacent roof with elevator access; and the América Tropical Interpretive Center. | [
"Getty Conservation Institute",
"Los Angeles",
"Josephina Quezada",
"Getty Foundation"
] |
|
16937_NT | América Tropical: Oprimida y Destrozada por los Imperialismos | In the context of this artwork, explain the Restoration of the History. | América Tropical is not only a mural but is also an intricate part of Los Angeles history. As the restoration of Siqueiros' mural continues today, the Getty Foundation, via the Getty Conservation Institute, has spent 3.95 million dollars on a restoration project, while the city of Los Angeles has also contributed 5 million dollars for the conservation of the mural. The project's scope is to conserve, interpret, and provide public access to the mural.Josephina Quezada and Jaime Mejía were brought in to restore the mural in 1971, but opted to preserve the mural instead of restoring it at that time. At the time, Siqueiros declined the preservation of his mural.Work has been completed on: documentation, cleaning, reattachment, stabilization, and treatment of the mural; constructing a shelter and viewing platform on an adjacent roof with elevator access; and the América Tropical Interpretive Center. | [
"Getty Conservation Institute",
"Los Angeles",
"Josephina Quezada",
"Getty Foundation"
] |
|
16938_T | Abstract painting (Pasmore) | Explore the abstract of this artwork, Abstract painting (Pasmore). | Abstract painting is a 1998 abstract oil painting by Victor Pasmore. | [
"abstract",
"Victor Pasmore",
"1998"
] |
|
16938_NT | Abstract painting (Pasmore) | Explore the abstract of this artwork. | Abstract painting is a 1998 abstract oil painting by Victor Pasmore. | [
"abstract",
"Victor Pasmore",
"1998"
] |
|
16939_T | Abstract painting (Pasmore) | Focus on Abstract painting (Pasmore) and discuss the Description. | The painting is an oil on canvas with dimensions of 200 x 192 centimeters.
It is in the collection of MUŻA in Valletta, Malta. | [
"Valletta",
"MUŻA",
"Malta"
] |
|
16939_NT | Abstract painting (Pasmore) | Focus on this artwork and discuss the Description. | The painting is an oil on canvas with dimensions of 200 x 192 centimeters.
It is in the collection of MUŻA in Valletta, Malta. | [
"Valletta",
"MUŻA",
"Malta"
] |
|
16940_T | Abstract painting (Pasmore) | How does Abstract painting (Pasmore) elucidate its Analysis? | It is a large abstract painting, characteristic of his style. It was the artist's last work, and was donated to the National Museum of Fine Arts, Malta, by the artist's family. | [
"abstract",
"Malta"
] |
|
16940_NT | Abstract painting (Pasmore) | How does this artwork elucidate its Analysis? | It is a large abstract painting, characteristic of his style. It was the artist's last work, and was donated to the National Museum of Fine Arts, Malta, by the artist's family. | [
"abstract",
"Malta"
] |
|
16941_T | Mystical Marriage of Saint Catherine (Michelino da Besozzo) | Focus on Mystical Marriage of Saint Catherine (Michelino da Besozzo) and analyze the abstract. | The Mystical Marriage of Saint Catherine is a painting by the medieval Italian painter Michelino da Besozzo. The painting dates from c. 1420 and is housed in the Pinacoteca Nazionale of Siena, Italy.
It is the only signed work by the Gothic painter. The only other painting attributed to him with some certainty is Marriage of the Virgin in the Metropolitan Museum of New York. | [
"Pinacoteca Nazionale",
"Metropolitan Museum",
"Michelino",
"New York",
"Siena",
"Marriage of the Virgin",
"Michelino da Besozzo"
] |
|
16941_NT | Mystical Marriage of Saint Catherine (Michelino da Besozzo) | Focus on this artwork and analyze the abstract. | The Mystical Marriage of Saint Catherine is a painting by the medieval Italian painter Michelino da Besozzo. The painting dates from c. 1420 and is housed in the Pinacoteca Nazionale of Siena, Italy.
It is the only signed work by the Gothic painter. The only other painting attributed to him with some certainty is Marriage of the Virgin in the Metropolitan Museum of New York. | [
"Pinacoteca Nazionale",
"Metropolitan Museum",
"Michelino",
"New York",
"Siena",
"Marriage of the Virgin",
"Michelino da Besozzo"
] |
|
16942_T | Mystical Marriage of Saint Catherine (Michelino da Besozzo) | In Mystical Marriage of Saint Catherine (Michelino da Besozzo), how is the Description discussed? | The painting shows the virgin Mary holding the Christ child on her knees while the child celebrates the symbolic mystical marriage of Saint Catherine of Alexandria by offering her a ring. St. Catherine, kneeling before the Christ child, wears a wide fur-lined rose cloak and gilt crown; her long, blond hair is an attribute of aristocratic women of the time. At the sides are Saint John the Baptist and Saint Anthony the Great, with his typical attribute, a pig, at his feet.
The artist's signature, "Michelinus feci", is located below the Virgin's mantle. The saints' names are written next to them. | [
"mystical marriage of Saint Catherine",
"Anthony the Great",
"Saint Anthony the Great"
] |
|
16942_NT | Mystical Marriage of Saint Catherine (Michelino da Besozzo) | In this artwork, how is the Description discussed? | The painting shows the virgin Mary holding the Christ child on her knees while the child celebrates the symbolic mystical marriage of Saint Catherine of Alexandria by offering her a ring. St. Catherine, kneeling before the Christ child, wears a wide fur-lined rose cloak and gilt crown; her long, blond hair is an attribute of aristocratic women of the time. At the sides are Saint John the Baptist and Saint Anthony the Great, with his typical attribute, a pig, at his feet.
The artist's signature, "Michelinus feci", is located below the Virgin's mantle. The saints' names are written next to them. | [
"mystical marriage of Saint Catherine",
"Anthony the Great",
"Saint Anthony the Great"
] |
|
16943_T | Bronze Sphinx of Thutmose III | Focus on Bronze Sphinx of Thutmose III and explore the Symbolism. | The statuette is adorned with gold inlays highlighting symbols of royal power. The sphinx depicts Pharaoh reclining on the Nine bows, which represent the traditional enemies of Egypt brought to submission. The front of the statuette uses the lapwing Rekhyt bird to spell "all the people give praise", using the basket hieroglyph V30 ("nb") for "all"' the lapwing hieroglyph G24 𓅛 ("rḫyt") for "the people" and the star hieroglyph N14 𓇼 for "praising" (this is a rebus). Djed pillars of "Dominion" adorn on the side of the statuette. | [
"Djed",
"Rekhyt",
"Nine bows",
"rebus",
"lapwing hieroglyph",
"basket hieroglyph",
"sphinx",
"star hieroglyph"
] |
|
16943_NT | Bronze Sphinx of Thutmose III | Focus on this artwork and explore the Symbolism. | The statuette is adorned with gold inlays highlighting symbols of royal power. The sphinx depicts Pharaoh reclining on the Nine bows, which represent the traditional enemies of Egypt brought to submission. The front of the statuette uses the lapwing Rekhyt bird to spell "all the people give praise", using the basket hieroglyph V30 ("nb") for "all"' the lapwing hieroglyph G24 𓅛 ("rḫyt") for "the people" and the star hieroglyph N14 𓇼 for "praising" (this is a rebus). Djed pillars of "Dominion" adorn on the side of the statuette. | [
"Djed",
"Rekhyt",
"Nine bows",
"rebus",
"lapwing hieroglyph",
"basket hieroglyph",
"sphinx",
"star hieroglyph"
] |
|
16944_T | Group Portrait of an Unknown Family or Company | Explore the abstract of this artwork, Group Portrait of an Unknown Family or Company. | Group Portrait of an Unknown Family or Company (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch. It is part of the collection of the Academy of Fine Arts Vienna.The painting was documented by Hofstede de Groot in 1908, who wrote:321. FAMILY IN THE COURTYARD OF A HOUSE. De G. 87. Three women and four men are assembled in a courtyard, on the right of which is the town wall. A fifth man is going away through the adjacent garden, upon which a wooden door opens in the middle distance. Three of the principal figures a grey-bearded old man in dark clothes with a black cap, and two elderly women in black with white caps and collars are seated on the righit, in front of an arbour, at a table on which stands a dish of grapes and peaches. On the tiled pavement a watch-dog lies at the feet of one of the women. From the left come a man and a woman; the man is in black, with a broad-brimmed hat, and rests his right hand on his hip; the woman wears a red petticoat trimmed with gold lace, a bodice of brocade, a black hood, and pearls in her hair and ears, and holds a peach in her left hand. Farther back in the middle of the picture stands a fair-haired young man, facing the spectator; he wears a broad-brimmed hat, a light grey doublet and riding-cloak, pale blue breeches, and black and white rosettes on his shoes. An older man, dressed in similar fashion, but more simply, comes down a wooden staircase on the right. The tendrils of a creeper growing on the town wall over-spread the arbour. To the left of it is a rose-tree in full bloom on the fence. In the background are seen some gables and the tower of the Nieuwe Kerk in Delft. The lighting is uniform in quality. Signs of an alteration in the design may be seen to the right of the leg of the man standing on the left; and the old man on the right appears to have been once seated at a lower level. It is a good work of the first period. [Compare 294.] Canvas, 45 1/2 inches by 38 1/2 inches. Long ascribed in error to J. Vermeer by Erasm. Engert, Waagen, and Bürger (Gazette des Beaux-Arts, 1866, p. 550, No. 13). Presented by Graf Lamberg in 1821, as a Terborch, to the Akademie der bildenden Künste, Vienna, where it is No. 715 in the 1900 catalogue. | [
"Graf Lamberg",
"Academy of Fine Arts Vienna",
"Hofstede de Groot",
"Pieter de Hooch",
"J. Vermeer",
"Dutch",
"oil",
"Waagen",
"Nieuwe Kerk in Delft",
"Vienna",
"Gazette des Beaux-Arts",
"Akademie der bildenden Künste, Vienna",
"Erasm. Engert",
"Terborch"
] |
|
16944_NT | Group Portrait of an Unknown Family or Company | Explore the abstract of this artwork. | Group Portrait of an Unknown Family or Company (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch. It is part of the collection of the Academy of Fine Arts Vienna.The painting was documented by Hofstede de Groot in 1908, who wrote:321. FAMILY IN THE COURTYARD OF A HOUSE. De G. 87. Three women and four men are assembled in a courtyard, on the right of which is the town wall. A fifth man is going away through the adjacent garden, upon which a wooden door opens in the middle distance. Three of the principal figures a grey-bearded old man in dark clothes with a black cap, and two elderly women in black with white caps and collars are seated on the righit, in front of an arbour, at a table on which stands a dish of grapes and peaches. On the tiled pavement a watch-dog lies at the feet of one of the women. From the left come a man and a woman; the man is in black, with a broad-brimmed hat, and rests his right hand on his hip; the woman wears a red petticoat trimmed with gold lace, a bodice of brocade, a black hood, and pearls in her hair and ears, and holds a peach in her left hand. Farther back in the middle of the picture stands a fair-haired young man, facing the spectator; he wears a broad-brimmed hat, a light grey doublet and riding-cloak, pale blue breeches, and black and white rosettes on his shoes. An older man, dressed in similar fashion, but more simply, comes down a wooden staircase on the right. The tendrils of a creeper growing on the town wall over-spread the arbour. To the left of it is a rose-tree in full bloom on the fence. In the background are seen some gables and the tower of the Nieuwe Kerk in Delft. The lighting is uniform in quality. Signs of an alteration in the design may be seen to the right of the leg of the man standing on the left; and the old man on the right appears to have been once seated at a lower level. It is a good work of the first period. [Compare 294.] Canvas, 45 1/2 inches by 38 1/2 inches. Long ascribed in error to J. Vermeer by Erasm. Engert, Waagen, and Bürger (Gazette des Beaux-Arts, 1866, p. 550, No. 13). Presented by Graf Lamberg in 1821, as a Terborch, to the Akademie der bildenden Künste, Vienna, where it is No. 715 in the 1900 catalogue. | [
"Graf Lamberg",
"Academy of Fine Arts Vienna",
"Hofstede de Groot",
"Pieter de Hooch",
"J. Vermeer",
"Dutch",
"oil",
"Waagen",
"Nieuwe Kerk in Delft",
"Vienna",
"Gazette des Beaux-Arts",
"Akademie der bildenden Künste, Vienna",
"Erasm. Engert",
"Terborch"
] |
|
16945_T | Quaratesi Polyptych | Focus on Quaratesi Polyptych and discuss the abstract. | The Quaratesi Polyptych is a painting by the Italian late medieval painter Gentile da Fabriano, now divided between several museums.
It was painted by the artist for the Quaratesi family's chapel in the Church of San Niccolò Oltrarno, perhaps not a long time after the Strozzi Altarpiece. Today four of the five original compartments (including the painted cusp) are known, as well as some parts of the predella (which has scenes of the Life of St. Nicholas):Madonna with Child and Angels with, in the cusp, Angels and a medallion of the Redeemer (central compartment), 139.9 x 83 cm, The Royal Collection, Hampton Court, stored at the National Gallery, London
St. Mary Magdalene, with cusp (left compartment), 200 x 60 cm, Uffizi, Florence
St. Nicholas of Bari, with cusp (left compartment), 200 x 60 cm, Uffizi, Florence
St. John the Baptist, with cusp (right compartment), 200 x 60 cm, Uffizi, Florence
St. George, with cusp (right compartment), 200 x 60 cm, Uffizi, Florence
Predella
Birth of St. Nicholas, 36.5 x 36.5 cm, Pinacoteca Vaticana, Rome
The Gift of St. Nicholas, 36.5 x 36.5 cm, Pinacoteca Vaticana, Rome
St. Nicholas Saving a Ship from the Tempest, 36.5 x 36.5 cm, Pinacoteca Vaticana, Rome
St. Nicholas Saves Three Youths from the Brine, 36.5 x 36.5 cm, Pinacoteca Vaticana, Rome
Miracle of the Pilgrims at St. Nicholas' Tomb, 36.5 x 36.5 cm, National Gallery of Art, Washington, D.C. | [
"Predella",
"Church of San Niccolò Oltrarno",
"National Gallery, London",
"National Gallery of Art",
"Washington, D.C.",
"Strozzi Altarpiece",
"Pinacoteca Vaticana",
"National Gallery",
"Gentile da Fabriano",
"predella",
"San Niccolò Oltrarno"
] |
|
16945_NT | Quaratesi Polyptych | Focus on this artwork and discuss the abstract. | The Quaratesi Polyptych is a painting by the Italian late medieval painter Gentile da Fabriano, now divided between several museums.
It was painted by the artist for the Quaratesi family's chapel in the Church of San Niccolò Oltrarno, perhaps not a long time after the Strozzi Altarpiece. Today four of the five original compartments (including the painted cusp) are known, as well as some parts of the predella (which has scenes of the Life of St. Nicholas):Madonna with Child and Angels with, in the cusp, Angels and a medallion of the Redeemer (central compartment), 139.9 x 83 cm, The Royal Collection, Hampton Court, stored at the National Gallery, London
St. Mary Magdalene, with cusp (left compartment), 200 x 60 cm, Uffizi, Florence
St. Nicholas of Bari, with cusp (left compartment), 200 x 60 cm, Uffizi, Florence
St. John the Baptist, with cusp (right compartment), 200 x 60 cm, Uffizi, Florence
St. George, with cusp (right compartment), 200 x 60 cm, Uffizi, Florence
Predella
Birth of St. Nicholas, 36.5 x 36.5 cm, Pinacoteca Vaticana, Rome
The Gift of St. Nicholas, 36.5 x 36.5 cm, Pinacoteca Vaticana, Rome
St. Nicholas Saving a Ship from the Tempest, 36.5 x 36.5 cm, Pinacoteca Vaticana, Rome
St. Nicholas Saves Three Youths from the Brine, 36.5 x 36.5 cm, Pinacoteca Vaticana, Rome
Miracle of the Pilgrims at St. Nicholas' Tomb, 36.5 x 36.5 cm, National Gallery of Art, Washington, D.C. | [
"Predella",
"Church of San Niccolò Oltrarno",
"National Gallery, London",
"National Gallery of Art",
"Washington, D.C.",
"Strozzi Altarpiece",
"Pinacoteca Vaticana",
"National Gallery",
"Gentile da Fabriano",
"predella",
"San Niccolò Oltrarno"
] |
|
16946_T | Lotta Fountain | Focus on Lotta Fountain and analyze the abstract. | Lotta Fountain is a 1939 fountain and sculpture by artist Katharine Lane Weems and architects J. W. Ames and E. S. Dodge. It is installed along Boston's Charles River Esplanade in the U.S. state of Massachusetts. | [
"Boston",
"U.S. state",
"Charles River Esplanade",
"Katharine Lane Weems",
"Massachusetts"
] |
|
16946_NT | Lotta Fountain | Focus on this artwork and analyze the abstract. | Lotta Fountain is a 1939 fountain and sculpture by artist Katharine Lane Weems and architects J. W. Ames and E. S. Dodge. It is installed along Boston's Charles River Esplanade in the U.S. state of Massachusetts. | [
"Boston",
"U.S. state",
"Charles River Esplanade",
"Katharine Lane Weems",
"Massachusetts"
] |
|
16947_T | Lotta Fountain | In Lotta Fountain, how is the Description and history discussed? | The granite structure is approximately 10 x 20 x 15 ft. and functions as a drinking fountain. It features a square column topped with seated dog, and a spout on the base depicting the head of a cat. The work was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1997. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
16947_NT | Lotta Fountain | In this artwork, how is the Description and history discussed? | The granite structure is approximately 10 x 20 x 15 ft. and functions as a drinking fountain. It features a square column topped with seated dog, and a spout on the base depicting the head of a cat. The work was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1997. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
16948_T | Andromeda Chained to the Rocks | Focus on Andromeda Chained to the Rocks and explore the abstract. | Andromeda Chained to the Rocks (1630) is a 34 cm × 24.5 cm (13.4 in × 9.6 in) oil-on-panel painting by the Dutch Golden Age painter Rembrandt. It is now in the Mauritshuis, The Hague, Netherlands. Andromeda represents Rembrandt's first full length mythological female nude history painting and is taken from a story in Ovid's Metamorphoses. | [
"history painting",
"Ovid",
"The Hague",
"Andromeda",
"Rembrandt",
"Dutch Golden Age painter",
"Mauritshuis",
"Netherlands",
"Metamorphoses"
] |
|
16948_NT | Andromeda Chained to the Rocks | Focus on this artwork and explore the abstract. | Andromeda Chained to the Rocks (1630) is a 34 cm × 24.5 cm (13.4 in × 9.6 in) oil-on-panel painting by the Dutch Golden Age painter Rembrandt. It is now in the Mauritshuis, The Hague, Netherlands. Andromeda represents Rembrandt's first full length mythological female nude history painting and is taken from a story in Ovid's Metamorphoses. | [
"history painting",
"Ovid",
"The Hague",
"Andromeda",
"Rembrandt",
"Dutch Golden Age painter",
"Mauritshuis",
"Netherlands",
"Metamorphoses"
] |
|
16949_T | Andromeda Chained to the Rocks | Focus on Andromeda Chained to the Rocks and explain the Mythology. | In Metamorphoses, Andromeda (mythology) is the daughter of an Ethiopian king and queen, Cepheus and Cassiopeia. Cassiopeia was very boastful about her beauty, and asserted that she was more beautiful than Juno, the queen of the gods and the Nereids. Insulted by Cassiopeia's assertions, Neptune sent a sea monster to the Ethiopian coast. Neptune then could only be appeased upon the sacrifice of Andromeda, the king's beautiful virgin daughter, to the sea monster. Andromeda was chained naked to rocks by the coast, awaiting the sea monster. Perseus, passing by, noticed the beautiful girl and made a deal with her parents that he would save her, should he be allowed to have her hand in marriage. The king and queen agreed and Andromeda was spared. | [
"Cepheus",
"Neptune",
"Andromeda",
"Juno",
"Cassiopeia",
"Perseus",
"Andromeda (mythology)",
"Metamorphoses"
] |
|
16949_NT | Andromeda Chained to the Rocks | Focus on this artwork and explain the Mythology. | In Metamorphoses, Andromeda (mythology) is the daughter of an Ethiopian king and queen, Cepheus and Cassiopeia. Cassiopeia was very boastful about her beauty, and asserted that she was more beautiful than Juno, the queen of the gods and the Nereids. Insulted by Cassiopeia's assertions, Neptune sent a sea monster to the Ethiopian coast. Neptune then could only be appeased upon the sacrifice of Andromeda, the king's beautiful virgin daughter, to the sea monster. Andromeda was chained naked to rocks by the coast, awaiting the sea monster. Perseus, passing by, noticed the beautiful girl and made a deal with her parents that he would save her, should he be allowed to have her hand in marriage. The king and queen agreed and Andromeda was spared. | [
"Cepheus",
"Neptune",
"Andromeda",
"Juno",
"Cassiopeia",
"Perseus",
"Andromeda (mythology)",
"Metamorphoses"
] |
|
16950_T | Andromeda Chained to the Rocks | Explore the Damsel in distress of this artwork, Andromeda Chained to the Rocks. | This painting depicts a classic example of the damsel in distress. In this theme a beautiful young woman is placed in a perilous situation, usually involving a monster or being trapped in captivity. The damsel can then only be rescued by a hero, whom of which she usually ends up marrying. In this painting, Andromeda has a distressed look on her face as she is completely shackled and unable to move. Although Perseus does not make an appearance in this painting, in similar works we can see Perseus being portrayed in a heroic and graceful light, shown through the use of warm colors and heroic poses. | [
"Damsel in distress",
"Andromeda",
"damsel in distress",
"Perseus"
] |
|
16950_NT | Andromeda Chained to the Rocks | Explore the Damsel in distress of this artwork. | This painting depicts a classic example of the damsel in distress. In this theme a beautiful young woman is placed in a perilous situation, usually involving a monster or being trapped in captivity. The damsel can then only be rescued by a hero, whom of which she usually ends up marrying. In this painting, Andromeda has a distressed look on her face as she is completely shackled and unable to move. Although Perseus does not make an appearance in this painting, in similar works we can see Perseus being portrayed in a heroic and graceful light, shown through the use of warm colors and heroic poses. | [
"Damsel in distress",
"Andromeda",
"damsel in distress",
"Perseus"
] |
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