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16951_T | Andromeda Chained to the Rocks | Focus on Andromeda Chained to the Rocks and discuss the Depiction of beauty. | Many artists such as Titian have depicted this story by showing Andromeda, her rescuer Perseus, and the sea monster all in the same composition. Her beauty as described in her source material can be seen in some of these other works, along with Perseus' role as her rescuer. In this work, Rembrandt shies away from classical conventions by showing her not as a glamorous beauty but as a frightened naturalistic looking girl. No other figure is included, but her alarmed look out of the picture space to the right creates narrative tension. The painting is an example of Rembrandt's rejection of idealized beauty. Since he did not believe true beauty existed naturally, he painted women as he saw them; naturally imperfect and flawed.Rembrandt's subsequent nude mythological paintings from this period Diana Bathing and Danaë show his evolving portrayal of the nude.Other Depictions of Andromeda | [
"Andromeda",
"Rembrandt",
"Titian",
"Diana Bathing",
"Perseus",
"Danaë"
]
|
|
16951_NT | Andromeda Chained to the Rocks | Focus on this artwork and discuss the Depiction of beauty. | Many artists such as Titian have depicted this story by showing Andromeda, her rescuer Perseus, and the sea monster all in the same composition. Her beauty as described in her source material can be seen in some of these other works, along with Perseus' role as her rescuer. In this work, Rembrandt shies away from classical conventions by showing her not as a glamorous beauty but as a frightened naturalistic looking girl. No other figure is included, but her alarmed look out of the picture space to the right creates narrative tension. The painting is an example of Rembrandt's rejection of idealized beauty. Since he did not believe true beauty existed naturally, he painted women as he saw them; naturally imperfect and flawed.Rembrandt's subsequent nude mythological paintings from this period Diana Bathing and Danaë show his evolving portrayal of the nude.Other Depictions of Andromeda | [
"Andromeda",
"Rembrandt",
"Titian",
"Diana Bathing",
"Perseus",
"Danaë"
]
|
|
16952_T | Tityus (Titian) | How does Tityus (Titian) elucidate its abstract? | Tityus is a mythological painting by Titian dating to 1549 in the Museo del Prado, Madrid. It shows the punishment of the giant Tityos from Greek mythology. | [
"Titian",
"Museo del Prado",
"Tityos",
"Greek mythology",
"Madrid"
]
|
|
16952_NT | Tityus (Titian) | How does this artwork elucidate its abstract? | Tityus is a mythological painting by Titian dating to 1549 in the Museo del Prado, Madrid. It shows the punishment of the giant Tityos from Greek mythology. | [
"Titian",
"Museo del Prado",
"Tityos",
"Greek mythology",
"Madrid"
]
|
|
16953_T | Ex-Voto de 1662 | Focus on Ex-Voto de 1662 and analyze the abstract. | Ex-Voto de 1662 is a painting by the French artist Philippe de Champaigne now in the Louvre in Paris. One of Champaigne's most accomplished works, it is a votive offering (an ex-voto) by the painter which depicts a miracle involving his daughter that is said to have occurred at the Port-Royal-des-Champs Cistercian convent.
A ray of light illuminates Mother-Superior Agnès Arnauld, who experienced on the ninth day of her novena for Champaigne's daughter, Sister Catherine de Sainte Suzanne, the hope that a cure would come for Sister Catherine. Catherine (seated, praying) was the painter's only surviving child, and had been suffering from a paralyzing illness. Until that point, prayer and medical treatments ("potions, baths, unctions, and thirty bleedings") had proven futile. After the Mother-Superior's novena, Sister Catherine soon attempted to walk, and found herself increasingly mobile; the illness no longer seemed present. The painting is a statement of gratitude by the father for the cure of his daughter. The miracle it portrays also symbolized hope for the cause of the Jansenists, who were subject to persecution by ecclesiastical and civil authorities. The Jansenists followed Cornelius Jansen, who reasserted the theology of St. Augustine, and were in conflict with the Jesuits. Their refusal to sign a document condemning five propositions found in Jansen's Augustinus resulted in their being deprived of the sacraments and confined to the abbey, which was eventually torn down.The composition is unique among Champaigne's work, with the two figures having richly defined, "sculptural" forms, lending them vitality and setting them off from the restricted hues and "angular simplicity" of the setting (Rand 1990). The figures dominate the canvas, giving the painting a monumental quality. The texture, weight, and folds of the robes are modeled in great detail, revealing Champaigne's Flemish training. His decision to portray the moment that Mother-Superior Agnès is instilled with hope, rather than the cure itself, is evident in the fact that the ray of light illuminates her instead of his daughter. The light develops a "chronological tension" that suggests "what will happen as a result of what is happening" (Rand 1983).
The painting includes a Latin inscription on the wall on the left of the painting. Neither the text nor the lettering were Champaigne's work.The inscription, addressed to Christ, recounts that Sister Catherine suffered for 14 months from a high fever and that half her body was paralyzed; that she prayed with Mother Agnès and her health was restored, and again she offered herself to Christ; and that Champaigne offers the painting as a testament to this miracle and to express his joy. | [
"novena",
"Port-Royal-des-Champs",
"Jansenist",
"St. Augustine",
"Cistercian convent",
"Latin",
"sacraments",
"Cornelius Jansen",
"votive offering",
"Christ",
"Flemish",
"ex-voto",
"Agnès Arnauld",
"Jesuits",
"Augustinus",
"unction",
"Louvre",
"Philippe de Champaigne",
"Paris"
]
|
|
16953_NT | Ex-Voto de 1662 | Focus on this artwork and analyze the abstract. | Ex-Voto de 1662 is a painting by the French artist Philippe de Champaigne now in the Louvre in Paris. One of Champaigne's most accomplished works, it is a votive offering (an ex-voto) by the painter which depicts a miracle involving his daughter that is said to have occurred at the Port-Royal-des-Champs Cistercian convent.
A ray of light illuminates Mother-Superior Agnès Arnauld, who experienced on the ninth day of her novena for Champaigne's daughter, Sister Catherine de Sainte Suzanne, the hope that a cure would come for Sister Catherine. Catherine (seated, praying) was the painter's only surviving child, and had been suffering from a paralyzing illness. Until that point, prayer and medical treatments ("potions, baths, unctions, and thirty bleedings") had proven futile. After the Mother-Superior's novena, Sister Catherine soon attempted to walk, and found herself increasingly mobile; the illness no longer seemed present. The painting is a statement of gratitude by the father for the cure of his daughter. The miracle it portrays also symbolized hope for the cause of the Jansenists, who were subject to persecution by ecclesiastical and civil authorities. The Jansenists followed Cornelius Jansen, who reasserted the theology of St. Augustine, and were in conflict with the Jesuits. Their refusal to sign a document condemning five propositions found in Jansen's Augustinus resulted in their being deprived of the sacraments and confined to the abbey, which was eventually torn down.The composition is unique among Champaigne's work, with the two figures having richly defined, "sculptural" forms, lending them vitality and setting them off from the restricted hues and "angular simplicity" of the setting (Rand 1990). The figures dominate the canvas, giving the painting a monumental quality. The texture, weight, and folds of the robes are modeled in great detail, revealing Champaigne's Flemish training. His decision to portray the moment that Mother-Superior Agnès is instilled with hope, rather than the cure itself, is evident in the fact that the ray of light illuminates her instead of his daughter. The light develops a "chronological tension" that suggests "what will happen as a result of what is happening" (Rand 1983).
The painting includes a Latin inscription on the wall on the left of the painting. Neither the text nor the lettering were Champaigne's work.The inscription, addressed to Christ, recounts that Sister Catherine suffered for 14 months from a high fever and that half her body was paralyzed; that she prayed with Mother Agnès and her health was restored, and again she offered herself to Christ; and that Champaigne offers the painting as a testament to this miracle and to express his joy. | [
"novena",
"Port-Royal-des-Champs",
"Jansenist",
"St. Augustine",
"Cistercian convent",
"Latin",
"sacraments",
"Cornelius Jansen",
"votive offering",
"Christ",
"Flemish",
"ex-voto",
"Agnès Arnauld",
"Jesuits",
"Augustinus",
"unction",
"Louvre",
"Philippe de Champaigne",
"Paris"
]
|
|
16954_T | Our Lady of the Sign (Novgorod) | In Our Lady of the Sign (Novgorod), how is the Description discussed? | The icon symbolizes the pregnancy of the Virgin: it shows Our Lady with hands raised for praying and the figure of the holy infant in her chest in the circle (orans type of icons). The icon is 2-sided: saint Joachim and saint Anne in praying are pictured on the back side. It has a shaft which for an icon indicates the ability to be carried outside.
In the 17th century the paint was refreshed: Macarius, the metropolitan of Moscow, is believed to be the possible executor). The initial ancient paint is retained only in fragments (some of the Virgin’s dress, and the circle around the Jesus). The back side image is absolutely original, in the ancient paint. | [
"Macarius",
"icon",
"orans",
"saint Anne",
"Moscow",
"saint Joachim"
]
|
|
16954_NT | Our Lady of the Sign (Novgorod) | In this artwork, how is the Description discussed? | The icon symbolizes the pregnancy of the Virgin: it shows Our Lady with hands raised for praying and the figure of the holy infant in her chest in the circle (orans type of icons). The icon is 2-sided: saint Joachim and saint Anne in praying are pictured on the back side. It has a shaft which for an icon indicates the ability to be carried outside.
In the 17th century the paint was refreshed: Macarius, the metropolitan of Moscow, is believed to be the possible executor). The initial ancient paint is retained only in fragments (some of the Virgin’s dress, and the circle around the Jesus). The back side image is absolutely original, in the ancient paint. | [
"Macarius",
"icon",
"orans",
"saint Anne",
"Moscow",
"saint Joachim"
]
|
|
16955_T | Our Lady of the Sign (Novgorod) | Focus on Our Lady of the Sign (Novgorod) and explore the History. | The origins of the icon are unknown. The icon is ascribed to be miraculous. The miracle reportedly occurred in 1170, when Novgorod was besieged by the army of Andrei Bogolubsky, the prince of Suzdal. The struggle has become a seminal iconographic theme since.
In 1170 the united army of four Russian kingdoms (duchy of Vladimir, duchy of Smolensk, duchy of Murom and duchy of Polotsk) laid siege to the city. Subsequent events are described in the Novgorodian saga, cited below.The importance of that victory was hard to overestimate, taking into consideration the fact that a year before the same army of Andrei Bogolubsky and his allies had captured Kiev for the first time in history, aborting the reign of the Novgorodian prince’s father.
The miraculous icon dwelt in the Church of the Transfiguration on Ilyina Street for 186 years afterwards. Later it was moved in a church in honour of the sign on the Holy Virgin, built specially for the icon. The last isn't preserved, as in 1682 it was replaced with the Cathedral of Our Lady of the Sign in Novgorod. In 1992 the icon was moved into the Cathedral of St. Sophia, where it dwells now.Numerous copies of the icon were well known all around the Russia. Some of them are believed to be miraculous as well. Memory about the miraculous deliverance of Novgorod had been retained in oral tales for a long time. | [
"Suzdal",
"Novgorod",
"icon",
"duchy of Murom",
"Cathedral of St. Sophia",
"Russian",
"duchy of Vladimir",
"father",
"Cathedral of Our Lady of the Sign in Novgorod",
"Russia",
"Andrei Bogolubsky",
"duchy of Polotsk",
"Church of the Transfiguration on Ilyina Street",
"duchy of Smolensk",
"the Novgorodian prince",
"Smolensk"
]
|
|
16955_NT | Our Lady of the Sign (Novgorod) | Focus on this artwork and explore the History. | The origins of the icon are unknown. The icon is ascribed to be miraculous. The miracle reportedly occurred in 1170, when Novgorod was besieged by the army of Andrei Bogolubsky, the prince of Suzdal. The struggle has become a seminal iconographic theme since.
In 1170 the united army of four Russian kingdoms (duchy of Vladimir, duchy of Smolensk, duchy of Murom and duchy of Polotsk) laid siege to the city. Subsequent events are described in the Novgorodian saga, cited below.The importance of that victory was hard to overestimate, taking into consideration the fact that a year before the same army of Andrei Bogolubsky and his allies had captured Kiev for the first time in history, aborting the reign of the Novgorodian prince’s father.
The miraculous icon dwelt in the Church of the Transfiguration on Ilyina Street for 186 years afterwards. Later it was moved in a church in honour of the sign on the Holy Virgin, built specially for the icon. The last isn't preserved, as in 1682 it was replaced with the Cathedral of Our Lady of the Sign in Novgorod. In 1992 the icon was moved into the Cathedral of St. Sophia, where it dwells now.Numerous copies of the icon were well known all around the Russia. Some of them are believed to be miraculous as well. Memory about the miraculous deliverance of Novgorod had been retained in oral tales for a long time. | [
"Suzdal",
"Novgorod",
"icon",
"duchy of Murom",
"Cathedral of St. Sophia",
"Russian",
"duchy of Vladimir",
"father",
"Cathedral of Our Lady of the Sign in Novgorod",
"Russia",
"Andrei Bogolubsky",
"duchy of Polotsk",
"Church of the Transfiguration on Ilyina Street",
"duchy of Smolensk",
"the Novgorodian prince",
"Smolensk"
]
|
|
16956_T | Partida da Monção | Focus on Partida da Monção and explain the abstract. | Estudo para Partida da Monção or Departure for Monsoon is an oil painting on a canvas that was completed in 1897 by Brazilian painter José Ferraz de Almeida Júnior, a representation of Brazilian naturalism and realism.Currently, the work is housed at the Museu do Ipiranga in São Paulo. It is quite a large painting, with dimensions of 390 by 640 centimeters (13 by 21 feet).The "monsoon" is a reference to the Portuguese term for a river expedition from coastal to inland Brazil, known as "monsoons", which were common during the late 18th and early 19th centuries. The painting has a scene of the Port of Araritaguaba (now Porto Feliz, in São Paulo), on the banks of the Tietê River. The destination was Cuiabá, located in Mato Grosso, Brazil. | [
"Tietê River",
"Brazilian painter",
"José Ferraz de Almeida Júnior",
"Porto Feliz",
"Museu do Ipiranga",
"São Paulo",
"Mato Grosso",
"Cuiabá"
]
|
|
16956_NT | Partida da Monção | Focus on this artwork and explain the abstract. | Estudo para Partida da Monção or Departure for Monsoon is an oil painting on a canvas that was completed in 1897 by Brazilian painter José Ferraz de Almeida Júnior, a representation of Brazilian naturalism and realism.Currently, the work is housed at the Museu do Ipiranga in São Paulo. It is quite a large painting, with dimensions of 390 by 640 centimeters (13 by 21 feet).The "monsoon" is a reference to the Portuguese term for a river expedition from coastal to inland Brazil, known as "monsoons", which were common during the late 18th and early 19th centuries. The painting has a scene of the Port of Araritaguaba (now Porto Feliz, in São Paulo), on the banks of the Tietê River. The destination was Cuiabá, located in Mato Grosso, Brazil. | [
"Tietê River",
"Brazilian painter",
"José Ferraz de Almeida Júnior",
"Porto Feliz",
"Museu do Ipiranga",
"São Paulo",
"Mato Grosso",
"Cuiabá"
]
|
|
16957_T | Benjamin Franklin Drawing Electricity from the Sky | Explore the abstract of this artwork, Benjamin Franklin Drawing Electricity from the Sky. | Benjamin Franklin Drawing Electricity from the Sky is a c. 1805 painting by Benjamin West in the Philadelphia Museum of Art. It depicts American Founding Father Benjamin Franklin conducting his kite experiment in 1752 to ascertain the electrical nature of lighting. West composed his 13.25 in × 10 in (33.7 cm × 25.4 cm) work using oil on a slate. The painting blends elements of both Neoclassicism and Romanticism. Franklin knew West, which influenced the creation of this painting. | [
"kite",
"Founding Father",
"Benjamin Franklin",
"Philadelphia",
"Benjamin West",
"kite experiment",
"Neoclassicism",
"Romanticism",
"Philadelphia Museum of Art"
]
|
|
16957_NT | Benjamin Franklin Drawing Electricity from the Sky | Explore the abstract of this artwork. | Benjamin Franklin Drawing Electricity from the Sky is a c. 1805 painting by Benjamin West in the Philadelphia Museum of Art. It depicts American Founding Father Benjamin Franklin conducting his kite experiment in 1752 to ascertain the electrical nature of lighting. West composed his 13.25 in × 10 in (33.7 cm × 25.4 cm) work using oil on a slate. The painting blends elements of both Neoclassicism and Romanticism. Franklin knew West, which influenced the creation of this painting. | [
"kite",
"Founding Father",
"Benjamin Franklin",
"Philadelphia",
"Benjamin West",
"kite experiment",
"Neoclassicism",
"Romanticism",
"Philadelphia Museum of Art"
]
|
|
16958_T | Benjamin Franklin Drawing Electricity from the Sky | Focus on Benjamin Franklin Drawing Electricity from the Sky and discuss the Background. | West based his painting on a well-known experiment Franklin conducted in 1752. Franklin observed that lightning frequently destroyed homes by igniting those made of wood. Franklin was determined to prove the presence of electricity in lightning through an experiment. Franklin's experiment, in its initial conception, depended on the completion of Christ's Church in Philadelphia, whose steeples would be sufficiently high as to attract a lightning strike. Franklin then conceived of an alternative experiment that involved flying a kite during a thunderstorm with a metal key attached to the string.Franklin conducted his experiment in private for several reasons, including its dangerous nature, and he did not want to disappoint the scientific community if the experiment failed. He decided to experiment alongside his son William in a field. Franklin demonstrated that the clouds carried an electrical charge by bringing a finger near the metal key, producing a spark. His experiments led to the widespread adoption of lightning rods on tall buildings to draw electricity off the building and into the ground. | [
"William",
"lightning rod",
"kite",
"Philadelphia"
]
|
|
16958_NT | Benjamin Franklin Drawing Electricity from the Sky | Focus on this artwork and discuss the Background. | West based his painting on a well-known experiment Franklin conducted in 1752. Franklin observed that lightning frequently destroyed homes by igniting those made of wood. Franklin was determined to prove the presence of electricity in lightning through an experiment. Franklin's experiment, in its initial conception, depended on the completion of Christ's Church in Philadelphia, whose steeples would be sufficiently high as to attract a lightning strike. Franklin then conceived of an alternative experiment that involved flying a kite during a thunderstorm with a metal key attached to the string.Franklin conducted his experiment in private for several reasons, including its dangerous nature, and he did not want to disappoint the scientific community if the experiment failed. He decided to experiment alongside his son William in a field. Franklin demonstrated that the clouds carried an electrical charge by bringing a finger near the metal key, producing a spark. His experiments led to the widespread adoption of lightning rods on tall buildings to draw electricity off the building and into the ground. | [
"William",
"lightning rod",
"kite",
"Philadelphia"
]
|
|
16959_T | Benjamin Franklin Drawing Electricity from the Sky | In the context of Benjamin Franklin Drawing Electricity from the Sky, analyze the Painting of the Description and interpretation. | Franklin is pictured raising his hand into the stormy skies as the clouds open above him. A spark appears between the key and Franklin's hand. West depicts Franklin with white hair, as he is popularly remembered. He holds a scroll in his left hand and is wearing a red cloak that is blowing in the wind.
To Franklin's right is a group of cherubs assisting him in his experiment by holding the kite string and observing him. West dresses one of these cherubs in traditional Native American attire. Cherubs were traditionally used in Apotheosis paintings that deify humans. Directly to Franklin's right is another group of cherubs tinkering with a tool. Franklin's right arm, the Cherub to his right, and the Cherub to his left, come together to form a triangle, the compositional foundation of the entire painting. The arrangement directs the viewers' eyes to Franklin's hand and the lightning key. West amplifies this effect by clearly defining the edges of the key and making the surrounding electricity more pronounced than the lighting in the distance. Franklin's head and gaze are fixated upwards looking beyond the canvas towards the heavens. These elements suggest that Franklin calls on the forces on nature and the heavens in his experiment.West includes elements commonly used in Romantic paintings, such as religious motifs and sublime aesthetics. However, the cherubs and themes of masculine heroism are more characteristic of Neoclassical paintings. The blend of two styles allows West to combine intelligibility with a sense of mystery. | [
"kite",
"Apotheosis",
"Neoclassical",
"Apotheosis paintings",
"Cherub",
"cherub",
"Native American attire"
]
|
|
16959_NT | Benjamin Franklin Drawing Electricity from the Sky | In the context of this artwork, analyze the Painting of the Description and interpretation. | Franklin is pictured raising his hand into the stormy skies as the clouds open above him. A spark appears between the key and Franklin's hand. West depicts Franklin with white hair, as he is popularly remembered. He holds a scroll in his left hand and is wearing a red cloak that is blowing in the wind.
To Franklin's right is a group of cherubs assisting him in his experiment by holding the kite string and observing him. West dresses one of these cherubs in traditional Native American attire. Cherubs were traditionally used in Apotheosis paintings that deify humans. Directly to Franklin's right is another group of cherubs tinkering with a tool. Franklin's right arm, the Cherub to his right, and the Cherub to his left, come together to form a triangle, the compositional foundation of the entire painting. The arrangement directs the viewers' eyes to Franklin's hand and the lightning key. West amplifies this effect by clearly defining the edges of the key and making the surrounding electricity more pronounced than the lighting in the distance. Franklin's head and gaze are fixated upwards looking beyond the canvas towards the heavens. These elements suggest that Franklin calls on the forces on nature and the heavens in his experiment.West includes elements commonly used in Romantic paintings, such as religious motifs and sublime aesthetics. However, the cherubs and themes of masculine heroism are more characteristic of Neoclassical paintings. The blend of two styles allows West to combine intelligibility with a sense of mystery. | [
"kite",
"Apotheosis",
"Neoclassical",
"Apotheosis paintings",
"Cherub",
"cherub",
"Native American attire"
]
|
|
16960_T | Benjamin Franklin Drawing Electricity from the Sky | Describe the characteristics of the Straying from the truth in Benjamin Franklin Drawing Electricity from the Sky's Description and interpretation. | The painting is an example of a history painting, but as West had done in the past with works such as in his 1770 The Death of General Wolfe, he strays from the truth and embellishes many elements for added dramatic effect. Franklin was in his forties and with his son when he conducted the experiment, but West paints him with white hair and wrinkly as an elderly man. West adds cherubs and other dramatic elements to depict Franklin as Prometheus-like figure, who stands as an American hero of scientific discovery. Other works of art, such as Carl Rohl-Smith's Statue of Young Benjamin Franklin with Kite, provide a more accurate representation of Franklin at the time of his experiment, giving him a significantly younger appearance. | [
"The Death of General Wolfe",
"history painting",
"Benjamin Franklin",
"cherub",
"Carl Rohl-Smith's",
"Carl Rohl-Smith",
"Kite"
]
|
|
16960_NT | Benjamin Franklin Drawing Electricity from the Sky | Describe the characteristics of the Straying from the truth in this artwork's Description and interpretation. | The painting is an example of a history painting, but as West had done in the past with works such as in his 1770 The Death of General Wolfe, he strays from the truth and embellishes many elements for added dramatic effect. Franklin was in his forties and with his son when he conducted the experiment, but West paints him with white hair and wrinkly as an elderly man. West adds cherubs and other dramatic elements to depict Franklin as Prometheus-like figure, who stands as an American hero of scientific discovery. Other works of art, such as Carl Rohl-Smith's Statue of Young Benjamin Franklin with Kite, provide a more accurate representation of Franklin at the time of his experiment, giving him a significantly younger appearance. | [
"The Death of General Wolfe",
"history painting",
"Benjamin Franklin",
"cherub",
"Carl Rohl-Smith's",
"Carl Rohl-Smith",
"Kite"
]
|
|
16961_T | Benjamin Franklin Drawing Electricity from the Sky | In the context of Benjamin Franklin Drawing Electricity from the Sky, explore the West's relationship with Franklin of the Description and interpretation. | West and Franklin initially met in London, then developed an amicable relationship as fellow Philadelphians. West was born in Swarthmore, Pennsylvania, and Franklin moved to Pennsylvania in his early adulthood. They became close enough that West asked Franklin to be godfather to his second son. West decided to make the painting to celebrate the achievements of his friend after Franklin's death. The painting was intended to be a study for a much larger painting that West planned to donate in honor of his friend to the Philadelphia Hospital, established by Franklin. | [
"Philadelphia Hospital",
"Philadelphia",
"Swarthmore, Pennsylvania"
]
|
|
16961_NT | Benjamin Franklin Drawing Electricity from the Sky | In the context of this artwork, explore the West's relationship with Franklin of the Description and interpretation. | West and Franklin initially met in London, then developed an amicable relationship as fellow Philadelphians. West was born in Swarthmore, Pennsylvania, and Franklin moved to Pennsylvania in his early adulthood. They became close enough that West asked Franklin to be godfather to his second son. West decided to make the painting to celebrate the achievements of his friend after Franklin's death. The painting was intended to be a study for a much larger painting that West planned to donate in honor of his friend to the Philadelphia Hospital, established by Franklin. | [
"Philadelphia Hospital",
"Philadelphia",
"Swarthmore, Pennsylvania"
]
|
|
16962_T | Benjamin Franklin Drawing Electricity from the Sky | Focus on Benjamin Franklin Drawing Electricity from the Sky and explain the In modern culture. | In 1965 the United States selected this painting to be featured on their memorial postage stamp commemorating the 250 anniversary of Benjamin Franklin's birth. | [
"postage stamp",
"Benjamin Franklin",
"commemorating"
]
|
|
16962_NT | Benjamin Franklin Drawing Electricity from the Sky | Focus on this artwork and explain the In modern culture. | In 1965 the United States selected this painting to be featured on their memorial postage stamp commemorating the 250 anniversary of Benjamin Franklin's birth. | [
"postage stamp",
"Benjamin Franklin",
"commemorating"
]
|
|
16963_T | The Rancher | Explore the abstract of this artwork, The Rancher. | The Rancher is a 2002 painting by Jaune Quick-to-See Smith. It is in the collection of the Hood Museum of Art at Dartmouth College. The painting serves as Quick-to-See Smith's tribute to Montana, where she grew up. | [
"Hood Museum of Art",
"Jaune Quick-to-See Smith",
"Dartmouth College",
"Montana"
]
|
|
16963_NT | The Rancher | Explore the abstract of this artwork. | The Rancher is a 2002 painting by Jaune Quick-to-See Smith. It is in the collection of the Hood Museum of Art at Dartmouth College. The painting serves as Quick-to-See Smith's tribute to Montana, where she grew up. | [
"Hood Museum of Art",
"Jaune Quick-to-See Smith",
"Dartmouth College",
"Montana"
]
|
|
16964_T | The Rancher | Focus on The Rancher and discuss the Description. | The painting is a tribute to where Quick-to-See Smith grew up: Montana. The painting, which is acrylic paint on canvas, features Quick-to-See Smith's interpretation of George Catlin's painting, Ee-he-a-duck-chee-a (He Who Ties His Hair Before) in the middle of the painting, in black paint. Logos for Purina and Krispy Kreme are depicted, as is the painted words "french fries." Next to "french fries" are two hands painted saying "french fries" in American Sign Language. Half of a blue sign is on the right of the canvas, with "Hecho en USA" spilling off the canvas. "$19.99" is painted in the upper left corner.
The painting is signed and inscribed on the back, top edge of the painting, using black marker. It reads: [illeg.] Smith 2002 "THE RANCHER" ACl 72" x 48" | [
"canvas",
"American Sign Language",
"George Catlin",
"Purina",
"Krispy Kreme",
"acrylic paint",
"Montana"
]
|
|
16964_NT | The Rancher | Focus on this artwork and discuss the Description. | The painting is a tribute to where Quick-to-See Smith grew up: Montana. The painting, which is acrylic paint on canvas, features Quick-to-See Smith's interpretation of George Catlin's painting, Ee-he-a-duck-chee-a (He Who Ties His Hair Before) in the middle of the painting, in black paint. Logos for Purina and Krispy Kreme are depicted, as is the painted words "french fries." Next to "french fries" are two hands painted saying "french fries" in American Sign Language. Half of a blue sign is on the right of the canvas, with "Hecho en USA" spilling off the canvas. "$19.99" is painted in the upper left corner.
The painting is signed and inscribed on the back, top edge of the painting, using black marker. It reads: [illeg.] Smith 2002 "THE RANCHER" ACl 72" x 48" | [
"canvas",
"American Sign Language",
"George Catlin",
"Purina",
"Krispy Kreme",
"acrylic paint",
"Montana"
]
|
|
16965_T | The Rancher | How does The Rancher elucidate its Curatorial analysis? | In this work, Quick-to-See Smith seeks to reject stereotypes about indigenous peoples of North America, by using Caitlin's work. The use of the brand logos is believed assert "that Native peoples can be simultaneously traditional and contemporary," according to curators at the Hood Museum of Art. "Hecho en USA" is meant to reflect "the intermingling of languages, cultures, and subcultures of America." Additionally, the word "french fries" and the sign language are meant to depict how Native peoples often must incorporate new ideas and words into their lexicon and lives as they seek to remain connected to modern life. | [
"stereotypes about indigenous peoples of North America",
"Hood Museum of Art"
]
|
|
16965_NT | The Rancher | How does this artwork elucidate its Curatorial analysis? | In this work, Quick-to-See Smith seeks to reject stereotypes about indigenous peoples of North America, by using Caitlin's work. The use of the brand logos is believed assert "that Native peoples can be simultaneously traditional and contemporary," according to curators at the Hood Museum of Art. "Hecho en USA" is meant to reflect "the intermingling of languages, cultures, and subcultures of America." Additionally, the word "french fries" and the sign language are meant to depict how Native peoples often must incorporate new ideas and words into their lexicon and lives as they seek to remain connected to modern life. | [
"stereotypes about indigenous peoples of North America",
"Hood Museum of Art"
]
|
|
16966_T | The Rancher | Focus on The Rancher and analyze the History. | The painting was purchased by the Hood Museum of Art, with monies from the William S. Rubin Fund, through the LewAllen Contemporary art gallery in Santa Fe, New Mexico. This painting has been shown in three exhibitions at the Hood Museum, "Native American Art at Dartmouth: Highlights from the Hood Museum of Art" (2011-12), Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art" (2009-10), and "Picturing Change: The Impact of Ledger Drawing on Native American Art" (2004-05). It has also been exhibited at the Peabody Essex Museum, Colby College Museum of Art and the LewAllen Contemporary. | [
"Colby College Museum of Art",
"Peabody Essex Museum",
"Hood Museum of Art"
]
|
|
16966_NT | The Rancher | Focus on this artwork and analyze the History. | The painting was purchased by the Hood Museum of Art, with monies from the William S. Rubin Fund, through the LewAllen Contemporary art gallery in Santa Fe, New Mexico. This painting has been shown in three exhibitions at the Hood Museum, "Native American Art at Dartmouth: Highlights from the Hood Museum of Art" (2011-12), Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art" (2009-10), and "Picturing Change: The Impact of Ledger Drawing on Native American Art" (2004-05). It has also been exhibited at the Peabody Essex Museum, Colby College Museum of Art and the LewAllen Contemporary. | [
"Colby College Museum of Art",
"Peabody Essex Museum",
"Hood Museum of Art"
]
|
|
16967_T | Salem (painting) | In Salem (painting), how is the abstract discussed? | Salem is a painting of 1908 by the English painter Sydney Curnow Vosper, depicting a scene within Capel Salem, a Baptist chapel in Pentre Gwynfryn, Gwynedd, Wales. It is noteworthy as a depiction of Welsh piety, the traditional Welsh national costume, and for a contentious belief that the devil is depicted within it. Mass reproductions throughout the early and mid 20th century ensured that the image became famous throughout Britain.The painting has been described as an icon of Wales, much as John Constable's Hay Wain is iconic of England. | [
"the devil",
"Capel Salem",
"Hay Wain",
" ",
"England",
"Welsh national costume",
"Pentre Gwynfryn",
"piety",
"Gwynedd",
"Wales",
"Baptist",
"devil",
"John Constable",
"Sydney Curnow Vosper"
]
|
|
16967_NT | Salem (painting) | In this artwork, how is the abstract discussed? | Salem is a painting of 1908 by the English painter Sydney Curnow Vosper, depicting a scene within Capel Salem, a Baptist chapel in Pentre Gwynfryn, Gwynedd, Wales. It is noteworthy as a depiction of Welsh piety, the traditional Welsh national costume, and for a contentious belief that the devil is depicted within it. Mass reproductions throughout the early and mid 20th century ensured that the image became famous throughout Britain.The painting has been described as an icon of Wales, much as John Constable's Hay Wain is iconic of England. | [
"the devil",
"Capel Salem",
"Hay Wain",
" ",
"England",
"Welsh national costume",
"Pentre Gwynfryn",
"piety",
"Gwynedd",
"Wales",
"Baptist",
"devil",
"John Constable",
"Sydney Curnow Vosper"
]
|
|
16968_T | Salem (painting) | Focus on Salem (painting) and explore the History. | Vosper had found success as a watercolour painter before coming to Wales; he had exhibited work in galleries throughout England, at the Paris Salon and the Royal Academy in London. He was noted for his paintings of people, particularly the residents of Le Faouët in Brittany. Vosper's Welsh period began with his marriage to Constance James of Merthyr Tydfil in 1902, and ended after her death in 1910.
Vosper first saw Capel Salem in 1906, not long after the "Welsh Revival". He had already painted many famous images of prayer and piety in Brittany, and it would seem the chapel and its congregation inspired him in much the same way. | [
"Paris Salon",
"watercolour",
"Welsh Revival",
"Capel Salem",
" ",
"England",
"piety",
"Wales",
"Le Faouët",
"Merthyr Tydfil",
"Royal Academy",
"Brittany"
]
|
|
16968_NT | Salem (painting) | Focus on this artwork and explore the History. | Vosper had found success as a watercolour painter before coming to Wales; he had exhibited work in galleries throughout England, at the Paris Salon and the Royal Academy in London. He was noted for his paintings of people, particularly the residents of Le Faouët in Brittany. Vosper's Welsh period began with his marriage to Constance James of Merthyr Tydfil in 1902, and ended after her death in 1910.
Vosper first saw Capel Salem in 1906, not long after the "Welsh Revival". He had already painted many famous images of prayer and piety in Brittany, and it would seem the chapel and its congregation inspired him in much the same way. | [
"Paris Salon",
"watercolour",
"Welsh Revival",
"Capel Salem",
" ",
"England",
"piety",
"Wales",
"Le Faouët",
"Merthyr Tydfil",
"Royal Academy",
"Brittany"
]
|
|
16969_T | Salem (painting) | Focus on Salem (painting) and explain the Mass appeal. | Vosper exhibited Salem in 1909 at the Royal Academy in London, where it came to the attention of the industrialist William Hesketh Lever. Lever bought the painting for £105 and the original can be seen today in the art gallery he established at Port Sunlight. The painting may have remained obscure in his private collection had Lever not decided to use the painting in a promotion of the Lever Brothers' popular product Sunlight soap.
The soap bars came with collectable tokens, and buying seven pounds of soap would acquire enough tokens to exchange for a print of the painting (an early example of marketing premiums). This promotion resulted in Salem appearing in many homes across Britain. At that time many homes owned no form of visual art and the innovative 'free gift' offer ensured that prints of Salem became widely, and uniquely popular amongst working-class communities, especially in Wales.
By 1933 the painting was famous enough to be the subject of a notable article in the Welsh-language magazine Y Ford Gron ('The Round Table') and in 1937, Salem gained yet more popularity when Sir Ifan ab Owen Edwards sold thousands of prints to supporters of Urdd Gobaith Cymru for 6d. By 1942 it was described by Yr Aelwyd ('The Hearth') as "One of the most beautiful pictures of the religious life of Wales in old times", and in 1950, 1956 and 1957 many more Welsh households obtained copies when the picture was used in the Cymru Fydd calendar. By the 1960s, the painting was famous throughout Wales and was ubiquitous in many Welsh communities.
Today a framed print of Salem hanging on the wall is a feature of many Welsh museums and historical buildings. In 2013, the painting featured in the first episode of the Welsh drama series Hinterland. | [
"Cymru Fydd",
"William Hesketh Lever",
"Hinterland",
" ",
"marketing premiums",
"Urdd Gobaith Cymru",
"Ifan ab Owen Edwards",
"Sunlight soap",
"Wales",
"'free gift'",
"Lever Brothers",
"Port Sunlight",
"Royal Academy",
"Sir Ifan ab Owen Edwards"
]
|
|
16969_NT | Salem (painting) | Focus on this artwork and explain the Mass appeal. | Vosper exhibited Salem in 1909 at the Royal Academy in London, where it came to the attention of the industrialist William Hesketh Lever. Lever bought the painting for £105 and the original can be seen today in the art gallery he established at Port Sunlight. The painting may have remained obscure in his private collection had Lever not decided to use the painting in a promotion of the Lever Brothers' popular product Sunlight soap.
The soap bars came with collectable tokens, and buying seven pounds of soap would acquire enough tokens to exchange for a print of the painting (an early example of marketing premiums). This promotion resulted in Salem appearing in many homes across Britain. At that time many homes owned no form of visual art and the innovative 'free gift' offer ensured that prints of Salem became widely, and uniquely popular amongst working-class communities, especially in Wales.
By 1933 the painting was famous enough to be the subject of a notable article in the Welsh-language magazine Y Ford Gron ('The Round Table') and in 1937, Salem gained yet more popularity when Sir Ifan ab Owen Edwards sold thousands of prints to supporters of Urdd Gobaith Cymru for 6d. By 1942 it was described by Yr Aelwyd ('The Hearth') as "One of the most beautiful pictures of the religious life of Wales in old times", and in 1950, 1956 and 1957 many more Welsh households obtained copies when the picture was used in the Cymru Fydd calendar. By the 1960s, the painting was famous throughout Wales and was ubiquitous in many Welsh communities.
Today a framed print of Salem hanging on the wall is a feature of many Welsh museums and historical buildings. In 2013, the painting featured in the first episode of the Welsh drama series Hinterland. | [
"Cymru Fydd",
"William Hesketh Lever",
"Hinterland",
" ",
"marketing premiums",
"Urdd Gobaith Cymru",
"Ifan ab Owen Edwards",
"Sunlight soap",
"Wales",
"'free gift'",
"Lever Brothers",
"Port Sunlight",
"Royal Academy",
"Sir Ifan ab Owen Edwards"
]
|
|
16970_T | Salem (painting) | Explore the Hidden figures and interpretations of this artwork, Salem (painting). | As reproductions became popular, so did the notion that the composition contained a hidden figure. Discussions of the painting's intended meaning often used this notion to support their interpretations.
Aside from pious interpretations, there was much speculation that the painting had a more disapproving meaning. Some suggested that the painting was a comment on the sin of vanity. The chapel clock suggests that Siân Owen is arriving belatedly at a few minutes before ten (during the traditional Welsh silence before the morning service), possibly to ensure that her presence is noted, and appears to be wearing comparatively ostentatious clothing. The interpretation was often synonymous with a popular belief that Vosper had hidden an image of the devil in the folds of Siân Owen's shawl. The postulated image can be seen in the section of shawl around her left arm. The paisley pattern forms a horn, the folds his eye and nose and the shawl's trim his beard.
When questioned on this, Vosper always denied any such detail had been intentionally painted into the shawl. The enigmatic painter did confirm, however, an intended ghostly face painted into the verdant window scene. The partial knowledge of a hidden face somewhere within the painting is a likely starting point for the popular theory of a devil within the shawl.The painting's varying interpretations (especially as an admonishing lesson on pride) are now considered a valuable example of how the Welsh viewed themselves, and their rural nonconformist past, in the twentieth century. The devil in the shawl is now most commonly considered an example of pareidolia. | [
"the devil",
" ",
"nonconformist",
"pareidolia",
"partial knowledge",
"devil",
"left"
]
|
|
16970_NT | Salem (painting) | Explore the Hidden figures and interpretations of this artwork. | As reproductions became popular, so did the notion that the composition contained a hidden figure. Discussions of the painting's intended meaning often used this notion to support their interpretations.
Aside from pious interpretations, there was much speculation that the painting had a more disapproving meaning. Some suggested that the painting was a comment on the sin of vanity. The chapel clock suggests that Siân Owen is arriving belatedly at a few minutes before ten (during the traditional Welsh silence before the morning service), possibly to ensure that her presence is noted, and appears to be wearing comparatively ostentatious clothing. The interpretation was often synonymous with a popular belief that Vosper had hidden an image of the devil in the folds of Siân Owen's shawl. The postulated image can be seen in the section of shawl around her left arm. The paisley pattern forms a horn, the folds his eye and nose and the shawl's trim his beard.
When questioned on this, Vosper always denied any such detail had been intentionally painted into the shawl. The enigmatic painter did confirm, however, an intended ghostly face painted into the verdant window scene. The partial knowledge of a hidden face somewhere within the painting is a likely starting point for the popular theory of a devil within the shawl.The painting's varying interpretations (especially as an admonishing lesson on pride) are now considered a valuable example of how the Welsh viewed themselves, and their rural nonconformist past, in the twentieth century. The devil in the shawl is now most commonly considered an example of pareidolia. | [
"the devil",
" ",
"nonconformist",
"pareidolia",
"partial knowledge",
"devil",
"left"
]
|
|
16971_T | Salem (painting) | Focus on Salem (painting) and discuss the Exhibition. | The painting is on display at the Lady Lever Art Gallery at Port Sunlight, though there have been several attempts to permanently house it within Wales, most notably by a campaign in 2005 headed by Plaid Cymru's culture spokesman Owen John Thomas. In 2013 it formed the centrepiece of a temporary exhibition at the Gwynedd Museum and Art Gallery in Bangor.Many Welsh museums and galleries hold and exhibit paintings by Vosper from the same period. Most notably, National Museum Cardiff houses Market Day in Old Wales (1908), a later painting featuring Siân Owen. Often considered a sister work, the painting was gifted to the museum by Constance Vosper's brother, Frank Treharne James, in 1914. Speaking in 2005 on the possibility of acquiring Salem, the Museum's director said that "It was commissioned by the Lever family therefore belongs in the gallery they created, now belonging to the National Museums Liverpool". | [
" ",
"Owen John Thomas",
"Plaid Cymru",
"Gwynedd",
"Wales",
"National Museum Cardiff",
"Port Sunlight",
"Lady Lever Art Gallery",
"Bangor"
]
|
|
16971_NT | Salem (painting) | Focus on this artwork and discuss the Exhibition. | The painting is on display at the Lady Lever Art Gallery at Port Sunlight, though there have been several attempts to permanently house it within Wales, most notably by a campaign in 2005 headed by Plaid Cymru's culture spokesman Owen John Thomas. In 2013 it formed the centrepiece of a temporary exhibition at the Gwynedd Museum and Art Gallery in Bangor.Many Welsh museums and galleries hold and exhibit paintings by Vosper from the same period. Most notably, National Museum Cardiff houses Market Day in Old Wales (1908), a later painting featuring Siân Owen. Often considered a sister work, the painting was gifted to the museum by Constance Vosper's brother, Frank Treharne James, in 1914. Speaking in 2005 on the possibility of acquiring Salem, the Museum's director said that "It was commissioned by the Lever family therefore belongs in the gallery they created, now belonging to the National Museums Liverpool". | [
" ",
"Owen John Thomas",
"Plaid Cymru",
"Gwynedd",
"Wales",
"National Museum Cardiff",
"Port Sunlight",
"Lady Lever Art Gallery",
"Bangor"
]
|
|
16972_T | Salem (painting) | How does Salem (painting) elucidate its James Version? | Hel Straeon a 1988 S4C arts programme revealed the existence of a slightly different version of Salem, owned by a descendant of Frank Treharne James. Vosper produced this second slightly different version in 1909, a year after painting the first version. Peter Lord, an authority on Welsh painting, verified this second work as a Vosper composition. This painting was at one point on display at Cyfarthfa Castle in Merthyr Tydfil, along with many other Vosper works bequeathed to the town upon the death of his second son.On 10 October 2019, the National Library of Wales (Llyfrgell Genedlaethol Cymru) announced that it had purchased the James version of the Salem painting on behalf of the nation, "to protect and cherish it forever". | [
" ",
"National Library of Wales",
"Cyfarthfa Castle",
"Wales",
"Peter Lord",
"Merthyr Tydfil"
]
|
|
16972_NT | Salem (painting) | How does this artwork elucidate its James Version? | Hel Straeon a 1988 S4C arts programme revealed the existence of a slightly different version of Salem, owned by a descendant of Frank Treharne James. Vosper produced this second slightly different version in 1909, a year after painting the first version. Peter Lord, an authority on Welsh painting, verified this second work as a Vosper composition. This painting was at one point on display at Cyfarthfa Castle in Merthyr Tydfil, along with many other Vosper works bequeathed to the town upon the death of his second son.On 10 October 2019, the National Library of Wales (Llyfrgell Genedlaethol Cymru) announced that it had purchased the James version of the Salem painting on behalf of the nation, "to protect and cherish it forever". | [
" ",
"National Library of Wales",
"Cyfarthfa Castle",
"Wales",
"Peter Lord",
"Merthyr Tydfil"
]
|
|
16973_T | Salem (painting) | Focus on Salem (painting) and analyze the Popular culture. | A print of this painting appears in S1.E1, "Devil's Bridge", of the detective series Hinterland, in which the legend of the Devil's face is mentioned. | [
"Hinterland",
" ",
"Devil"
]
|
|
16973_NT | Salem (painting) | Focus on this artwork and analyze the Popular culture. | A print of this painting appears in S1.E1, "Devil's Bridge", of the detective series Hinterland, in which the legend of the Devil's face is mentioned. | [
"Hinterland",
" ",
"Devil"
]
|
|
16974_T | The Falconer (Hansen) | In The Falconer (Hansen), how is the abstract discussed? | The Falconer is a bronze sculpture by James Lee Hansen. Dates for the abstract piece range from the 1960s to 1973. | [
"James Lee Hansen",
"bronze sculpture",
"abstract"
]
|
|
16974_NT | The Falconer (Hansen) | In this artwork, how is the abstract discussed? | The Falconer is a bronze sculpture by James Lee Hansen. Dates for the abstract piece range from the 1960s to 1973. | [
"James Lee Hansen",
"bronze sculpture",
"abstract"
]
|
|
16975_T | The Falconer (Hansen) | Focus on The Falconer (Hansen) and explore the Description. | The bronze sculpture, which depicts abstract tools of the falconry trade, measures approximately 3 feet (0.91 m) x 18 inches (0.46 m) x 14 inches (0.36 m) and weighs between 200 and 300 lbs. It rests on a concrete base that is 3 feet (0.91 m), 1 inch (2.5 cm) tall and has a diameter of 2 feet (0.61 m). | [
"falconry",
"bronze sculpture",
"abstract"
]
|
|
16975_NT | The Falconer (Hansen) | Focus on this artwork and explore the Description. | The bronze sculpture, which depicts abstract tools of the falconry trade, measures approximately 3 feet (0.91 m) x 18 inches (0.46 m) x 14 inches (0.36 m) and weighs between 200 and 300 lbs. It rests on a concrete base that is 3 feet (0.91 m), 1 inch (2.5 cm) tall and has a diameter of 2 feet (0.61 m). | [
"falconry",
"bronze sculpture",
"abstract"
]
|
|
16976_T | Saint Luke the Evangelist (Master Theodoric) | Focus on Saint Luke the Evangelist (Master Theodoric) and explain the abstract. | Saint Luke the Evangelist is one of the most impressive panel paintings by Master Theodoric, intended for the decoration of the Chapel of the Holy Cross in Karlštejn. It may be a self-portrait of Theodoric himself. It is exhibited in the collection of medieval art of the National Gallery in Prague. | [
"Theodoric",
"Chapel of the Holy Cross",
"Master Theodoric",
"Luke the Evangelist",
"Chapel of the Holy Cross in Karlštejn",
"National Gallery",
"Karlštejn",
"National Gallery in Prague",
"Prague"
]
|
|
16976_NT | Saint Luke the Evangelist (Master Theodoric) | Focus on this artwork and explain the abstract. | Saint Luke the Evangelist is one of the most impressive panel paintings by Master Theodoric, intended for the decoration of the Chapel of the Holy Cross in Karlštejn. It may be a self-portrait of Theodoric himself. It is exhibited in the collection of medieval art of the National Gallery in Prague. | [
"Theodoric",
"Chapel of the Holy Cross",
"Master Theodoric",
"Luke the Evangelist",
"Chapel of the Holy Cross in Karlštejn",
"National Gallery",
"Karlštejn",
"National Gallery in Prague",
"Prague"
]
|
|
16977_T | Saint Luke the Evangelist (Master Theodoric) | Explore the Description and classification of this artwork, Saint Luke the Evangelist (Master Theodoric). | Oil tempera on beech board measuring 115 x 94 cm. The frame with printed ornament contains an elliptical reliquary opening at the bottom. The painting has been preserved in its original form from around 1360 and was restored in 1991 (H. Kohlová).
Theodoric's painting is characterised by an extraordinary sophistication of pictorial expression and colour balance. The drapery is modelled in relief and uses incident light to illuminate the top layer, while the deep parts are highlighted with dark blue. The drapery itself consists of a motif of long vertical folds on the right forearm, short transverse lines around the upraised left hand with a book, and deep bowl-like folds in the center. The painter used azurite and lead white as the ground and the rarest pigment, ultramarine blue, as the top layer. The blue is balanced by white, ochre and red.
The head of St. Luke is modelled with knowledge of real physiognomy, and its expression is enlivened by the direct gaze of the eyes on the viewer. It is characterized by the typical features of Theodoric's style - the slightly larger-than-life size of the broad face, the grey incarnation and the rich beard. The veins on the hands are realistically depicted and the left hand holding the book is rendered in perspective. The painting, like other paintings by Theodoric, extends partly onto the frame. The painter thus disrupts the regular geometric order of the picture frames on the wall of the Chapel of the Holy Cross, which limited his creative freedom. This is also evident in the generous conception of the test sketches that have survived on the chapel wall, by which the painter verified the format and proportional relationships with respect to the dimensions of the wall.Luke's attribute, the winged bull, is painted with a great degree of realism in the upper left corner of the painting. The background of the painting consists of a plastic decorative ornament known as pastiglia, which originated in Italy and was almost exclusively used in Bohemia by Theodoric. The background was originally gilded, as some of Theodoric's paintings retain traces of gold or show damage caused by the removal of gilded ornaments. This happened at the beginning of the 15th century during the siege of Karlštejn by the Hussites, when it was necessary to pay the defenders' rents. The saint held a cross in his right hand, the outline of which and traces of its attachment have been preserved.
Theodoric's stocky and short stature, massive head with fleshy cheeks and protruding nose, and wide-open eyes with large pupils reveal a knowledge of human anatomy. The impression of material corporeality is also reinforced by the shallowly modelled and poorly articulated draperies, whose relief is created by muting local colour tones rather than deepening the intensity of the colours. The sharpness of the contours is replaced by greyscale transitions. The monumental construction of the picture, the generous and relaxed painterly presentation and the treatment of muted colours have no predecessors in European Gothic art and place Theodoric among the most important Gothic painters in Europe. | [
"Theodoric",
"Chapel of the Holy Cross",
"pastiglia",
"ochre",
"ultramarine blue",
"lead white",
"St. Luke",
"azurite",
"Hussites",
"perspective",
"red",
"Karlštejn",
"Gothic art"
]
|
|
16977_NT | Saint Luke the Evangelist (Master Theodoric) | Explore the Description and classification of this artwork. | Oil tempera on beech board measuring 115 x 94 cm. The frame with printed ornament contains an elliptical reliquary opening at the bottom. The painting has been preserved in its original form from around 1360 and was restored in 1991 (H. Kohlová).
Theodoric's painting is characterised by an extraordinary sophistication of pictorial expression and colour balance. The drapery is modelled in relief and uses incident light to illuminate the top layer, while the deep parts are highlighted with dark blue. The drapery itself consists of a motif of long vertical folds on the right forearm, short transverse lines around the upraised left hand with a book, and deep bowl-like folds in the center. The painter used azurite and lead white as the ground and the rarest pigment, ultramarine blue, as the top layer. The blue is balanced by white, ochre and red.
The head of St. Luke is modelled with knowledge of real physiognomy, and its expression is enlivened by the direct gaze of the eyes on the viewer. It is characterized by the typical features of Theodoric's style - the slightly larger-than-life size of the broad face, the grey incarnation and the rich beard. The veins on the hands are realistically depicted and the left hand holding the book is rendered in perspective. The painting, like other paintings by Theodoric, extends partly onto the frame. The painter thus disrupts the regular geometric order of the picture frames on the wall of the Chapel of the Holy Cross, which limited his creative freedom. This is also evident in the generous conception of the test sketches that have survived on the chapel wall, by which the painter verified the format and proportional relationships with respect to the dimensions of the wall.Luke's attribute, the winged bull, is painted with a great degree of realism in the upper left corner of the painting. The background of the painting consists of a plastic decorative ornament known as pastiglia, which originated in Italy and was almost exclusively used in Bohemia by Theodoric. The background was originally gilded, as some of Theodoric's paintings retain traces of gold or show damage caused by the removal of gilded ornaments. This happened at the beginning of the 15th century during the siege of Karlštejn by the Hussites, when it was necessary to pay the defenders' rents. The saint held a cross in his right hand, the outline of which and traces of its attachment have been preserved.
Theodoric's stocky and short stature, massive head with fleshy cheeks and protruding nose, and wide-open eyes with large pupils reveal a knowledge of human anatomy. The impression of material corporeality is also reinforced by the shallowly modelled and poorly articulated draperies, whose relief is created by muting local colour tones rather than deepening the intensity of the colours. The sharpness of the contours is replaced by greyscale transitions. The monumental construction of the picture, the generous and relaxed painterly presentation and the treatment of muted colours have no predecessors in European Gothic art and place Theodoric among the most important Gothic painters in Europe. | [
"Theodoric",
"Chapel of the Holy Cross",
"pastiglia",
"ochre",
"ultramarine blue",
"lead white",
"St. Luke",
"azurite",
"Hussites",
"perspective",
"red",
"Karlštejn",
"Gothic art"
]
|
|
16978_T | Saint Luke the Evangelist (Master Theodoric) | In the context of Saint Luke the Evangelist (Master Theodoric), discuss the The results of the technological survey of the painting of the Description and classification. | The construction of the thin beechwood backing board, which is covered with canvas at the joints, is originally from the Netherlands. The technique of execution reveals familiarity with French painting en grissaille, popular in Paris in the mid-14th century. The painting follows a highly detailed and sovereignly executed underdrawing executed with fine strokes. Only the modelling of the face is subject to minor changes. The ground layer consists of lead white on a chalk ground. The colour layer consists of egg tempera interspersed with intermediate layers of walnut oil. These prevented rapid drying and allowed perfect modelling of volumes with thin glaze layers. Theodoric is characterised by the complex construction of the ground and covering colour layers, of which there are usually up to six in the draperies. The painter took care in selecting the grain size of the pigment, achieving high transparency of the layers with the help of an oil binder. The incarnations are usually painted in a single layer and the colours are the result of mixing pigments on the palette. | [
"Theodoric",
"en grissaille",
"lead white",
"red",
"Paris"
]
|
|
16978_NT | Saint Luke the Evangelist (Master Theodoric) | In the context of this artwork, discuss the The results of the technological survey of the painting of the Description and classification. | The construction of the thin beechwood backing board, which is covered with canvas at the joints, is originally from the Netherlands. The technique of execution reveals familiarity with French painting en grissaille, popular in Paris in the mid-14th century. The painting follows a highly detailed and sovereignly executed underdrawing executed with fine strokes. Only the modelling of the face is subject to minor changes. The ground layer consists of lead white on a chalk ground. The colour layer consists of egg tempera interspersed with intermediate layers of walnut oil. These prevented rapid drying and allowed perfect modelling of volumes with thin glaze layers. Theodoric is characterised by the complex construction of the ground and covering colour layers, of which there are usually up to six in the draperies. The painter took care in selecting the grain size of the pigment, achieving high transparency of the layers with the help of an oil binder. The incarnations are usually painted in a single layer and the colours are the result of mixing pigments on the palette. | [
"Theodoric",
"en grissaille",
"lead white",
"red",
"Paris"
]
|
|
16979_T | Saint Luke the Evangelist (Master Theodoric) | In Saint Luke the Evangelist (Master Theodoric), how is the Derivative works of the Description and classification elucidated? | The Czech Post issued a commemorative postage stamp with a reproduction of the painting of St. Luke on 15 November 2000. The stamp, valued at CZK 13, is 40x50 mm and is a five-colour steel plate print in black, red, blue, light blue and ochre. The author of the engraving is Miloš Ondráček. | [
"ochre",
"St. Luke",
"red"
]
|
|
16979_NT | Saint Luke the Evangelist (Master Theodoric) | In this artwork, how is the Derivative works of the Description and classification elucidated? | The Czech Post issued a commemorative postage stamp with a reproduction of the painting of St. Luke on 15 November 2000. The stamp, valued at CZK 13, is 40x50 mm and is a five-colour steel plate print in black, red, blue, light blue and ochre. The author of the engraving is Miloš Ondráček. | [
"ochre",
"St. Luke",
"red"
]
|
|
16980_T | Saint Luke the Evangelist (Master Theodoric) | In the context of Saint Luke the Evangelist (Master Theodoric), analyze the St. Luke - patron saint of painters of the Description and classification. | St. Luke is the patron saint of the painters' guild and is often depicted as the painter of the Virgin Mary. His attributes include a winged bull, a pen and a book or scroll. Theodoric was the head of the painters' guild in Prague from about the mid 1360s and his painting of St. Luke is one of his best works. For Charles IV, this painting was of special significance because in 1354 he received the entire skull of the saint as a relic. It is now part of the St. Vitus Cathedral Treasure.
The first depictions of St. Luke date back to the 8th century (Codex Aureus of Lorsch). In the 13th century, Cimabue painted a fresco of St. Luke in the upper church of Assisi. Later he was the subject of many famous painters (Correggio, Frans Hals, El Greco, Titian, Guercino, Luca Giordano). In the Czech lands, St. Luke (painting the Crucifix) is depicted, for example, in the Gospel of John of Opava (1368) or in a painting by Jan Gossaert from 1520 (National Gallery Prague). | [
"Theodoric",
"National Gallery Prague",
"Jan Gossaert",
"St. Vitus Cathedral",
"Cimabue",
"St. Vitus Cathedral Treasure",
"St. Luke",
"painters' guild",
"National Gallery",
"upper church of Assisi",
"Codex Aureus of Lorsch",
"Virgin Mary",
"Prague",
"Charles IV"
]
|
|
16980_NT | Saint Luke the Evangelist (Master Theodoric) | In the context of this artwork, analyze the St. Luke - patron saint of painters of the Description and classification. | St. Luke is the patron saint of the painters' guild and is often depicted as the painter of the Virgin Mary. His attributes include a winged bull, a pen and a book or scroll. Theodoric was the head of the painters' guild in Prague from about the mid 1360s and his painting of St. Luke is one of his best works. For Charles IV, this painting was of special significance because in 1354 he received the entire skull of the saint as a relic. It is now part of the St. Vitus Cathedral Treasure.
The first depictions of St. Luke date back to the 8th century (Codex Aureus of Lorsch). In the 13th century, Cimabue painted a fresco of St. Luke in the upper church of Assisi. Later he was the subject of many famous painters (Correggio, Frans Hals, El Greco, Titian, Guercino, Luca Giordano). In the Czech lands, St. Luke (painting the Crucifix) is depicted, for example, in the Gospel of John of Opava (1368) or in a painting by Jan Gossaert from 1520 (National Gallery Prague). | [
"Theodoric",
"National Gallery Prague",
"Jan Gossaert",
"St. Vitus Cathedral",
"Cimabue",
"St. Vitus Cathedral Treasure",
"St. Luke",
"painters' guild",
"National Gallery",
"upper church of Assisi",
"Codex Aureus of Lorsch",
"Virgin Mary",
"Prague",
"Charles IV"
]
|
|
16981_T | Saint Luke the Evangelist (Master Theodoric) | Focus on Saint Luke the Evangelist (Master Theodoric) and explore the Source. | Jiří Fajt (ed.), Magister Theodoricus, court painter to Emperor Charles IV, National Gallery in Prague 1997, ISBN 80-7035-142-X
Pujmanová Olga, The Art of the Time of Charles IV and its Relations to Naples, pp. 217–240, in: International Scientific Conference: The Time of Charles IV in the History of the Nations of the Czechoslovakia, Charles University, Prague 1982
Pešina Jaroslav, Panel Painting. Czech Gothic Art 1350–1420, Academia Prague 1970
Dvořáková, Vlasta, Menclová Dobroslava, Karlštejn, State Publishing House of Beautiful Literature and Art, Prague 1965
Matějček Antonín, Czech Gothic Painting. Panel painting 1350–1450. Melantrich Prague 1950 | [
"Theodoric",
"National Gallery",
"Karlštejn",
"National Gallery in Prague",
"Prague",
"Charles IV"
]
|
|
16981_NT | Saint Luke the Evangelist (Master Theodoric) | Focus on this artwork and explore the Source. | Jiří Fajt (ed.), Magister Theodoricus, court painter to Emperor Charles IV, National Gallery in Prague 1997, ISBN 80-7035-142-X
Pujmanová Olga, The Art of the Time of Charles IV and its Relations to Naples, pp. 217–240, in: International Scientific Conference: The Time of Charles IV in the History of the Nations of the Czechoslovakia, Charles University, Prague 1982
Pešina Jaroslav, Panel Painting. Czech Gothic Art 1350–1420, Academia Prague 1970
Dvořáková, Vlasta, Menclová Dobroslava, Karlštejn, State Publishing House of Beautiful Literature and Art, Prague 1965
Matějček Antonín, Czech Gothic Painting. Panel painting 1350–1450. Melantrich Prague 1950 | [
"Theodoric",
"National Gallery",
"Karlštejn",
"National Gallery in Prague",
"Prague",
"Charles IV"
]
|
|
16982_T | Water Mill at Kollen Near Nuenen | Focus on Water Mill at Kollen Near Nuenen and explain the abstract. | Water Mill at Kollen Near Nuenen (Dutch: Collse watermolen, F48a, JH488) is an oil painting of the Watermill at Kollen, created on 28-29 May 1884 by Vincent van Gogh during the period when he was living at Nuenen nearby. It measures 60.5 by 80 centimetres (23.8 in × 31.5 in).
Van Gogh mentioned the work in a letter to Anthon van Rappard dated 29 May 1884 (letter 448) in which he wrote "Since you left I've been working on a Water mill - the one I asked about in that little inn at the station ... with two red roofs, and which one views square on from the front - with poplars around it."
After passing through the hands of dealers and collectors in the Netherlands and then the US, it was sold in November 2017 by Sotheby's in New York for US$3.1 million, catalogued under the title Le Moulin à l'eau. It was acquired by the Noordbrabants Museum, in 's-Hertogenbosch, in the south of The Netherlands. The museum about 40 kilometres (25 mi) north of the watermill, which became a Dutch national monument in 1972. | [
"Dutch national monument",
"Nuenen",
"Anthon van Rappard",
"Watermill at Kollen",
"The Netherlands",
"'s-Hertogenbosch",
"Sotheby's",
"F48a",
"JH488",
"Noordbrabants Museum",
"Netherlands",
"Vincent van Gogh"
]
|
|
16982_NT | Water Mill at Kollen Near Nuenen | Focus on this artwork and explain the abstract. | Water Mill at Kollen Near Nuenen (Dutch: Collse watermolen, F48a, JH488) is an oil painting of the Watermill at Kollen, created on 28-29 May 1884 by Vincent van Gogh during the period when he was living at Nuenen nearby. It measures 60.5 by 80 centimetres (23.8 in × 31.5 in).
Van Gogh mentioned the work in a letter to Anthon van Rappard dated 29 May 1884 (letter 448) in which he wrote "Since you left I've been working on a Water mill - the one I asked about in that little inn at the station ... with two red roofs, and which one views square on from the front - with poplars around it."
After passing through the hands of dealers and collectors in the Netherlands and then the US, it was sold in November 2017 by Sotheby's in New York for US$3.1 million, catalogued under the title Le Moulin à l'eau. It was acquired by the Noordbrabants Museum, in 's-Hertogenbosch, in the south of The Netherlands. The museum about 40 kilometres (25 mi) north of the watermill, which became a Dutch national monument in 1972. | [
"Dutch national monument",
"Nuenen",
"Anthon van Rappard",
"Watermill at Kollen",
"The Netherlands",
"'s-Hertogenbosch",
"Sotheby's",
"F48a",
"JH488",
"Noordbrabants Museum",
"Netherlands",
"Vincent van Gogh"
]
|
|
16983_T | Marriage Portrait of Isaac Massa and Beatrix van der Laen | Explore the abstract of this artwork, Marriage Portrait of Isaac Massa and Beatrix van der Laen. | Marriage Portrait of Isaac Massa and Beatrix van der Laen is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1622 and now in the Rijksmuseum, Amsterdam. The couple has been identified as Isaac Massa and his bride Beatrix van der Laen. | [
"Amsterdam",
"Massa",
"Dutch Golden Age painter",
"Isaac Massa",
"Frans Hals",
"Rijksmuseum",
"painting"
]
|
|
16983_NT | Marriage Portrait of Isaac Massa and Beatrix van der Laen | Explore the abstract of this artwork. | Marriage Portrait of Isaac Massa and Beatrix van der Laen is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1622 and now in the Rijksmuseum, Amsterdam. The couple has been identified as Isaac Massa and his bride Beatrix van der Laen. | [
"Amsterdam",
"Massa",
"Dutch Golden Age painter",
"Isaac Massa",
"Frans Hals",
"Rijksmuseum",
"painting"
]
|
|
16984_T | Marriage Portrait of Isaac Massa and Beatrix van der Laen | Focus on Marriage Portrait of Isaac Massa and Beatrix van der Laen and discuss the Name. | In his 1910 catalog of Frans Hals works Hofstede de Groot wrote:427. A MARRIED COUPLE. B. 15; M. 90. In a garden a gentleman sits in the left foreground smiling at the spectator. His right hand is at his breast; his left hand is pressed to his side. He has a moustache and a small pointed beard. He wears a broad-brimmed black
felt hat, a black silk costume with a lace collar and fine linen wristbands. Beside him to the right sits a woman, bending slightly forward, with her head turned three-quarters left. She smiles rather slyly at the spectator. Her right hand rests on the man's left shoulder; her left hand is in her lap. She wears a black dress under a dark-purple gown, a ruff, a white cap threaded with a pink ribbon, and lace-trimmed wristbands. Behind the couple are trees. To the right is a park with merry-making couples, a building, a fountain, and a statue. It was wrongly supposed to represent Frans Hals and his wife. Canvas, 58 inches by 67 1/2 inches. Sales. J. Six, Amsterdam, April 6, 1702 (bought in). H. Six van Hillegom, Amsterdam, November 25, 1851, No. 15. In the Rijksmuseum, Amsterdam, 1907 catalogue, No. 1084. | [
"Amsterdam",
"J. Six",
"Hofstede de Groot",
"Frans Hals",
"Rijksmuseum"
]
|
|
16984_NT | Marriage Portrait of Isaac Massa and Beatrix van der Laen | Focus on this artwork and discuss the Name. | In his 1910 catalog of Frans Hals works Hofstede de Groot wrote:427. A MARRIED COUPLE. B. 15; M. 90. In a garden a gentleman sits in the left foreground smiling at the spectator. His right hand is at his breast; his left hand is pressed to his side. He has a moustache and a small pointed beard. He wears a broad-brimmed black
felt hat, a black silk costume with a lace collar and fine linen wristbands. Beside him to the right sits a woman, bending slightly forward, with her head turned three-quarters left. She smiles rather slyly at the spectator. Her right hand rests on the man's left shoulder; her left hand is in her lap. She wears a black dress under a dark-purple gown, a ruff, a white cap threaded with a pink ribbon, and lace-trimmed wristbands. Behind the couple are trees. To the right is a park with merry-making couples, a building, a fountain, and a statue. It was wrongly supposed to represent Frans Hals and his wife. Canvas, 58 inches by 67 1/2 inches. Sales. J. Six, Amsterdam, April 6, 1702 (bought in). H. Six van Hillegom, Amsterdam, November 25, 1851, No. 15. In the Rijksmuseum, Amsterdam, 1907 catalogue, No. 1084. | [
"Amsterdam",
"J. Six",
"Hofstede de Groot",
"Frans Hals",
"Rijksmuseum"
]
|
|
16985_T | Inwang jesaekdo | How does Inwang jesaekdo elucidate its abstract? | Inwangjesaekdo ("Clearing After Rain in Mt. Inwangsan" or "After Rain at Mt. Inwang") is a landscape painting by the famous Jeong Seon. It was painted during the reign of Joseon Dynasty King Yeongjo in 1751, at his birthplace in Cheongun-dong at Jongno District, modern-day Seoul. It was designated by the South Korean government as the 216th National Treasure of Korea on August 6, 1984. The painting is currently held and managed by the Ho-Am Art Museum in Yongin, Gyeonggi Province. Previously in possession of Lee Kun-hee, it has been donated to the National Museum of Korea following his death in 2020 | [
"Cheongun-dong",
"Gyeonggi Province",
"Joseon Dynasty",
"National Treasure of Korea",
"Jeong Seon",
"Jongno District",
"Ho-Am Art Museum",
"Seoul",
"National Museum of Korea",
"Lee Kun-hee",
"King Yeongjo",
"Joseon",
"Yongin"
]
|
|
16985_NT | Inwang jesaekdo | How does this artwork elucidate its abstract? | Inwangjesaekdo ("Clearing After Rain in Mt. Inwangsan" or "After Rain at Mt. Inwang") is a landscape painting by the famous Jeong Seon. It was painted during the reign of Joseon Dynasty King Yeongjo in 1751, at his birthplace in Cheongun-dong at Jongno District, modern-day Seoul. It was designated by the South Korean government as the 216th National Treasure of Korea on August 6, 1984. The painting is currently held and managed by the Ho-Am Art Museum in Yongin, Gyeonggi Province. Previously in possession of Lee Kun-hee, it has been donated to the National Museum of Korea following his death in 2020 | [
"Cheongun-dong",
"Gyeonggi Province",
"Joseon Dynasty",
"National Treasure of Korea",
"Jeong Seon",
"Jongno District",
"Ho-Am Art Museum",
"Seoul",
"National Museum of Korea",
"Lee Kun-hee",
"King Yeongjo",
"Joseon",
"Yongin"
]
|
|
16986_T | Fontana Pretoria | Focus on Fontana Pretoria and analyze the abstract. | The Praetorian Fountain (Italian: Fontana Pretoria) is a monumental fountain located in Piazza Pretoria in the historic center of Palermo, region of Sicily, Italy. The fountain dominates the piazza on the west flank of the church of Santa Caterina, and is one block south of the intersection of the Quattro Canti. The fountain was originally built in 1544 in Florence by Francesco Camilliani, but was sold, transferred, and reassembled in Palermo in 1574. | [
"Florence",
"Santa Caterina",
"Pretoria",
"Francesco Camilliani",
"Piazza Pretoria",
"Italy",
"Italian",
"Palermo"
]
|
|
16986_NT | Fontana Pretoria | Focus on this artwork and analyze the abstract. | The Praetorian Fountain (Italian: Fontana Pretoria) is a monumental fountain located in Piazza Pretoria in the historic center of Palermo, region of Sicily, Italy. The fountain dominates the piazza on the west flank of the church of Santa Caterina, and is one block south of the intersection of the Quattro Canti. The fountain was originally built in 1544 in Florence by Francesco Camilliani, but was sold, transferred, and reassembled in Palermo in 1574. | [
"Florence",
"Santa Caterina",
"Pretoria",
"Francesco Camilliani",
"Piazza Pretoria",
"Italy",
"Italian",
"Palermo"
]
|
|
16987_T | Fontana Pretoria | In the context of Fontana Pretoria, explore the Florentine origin of the History. | The fountain was created for the garden of don Luigi de Toledo in Florence. Previously the plot of this garden in Florence belonged to the nuns of San Domenico al Maglio and, after a lot of pressure, was obtained in 1551. Subsequently, in 1584, the Palazzo di San Clemente was built near this site. The creation of this unusual garden (devoid of palaces) and of the fountain was commissioned to the Florentine sculptor Francesco Camilliani, student of Baccio Bandinelli.The work was started in 1554. The fountain included 48 statues and was surrounded by a long arbor formed by 90 columns of wood designed by Bartolomeo Ammannati. Giorgio Vasari called the fountain: «stupendissima (...) che non ha pari in Fiorenza nè forse in Italia» («most wonderful (...) unparalleled in Florence and maybe in Italy»). | [
"Giorgio Vasari",
"Florence",
"Francesco Camilliani",
"Luigi de Toledo",
"Italy",
"Palazzo di San Clemente",
"Bartolomeo Ammannati",
"Baccio Bandinelli"
]
|
|
16987_NT | Fontana Pretoria | In the context of this artwork, explore the Florentine origin of the History. | The fountain was created for the garden of don Luigi de Toledo in Florence. Previously the plot of this garden in Florence belonged to the nuns of San Domenico al Maglio and, after a lot of pressure, was obtained in 1551. Subsequently, in 1584, the Palazzo di San Clemente was built near this site. The creation of this unusual garden (devoid of palaces) and of the fountain was commissioned to the Florentine sculptor Francesco Camilliani, student of Baccio Bandinelli.The work was started in 1554. The fountain included 48 statues and was surrounded by a long arbor formed by 90 columns of wood designed by Bartolomeo Ammannati. Giorgio Vasari called the fountain: «stupendissima (...) che non ha pari in Fiorenza nè forse in Italia» («most wonderful (...) unparalleled in Florence and maybe in Italy»). | [
"Giorgio Vasari",
"Florence",
"Francesco Camilliani",
"Luigi de Toledo",
"Italy",
"Palazzo di San Clemente",
"Bartolomeo Ammannati",
"Baccio Bandinelli"
]
|
|
16988_T | Fontana Pretoria | In the context of Fontana Pretoria, explain the Relocation to Palermo of the History. | In 1573 the owner of the fountain was Luigi de Toledo (brother of the former Viceroy of Sicily García de Toledo); Luigi had fallen deep in dept, and on the verge of moving to Naples, sold the fountain to the city of Palermo. In fact, the Senate of Palermo decided to buy the building in front of the square and relocated here the city hall, called Palazzo Pretorio.
On 26 May 1574 the fountain arrived in Palermo. In order to transport it, the fountain was disassembled in 644 pieces. Then, in order to make room for the fountain, several buildings were demolished. However, the fountain arrived incomplete in Palermo. Some sculptures were damaged during the transport, others were maybe kept by Luigi de Toledo (probably the statues of two Divinities preserved in the Bargello Museum of Florence and other statues placed in Naples and then in the garden of Abadia, in the Spanish city of Cáceres).
Therefore, in Palermo, adjustment were made. The work was assembled by Camillo Camilliani, son of Francesco Camilliani. In 1581, Camillo completed the work with the help of Michelangelo Naccherino.
Between 18th century and 19th century, the fountain was considered a sort of depiction of the corrupt municipality of Palermo. For this reason and because of the nudity of the statues, the square became known as "Piazza della Vergogna" (Square of Shame). In 1998 the restoration of the fountain started. It was completed in 2003. | [
"Cáceres",
"Florence",
"Palazzo Pretorio",
"Bargello Museum",
"Francesco Camilliani",
"Bargello",
"Naples",
"Michelangelo Naccherino",
"Camillo Camilliani",
"Luigi de Toledo",
"Viceroy of Sicily",
"García de Toledo",
"Palermo"
]
|
|
16988_NT | Fontana Pretoria | In the context of this artwork, explain the Relocation to Palermo of the History. | In 1573 the owner of the fountain was Luigi de Toledo (brother of the former Viceroy of Sicily García de Toledo); Luigi had fallen deep in dept, and on the verge of moving to Naples, sold the fountain to the city of Palermo. In fact, the Senate of Palermo decided to buy the building in front of the square and relocated here the city hall, called Palazzo Pretorio.
On 26 May 1574 the fountain arrived in Palermo. In order to transport it, the fountain was disassembled in 644 pieces. Then, in order to make room for the fountain, several buildings were demolished. However, the fountain arrived incomplete in Palermo. Some sculptures were damaged during the transport, others were maybe kept by Luigi de Toledo (probably the statues of two Divinities preserved in the Bargello Museum of Florence and other statues placed in Naples and then in the garden of Abadia, in the Spanish city of Cáceres).
Therefore, in Palermo, adjustment were made. The work was assembled by Camillo Camilliani, son of Francesco Camilliani. In 1581, Camillo completed the work with the help of Michelangelo Naccherino.
Between 18th century and 19th century, the fountain was considered a sort of depiction of the corrupt municipality of Palermo. For this reason and because of the nudity of the statues, the square became known as "Piazza della Vergogna" (Square of Shame). In 1998 the restoration of the fountain started. It was completed in 2003. | [
"Cáceres",
"Florence",
"Palazzo Pretorio",
"Bargello Museum",
"Francesco Camilliani",
"Bargello",
"Naples",
"Michelangelo Naccherino",
"Camillo Camilliani",
"Luigi de Toledo",
"Viceroy of Sicily",
"García de Toledo",
"Palermo"
]
|
|
16989_T | Fontana Pretoria | Explore the Description of this artwork, Fontana Pretoria. | The fountain represents the Twelve Olympians, other mythological figures, animals and the rivers of Palermo. | [
"Palermo",
"Twelve Olympians"
]
|
|
16989_NT | Fontana Pretoria | Explore the Description of this artwork. | The fountain represents the Twelve Olympians, other mythological figures, animals and the rivers of Palermo. | [
"Palermo",
"Twelve Olympians"
]
|
|
16990_T | Fontana Pretoria | Focus on Fontana Pretoria and discuss the Cultural references. | In 1973, Italian National Postal Service dedicated a postage stamp to the Fontana Pretoria.
The fountain and Piazza Pretoria appear in the music video for the song "Diva" by the Italian music group La Rappresentante di Lista. | [
"Pretoria",
"Piazza Pretoria",
"La Rappresentante di Lista",
"Italian"
]
|
|
16990_NT | Fontana Pretoria | Focus on this artwork and discuss the Cultural references. | In 1973, Italian National Postal Service dedicated a postage stamp to the Fontana Pretoria.
The fountain and Piazza Pretoria appear in the music video for the song "Diva" by the Italian music group La Rappresentante di Lista. | [
"Pretoria",
"Piazza Pretoria",
"La Rappresentante di Lista",
"Italian"
]
|
|
16991_T | Homer (Ezekiel) | How does Homer (Ezekiel) elucidate its abstract? | Blind Homer With His Student Guide is a bronze sculpture by Moses Jacob Ezekiel in the likeness of the blind poet Homer, author of the Iliad, accompanied by a student guide. Ezekiel completed the statue in 1907 on a commission from John Woodruff Simpson as a gift for Amherst College, his alma mater. For reasons unknown the gift was refused, and Thomas Nelson Page, a Virginia alumnus who was active in the UVA Alumni Association, stepped in to secure the gift of the statue to UVA instead. Ezekiel completed the work in his Rome studio and donated a five foot tall black marble pedestal upon which the statue was originally installed.The statue is installed on The Lawn, in the grass to the north of Old Cabell Hall. | [
"Iliad",
"Moses Jacob Ezekiel",
"Homer",
"Amherst College",
"The Lawn",
"Old Cabell Hall",
"Thomas Nelson Page",
"John Woodruff Simpson"
]
|
|
16991_NT | Homer (Ezekiel) | How does this artwork elucidate its abstract? | Blind Homer With His Student Guide is a bronze sculpture by Moses Jacob Ezekiel in the likeness of the blind poet Homer, author of the Iliad, accompanied by a student guide. Ezekiel completed the statue in 1907 on a commission from John Woodruff Simpson as a gift for Amherst College, his alma mater. For reasons unknown the gift was refused, and Thomas Nelson Page, a Virginia alumnus who was active in the UVA Alumni Association, stepped in to secure the gift of the statue to UVA instead. Ezekiel completed the work in his Rome studio and donated a five foot tall black marble pedestal upon which the statue was originally installed.The statue is installed on The Lawn, in the grass to the north of Old Cabell Hall. | [
"Iliad",
"Moses Jacob Ezekiel",
"Homer",
"Amherst College",
"The Lawn",
"Old Cabell Hall",
"Thomas Nelson Page",
"John Woodruff Simpson"
]
|
|
16992_T | Homer (Ezekiel) | Focus on Homer (Ezekiel) and analyze the Damage and restoration. | In January of 2019, the statue was damaged and the lyre held by the "student guide" was apparently stolen. Subsequent investigation found the lyre on the ground next to the statue. Charles McCance, the University associate Vice President for communications, said that "the original mounts were severely corroded … It would not have taken much force to remove the lyre.". The statue was restored in October 2019, returning the lyre to its original position, replacing its missing strings, reinforcing a hand that had become "wobbly," and adding a layer of protective wax to the statue. | [
"Charles McCance"
]
|
|
16992_NT | Homer (Ezekiel) | Focus on this artwork and analyze the Damage and restoration. | In January of 2019, the statue was damaged and the lyre held by the "student guide" was apparently stolen. Subsequent investigation found the lyre on the ground next to the statue. Charles McCance, the University associate Vice President for communications, said that "the original mounts were severely corroded … It would not have taken much force to remove the lyre.". The statue was restored in October 2019, returning the lyre to its original position, replacing its missing strings, reinforcing a hand that had become "wobbly," and adding a layer of protective wax to the statue. | [
"Charles McCance"
]
|
|
16993_T | The Beaneater | In The Beaneater, how is the abstract discussed? | The Bean eater (Italian: Mangiafagioli) is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 (probably 1583–1584), it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop (now at Oxford), for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works (such as the broadly contemporary Assumption of the Virgin) he was able to use a more classicist composure with the same ease. | [
"Vincenzo Campi",
"Butcher's Shop",
"Annibale Carracci",
"Italian",
"Palazzo Colonna",
"Baroque",
"Assumption of the Virgin",
"Rome",
"Bartolomeo Passarotti"
]
|
|
16993_NT | The Beaneater | In this artwork, how is the abstract discussed? | The Bean eater (Italian: Mangiafagioli) is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 (probably 1583–1584), it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop (now at Oxford), for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works (such as the broadly contemporary Assumption of the Virgin) he was able to use a more classicist composure with the same ease. | [
"Vincenzo Campi",
"Butcher's Shop",
"Annibale Carracci",
"Italian",
"Palazzo Colonna",
"Baroque",
"Assumption of the Virgin",
"Rome",
"Bartolomeo Passarotti"
]
|
|
16994_T | Pi-Chacán | Focus on Pi-Chacán and explain the Overview. | The sculpture's name is from the native Peruvian Quechuan language. According to de la Jara, the word chacán means "place where the action of water has tunneled through a large rock or a mountain", or alternatively "lovemaking". Pi is both a Greek character and a mathematical symbol, π, that looks similar to a door or a vulva.It is placed at the end of the Weg der Künste (Street of the Arts) facing the entrances of the university's Anatomy, Microbiology and Virology buildings. This location, in a place dedicated to the study and healing of the human body, inspired the artist to devise a way "to celebrate the body." De la Jara comments:Hospitals are places where we are faced, like in a Shakespearean drama, with the big issues of men's lives brought to their most ardent limits. I thus asked myself: How to make a piece that is not an escape from this reality, but rather an extension, an enlargement of this same reality? The answer came on its own. In a place where the daily struggles and reconciliations are against Thanatos [death], I had to erect a monument to Eros [love/life].
De la Jara says that he intended the work to be tactile and able to be appreciated even by the blind, through the use of different textures and forms: "The principal part of the work isn't outside." He describes it as "participatory art" and suggests that "it should be entered." | [
"Eros",
"Quechuan language",
"Thanatos",
"vulva",
"Pi",
"Peruvian"
]
|
|
16994_NT | Pi-Chacán | Focus on this artwork and explain the Overview. | The sculpture's name is from the native Peruvian Quechuan language. According to de la Jara, the word chacán means "place where the action of water has tunneled through a large rock or a mountain", or alternatively "lovemaking". Pi is both a Greek character and a mathematical symbol, π, that looks similar to a door or a vulva.It is placed at the end of the Weg der Künste (Street of the Arts) facing the entrances of the university's Anatomy, Microbiology and Virology buildings. This location, in a place dedicated to the study and healing of the human body, inspired the artist to devise a way "to celebrate the body." De la Jara comments:Hospitals are places where we are faced, like in a Shakespearean drama, with the big issues of men's lives brought to their most ardent limits. I thus asked myself: How to make a piece that is not an escape from this reality, but rather an extension, an enlargement of this same reality? The answer came on its own. In a place where the daily struggles and reconciliations are against Thanatos [death], I had to erect a monument to Eros [love/life].
De la Jara says that he intended the work to be tactile and able to be appreciated even by the blind, through the use of different textures and forms: "The principal part of the work isn't outside." He describes it as "participatory art" and suggests that "it should be entered." | [
"Eros",
"Quechuan language",
"Thanatos",
"vulva",
"Pi",
"Peruvian"
]
|
|
16995_T | Pi-Chacán | Explore the Incident of this artwork, Pi-Chacán. | On 20 June 2014, the sculpture attracted widespread international media attention when an unnamed American exchange student got trapped inside it, reportedly after climbing into it as part of a dare. He was said to have "tried to pose for an unusual photo" but found that he could not climb out of it.When the Tübingen police received an emergency call to tell them that "a person is trapped inside a stone vulva", 5 fire engines and 22 firefighters were sent to rescue the student from the sculpture. According to the local fire brigade, "We were able to pull the victim out with our bare hands after about 30 minutes ... a forceps delivery was not necessary."Tübingen's mayor later told the media that he could not imagine how the incident had happened "even when considering the most extreme adolescent fantasies. To reward such a masterly achievement with the use of 22 firefighters almost pains my soul." A witness who took photographs of the student stuck in the sculpture and posted them on Imgur commented, "The fire department was not really amused, and he was really embarrassed." Neither the sculpture nor the student was harmed in the incident.The sculpture's artist, Fernando de la Jara, told New York magazine that he was amused by the incident and attributed it to "a lack of coordination ... or maybe it was a lack of sensibility" on the part of the student. He commented that "instead of jumping in, if he had gone in carefully, he wouldn't have had a problem." | [
"vulva",
"Fernando de la Jara",
"exchange student",
"New York",
"Imgur",
"forceps delivery"
]
|
|
16995_NT | Pi-Chacán | Explore the Incident of this artwork. | On 20 June 2014, the sculpture attracted widespread international media attention when an unnamed American exchange student got trapped inside it, reportedly after climbing into it as part of a dare. He was said to have "tried to pose for an unusual photo" but found that he could not climb out of it.When the Tübingen police received an emergency call to tell them that "a person is trapped inside a stone vulva", 5 fire engines and 22 firefighters were sent to rescue the student from the sculpture. According to the local fire brigade, "We were able to pull the victim out with our bare hands after about 30 minutes ... a forceps delivery was not necessary."Tübingen's mayor later told the media that he could not imagine how the incident had happened "even when considering the most extreme adolescent fantasies. To reward such a masterly achievement with the use of 22 firefighters almost pains my soul." A witness who took photographs of the student stuck in the sculpture and posted them on Imgur commented, "The fire department was not really amused, and he was really embarrassed." Neither the sculpture nor the student was harmed in the incident.The sculpture's artist, Fernando de la Jara, told New York magazine that he was amused by the incident and attributed it to "a lack of coordination ... or maybe it was a lack of sensibility" on the part of the student. He commented that "instead of jumping in, if he had gone in carefully, he wouldn't have had a problem." | [
"vulva",
"Fernando de la Jara",
"exchange student",
"New York",
"Imgur",
"forceps delivery"
]
|
|
16996_T | Portrait of a Couple | Focus on Portrait of a Couple and discuss the abstract. | Portrait of a Couple is a portrait painting by Italian Renaissance artist Niccolò dell'Abbate, dated to c. 1537–1540. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 641.The painting depicts the count of Scandiano, Giulio Boiardo, of the House of Boiardo, and his wife, Silvia Sanvitale. It was bought in 1914 for the museum by Wilhelm von Bode with an attribution to Dosso Dossi, and that attribution (to Dossi or his circle) was maintained until 1997. Only since that date is the painting attributed with certainty to a young dell'Abbate, who painted it in Modena at the time when he was also working on other commissions for the Boiardo's palace, the Rocca dei Boiardo. The former title of the painting was A Duke of Ferrara and his Wife.The double portrait of the count and countess is most unusual in that the emphasis is very much placed on the wife, who is depicted in the act of closing a book that she was just reading, while her husband almost timidly approaches from behind. It appears as a testament to Giulio Boiardo's admiration and love for Silvia Sanvitale's strong intellect and personality. | [
"Scandiano",
"Wilhelm von Bode",
"Niccolò dell'Abbate",
"House of Boiardo",
"count",
"Italian Renaissance",
"Ferrara",
"Rocca dei Boiardo",
"Musée des Beaux-Arts",
"Duke",
"Giulio Boiardo",
"Modena",
"Strasbourg",
"portrait painting",
"Dosso Dossi"
]
|
|
16996_NT | Portrait of a Couple | Focus on this artwork and discuss the abstract. | Portrait of a Couple is a portrait painting by Italian Renaissance artist Niccolò dell'Abbate, dated to c. 1537–1540. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 641.The painting depicts the count of Scandiano, Giulio Boiardo, of the House of Boiardo, and his wife, Silvia Sanvitale. It was bought in 1914 for the museum by Wilhelm von Bode with an attribution to Dosso Dossi, and that attribution (to Dossi or his circle) was maintained until 1997. Only since that date is the painting attributed with certainty to a young dell'Abbate, who painted it in Modena at the time when he was also working on other commissions for the Boiardo's palace, the Rocca dei Boiardo. The former title of the painting was A Duke of Ferrara and his Wife.The double portrait of the count and countess is most unusual in that the emphasis is very much placed on the wife, who is depicted in the act of closing a book that she was just reading, while her husband almost timidly approaches from behind. It appears as a testament to Giulio Boiardo's admiration and love for Silvia Sanvitale's strong intellect and personality. | [
"Scandiano",
"Wilhelm von Bode",
"Niccolò dell'Abbate",
"House of Boiardo",
"count",
"Italian Renaissance",
"Ferrara",
"Rocca dei Boiardo",
"Musée des Beaux-Arts",
"Duke",
"Giulio Boiardo",
"Modena",
"Strasbourg",
"portrait painting",
"Dosso Dossi"
]
|
|
16997_T | Living Room (sculpture) | How does Living Room (sculpture) elucidate its abstract? | Living Room was an outdoor 2001 sculpture by Tamsie Ringler, installed at the Gresham Central Transit Center in Gresham, Oregon, United States. | [
"Gresham Central Transit Center",
"Tamsie Ringler",
"Gresham, Oregon"
]
|
|
16997_NT | Living Room (sculpture) | How does this artwork elucidate its abstract? | Living Room was an outdoor 2001 sculpture by Tamsie Ringler, installed at the Gresham Central Transit Center in Gresham, Oregon, United States. | [
"Gresham Central Transit Center",
"Tamsie Ringler",
"Gresham, Oregon"
]
|
|
16998_T | Living Room (sculpture) | Focus on Living Room (sculpture) and analyze the Description and history. | Living Room was created by Tamsie Ringler, a Mt. Hood Community College visual arts instructor and resident of Sandy, Oregon. It was installed as a permanent art installation at the Gresham Central Transit Center at Northeast Eighth Street and Kelly Avenue in 2001. The sculpture was the first east Multnomah County artwork commissioned by TriMet's Public Art Program and Ringler's first publicly funded art commission. Ringler began working on the sculpture two years earlier. Her work was chosen by TriMet's Public Art Advisory Committee from three finalists. TriMet spokesperson Mary Fetsch said, "When the eastside line was built, we didn't have an art committee. It's been really nice that as we add new features to the line that we also add art. It's also great that we had local artists and students working on it. We think it really reflects the community."The installation featured a pink couch, a concrete high-backed yellow chair, a bronze coffee table, and a "hypnotically glowing" television set. The furniture pieces were set on a tile mosaic rug displaying images associated with east Multnomah County, including the east wind, the Mt. Hood Jazz Festival, and a snowboarder. The tile mosaic, started in February 2000, required more than 2,000 hours to finish and was assembled by 50 students and retired volunteers. Living Room also included a permanently lit black iron floor lamp. According to Willamette Week, the installation became "notorious as a local party spot for teenagers and twentysomethings", attracting "young (and often intoxicated) people to use it as an actual living room". In 2012, Willamette Week's Aaron Mesh described the people he encountered at the site during his three-day, nearly 250-mile experience on public transit.TriMet removed the sculpture in late October 2013, twelve years after its installation, due to loitering teenagers. Fetsch said, "the artwork has raised safety and security concerns since 2008 ... The work became physically degraded and was fully restored in 2010. Three years later, the artwork is again in disrepair and the plaza area remains a safety concern." It was returned to Ringler after being dismantled. | [
"Mt. Hood Community College",
"Mt. Hood Jazz Festival",
"Sandy, Oregon",
"Gresham Central Transit Center",
"Tamsie Ringler",
"TriMet",
"Multnomah County",
"Willamette Week"
]
|
|
16998_NT | Living Room (sculpture) | Focus on this artwork and analyze the Description and history. | Living Room was created by Tamsie Ringler, a Mt. Hood Community College visual arts instructor and resident of Sandy, Oregon. It was installed as a permanent art installation at the Gresham Central Transit Center at Northeast Eighth Street and Kelly Avenue in 2001. The sculpture was the first east Multnomah County artwork commissioned by TriMet's Public Art Program and Ringler's first publicly funded art commission. Ringler began working on the sculpture two years earlier. Her work was chosen by TriMet's Public Art Advisory Committee from three finalists. TriMet spokesperson Mary Fetsch said, "When the eastside line was built, we didn't have an art committee. It's been really nice that as we add new features to the line that we also add art. It's also great that we had local artists and students working on it. We think it really reflects the community."The installation featured a pink couch, a concrete high-backed yellow chair, a bronze coffee table, and a "hypnotically glowing" television set. The furniture pieces were set on a tile mosaic rug displaying images associated with east Multnomah County, including the east wind, the Mt. Hood Jazz Festival, and a snowboarder. The tile mosaic, started in February 2000, required more than 2,000 hours to finish and was assembled by 50 students and retired volunteers. Living Room also included a permanently lit black iron floor lamp. According to Willamette Week, the installation became "notorious as a local party spot for teenagers and twentysomethings", attracting "young (and often intoxicated) people to use it as an actual living room". In 2012, Willamette Week's Aaron Mesh described the people he encountered at the site during his three-day, nearly 250-mile experience on public transit.TriMet removed the sculpture in late October 2013, twelve years after its installation, due to loitering teenagers. Fetsch said, "the artwork has raised safety and security concerns since 2008 ... The work became physically degraded and was fully restored in 2010. Three years later, the artwork is again in disrepair and the plaza area remains a safety concern." It was returned to Ringler after being dismantled. | [
"Mt. Hood Community College",
"Mt. Hood Jazz Festival",
"Sandy, Oregon",
"Gresham Central Transit Center",
"Tamsie Ringler",
"TriMet",
"Multnomah County",
"Willamette Week"
]
|
|
16999_T | Salvator Mundi (Palma Vecchio) | In Salvator Mundi (Palma Vecchio), how is the abstract discussed? | Salvator Mundi (Jesus Christ, Saviour of the World) is a religious painting by Italian Renaissance artist Palma Vecchio, dated to c. 1518-1522. It is on display in the Musée des Beaux-Arts of Strasbourg, France (inventory number 585). | [
"Palma Vecchio",
"Salvator Mundi",
"Italian Renaissance",
"Musée des Beaux-Arts",
"religious",
"Jesus Christ, Saviour of the World",
"Strasbourg"
]
|
|
16999_NT | Salvator Mundi (Palma Vecchio) | In this artwork, how is the abstract discussed? | Salvator Mundi (Jesus Christ, Saviour of the World) is a religious painting by Italian Renaissance artist Palma Vecchio, dated to c. 1518-1522. It is on display in the Musée des Beaux-Arts of Strasbourg, France (inventory number 585). | [
"Palma Vecchio",
"Salvator Mundi",
"Italian Renaissance",
"Musée des Beaux-Arts",
"religious",
"Jesus Christ, Saviour of the World",
"Strasbourg"
]
|
|
17000_T | Salvator Mundi (Palma Vecchio) | Focus on Salvator Mundi (Palma Vecchio) and explore the History. | The painting was bought in 1898 by Wilhelm von Bode, from a collection in Padua belonging to the estate of the Giustiniani and Barbarigo families. It had long been believed to be a work by Giorgione, and the first attribution to Palma was published in 1875 by Pietro Selvatico. Bernard Berenson, and some other 20th-century art historians, disputed it, but it has been universally accepted since the 1992 publication of the monograph by Philip Rylands.The pose and the face of Jesus Christ are reminiscent of the slightly earlier Portrait of a Poet, now in the National Gallery. He is holding a transparent globe, almost invisible to the naked eye, and sitting in front of a green curtain opening on a landscape. This devotional work, executed in the manner of Venetian portrait painting, was very popular in its day; six copies or variations have survived (National Museum, Wrocław; Agnes Etherington Art Centre, Kingston; etc.). | [
"Agnes Etherington Art Centre, Kingston",
"Wilhelm von Bode",
"Agnes Etherington Art Centre",
"Giustiniani",
"Barbarigo",
"monograph",
"Pietro Selvatico",
"Bernard Berenson",
"Padua",
"devotional work",
"portrait painting",
"National Gallery",
"Giorgione",
"National Museum, Wrocław",
"Venetian",
"globe"
]
|
|
17000_NT | Salvator Mundi (Palma Vecchio) | Focus on this artwork and explore the History. | The painting was bought in 1898 by Wilhelm von Bode, from a collection in Padua belonging to the estate of the Giustiniani and Barbarigo families. It had long been believed to be a work by Giorgione, and the first attribution to Palma was published in 1875 by Pietro Selvatico. Bernard Berenson, and some other 20th-century art historians, disputed it, but it has been universally accepted since the 1992 publication of the monograph by Philip Rylands.The pose and the face of Jesus Christ are reminiscent of the slightly earlier Portrait of a Poet, now in the National Gallery. He is holding a transparent globe, almost invisible to the naked eye, and sitting in front of a green curtain opening on a landscape. This devotional work, executed in the manner of Venetian portrait painting, was very popular in its day; six copies or variations have survived (National Museum, Wrocław; Agnes Etherington Art Centre, Kingston; etc.). | [
"Agnes Etherington Art Centre, Kingston",
"Wilhelm von Bode",
"Agnes Etherington Art Centre",
"Giustiniani",
"Barbarigo",
"monograph",
"Pietro Selvatico",
"Bernard Berenson",
"Padua",
"devotional work",
"portrait painting",
"National Gallery",
"Giorgione",
"National Museum, Wrocław",
"Venetian",
"globe"
]
|
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