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17001_T | The Love Sick | Focus on The Love Sick and explain the abstract. | The Love Sick (German: Der Liebeskranke) is an oil on canvas painting by the German expressionist painter George Grosz, executed in 1916. The unsigned work is held at the Kunstsammlung Nordrhein-Westfalen, in Düsseldorf. It was bought from the New York gallery owner Richard L. Feigen, in 1979. | [
"George Grosz",
"New York",
"Kunstsammlung Nordrhein-Westfalen",
"Düsseldorf"
] |
|
17001_NT | The Love Sick | Focus on this artwork and explain the abstract. | The Love Sick (German: Der Liebeskranke) is an oil on canvas painting by the German expressionist painter George Grosz, executed in 1916. The unsigned work is held at the Kunstsammlung Nordrhein-Westfalen, in Düsseldorf. It was bought from the New York gallery owner Richard L. Feigen, in 1979. | [
"George Grosz",
"New York",
"Kunstsammlung Nordrhein-Westfalen",
"Düsseldorf"
] |
|
17002_T | The Love Sick | Explore the Context of this artwork, The Love Sick. | Grosz, after serving in the German Army since 1914, would be dismissed on 11 May 1915, for medical reasons. He worked frantically from July 1915 until January 1917, when he was drafted for service, in his workshop and home located in Berlin, at the Stephanstrasse. In a protest against the anti-English attitude of his compatriots, he joined the Spartacist League (predecessor of the German Communist Party) and anglicized his name from Georg Groß to the English George Grosz.
After having produced two interior paintings of a café (Das Kaffeehaus (1915/1916) and Café (1916)), the painter then created The Love Sick simultaneously and in a direct link with Suicide (Tate Gallery, London), where he also depicts himself, dead from a gunshot. The two works have the same dimension (99.7 × 76.5 cm) and are a sort of pendant. | [
"George Grosz",
"Berlin",
"Tate",
"Tate Gallery",
"London"
] |
|
17002_NT | The Love Sick | Explore the Context of this artwork. | Grosz, after serving in the German Army since 1914, would be dismissed on 11 May 1915, for medical reasons. He worked frantically from July 1915 until January 1917, when he was drafted for service, in his workshop and home located in Berlin, at the Stephanstrasse. In a protest against the anti-English attitude of his compatriots, he joined the Spartacist League (predecessor of the German Communist Party) and anglicized his name from Georg Groß to the English George Grosz.
After having produced two interior paintings of a café (Das Kaffeehaus (1915/1916) and Café (1916)), the painter then created The Love Sick simultaneously and in a direct link with Suicide (Tate Gallery, London), where he also depicts himself, dead from a gunshot. The two works have the same dimension (99.7 × 76.5 cm) and are a sort of pendant. | [
"George Grosz",
"Berlin",
"Tate",
"Tate Gallery",
"London"
] |
|
17003_T | The Love Sick | Focus on The Love Sick and discuss the Analysis. | The work is a self-portrait of the artist, designated as "Count Ehrenfried" (Grosz's middle name), who appears dressed in a dandy costume, while seated at the literary café Großenwahn (free translation: Delusion of Grandeur), in Berlin, who was one of the meeting points of the Expressionist artists in the German capital.
In The Love Sick, one of his first oil paintings, Grosz not only depicts his own autobiographical and socio-political situation, but also draws inspiration from several artistic movements of his time. With plunging perspectives, distortion of proportions and caricatural exaggerations of physiognomy, he follows the German Expressionism style, similarly to Ernst Ludwig Kirchner and Erich Heckel. The accentuation of light and the dynamics of the representation of space seem to allude to Italian Futurism and at the same time thwart the euphoria of the metropolis and the pious vision of the technology of the future. Grosz also refers to cubism depicting a typical pedestal table, and a still life with glass, bottle and pipe, usually portrayed in many of the works of Pablo Picasso, Georges Braque and Juan Gris.
Wieland Herzfelde wrote about one of his encounters with the painter: “He was sitting alone at a table the top of which was a round marble. I recognized him immediately, although he looked very different to me. (...) He was sitting there, powdery white with red lips in a chocolate brown suit, between his knees a slender black cane." Grosz loved eccentricity and would stage himself in his evening appearances where he sang, danced and satirized. He spent most of his evenings in cafes staring at passers-by and annoying them with his mysterious appearance. Grosz reprised his roles in The Love Sick self-portrait, most notably that of Count Ehrenfried, a nonchalant aristocrat with clean nails.
The painting is conceived as an expression of an apocalyptic vision. The entire presentation of the painting is full of various symbols of vanities. What the painter depicted on the round table in the foreground and the pistol are modern variations of it. The skeleton in the background is the doppelganger of the loving man and finds, and this is Grosz sarcasm, its equivalent in the fishbone. The dog whose head is close to the crossbones recalls the skull present in the vanities. With his poor appearance and poisoned bluish fur, he became the main character in this cafe scene. While the dog was traditionally the symbol of loyalty and friendship in art, Grosz uses it as a symbol of melancholy, another image of the animal, first used by Albrecht Dürer in his engraving Melencolia I.The atmosphere of an apocalyptic disaster is complemented by the burning houses in the background. The original date of the painting, which is 1916, indicates that the meaning of these symbols is clear, since Europe is in the middle of the First World War. | [
"Ernst Ludwig Kirchner",
"Juan Gris",
"Berlin",
"Georges Braque",
"Erich Heckel",
"Albrecht Dürer",
"Pablo Picasso"
] |
|
17003_NT | The Love Sick | Focus on this artwork and discuss the Analysis. | The work is a self-portrait of the artist, designated as "Count Ehrenfried" (Grosz's middle name), who appears dressed in a dandy costume, while seated at the literary café Großenwahn (free translation: Delusion of Grandeur), in Berlin, who was one of the meeting points of the Expressionist artists in the German capital.
In The Love Sick, one of his first oil paintings, Grosz not only depicts his own autobiographical and socio-political situation, but also draws inspiration from several artistic movements of his time. With plunging perspectives, distortion of proportions and caricatural exaggerations of physiognomy, he follows the German Expressionism style, similarly to Ernst Ludwig Kirchner and Erich Heckel. The accentuation of light and the dynamics of the representation of space seem to allude to Italian Futurism and at the same time thwart the euphoria of the metropolis and the pious vision of the technology of the future. Grosz also refers to cubism depicting a typical pedestal table, and a still life with glass, bottle and pipe, usually portrayed in many of the works of Pablo Picasso, Georges Braque and Juan Gris.
Wieland Herzfelde wrote about one of his encounters with the painter: “He was sitting alone at a table the top of which was a round marble. I recognized him immediately, although he looked very different to me. (...) He was sitting there, powdery white with red lips in a chocolate brown suit, between his knees a slender black cane." Grosz loved eccentricity and would stage himself in his evening appearances where he sang, danced and satirized. He spent most of his evenings in cafes staring at passers-by and annoying them with his mysterious appearance. Grosz reprised his roles in The Love Sick self-portrait, most notably that of Count Ehrenfried, a nonchalant aristocrat with clean nails.
The painting is conceived as an expression of an apocalyptic vision. The entire presentation of the painting is full of various symbols of vanities. What the painter depicted on the round table in the foreground and the pistol are modern variations of it. The skeleton in the background is the doppelganger of the loving man and finds, and this is Grosz sarcasm, its equivalent in the fishbone. The dog whose head is close to the crossbones recalls the skull present in the vanities. With his poor appearance and poisoned bluish fur, he became the main character in this cafe scene. While the dog was traditionally the symbol of loyalty and friendship in art, Grosz uses it as a symbol of melancholy, another image of the animal, first used by Albrecht Dürer in his engraving Melencolia I.The atmosphere of an apocalyptic disaster is complemented by the burning houses in the background. The original date of the painting, which is 1916, indicates that the meaning of these symbols is clear, since Europe is in the middle of the First World War. | [
"Ernst Ludwig Kirchner",
"Juan Gris",
"Berlin",
"Georges Braque",
"Erich Heckel",
"Albrecht Dürer",
"Pablo Picasso"
] |
|
17004_T | Portrait of Juan de Pareja | How does Portrait of Juan de Pareja elucidate its abstract? | The Portrait of Juan de Pareja is a painting by Spanish artist Diego Velázquez of the enslaved Juan de Pareja, a notable painter in his own right, who was owned by Velázquez at the time the painting was completed. Velázquez painted the portrait in Rome, while traveling in Italy, in 1650. It is the earliest known portrait of a Spanish man of African descent.It was the first painting to sell for more than £1,000,000. At the time of the painting's purchase by the Metropolitan Museum of Art in 1970 they considered it "among the most important acquisitions in the Museum's history". The painting is on display at the Metropolitan Museum of Art in New York City. | [
"New York City",
"Rome",
"Pareja",
"Juan de Pareja",
"Italy",
"enslaved",
"portrait",
"Diego Velázquez",
"Metropolitan Museum of Art"
] |
|
17004_NT | Portrait of Juan de Pareja | How does this artwork elucidate its abstract? | The Portrait of Juan de Pareja is a painting by Spanish artist Diego Velázquez of the enslaved Juan de Pareja, a notable painter in his own right, who was owned by Velázquez at the time the painting was completed. Velázquez painted the portrait in Rome, while traveling in Italy, in 1650. It is the earliest known portrait of a Spanish man of African descent.It was the first painting to sell for more than £1,000,000. At the time of the painting's purchase by the Metropolitan Museum of Art in 1970 they considered it "among the most important acquisitions in the Museum's history". The painting is on display at the Metropolitan Museum of Art in New York City. | [
"New York City",
"Rome",
"Pareja",
"Juan de Pareja",
"Italy",
"enslaved",
"portrait",
"Diego Velázquez",
"Metropolitan Museum of Art"
] |
|
17005_T | Portrait of Juan de Pareja | Focus on Portrait of Juan de Pareja and analyze the History. | In 1649, as court painter to Philip IV of Spain, Diego Velázquez was sent to Rome to purchase works of art for the Alcázar in Madrid. Velázquez brought with him Juan de Pareja, an enslaved man, who served as an assistant in the artist's workshop. During his stay in Rome, Velázquez executed an oil painting of Juan de Pareja, which was displayed as part of a larger exhibition of paintings at the Pantheon on 19 March 1650. According to Antonio Palomino's biography of Velázquez, the painting "was generally applauded by all the painters from different countries, who said that the other pictures in the show were art but this one alone was 'truth'."Velázquez painted the portrait of Juan de Pareja, who was a Morisco from the city of Antequera in southern Spain, in his workshop, as an exercise in preparation for his official portrait of Pope Innocent X. The Pope, a ruddy-faced man who would be depicted in the bright pink and crimson robes of his office, presented a tricky study in both color and composition. Additionally, since he would be executing a portrait from life, Velázquez would be forced to work quickly while still capturing the essence of Innocent X's character. The Portrait of Juan de Pareja reflects Velázquez's exploration of the difficulties he would encounter in the Pope's portrait. To compensate for a restricted palette of colors, Velázquez adopted a loose, almost impressionistic style of brushwork to bring an intense vitality to his subject.
Juan de Pareja (circa 1610 – 1670) became an artist in his own right, and in 1654 he was freed by Velázquez. | [
"enslaved man",
"Antequera",
"portrait of Pope Innocent X",
"Rome",
"Pareja",
"Alcázar",
"Pantheon",
"Juan de Pareja",
"Morisco",
"enslaved",
"portrait",
"Diego Velázquez",
"Philip IV of Spain"
] |
|
17005_NT | Portrait of Juan de Pareja | Focus on this artwork and analyze the History. | In 1649, as court painter to Philip IV of Spain, Diego Velázquez was sent to Rome to purchase works of art for the Alcázar in Madrid. Velázquez brought with him Juan de Pareja, an enslaved man, who served as an assistant in the artist's workshop. During his stay in Rome, Velázquez executed an oil painting of Juan de Pareja, which was displayed as part of a larger exhibition of paintings at the Pantheon on 19 March 1650. According to Antonio Palomino's biography of Velázquez, the painting "was generally applauded by all the painters from different countries, who said that the other pictures in the show were art but this one alone was 'truth'."Velázquez painted the portrait of Juan de Pareja, who was a Morisco from the city of Antequera in southern Spain, in his workshop, as an exercise in preparation for his official portrait of Pope Innocent X. The Pope, a ruddy-faced man who would be depicted in the bright pink and crimson robes of his office, presented a tricky study in both color and composition. Additionally, since he would be executing a portrait from life, Velázquez would be forced to work quickly while still capturing the essence of Innocent X's character. The Portrait of Juan de Pareja reflects Velázquez's exploration of the difficulties he would encounter in the Pope's portrait. To compensate for a restricted palette of colors, Velázquez adopted a loose, almost impressionistic style of brushwork to bring an intense vitality to his subject.
Juan de Pareja (circa 1610 – 1670) became an artist in his own right, and in 1654 he was freed by Velázquez. | [
"enslaved man",
"Antequera",
"portrait of Pope Innocent X",
"Rome",
"Pareja",
"Alcázar",
"Pantheon",
"Juan de Pareja",
"Morisco",
"enslaved",
"portrait",
"Diego Velázquez",
"Philip IV of Spain"
] |
|
17006_T | Portrait of Juan de Pareja | In Portrait of Juan de Pareja, how is the Provenance and copies discussed? | The painting's ownership between its first exhibition at the Pantheon in Rome in 1650 and the end of the eighteenth century is unknown. There is no record of the painting in Spain. The earliest record of the ownership of the painting was in essay written in 1765 by Francisco Preciado, Director of the Royal Spanish Academy in Rome. He stated that the painting owned by Cardinal Troiano Acquaviva d'Aragona (1696–1747) who lived in Rome.
The painting then reappears in the record as part of the dukes of Baranello's collection in Naples sometime in the 1700s. It was recorded as part of the collection of Sir William Hamilton, the British Ambassador to the Kingdom of Naples from 1764 to 1798. The inventory of his residence in Naples, Palazzo Sessa, lists "a portrait of a Moresco slave by Velazquez." Hamilton sent the portrait and his other works of art to London for safekeeping, on board the ship HMS Fondroyant the flagship of Lord Nelson, when he left Naples. Hamilton returned to England heavily in debt and the portrait was auctioned at Christie's in 1801. The auction catalogue listed the painting as Velazquez's "Portrait of a Moorish Slave, that was in his service, and became a great Painter". It sold for 39 guineas and disappeared from the record again.
It later surfaces in the collection of Jacob Pleydell-Bouverie, 2nd Earl of Radnor at Longford Castle, Salisbury. In a catalogue of the Radnor family's collection, published in 1909, stated that the portrait was part of the collection by 1814 and may have been acquired in 1811. It remained in the ownership of the Radnor family for over 150 years until it was sold at Christie's in London for the record sum of £2,310,000 (or 2,200,000 guineas or $5,544,000) on 27 November 1970. It was the first painting to sell for more than a £1,000,000, setting a new record for the price of paintings sold at auction.Alec Wildenstein of Wildenstein & Company bid for the painting acting on behalf of the Metropolitan Museum of Art. The painting was acquired by the museum in 1971, principally through the Fletcher Fund, with an understanding the two million dollars would be paid back over time with income generated from the Rogers Fund, Fletcher Fund and other funds "restricted to buying funds". The painting is considered one of the "most important acquisitions in the Museum's history". Theodore Rousseau, when Curator-in-Chief of the museum, stated that the painting was "one of the finest works of art to come on the market in our time."The finest and best-known copy belongs to the Hispanic Society of America, New York. The Hispanic Society's copy is believed to have been painted from the original while it was in the collection of the earl of Radnor at Longford Castle. | [
"Rogers Fund",
"British Ambassador to the Kingdom of Naples",
"Jacob Pleydell-Bouverie, 2nd Earl of Radnor",
"Spanish Academy in Rome",
"Alec Wildenstein",
"Provenance",
"Royal Spanish Academy in Rome",
"Naples",
"Fletcher Fund",
"Troiano Acquaviva d'Aragona",
"Wildenstein & Company",
"Earl of Radnor",
"Rome",
"Salisbury",
"Pantheon",
"Hispanic Society of America",
"Jacob Pleydell-Bouverie",
"Lord Nelson",
"Christie's",
"Longford Castle",
"painting's ownership",
"Sir William Hamilton",
"portrait",
"Francisco Preciado",
"flagship",
"Metropolitan Museum of Art",
"HMS Fondroyant"
] |
|
17006_NT | Portrait of Juan de Pareja | In this artwork, how is the Provenance and copies discussed? | The painting's ownership between its first exhibition at the Pantheon in Rome in 1650 and the end of the eighteenth century is unknown. There is no record of the painting in Spain. The earliest record of the ownership of the painting was in essay written in 1765 by Francisco Preciado, Director of the Royal Spanish Academy in Rome. He stated that the painting owned by Cardinal Troiano Acquaviva d'Aragona (1696–1747) who lived in Rome.
The painting then reappears in the record as part of the dukes of Baranello's collection in Naples sometime in the 1700s. It was recorded as part of the collection of Sir William Hamilton, the British Ambassador to the Kingdom of Naples from 1764 to 1798. The inventory of his residence in Naples, Palazzo Sessa, lists "a portrait of a Moresco slave by Velazquez." Hamilton sent the portrait and his other works of art to London for safekeeping, on board the ship HMS Fondroyant the flagship of Lord Nelson, when he left Naples. Hamilton returned to England heavily in debt and the portrait was auctioned at Christie's in 1801. The auction catalogue listed the painting as Velazquez's "Portrait of a Moorish Slave, that was in his service, and became a great Painter". It sold for 39 guineas and disappeared from the record again.
It later surfaces in the collection of Jacob Pleydell-Bouverie, 2nd Earl of Radnor at Longford Castle, Salisbury. In a catalogue of the Radnor family's collection, published in 1909, stated that the portrait was part of the collection by 1814 and may have been acquired in 1811. It remained in the ownership of the Radnor family for over 150 years until it was sold at Christie's in London for the record sum of £2,310,000 (or 2,200,000 guineas or $5,544,000) on 27 November 1970. It was the first painting to sell for more than a £1,000,000, setting a new record for the price of paintings sold at auction.Alec Wildenstein of Wildenstein & Company bid for the painting acting on behalf of the Metropolitan Museum of Art. The painting was acquired by the museum in 1971, principally through the Fletcher Fund, with an understanding the two million dollars would be paid back over time with income generated from the Rogers Fund, Fletcher Fund and other funds "restricted to buying funds". The painting is considered one of the "most important acquisitions in the Museum's history". Theodore Rousseau, when Curator-in-Chief of the museum, stated that the painting was "one of the finest works of art to come on the market in our time."The finest and best-known copy belongs to the Hispanic Society of America, New York. The Hispanic Society's copy is believed to have been painted from the original while it was in the collection of the earl of Radnor at Longford Castle. | [
"Rogers Fund",
"British Ambassador to the Kingdom of Naples",
"Jacob Pleydell-Bouverie, 2nd Earl of Radnor",
"Spanish Academy in Rome",
"Alec Wildenstein",
"Provenance",
"Royal Spanish Academy in Rome",
"Naples",
"Fletcher Fund",
"Troiano Acquaviva d'Aragona",
"Wildenstein & Company",
"Earl of Radnor",
"Rome",
"Salisbury",
"Pantheon",
"Hispanic Society of America",
"Jacob Pleydell-Bouverie",
"Lord Nelson",
"Christie's",
"Longford Castle",
"painting's ownership",
"Sir William Hamilton",
"portrait",
"Francisco Preciado",
"flagship",
"Metropolitan Museum of Art",
"HMS Fondroyant"
] |
|
17007_T | Portrait of Juan de Pareja | Focus on Portrait of Juan de Pareja and explore the Legacy and influence. | The portrait inspired the 1965 novel I, Juan de Pareja by Elizabeth Borton de Treviño. The novel was awarded the children's literary prize the Newbery Medal in 1966.Velazquez's painting reinterpreted by surrealist painter Salvador Dalí in his 1960 work Portrait of Juan de Pareja, the Assistant to Velázquez which is in the collection of the Minneapolis Institute of Art. French-Senegalese artist Iba N'Diaye restaged the Velazquez portrait in his 1985–86 painting Juan de Pareja agresse par les chiens (Juan de Pareja menaced by dogs).A central theme of the 2012 play Disgraced by Ayad Akhtar is a painting of the protagonist, a South Asian Muslim man, as painted by his white wife in the style of the Portrait of Juan de Pareja. | [
"I, Juan de Pareja",
"Ayad Akhtar",
"Iba N'Diaye",
"Minneapolis Institute of Art",
"Pareja",
"Juan de Pareja",
"Salvador Dalí",
"Senegal",
"Newbery Medal",
"Disgraced",
"Elizabeth Borton de Treviño",
"portrait"
] |
|
17007_NT | Portrait of Juan de Pareja | Focus on this artwork and explore the Legacy and influence. | The portrait inspired the 1965 novel I, Juan de Pareja by Elizabeth Borton de Treviño. The novel was awarded the children's literary prize the Newbery Medal in 1966.Velazquez's painting reinterpreted by surrealist painter Salvador Dalí in his 1960 work Portrait of Juan de Pareja, the Assistant to Velázquez which is in the collection of the Minneapolis Institute of Art. French-Senegalese artist Iba N'Diaye restaged the Velazquez portrait in his 1985–86 painting Juan de Pareja agresse par les chiens (Juan de Pareja menaced by dogs).A central theme of the 2012 play Disgraced by Ayad Akhtar is a painting of the protagonist, a South Asian Muslim man, as painted by his white wife in the style of the Portrait of Juan de Pareja. | [
"I, Juan de Pareja",
"Ayad Akhtar",
"Iba N'Diaye",
"Minneapolis Institute of Art",
"Pareja",
"Juan de Pareja",
"Salvador Dalí",
"Senegal",
"Newbery Medal",
"Disgraced",
"Elizabeth Borton de Treviño",
"portrait"
] |
|
17008_T | Salome (Titian, private collection) | Focus on Salome (Titian, private collection) and explain the abstract. | Salome, also called Salome with the Head of John the Baptist, is an oil painting by Titian, made in around 1570, and currently in a private collection. It is not to be confused with other compositions of Salome and Judith by Titian. | [
"Salome",
"other compositions of Salome and Judith",
"John the Baptist",
"Titian"
] |
|
17008_NT | Salome (Titian, private collection) | Focus on this artwork and explain the abstract. | Salome, also called Salome with the Head of John the Baptist, is an oil painting by Titian, made in around 1570, and currently in a private collection. It is not to be confused with other compositions of Salome and Judith by Titian. | [
"Salome",
"other compositions of Salome and Judith",
"John the Baptist",
"Titian"
] |
|
17009_T | Salome (Titian, private collection) | Explore the Subject of this artwork, Salome (Titian, private collection). | Salome, in Jewish history, was the name borne by three women of the Herod dynasty. Titian depicts the daughter of Herodias by her first husband Herod Philip. She was the wife successively of Philip the Tetrarch and Aristobulus, son of Herod of Chalcis. This Salome is the only one of the three who is mentioned in the New Testament, and only in connection with the execution of John the Baptist. Herod Antipas, pleased by her dancing, offered her a reward "unto the half of my kingdom"; instructed by Herodias, she asked for John the Baptist's "head in a charger". | [
"Salome",
"Herod Antipas",
"John the Baptist",
"Herod Philip",
"Titian",
"charger",
"New Testament",
"Herodias",
"Philip the Tetrarch",
"Aristobulus",
"Herod of Chalcis"
] |
|
17009_NT | Salome (Titian, private collection) | Explore the Subject of this artwork. | Salome, in Jewish history, was the name borne by three women of the Herod dynasty. Titian depicts the daughter of Herodias by her first husband Herod Philip. She was the wife successively of Philip the Tetrarch and Aristobulus, son of Herod of Chalcis. This Salome is the only one of the three who is mentioned in the New Testament, and only in connection with the execution of John the Baptist. Herod Antipas, pleased by her dancing, offered her a reward "unto the half of my kingdom"; instructed by Herodias, she asked for John the Baptist's "head in a charger". | [
"Salome",
"Herod Antipas",
"John the Baptist",
"Herod Philip",
"Titian",
"charger",
"New Testament",
"Herodias",
"Philip the Tetrarch",
"Aristobulus",
"Herod of Chalcis"
] |
|
17010_T | Salome (Titian, private collection) | Focus on Salome (Titian, private collection) and discuss the History. | This late work by Titian has been dated to the period 1567–1568. It was once owned by King Charles I, but having passed through a number of private hands, it was sold at auction for just £8,000 at Christie's in December 1994 as lot 348, described incorrectly as a work "from the school of Titian". After the painting was sold on again in 2001, its true nature and value were revealed after cleaning. | [
"Titian"
] |
|
17010_NT | Salome (Titian, private collection) | Focus on this artwork and discuss the History. | This late work by Titian has been dated to the period 1567–1568. It was once owned by King Charles I, but having passed through a number of private hands, it was sold at auction for just £8,000 at Christie's in December 1994 as lot 348, described incorrectly as a work "from the school of Titian". After the painting was sold on again in 2001, its true nature and value were revealed after cleaning. | [
"Titian"
] |
|
17011_T | Madonna with Child and Saints (Filippino Lippi) | Focus on Madonna with Child and Saints (Filippino Lippi) and analyze the abstract. | The Madonna with St. Catherine of Alexandria and St. Martin of Tours is a painting by the Italian Renaissance painter Filippino Lippi created c. 1485–1488. It is housed in the church of Santo Spirito of Florence. St. John the Baptist, the patron saint of Florence, appears on the right hand side of the Virgin. The infant Christ turns towards his precursor also a juvenile, dressed in animal skins as appropriate for a desert saint and whose staff has a crossbar referring to the Crucifixion to come.
The painting is also known as Pala de' Nerli from the name of the commissioners, Tanai de' Nerli and his wife Nanna, which are portrayed at the sides as donors. the choice of the saints is also connected to the personality of Nerli, who was particularly devoted to St. Catherine (he baptized his daughter with her name) and was a member of the Company of San Martino de' Buonomini.
The background shows the influence of the Flemish school but also from the ancient architecture. Several scholars have dated it to 1494 due to an alleged reference to the presence of Charles VIII of France in the city. However, the numerous decorations hinting to the classical antiquities (the frieze in the loggia's pilasters, the goat head on the Virgin's seat and the frieze with the fight of the Tritons) would place it soon after his return from Rome.
Behind the loggia is an unusual scene of Florence with the Gate or Porta San Frediano and de' Nerli's palace. The commissioner is portrayed at the latter's door while hugging his daughter in front of his wife, while a groom cares his horse. | [
"Charles VIII of France",
"Florence",
"Filippino Lippi",
"Santo Spirito",
"Renaissance",
"Rome",
"Italian",
"St. Catherine",
"Catherine of Alexandria",
"St. Catherine of Alexandria",
"loggia",
"Porta San Frediano"
] |
|
17011_NT | Madonna with Child and Saints (Filippino Lippi) | Focus on this artwork and analyze the abstract. | The Madonna with St. Catherine of Alexandria and St. Martin of Tours is a painting by the Italian Renaissance painter Filippino Lippi created c. 1485–1488. It is housed in the church of Santo Spirito of Florence. St. John the Baptist, the patron saint of Florence, appears on the right hand side of the Virgin. The infant Christ turns towards his precursor also a juvenile, dressed in animal skins as appropriate for a desert saint and whose staff has a crossbar referring to the Crucifixion to come.
The painting is also known as Pala de' Nerli from the name of the commissioners, Tanai de' Nerli and his wife Nanna, which are portrayed at the sides as donors. the choice of the saints is also connected to the personality of Nerli, who was particularly devoted to St. Catherine (he baptized his daughter with her name) and was a member of the Company of San Martino de' Buonomini.
The background shows the influence of the Flemish school but also from the ancient architecture. Several scholars have dated it to 1494 due to an alleged reference to the presence of Charles VIII of France in the city. However, the numerous decorations hinting to the classical antiquities (the frieze in the loggia's pilasters, the goat head on the Virgin's seat and the frieze with the fight of the Tritons) would place it soon after his return from Rome.
Behind the loggia is an unusual scene of Florence with the Gate or Porta San Frediano and de' Nerli's palace. The commissioner is portrayed at the latter's door while hugging his daughter in front of his wife, while a groom cares his horse. | [
"Charles VIII of France",
"Florence",
"Filippino Lippi",
"Santo Spirito",
"Renaissance",
"Rome",
"Italian",
"St. Catherine",
"Catherine of Alexandria",
"St. Catherine of Alexandria",
"loggia",
"Porta San Frediano"
] |
|
17012_T | Assumption of Mary (Doxaras) | In Assumption of Mary (Doxaras), how is the abstract discussed? | Assumption of Mary was a painting created by Greek painter Nikolaos Doxaras. He was the son of famous Greek painter Panagiotis Doxaras. Nikolaos flourished on the Ionian Islands. He was a representative of the Heptanese School. He traveled all of the Ionian Islands painting. He spent close to a decade in Venice. He had a relationship with Johann Schulenberg. Doxaras stayed with him from 1730 to 1738 at the Palazzo Loredan. He was his confidant at the Schulenburg Art Gallery. He also painted for Schulenburg. He left Venice and continued painting all over the Ionian islands until his death. He was active from 1725 to 1775. Five of his paintings survived. Both Nikolaos and his father attempted to popularize oil painting.There was an overwhelming demand by churches and patrons for the traditional Greek style paintings that overshadowed oil paintings few Greek artists such as El Greco were able to successfully maintain a workshop with an overwhelming output. The integration of Flemish engravings by artists of the Heptanese School made it even more difficult for oil painters and the style was not popular. Nicholas Doxaras and his father Panagiotis Doxaras attempted to integrate the new style but they were unsuccessful. Their contemporaries Emmanuel Tzanes and Theodore Poulakis each maintain a catalog of over 130 paintings. They painted in the Greek style popular at that period in time.The Assumption of Mary is one of the most popular themes in Greek and Italian art from the inception of the new religion. The event is the death of the Virgin Mary. The theme was popular in Greek Italian Byzantine art. The theme also dominated Italian Renaissance painting. Precursors to Doxara's work included Titian, Tintoretto, and El Greco. The paintings usually feature the Virgin in the heavens looking down at her followers and witnesses. The work of art belongs to the National Gallery of Athens. It is currently on display at the Annex of the National Gallery in Corfu on the Ionian Islands. | [
"Heptanese School",
"El Greco",
"Nikolaos Doxaras",
"Emmanuel Tzanes",
"Panagiotis Doxaras",
"Tintoretto",
"Titian",
"Nicholas Doxaras",
"Palazzo Loredan",
"Johann Schulenberg",
"Theodore Poulakis",
"National Gallery of Athens"
] |
|
17012_NT | Assumption of Mary (Doxaras) | In this artwork, how is the abstract discussed? | Assumption of Mary was a painting created by Greek painter Nikolaos Doxaras. He was the son of famous Greek painter Panagiotis Doxaras. Nikolaos flourished on the Ionian Islands. He was a representative of the Heptanese School. He traveled all of the Ionian Islands painting. He spent close to a decade in Venice. He had a relationship with Johann Schulenberg. Doxaras stayed with him from 1730 to 1738 at the Palazzo Loredan. He was his confidant at the Schulenburg Art Gallery. He also painted for Schulenburg. He left Venice and continued painting all over the Ionian islands until his death. He was active from 1725 to 1775. Five of his paintings survived. Both Nikolaos and his father attempted to popularize oil painting.There was an overwhelming demand by churches and patrons for the traditional Greek style paintings that overshadowed oil paintings few Greek artists such as El Greco were able to successfully maintain a workshop with an overwhelming output. The integration of Flemish engravings by artists of the Heptanese School made it even more difficult for oil painters and the style was not popular. Nicholas Doxaras and his father Panagiotis Doxaras attempted to integrate the new style but they were unsuccessful. Their contemporaries Emmanuel Tzanes and Theodore Poulakis each maintain a catalog of over 130 paintings. They painted in the Greek style popular at that period in time.The Assumption of Mary is one of the most popular themes in Greek and Italian art from the inception of the new religion. The event is the death of the Virgin Mary. The theme was popular in Greek Italian Byzantine art. The theme also dominated Italian Renaissance painting. Precursors to Doxara's work included Titian, Tintoretto, and El Greco. The paintings usually feature the Virgin in the heavens looking down at her followers and witnesses. The work of art belongs to the National Gallery of Athens. It is currently on display at the Annex of the National Gallery in Corfu on the Ionian Islands. | [
"Heptanese School",
"El Greco",
"Nikolaos Doxaras",
"Emmanuel Tzanes",
"Panagiotis Doxaras",
"Tintoretto",
"Titian",
"Nicholas Doxaras",
"Palazzo Loredan",
"Johann Schulenberg",
"Theodore Poulakis",
"National Gallery of Athens"
] |
|
17013_T | Assumption of Mary (Doxaras) | Focus on Assumption of Mary (Doxaras) and explore the History. | The work of art was created using oil paint and canvas. The height of the painting is: 45 cm (17.7 in) and the width is 34 cm (13.3 in). The painting bears similarities to Tintoretto's Assumption in both works angels hold up the Virgin Mary. A few of the bearded figures below also reflect Tintoretto's masterpiece. El Greco, Titian and Tintoretto's paintings all feature the Virgin in the same orientation. The Virgin Mary floats in the heavens. In the Doxaras, her heavenly robe levitates as an angel holds her garment. The painter's shadows ideally reflect deeper space and create adequate spatial depth. The clouds attempt to reflect an aura of divinity. To our right, the painter adds a complex structure to reflect a three-dimensional environment. The building features straight lines and ninety-degree angles. Towards the lower portion of the canvas. A group of ten witnesses partake in the heavenly event. The painter chose oil paint over the traditional tempera. The oil paint gave Doxaras more time to work with his canvas. Tempera is fast drying and requires soft hair and bristle strokes. The artist cannot use impasto. The blue color dominates the canvas. The geometric shape of the lower figure continues to illustrate deeper space. The garments were painted with adequate light and shadow to establish form and volume. | [
"El Greco",
"Tintoretto",
"Titian",
"impasto"
] |
|
17013_NT | Assumption of Mary (Doxaras) | Focus on this artwork and explore the History. | The work of art was created using oil paint and canvas. The height of the painting is: 45 cm (17.7 in) and the width is 34 cm (13.3 in). The painting bears similarities to Tintoretto's Assumption in both works angels hold up the Virgin Mary. A few of the bearded figures below also reflect Tintoretto's masterpiece. El Greco, Titian and Tintoretto's paintings all feature the Virgin in the same orientation. The Virgin Mary floats in the heavens. In the Doxaras, her heavenly robe levitates as an angel holds her garment. The painter's shadows ideally reflect deeper space and create adequate spatial depth. The clouds attempt to reflect an aura of divinity. To our right, the painter adds a complex structure to reflect a three-dimensional environment. The building features straight lines and ninety-degree angles. Towards the lower portion of the canvas. A group of ten witnesses partake in the heavenly event. The painter chose oil paint over the traditional tempera. The oil paint gave Doxaras more time to work with his canvas. Tempera is fast drying and requires soft hair and bristle strokes. The artist cannot use impasto. The blue color dominates the canvas. The geometric shape of the lower figure continues to illustrate deeper space. The garments were painted with adequate light and shadow to establish form and volume. | [
"El Greco",
"Tintoretto",
"Titian",
"impasto"
] |
|
17014_T | Bell Circles II | Focus on Bell Circles II and explain the abstract. | Bell Circles II, also known as Sapporo Friendship Bell and part of the sound installation by composer Robert Coburn called Bell and Wind Environment (along with Korean Temple Bell), is an outdoor bronze bell by an unknown Japanese artist, housed in a brick and granite pagoda outside the Oregon Convention Center in Portland, Oregon, United States. The temple bell was presented by the people of Portland's sister city Sapporo, Japan and dedicated in February 1990. It cost $59,000 and was funded through the Convention Center's One Percent for Art program and by private donors. According to the Smithsonian Institution, some residents raised concerns about the bell's religious symbolism and its placement outside a public building. It was surveyed and considered "treatment needed" by the Smithsonian's "Save Outdoor Sculpture!" program in July 1993. | [
"Korean Temple Bell",
"Sapporo",
"Portland, Oregon",
"Smithsonian Institution",
"Sapporo, Japan",
"Save Outdoor Sculpture!",
"Oregon Convention Center"
] |
|
17014_NT | Bell Circles II | Focus on this artwork and explain the abstract. | Bell Circles II, also known as Sapporo Friendship Bell and part of the sound installation by composer Robert Coburn called Bell and Wind Environment (along with Korean Temple Bell), is an outdoor bronze bell by an unknown Japanese artist, housed in a brick and granite pagoda outside the Oregon Convention Center in Portland, Oregon, United States. The temple bell was presented by the people of Portland's sister city Sapporo, Japan and dedicated in February 1990. It cost $59,000 and was funded through the Convention Center's One Percent for Art program and by private donors. According to the Smithsonian Institution, some residents raised concerns about the bell's religious symbolism and its placement outside a public building. It was surveyed and considered "treatment needed" by the Smithsonian's "Save Outdoor Sculpture!" program in July 1993. | [
"Korean Temple Bell",
"Sapporo",
"Portland, Oregon",
"Smithsonian Institution",
"Sapporo, Japan",
"Save Outdoor Sculpture!",
"Oregon Convention Center"
] |
|
17015_T | Statue of Rita Pérez de Moreno | Explore the abstract of this artwork, Statue of Rita Pérez de Moreno. | A statue of Rita Pérez de Moreno is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.The statue was created by Rubén Orozco Loza and it was installed on 27 August 2010, the 149th anniversary of her death. Her rests remain there and she was honored during a ceremony.A statue of her husband Pedro Moreno is also installed at the site. | [
"statue",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Rita Pérez de Moreno",
"Rubén Orozco Loza",
"Guadalajara",
"Pedro Moreno",
"Centro, Guadalajara",
"Centro"
] |
|
17015_NT | Statue of Rita Pérez de Moreno | Explore the abstract of this artwork. | A statue of Rita Pérez de Moreno is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.The statue was created by Rubén Orozco Loza and it was installed on 27 August 2010, the 149th anniversary of her death. Her rests remain there and she was honored during a ceremony.A statue of her husband Pedro Moreno is also installed at the site. | [
"statue",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Rita Pérez de Moreno",
"Rubén Orozco Loza",
"Guadalajara",
"Pedro Moreno",
"Centro, Guadalajara",
"Centro"
] |
|
17016_T | Theseus Killing the Minotaur | Focus on Theseus Killing the Minotaur and discuss the abstract. | Theseus Killing the Minotaur is an oil-on-panel painting by Cima da Conegliano, created c. 1505, now in the Museo Poldi Pezzoli in Milan. It depicts a scene of Greek mythology, when Theseus killed the Minotaur in Crete's labyrinth.
It measures 38.2 centimetres (15.0 in) by 30.8 centimetres (12.1 in). | [
"oil-on-panel",
"Minotaur",
"Crete",
"Theseus",
"Milan",
"Cima da Conegliano",
"Museo Poldi Pezzoli"
] |
|
17016_NT | Theseus Killing the Minotaur | Focus on this artwork and discuss the abstract. | Theseus Killing the Minotaur is an oil-on-panel painting by Cima da Conegliano, created c. 1505, now in the Museo Poldi Pezzoli in Milan. It depicts a scene of Greek mythology, when Theseus killed the Minotaur in Crete's labyrinth.
It measures 38.2 centimetres (15.0 in) by 30.8 centimetres (12.1 in). | [
"oil-on-panel",
"Minotaur",
"Crete",
"Theseus",
"Milan",
"Cima da Conegliano",
"Museo Poldi Pezzoli"
] |
|
17017_T | The Misanthrope (Bruegel) | How does The Misanthrope (Bruegel) elucidate its abstract? | The Misanthrope is a tempera painting on canvas by the Flemish Renaissance artist Pieter Bruegel the Elder, created during 1568. It currently is held and exhibited at the National Museum of Capodimonte in Naples, Italy. | [
"Pieter Bruegel the Elder",
"canvas",
"Naples",
"tempera",
"Flemish Renaissance",
"Italy",
"Flemish",
"National Museum of Capodimonte"
] |
|
17017_NT | The Misanthrope (Bruegel) | How does this artwork elucidate its abstract? | The Misanthrope is a tempera painting on canvas by the Flemish Renaissance artist Pieter Bruegel the Elder, created during 1568. It currently is held and exhibited at the National Museum of Capodimonte in Naples, Italy. | [
"Pieter Bruegel the Elder",
"canvas",
"Naples",
"tempera",
"Flemish Renaissance",
"Italy",
"Flemish",
"National Museum of Capodimonte"
] |
|
17018_T | The Misanthrope (Bruegel) | Focus on The Misanthrope (Bruegel) and analyze the Interpretation. | The hooded misanthrope is being robbed by the small figure in the glass globe who is holding his purse. That figure may be a symbol of vanity, although the religious symbolism inherent in the globe lends itself to other interpretations. Other symbolism in the painting portrays how impossible it is for his actions to lead to giving up the world. The misanthrope also is walking unaware toward caltrops set for him by the world (cast in his path). He cannot renounce the world as he would wish and he is contrasted with the shepherd in the background, who guards his sheep and who is more virtuous than the misanthrope because of his simple, honourable performance of his duties and his sense of responsibility toward his charges. | [
"caltrop",
"misanthrope"
] |
|
17018_NT | The Misanthrope (Bruegel) | Focus on this artwork and analyze the Interpretation. | The hooded misanthrope is being robbed by the small figure in the glass globe who is holding his purse. That figure may be a symbol of vanity, although the religious symbolism inherent in the globe lends itself to other interpretations. Other symbolism in the painting portrays how impossible it is for his actions to lead to giving up the world. The misanthrope also is walking unaware toward caltrops set for him by the world (cast in his path). He cannot renounce the world as he would wish and he is contrasted with the shepherd in the background, who guards his sheep and who is more virtuous than the misanthrope because of his simple, honourable performance of his duties and his sense of responsibility toward his charges. | [
"caltrop",
"misanthrope"
] |
|
17019_T | The Misanthrope (Bruegel) | Describe the characteristics of the The Misanthrope by Pieter Bruegel the Younger in The Misanthrope (Bruegel)'s Interpretation. | The Misanthrope also refers to a tempera painting on canvas by the Flemish Renaissance artist Pieter Bruegel the Younger who is known for creating multiple copies of his father's work. It is part of the Bank of the Republic art collection and is currently exhibited at the Museo Casa de Moneda in Bogotá, Colombia. | [
"Pieter Bruegel the Younger",
"canvas",
"tempera",
"Flemish Renaissance",
"Bank of the Republic",
"Flemish",
"Colombia",
"Museo Casa de Moneda",
"Bogotá"
] |
|
17019_NT | The Misanthrope (Bruegel) | Describe the characteristics of the The Misanthrope by Pieter Bruegel the Younger in this artwork's Interpretation. | The Misanthrope also refers to a tempera painting on canvas by the Flemish Renaissance artist Pieter Bruegel the Younger who is known for creating multiple copies of his father's work. It is part of the Bank of the Republic art collection and is currently exhibited at the Museo Casa de Moneda in Bogotá, Colombia. | [
"Pieter Bruegel the Younger",
"canvas",
"tempera",
"Flemish Renaissance",
"Bank of the Republic",
"Flemish",
"Colombia",
"Museo Casa de Moneda",
"Bogotá"
] |
|
17020_T | Equestrian statue of Andrew Jackson (Washington, D.C.) | Focus on Equestrian statue of Andrew Jackson (Washington, D.C.) and explore the abstract. | Andrew Jackson is a bronze equestrian statue by Clark Mills mounted on a white marble base in the center of Lafayette Square within President's Park in Washington, D.C., just to the north of the White House. Jackson is depicted dressed in military uniform, raising his hat with his right hand, while controlling the reins with his left hand as his horse rises on its rear legs.
Other original castings stand in Jackson Square in New Orleans, Louisiana, and at the Tennessee State Capitol building in Nashville. | [
"Lafayette Square",
"Tennessee State Capitol",
"right",
"Washington, D.C.",
"equestrian statue",
"Lafayette",
"Andrew Jackson",
"White House",
"Jackson Square",
"New Orleans",
"Clark Mills",
"President's Park"
] |
|
17020_NT | Equestrian statue of Andrew Jackson (Washington, D.C.) | Focus on this artwork and explore the abstract. | Andrew Jackson is a bronze equestrian statue by Clark Mills mounted on a white marble base in the center of Lafayette Square within President's Park in Washington, D.C., just to the north of the White House. Jackson is depicted dressed in military uniform, raising his hat with his right hand, while controlling the reins with his left hand as his horse rises on its rear legs.
Other original castings stand in Jackson Square in New Orleans, Louisiana, and at the Tennessee State Capitol building in Nashville. | [
"Lafayette Square",
"Tennessee State Capitol",
"right",
"Washington, D.C.",
"equestrian statue",
"Lafayette",
"Andrew Jackson",
"White House",
"Jackson Square",
"New Orleans",
"Clark Mills",
"President's Park"
] |
|
17021_T | Equestrian statue of Andrew Jackson (Washington, D.C.) | Focus on Equestrian statue of Andrew Jackson (Washington, D.C.) and explain the Description. | The statue depicts Andrew Jackson, the general who commanded US forces in the Battle of New Orleans on January 8, 1815, and who served as the seventh president of the United States from 1829 to 1837. It was commissioned in May 1847, almost two years after Jackson's death at The Hermitage, his plantation near Nashville, Tennessee, by the Jackson Monument Committee chaired by John Peter Van Ness (who died before the statue was completed). Although Mills had never met Jackson and had also never seen an equestrian statue, his proposal won the commission ahead of Hiram Powers and Robert Mills. Mills taught himself the technical skills to finalize the design and cast the statue.
Jackson's horse at the Battle of New Orleans was named Duke; but Mills modeled the horse from his own horse named Olympus. Mills trained his horse to pose on its haunches. He also borrowed Jackson's uniform from the U.S. Patent Office, where it was being preserved. He completed a plaster model, and he established a new bronze foundry to produce the casting at his studio on 15th Street and Pennsylvania Avenue NW, south of the Treasury Building.
Mills produced six castings of the statue of Andrew Jackson until the final one was completed, with ten pieces, six for Jackson and four for the horse. In his casting, he was assisted by an enslaved apprentice, Phillip Reid, who also assisted Mills with other castings, including the 1860-1862 casting of the Statue of Freedom designed by Thomas Crawford which sits atop the United States Capitol dome. The casting was completed 1852, making this the first equestrian statue made in the US, and also the first bronze statue cast in the US. It has been described as the first equestrian statue made with the horse rearing on two legs with no additional support – earlier equestrian bronzes, such as Pietro Tacca's statue of Philip IV, and Étienne Maurice Falconet's statue of Peter the Great, use the horse's tail as a third support. Tests in 1993 showed that the rear legs have central cores of iron covered with bronze, giving them additional strength and weight to support and counterbalance the suspended parts of the statue.
The statue is about a third larger than life, and weighs about 15 tons. It was installed on a tapering rectangular marble base on a raised circular grassed area with railings on the alignment of the North Portico of the White House and 16th Street NW. The narrow face of the marble base, to the west, bears the inscriptions "JACKSON" and "OUR FEDERAL UNION / IT MUST BE PRESERVED", the latter added in 1909 and quoting a toast offered by Jackson at a Democratic Party banquet in 1830 to celebrate the birthday of Thomas Jefferson. The south face has the inscription "CLARK MILLS".The marble base is surrounded by four cannons that Jackson captured from the Spanish at Pensacola, Florida in 1818. The original intention has been to cast the statue itself using metal from captured cannons, but the tin content was too high. The metal barrels of the cannons initially rested on the grass for several years, before they were raised on new wooden gun carriages, subsequently replaced several times. | [
"gun carriage",
"Democratic Party",
"Nashville, Tennessee",
"equestrian statue",
"Treasury Building",
"statue of Philip IV",
"United States",
"Hiram Powers",
"Pensacola, Florida",
"statue of Peter the Great",
"Andrew Jackson",
"White House",
"16th Street NW",
"Pietro Tacca",
"Robert Mills",
"Pennsylvania Avenue",
"U.S. Patent Office",
"Thomas Jefferson",
"Battle of New Orleans",
"Pennsylvania Avenue NW",
"Étienne Maurice Falconet",
"United States Capitol dome",
"The Hermitage",
"15th Street",
"Statue of Freedom",
"New Orleans",
"Thomas Crawford",
"United States Capitol",
"John Peter Van Ness"
] |
|
17021_NT | Equestrian statue of Andrew Jackson (Washington, D.C.) | Focus on this artwork and explain the Description. | The statue depicts Andrew Jackson, the general who commanded US forces in the Battle of New Orleans on January 8, 1815, and who served as the seventh president of the United States from 1829 to 1837. It was commissioned in May 1847, almost two years after Jackson's death at The Hermitage, his plantation near Nashville, Tennessee, by the Jackson Monument Committee chaired by John Peter Van Ness (who died before the statue was completed). Although Mills had never met Jackson and had also never seen an equestrian statue, his proposal won the commission ahead of Hiram Powers and Robert Mills. Mills taught himself the technical skills to finalize the design and cast the statue.
Jackson's horse at the Battle of New Orleans was named Duke; but Mills modeled the horse from his own horse named Olympus. Mills trained his horse to pose on its haunches. He also borrowed Jackson's uniform from the U.S. Patent Office, where it was being preserved. He completed a plaster model, and he established a new bronze foundry to produce the casting at his studio on 15th Street and Pennsylvania Avenue NW, south of the Treasury Building.
Mills produced six castings of the statue of Andrew Jackson until the final one was completed, with ten pieces, six for Jackson and four for the horse. In his casting, he was assisted by an enslaved apprentice, Phillip Reid, who also assisted Mills with other castings, including the 1860-1862 casting of the Statue of Freedom designed by Thomas Crawford which sits atop the United States Capitol dome. The casting was completed 1852, making this the first equestrian statue made in the US, and also the first bronze statue cast in the US. It has been described as the first equestrian statue made with the horse rearing on two legs with no additional support – earlier equestrian bronzes, such as Pietro Tacca's statue of Philip IV, and Étienne Maurice Falconet's statue of Peter the Great, use the horse's tail as a third support. Tests in 1993 showed that the rear legs have central cores of iron covered with bronze, giving them additional strength and weight to support and counterbalance the suspended parts of the statue.
The statue is about a third larger than life, and weighs about 15 tons. It was installed on a tapering rectangular marble base on a raised circular grassed area with railings on the alignment of the North Portico of the White House and 16th Street NW. The narrow face of the marble base, to the west, bears the inscriptions "JACKSON" and "OUR FEDERAL UNION / IT MUST BE PRESERVED", the latter added in 1909 and quoting a toast offered by Jackson at a Democratic Party banquet in 1830 to celebrate the birthday of Thomas Jefferson. The south face has the inscription "CLARK MILLS".The marble base is surrounded by four cannons that Jackson captured from the Spanish at Pensacola, Florida in 1818. The original intention has been to cast the statue itself using metal from captured cannons, but the tin content was too high. The metal barrels of the cannons initially rested on the grass for several years, before they were raised on new wooden gun carriages, subsequently replaced several times. | [
"gun carriage",
"Democratic Party",
"Nashville, Tennessee",
"equestrian statue",
"Treasury Building",
"statue of Philip IV",
"United States",
"Hiram Powers",
"Pensacola, Florida",
"statue of Peter the Great",
"Andrew Jackson",
"White House",
"16th Street NW",
"Pietro Tacca",
"Robert Mills",
"Pennsylvania Avenue",
"U.S. Patent Office",
"Thomas Jefferson",
"Battle of New Orleans",
"Pennsylvania Avenue NW",
"Étienne Maurice Falconet",
"United States Capitol dome",
"The Hermitage",
"15th Street",
"Statue of Freedom",
"New Orleans",
"Thomas Crawford",
"United States Capitol",
"John Peter Van Ness"
] |
|
17022_T | Equestrian statue of Andrew Jackson (Washington, D.C.) | Explore the History of this artwork, Equestrian statue of Andrew Jackson (Washington, D.C.). | The statue was dedicated on January 8, 1853, the 38th anniversary of the Battle of New Orleans, with procession from Judiciary Square followed by an address delivered by Senator Stephen A. Douglas to a crowd of 20,000 people, including President Fillmore, Major General Winfield Scott, members of his cabinet and of Congress, the monument committee, and the sculptor. Cannons from the US Army fired a salute. Mills reputedly quelled concerns about the stability of the statue by throwing himself against the raised front legs of the horse at the dedication: it did not move.
Over time, the landscaping of the square has been simplified, and statues of figures from the American Revolutionary War have been added, one in each corner of the square, first a statue of the eponymous Lafayette after whom the square is named erected in the south east corner in 1891, and then, working clockwise, a statue of Rochambeau in 1902, and then in 1910 statues of Von Steuben and Kościuszko. The view from the White House is now framed by the bronze Navy Yard Urns, cast in the Washington Navy Yard and based on the ancient Medici Vase, each mounted on a marble plinth.
The statue of Jackson faced a bronze statue of Thomas Jefferson that had been installed on the White House North Lawn in 1847, until Jefferson's statue was returned to the Capitol in 1874. There have been proposals, particularly in the early 20th century, to move Jackson's statue and swap it with Mill's 1860 equestrian statue of George Washington in Washington Circle, to reunite Washington with the other the Revolutionary War generals in Lafayette Square, and give the statue of Andrew Jackson more space, but these proposals have been resisted on the grounds of the historical importance of the statue of Andrew Jackson and the desire to keep it in its original location. A crowd unsuccessfully attempted to topple the statue on June 22, 2020, during the George Floyd protests. Former U.S. Senator Ben Nighthorse Campbell, a Native American, defended the monument, advocating for it to remain and called for the addition of plaques to explain the complicated history of Jackson. Several days later, the United States Department of Justice (DOJ) charged four men with destruction of federal property for allegedly trying to bring down the statue. The Justice Department alleged that a video showed one of the men breaking off and destroying the wheels of the cannons located at the base of the statue as well as pulling on ropes when trying to bring down the statue. The Justice Department also alleged that a man videotaped trying to topple the Jackson statue had, a few days earlier, participated in the destruction of the 1901 Albert Pike Memorial statue near Washington's Judiciary Square.The statute was vandalized with the words "Expect Us" on Indigenous Peoples' Day (also Columbus day), Monday, October 11, 2021. Protestors had been chanting "respect us or expect us" in response to protesting the Line 3 pipeline in Minnesota that runs through lands owned by Indigenous tribes who are concerned that the pipeline could spill and ruin the land they use to farm. | [
"Judiciary Square",
"Lafayette Square",
"Stephen A. Douglas",
"Navy Yard Urns",
"Medici Vase",
"equestrian statue of George Washington",
"Albert Pike Memorial",
"Von Steuben",
"Washington Navy Yard",
"equestrian statue",
"Lafayette",
"President Fillmore",
"United States",
"Indigenous Peoples' Day",
"Andrew Jackson",
"White House",
"American Revolutionary War",
"Line 3 pipeline",
"Rochambeau",
"Ben Nighthorse Campbell",
"North Lawn",
"United States Department of Justice",
"Thomas Jefferson",
"Columbus day",
"Battle of New Orleans",
"Kościuszko",
"statue of Thomas Jefferson",
"George Floyd protests",
"New Orleans",
"Winfield Scott",
"Washington Circle"
] |
|
17022_NT | Equestrian statue of Andrew Jackson (Washington, D.C.) | Explore the History of this artwork. | The statue was dedicated on January 8, 1853, the 38th anniversary of the Battle of New Orleans, with procession from Judiciary Square followed by an address delivered by Senator Stephen A. Douglas to a crowd of 20,000 people, including President Fillmore, Major General Winfield Scott, members of his cabinet and of Congress, the monument committee, and the sculptor. Cannons from the US Army fired a salute. Mills reputedly quelled concerns about the stability of the statue by throwing himself against the raised front legs of the horse at the dedication: it did not move.
Over time, the landscaping of the square has been simplified, and statues of figures from the American Revolutionary War have been added, one in each corner of the square, first a statue of the eponymous Lafayette after whom the square is named erected in the south east corner in 1891, and then, working clockwise, a statue of Rochambeau in 1902, and then in 1910 statues of Von Steuben and Kościuszko. The view from the White House is now framed by the bronze Navy Yard Urns, cast in the Washington Navy Yard and based on the ancient Medici Vase, each mounted on a marble plinth.
The statue of Jackson faced a bronze statue of Thomas Jefferson that had been installed on the White House North Lawn in 1847, until Jefferson's statue was returned to the Capitol in 1874. There have been proposals, particularly in the early 20th century, to move Jackson's statue and swap it with Mill's 1860 equestrian statue of George Washington in Washington Circle, to reunite Washington with the other the Revolutionary War generals in Lafayette Square, and give the statue of Andrew Jackson more space, but these proposals have been resisted on the grounds of the historical importance of the statue of Andrew Jackson and the desire to keep it in its original location. A crowd unsuccessfully attempted to topple the statue on June 22, 2020, during the George Floyd protests. Former U.S. Senator Ben Nighthorse Campbell, a Native American, defended the monument, advocating for it to remain and called for the addition of plaques to explain the complicated history of Jackson. Several days later, the United States Department of Justice (DOJ) charged four men with destruction of federal property for allegedly trying to bring down the statue. The Justice Department alleged that a video showed one of the men breaking off and destroying the wheels of the cannons located at the base of the statue as well as pulling on ropes when trying to bring down the statue. The Justice Department also alleged that a man videotaped trying to topple the Jackson statue had, a few days earlier, participated in the destruction of the 1901 Albert Pike Memorial statue near Washington's Judiciary Square.The statute was vandalized with the words "Expect Us" on Indigenous Peoples' Day (also Columbus day), Monday, October 11, 2021. Protestors had been chanting "respect us or expect us" in response to protesting the Line 3 pipeline in Minnesota that runs through lands owned by Indigenous tribes who are concerned that the pipeline could spill and ruin the land they use to farm. | [
"Judiciary Square",
"Lafayette Square",
"Stephen A. Douglas",
"Navy Yard Urns",
"Medici Vase",
"equestrian statue of George Washington",
"Albert Pike Memorial",
"Von Steuben",
"Washington Navy Yard",
"equestrian statue",
"Lafayette",
"President Fillmore",
"United States",
"Indigenous Peoples' Day",
"Andrew Jackson",
"White House",
"American Revolutionary War",
"Line 3 pipeline",
"Rochambeau",
"Ben Nighthorse Campbell",
"North Lawn",
"United States Department of Justice",
"Thomas Jefferson",
"Columbus day",
"Battle of New Orleans",
"Kościuszko",
"statue of Thomas Jefferson",
"George Floyd protests",
"New Orleans",
"Winfield Scott",
"Washington Circle"
] |
|
17023_T | Equestrian statue of Andrew Jackson (Washington, D.C.) | Focus on Equestrian statue of Andrew Jackson (Washington, D.C.) and discuss the Other castings. | Mills made two other castings of the statue. One was dedicated in February 1856 in the former Place d'Armes in New Orleans, renamed Jackson Square. A second was dedicated on May 20, 1880, on the Tennessee State Capitol grounds, in Nashville, Tennessee, commissioned by the Tennessee Historical Society to celebrate to city's centennial . Mills attended both dedications: the one in Nashville was his last public event before his death in 1883.
A fourth copy of the statue was erected in Jacksonville, Florida in 1987, near Jacksonville Landing. It was cast by the Modern Art Foundry of Long Island City, New York. | [
"Jacksonville, Florida",
"Nashville, Tennessee",
"Tennessee State Capitol",
"Long Island City",
"Modern Art Foundry",
"Jacksonville Landing",
"Jackson Square",
"New Orleans",
"Long Island City, New York"
] |
|
17023_NT | Equestrian statue of Andrew Jackson (Washington, D.C.) | Focus on this artwork and discuss the Other castings. | Mills made two other castings of the statue. One was dedicated in February 1856 in the former Place d'Armes in New Orleans, renamed Jackson Square. A second was dedicated on May 20, 1880, on the Tennessee State Capitol grounds, in Nashville, Tennessee, commissioned by the Tennessee Historical Society to celebrate to city's centennial . Mills attended both dedications: the one in Nashville was his last public event before his death in 1883.
A fourth copy of the statue was erected in Jacksonville, Florida in 1987, near Jacksonville Landing. It was cast by the Modern Art Foundry of Long Island City, New York. | [
"Jacksonville, Florida",
"Nashville, Tennessee",
"Tennessee State Capitol",
"Long Island City",
"Modern Art Foundry",
"Jacksonville Landing",
"Jackson Square",
"New Orleans",
"Long Island City, New York"
] |
|
17024_T | Saint Catherine of Alexandria Polyptych | How does Saint Catherine of Alexandria Polyptych elucidate its abstract? | The Saint Catherine of Alexandria Polyptych (also known as Pisa Polyptych) is a painting by the Italian medieval artist Simone Martini, dating to 1320. Originally placed at the high altar of the church of Santa Caterina in Pisa, it is now housed in the Museo Nazionale di San Matteo of the same city.
The work is signed SYMON DE SENIS ME PINXIT in the central panel with the Madonna and Child. According to the original convent's annals, the polyptych was placed at the altar in 1320. It was thus completed by that year, having been likely begun in 1319. | [
"Santa Caterina",
"Pisa",
"Simone Martini",
" ",
"Museo Nazionale di San Matteo"
] |
|
17024_NT | Saint Catherine of Alexandria Polyptych | How does this artwork elucidate its abstract? | The Saint Catherine of Alexandria Polyptych (also known as Pisa Polyptych) is a painting by the Italian medieval artist Simone Martini, dating to 1320. Originally placed at the high altar of the church of Santa Caterina in Pisa, it is now housed in the Museo Nazionale di San Matteo of the same city.
The work is signed SYMON DE SENIS ME PINXIT in the central panel with the Madonna and Child. According to the original convent's annals, the polyptych was placed at the altar in 1320. It was thus completed by that year, having been likely begun in 1319. | [
"Santa Caterina",
"Pisa",
"Simone Martini",
" ",
"Museo Nazionale di San Matteo"
] |
|
17025_T | Saint Catherine of Alexandria Polyptych | Focus on Saint Catherine of Alexandria Polyptych and analyze the Description. | The polyptych is Martini's largest work, and includes numerous sub-panels. Aside from the seven main ones, there are 15 predella figures, an upper row with other 14 figures and seven cusps with other characters. There is a total of 44 figures.
The central panel depicts the Madonna with Child; the remaining six main panels are, from left to right, St. Dominic, St. John the Evangelist, St. Mary Magdalene, St. Catherine of Alexandria, St. John the Baptist and St. Peter of Verona. All these figures are enclosed within three foiled cusped arches. Above the Madonna are the two archangels Gabriel and Michael and, above them, the Blessing Christ. The six saints panel are surmounted by, also in couples, the Twelve Apostles, with the exception of St. John the Evangelist, replaced by St. Paul.
The predella shows, at the center, Christ in the Sepulchre with the Madonna and St. Mark and further couples of saints which, from left to right, are Gregory and Luke, Stephen and Apollonia, Jerome and Lucy, Agnes and Ambrose, Thomas of Aquino and Augustine, Ursula and LawrenceSince the identification of the saints is controversial, the saints panels in the museum are placed differently from the image in this article. | [
" ",
"predella"
] |
|
17025_NT | Saint Catherine of Alexandria Polyptych | Focus on this artwork and analyze the Description. | The polyptych is Martini's largest work, and includes numerous sub-panels. Aside from the seven main ones, there are 15 predella figures, an upper row with other 14 figures and seven cusps with other characters. There is a total of 44 figures.
The central panel depicts the Madonna with Child; the remaining six main panels are, from left to right, St. Dominic, St. John the Evangelist, St. Mary Magdalene, St. Catherine of Alexandria, St. John the Baptist and St. Peter of Verona. All these figures are enclosed within three foiled cusped arches. Above the Madonna are the two archangels Gabriel and Michael and, above them, the Blessing Christ. The six saints panel are surmounted by, also in couples, the Twelve Apostles, with the exception of St. John the Evangelist, replaced by St. Paul.
The predella shows, at the center, Christ in the Sepulchre with the Madonna and St. Mark and further couples of saints which, from left to right, are Gregory and Luke, Stephen and Apollonia, Jerome and Lucy, Agnes and Ambrose, Thomas of Aquino and Augustine, Ursula and LawrenceSince the identification of the saints is controversial, the saints panels in the museum are placed differently from the image in this article. | [
" ",
"predella"
] |
|
17026_T | Statue of John Barry | In Statue of John Barry, how is the abstract discussed? | Commodore John Barry is a bronze statue of John Barry, sculpted by John Boyle and designed by architect Edward Pearce Casey.It is located at Franklin Square (Washington, D.C.), 14th Street and K Street N.W. Washington, D.C.
It was dedicated on May 16, 1914.
The inscription reads:
(Base, south face:)
J.J. Boyle
(Base, front:)(Base, east face:)
John J. Boyle
Sculptor
Edward P. Casey Architect
As part of American Revolution Statuary in Washington, D.C. the statue is listed on the National Register of Historic Places. | [
"American Revolution Statuary",
"Edward Pearce Casey",
"Franklin Square (Washington, D.C.)",
"National Register of Historic Places",
"Washington, D.C."
] |
|
17026_NT | Statue of John Barry | In this artwork, how is the abstract discussed? | Commodore John Barry is a bronze statue of John Barry, sculpted by John Boyle and designed by architect Edward Pearce Casey.It is located at Franklin Square (Washington, D.C.), 14th Street and K Street N.W. Washington, D.C.
It was dedicated on May 16, 1914.
The inscription reads:
(Base, south face:)
J.J. Boyle
(Base, front:)(Base, east face:)
John J. Boyle
Sculptor
Edward P. Casey Architect
As part of American Revolution Statuary in Washington, D.C. the statue is listed on the National Register of Historic Places. | [
"American Revolution Statuary",
"Edward Pearce Casey",
"Franklin Square (Washington, D.C.)",
"National Register of Historic Places",
"Washington, D.C."
] |
|
17027_T | Enterspace | Focus on Enterspace and explore the abstract. | Enterspace is an outdoor stainless steel sculpture by Maurice Lemieux, installed in front of the building at 2000 Peel Street at the corner of De Maisonneuve Boulevard, near Montreal's Peel station exit, in Quebec, Canada. | [
"Maurice Lemieux",
"De Maisonneuve Boulevard",
"Quebec",
"Montreal",
"Peel station",
"Peel Street"
] |
|
17027_NT | Enterspace | Focus on this artwork and explore the abstract. | Enterspace is an outdoor stainless steel sculpture by Maurice Lemieux, installed in front of the building at 2000 Peel Street at the corner of De Maisonneuve Boulevard, near Montreal's Peel station exit, in Quebec, Canada. | [
"Maurice Lemieux",
"De Maisonneuve Boulevard",
"Quebec",
"Montreal",
"Peel station",
"Peel Street"
] |
|
17028_T | River Legend | Focus on River Legend and explain the abstract. | River Legend is an outdoor 1976 basalt sculpture by American artist Dimitri Hadzi, located outside of the Edith Green – Wendell Wyatt Federal Building in Portland, Oregon. | [
"Portland, Oregon",
"Edith Green – Wendell Wyatt Federal Building",
"basalt",
"Dimitri Hadzi"
] |
|
17028_NT | River Legend | Focus on this artwork and explain the abstract. | River Legend is an outdoor 1976 basalt sculpture by American artist Dimitri Hadzi, located outside of the Edith Green – Wendell Wyatt Federal Building in Portland, Oregon. | [
"Portland, Oregon",
"Edith Green – Wendell Wyatt Federal Building",
"basalt",
"Dimitri Hadzi"
] |
|
17029_T | River Legend | Explore the Reception of this artwork, River Legend. | In his review for The Oregonian, Len Reed said the sculpture "seemed to offer relief, as if it were a jolt of reckless nature amid all the glass and concrete and metal. It seemed at once ancient and modern. It seemed to hold a secret." Furthermore, he said:River Legend may be decades old, but its energy is all new and very, very public. Whether the pleasure it produces is encoded in cells or the result of some mysterious learning doesn't really matter. The ancient rock soars. That's true even if its nifty fins are wood shims to prevent a crack from expanding. Somehow amid moving, storing, and re-siting, a segment of the columnar basalt let go and requires an injection of epoxy to hold. It wouldn't be crazy to think of the sculpture for now as a songbird with a leg splint. Such a small price for a new life. | [
"The Oregonian",
"basalt"
] |
|
17029_NT | River Legend | Explore the Reception of this artwork. | In his review for The Oregonian, Len Reed said the sculpture "seemed to offer relief, as if it were a jolt of reckless nature amid all the glass and concrete and metal. It seemed at once ancient and modern. It seemed to hold a secret." Furthermore, he said:River Legend may be decades old, but its energy is all new and very, very public. Whether the pleasure it produces is encoded in cells or the result of some mysterious learning doesn't really matter. The ancient rock soars. That's true even if its nifty fins are wood shims to prevent a crack from expanding. Somehow amid moving, storing, and re-siting, a segment of the columnar basalt let go and requires an injection of epoxy to hold. It wouldn't be crazy to think of the sculpture for now as a songbird with a leg splint. Such a small price for a new life. | [
"The Oregonian",
"basalt"
] |
|
17030_T | Arbor (installation) | Focus on Arbor (installation) and discuss the abstract. | Arbor is a 2013 permanent art installation created by Adam Frank, commissioned for the Sidney and Lois Eskenazi Hospital, near downtown Indianapolis, Indiana. It is part of the Eskenazi Health Art Collection. | [
"Eskenazi Health Art Collection",
"Indianapolis",
"Sidney and Lois Eskenazi Hospital",
"Indianapolis, Indiana",
"art installation",
"Eskenazi Health",
"Adam Frank"
] |
|
17030_NT | Arbor (installation) | Focus on this artwork and discuss the abstract. | Arbor is a 2013 permanent art installation created by Adam Frank, commissioned for the Sidney and Lois Eskenazi Hospital, near downtown Indianapolis, Indiana. It is part of the Eskenazi Health Art Collection. | [
"Eskenazi Health Art Collection",
"Indianapolis",
"Sidney and Lois Eskenazi Hospital",
"Indianapolis, Indiana",
"art installation",
"Eskenazi Health",
"Adam Frank"
] |
|
17031_T | Arbor (installation) | How does Arbor (installation) elucidate its Description? | Arbor is a 2013 permanent art installation created by artist Adam Frank inside Sidney and Lois Eskenazi Hospital. Utilizing new lighting technologies, this eight-part work displays visually accurate shadows of Indiana native trees via recessed floor-to-ceiling light boxes in the green elevator bays of the hospital on levels 1-3 and 6–10. Of the work's intention and purpose, Frank said, “Arbor provides the hospital with an iconic, quiet work that symbolizes health and life. This work brings familiar, organic, natural lighting effects into what is normally a cold and sterile environment. Arbor brings natural lighting effects into the modern built environment in an entirely new way. The project is specifically meant to enhance how hospital patients, families and staff feel about the space they occupy.”The feature walls showcase new, patent-pending technology, in which detailed 3D models are vertically sliced, each segment then rendered onto translucent glass and arranged at differing depths. An LED backlight passes through the layers of glass and onto the back surface of etched glass, resulting in highly detailed images close to the viewer and blurred images as the image recedes, creating the effect of both shadows and three dimensions.Each floor's tree is unique and acts as a floor identifier and way-finding symbol: | [
"Sidney and Lois Eskenazi Hospital",
"art installation",
"etched glass",
"Adam Frank"
] |
|
17031_NT | Arbor (installation) | How does this artwork elucidate its Description? | Arbor is a 2013 permanent art installation created by artist Adam Frank inside Sidney and Lois Eskenazi Hospital. Utilizing new lighting technologies, this eight-part work displays visually accurate shadows of Indiana native trees via recessed floor-to-ceiling light boxes in the green elevator bays of the hospital on levels 1-3 and 6–10. Of the work's intention and purpose, Frank said, “Arbor provides the hospital with an iconic, quiet work that symbolizes health and life. This work brings familiar, organic, natural lighting effects into what is normally a cold and sterile environment. Arbor brings natural lighting effects into the modern built environment in an entirely new way. The project is specifically meant to enhance how hospital patients, families and staff feel about the space they occupy.”The feature walls showcase new, patent-pending technology, in which detailed 3D models are vertically sliced, each segment then rendered onto translucent glass and arranged at differing depths. An LED backlight passes through the layers of glass and onto the back surface of etched glass, resulting in highly detailed images close to the viewer and blurred images as the image recedes, creating the effect of both shadows and three dimensions.Each floor's tree is unique and acts as a floor identifier and way-finding symbol: | [
"Sidney and Lois Eskenazi Hospital",
"art installation",
"etched glass",
"Adam Frank"
] |
|
17032_T | Arbor (installation) | Describe the characteristics of the Acquisition in Arbor (installation)'s Historical information. | Arbor was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. | [
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
17032_NT | Arbor (installation) | Describe the characteristics of the Acquisition in this artwork's Historical information. | Arbor was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. | [
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
17033_T | Arbor (installation) | In the context of Arbor (installation), explore the Location of the Historical information. | Arbor is located in the Green Elevator Bays on levels 1-3 and 6-10 of Sidney & Lois Eskenazi Hospital. | [
"Sidney & Lois Eskenazi Hospital"
] |
|
17033_NT | Arbor (installation) | In the context of this artwork, explore the Location of the Historical information. | Arbor is located in the Green Elevator Bays on levels 1-3 and 6-10 of Sidney & Lois Eskenazi Hospital. | [
"Sidney & Lois Eskenazi Hospital"
] |
|
17034_T | Arbor (installation) | In the context of Arbor (installation), explain the Awards of the Historical information. | Arbor was recognized by Americans for the Arts 2014 Public Art Network Year in Review and was presented at The Public Art & Placemaking Conference in Nashville. | [
"Nashville",
"Americans for the Arts"
] |
|
17034_NT | Arbor (installation) | In the context of this artwork, explain the Awards of the Historical information. | Arbor was recognized by Americans for the Arts 2014 Public Art Network Year in Review and was presented at The Public Art & Placemaking Conference in Nashville. | [
"Nashville",
"Americans for the Arts"
] |
|
17035_T | Arbor (installation) | Explore the Artist of this artwork, Arbor (installation). | Adam Frank studied at both the Rhode Island School of Design and at Brown University. As an artist, inventor, and product designer, he has exhibited at SIGGRAPH and the American Museum of the Moving Image, among others, and has designed lighting goods that are sold through the Design Store at the Museum of Modern Art in New York. Frank's work has been profiled extensively in the media, including by NBC, CBS, HGTV, CNN, The New York Times, Metropolis, Dwell and the Architectural Record. He lives and works in Brooklyn, N.Y. | [
"CBS",
"The New York Times",
"NBC",
"Rhode Island School of Design",
"CNN",
"HGTV",
"Metropolis",
"SIGGRAPH",
"Brooklyn",
"Dwell",
"Brooklyn, N.Y.",
"Brown University",
"American Museum of the Moving Image",
"Architectural Record",
"Adam Frank",
"Museum of Modern Art"
] |
|
17035_NT | Arbor (installation) | Explore the Artist of this artwork. | Adam Frank studied at both the Rhode Island School of Design and at Brown University. As an artist, inventor, and product designer, he has exhibited at SIGGRAPH and the American Museum of the Moving Image, among others, and has designed lighting goods that are sold through the Design Store at the Museum of Modern Art in New York. Frank's work has been profiled extensively in the media, including by NBC, CBS, HGTV, CNN, The New York Times, Metropolis, Dwell and the Architectural Record. He lives and works in Brooklyn, N.Y. | [
"CBS",
"The New York Times",
"NBC",
"Rhode Island School of Design",
"CNN",
"HGTV",
"Metropolis",
"SIGGRAPH",
"Brooklyn",
"Dwell",
"Brooklyn, N.Y.",
"Brown University",
"American Museum of the Moving Image",
"Architectural Record",
"Adam Frank",
"Museum of Modern Art"
] |
|
17036_T | Portrait of Charles V with a Dog | Focus on Portrait of Charles V with a Dog and discuss the abstract. | The Portrait of Karl V with a Dog is a portrait of Karl V, Holy Roman Emperor with a hunting dog, painted by Titian in 1533. It passed from Karl to the Spanish royal collection, from which it passed to its present owner, the Prado in Madrid. | [
"Prado",
"Titian",
"Spanish royal collection",
"Karl V, Holy Roman Emperor",
"Madrid"
] |
|
17036_NT | Portrait of Charles V with a Dog | Focus on this artwork and discuss the abstract. | The Portrait of Karl V with a Dog is a portrait of Karl V, Holy Roman Emperor with a hunting dog, painted by Titian in 1533. It passed from Karl to the Spanish royal collection, from which it passed to its present owner, the Prado in Madrid. | [
"Prado",
"Titian",
"Spanish royal collection",
"Karl V, Holy Roman Emperor",
"Madrid"
] |
|
17037_T | Portrait of Charles V with a Dog | How does Portrait of Charles V with a Dog elucidate its Description? | It is a copy or reinterpretation of a portrait of Karl painted in 1532 by Jakob Seisenegger. That portrait was natural but had not pleased its subject and so during his stay in Bologna in 1533 (when Titian also happened to be there) Karl paid Titian 500 ducats to paint a new version of it.
This new version is similar to its predecessor but completely transforms its composition, stylising Karl' body by increasing the size of the fur wrap, decreasing the size of the doublet, raising the position of the eyes and lowering the horizon to make Karl fill the space. He is also shown approaching the viewer and the space around him has been emptied and simplified, with warmer colours than in the original. It later inspired Goya's 1799 Charles IV in his Hunting Clothes. | [
"Bologna",
"Titian",
"Charles IV in his Hunting Clothes",
"Jakob Seisenegger"
] |
|
17037_NT | Portrait of Charles V with a Dog | How does this artwork elucidate its Description? | It is a copy or reinterpretation of a portrait of Karl painted in 1532 by Jakob Seisenegger. That portrait was natural but had not pleased its subject and so during his stay in Bologna in 1533 (when Titian also happened to be there) Karl paid Titian 500 ducats to paint a new version of it.
This new version is similar to its predecessor but completely transforms its composition, stylising Karl' body by increasing the size of the fur wrap, decreasing the size of the doublet, raising the position of the eyes and lowering the horizon to make Karl fill the space. He is also shown approaching the viewer and the space around him has been emptied and simplified, with warmer colours than in the original. It later inspired Goya's 1799 Charles IV in his Hunting Clothes. | [
"Bologna",
"Titian",
"Charles IV in his Hunting Clothes",
"Jakob Seisenegger"
] |
|
17038_T | The Beakful | Focus on The Beakful and analyze the abstract. | The Beakful, in French, La Becquée, or Woman Feeding Her Children is an oil-on-canvas painting by French artist Jean-François Millet, made in 1860. It is held at the Palais des Beaux-Arts de Lille. | [
"canvas",
"Lille",
"Palais des Beaux-Arts de Lille",
"Jean-François Millet"
] |
|
17038_NT | The Beakful | Focus on this artwork and analyze the abstract. | The Beakful, in French, La Becquée, or Woman Feeding Her Children is an oil-on-canvas painting by French artist Jean-François Millet, made in 1860. It is held at the Palais des Beaux-Arts de Lille. | [
"canvas",
"Lille",
"Palais des Beaux-Arts de Lille",
"Jean-François Millet"
] |
|
17039_T | The Beakful | In The Beakful, how is the History discussed? | This canvas was the culmination of a long process that began with sketches and preparatory drawings made during 1848–1849. Some of the drawings are also kept at the Palais des Beaux-Arts in Lille.
A painted sketch of Woman Feeding Her Children, made in 1848, is held at the Ahmed Zabana National Museum, in Oran, Algeria. Acquired in the 1950s, it was stolen in 1985 and found in France in 2001. It was returned to the Algerian authorities in 2014. | [
"canvas",
"Lille",
"Ahmed Zabana National Museum",
"Oran",
"Algeria"
] |
|
17039_NT | The Beakful | In this artwork, how is the History discussed? | This canvas was the culmination of a long process that began with sketches and preparatory drawings made during 1848–1849. Some of the drawings are also kept at the Palais des Beaux-Arts in Lille.
A painted sketch of Woman Feeding Her Children, made in 1848, is held at the Ahmed Zabana National Museum, in Oran, Algeria. Acquired in the 1950s, it was stolen in 1985 and found in France in 2001. It was returned to the Algerian authorities in 2014. | [
"canvas",
"Lille",
"Ahmed Zabana National Museum",
"Oran",
"Algeria"
] |
|
17040_T | The Beakful | Focus on The Beakful and explore the Description and analysis. | A mother, squatting on a stool in front of her farmhouse door, gives soup to her three children seated on the threshold, while the father, in the background, digs his garden. Three chickens are depicted. In a letter addressed to the art critic Théophile Thoré-Burger, who saw the canvas exhibited in the Martinet Gallery, Millet explained: "I would like [in this painting] to imagine a brood of birds being fed by their mother. Man works to feed these beings”.Millet sketched his models on the spot, but went back to his studio to paint. The comparison between the preparatory drawings, made long before, and the final painting, reveals a maturation of the painter's intentions in the composition of the canvas. If the theme itself is immediately present, the construction of the painted scene directs the viewer's towards the father who works the land, at the right. Although barely visible, it holds a central place in the encenation of the nourishing actions assigned to each of the parents. Everything then contributes to express family harmony, from the eyes and hands of the children brought together by the tenderness of the figures of their parents, their massive and protective mother, and their discreet and hardworking father, both united in their function, nurturing. The family harmony is further reinforced by the harmony of the play of colors and by the light that bathes the scene. | [
"canvas",
"Théophile Thoré-Burger"
] |
|
17040_NT | The Beakful | Focus on this artwork and explore the Description and analysis. | A mother, squatting on a stool in front of her farmhouse door, gives soup to her three children seated on the threshold, while the father, in the background, digs his garden. Three chickens are depicted. In a letter addressed to the art critic Théophile Thoré-Burger, who saw the canvas exhibited in the Martinet Gallery, Millet explained: "I would like [in this painting] to imagine a brood of birds being fed by their mother. Man works to feed these beings”.Millet sketched his models on the spot, but went back to his studio to paint. The comparison between the preparatory drawings, made long before, and the final painting, reveals a maturation of the painter's intentions in the composition of the canvas. If the theme itself is immediately present, the construction of the painted scene directs the viewer's towards the father who works the land, at the right. Although barely visible, it holds a central place in the encenation of the nourishing actions assigned to each of the parents. Everything then contributes to express family harmony, from the eyes and hands of the children brought together by the tenderness of the figures of their parents, their massive and protective mother, and their discreet and hardworking father, both united in their function, nurturing. The family harmony is further reinforced by the harmony of the play of colors and by the light that bathes the scene. | [
"canvas",
"Théophile Thoré-Burger"
] |
|
17041_T | The Beakful | Focus on The Beakful and explain the Provenance. | In 1871, the painting was the property of Madame Maracci, a wealthy patron who wished to donate to the city of Lille a painting by Auguste-Joseph Herlin, then assistant to the curator of the city's painting museum. Herlin, embarrassed, dissuaded her, and convinced her to donate a work by another artist. This is how Millet's painting entered the museum. | [
"Lille",
"Auguste-Joseph Herlin"
] |
|
17041_NT | The Beakful | Focus on this artwork and explain the Provenance. | In 1871, the painting was the property of Madame Maracci, a wealthy patron who wished to donate to the city of Lille a painting by Auguste-Joseph Herlin, then assistant to the curator of the city's painting museum. Herlin, embarrassed, dissuaded her, and convinced her to donate a work by another artist. This is how Millet's painting entered the museum. | [
"Lille",
"Auguste-Joseph Herlin"
] |
|
17042_T | Landscape with the Good Samaritan | Explore the abstract of this artwork, Landscape with the Good Samaritan. | Landscape with the Good Samaritan is a 1638 oil-on-oak-panel painting by Rembrandt. It is one of only six oil landscapes by the artist, and it is also one of only three Rembrandt paintings in Polish connections; the other two are The Girl in a Picture Frame and The Scholar at the Lectern. It illustrates the parable of the Good Samaritan from the Gospel of Luke.
It was bought at a Paris auction by Jean-Pierre Norblin de La Gourdaine and therefore passed into the Polish noblewoman Izabela Czartoryska's collection at the Dom Gotycki at Puławy. That collection was later moved to Kraków, and so it was one of several painting looted by the Germans in 1939. After World War Two, thanks to research by the art historian Karol Estreicher, it was returned to Kraków and is now in the city's Czartoryski Museum. | [
"Karol Estreicher",
"Jean-Pierre Norblin de La Gourdaine",
"Czartoryski Museum",
"1638",
"Dom Gotycki",
"Puławy",
"Rembrandt",
"Good Samaritan",
"Gospel of Luke",
"Izabela Czartoryska",
"The Girl in a Picture Frame",
"The Scholar at the Lectern",
"Paris",
"Kraków"
] |
|
17042_NT | Landscape with the Good Samaritan | Explore the abstract of this artwork. | Landscape with the Good Samaritan is a 1638 oil-on-oak-panel painting by Rembrandt. It is one of only six oil landscapes by the artist, and it is also one of only three Rembrandt paintings in Polish connections; the other two are The Girl in a Picture Frame and The Scholar at the Lectern. It illustrates the parable of the Good Samaritan from the Gospel of Luke.
It was bought at a Paris auction by Jean-Pierre Norblin de La Gourdaine and therefore passed into the Polish noblewoman Izabela Czartoryska's collection at the Dom Gotycki at Puławy. That collection was later moved to Kraków, and so it was one of several painting looted by the Germans in 1939. After World War Two, thanks to research by the art historian Karol Estreicher, it was returned to Kraków and is now in the city's Czartoryski Museum. | [
"Karol Estreicher",
"Jean-Pierre Norblin de La Gourdaine",
"Czartoryski Museum",
"1638",
"Dom Gotycki",
"Puławy",
"Rembrandt",
"Good Samaritan",
"Gospel of Luke",
"Izabela Czartoryska",
"The Girl in a Picture Frame",
"The Scholar at the Lectern",
"Paris",
"Kraków"
] |
|
17043_T | Nativity (El Greco) | Focus on Nativity (El Greco) and discuss the abstract. | Nativity is a 1603-1605 painting of the Nativity of Jesus by El Greco. It was one of five paintings painted for the high altarpiece of the Santuario de Nuestra Señora de la Caridad in Illescas, Toledo. It and three others still hang there (Charity, Coronation of the Virgin and Annunciation), whilst the fifth is in the National Museum of Art of Romania (Marriage of the Virgin).
It is a simplification of his Adoration of the Shepherds from the Doña María de Aragón Altarpiece, omitting the shepherds and converting the scene into a circular format. | [
"Illescas, Toledo",
"Coronation of the Virgin",
"Annunciation",
"Doña María de Aragón Altarpiece",
"El Greco",
"Nativity of Jesus",
"National Museum of Art of Romania",
"Charity",
"Marriage of the Virgin"
] |
|
17043_NT | Nativity (El Greco) | Focus on this artwork and discuss the abstract. | Nativity is a 1603-1605 painting of the Nativity of Jesus by El Greco. It was one of five paintings painted for the high altarpiece of the Santuario de Nuestra Señora de la Caridad in Illescas, Toledo. It and three others still hang there (Charity, Coronation of the Virgin and Annunciation), whilst the fifth is in the National Museum of Art of Romania (Marriage of the Virgin).
It is a simplification of his Adoration of the Shepherds from the Doña María de Aragón Altarpiece, omitting the shepherds and converting the scene into a circular format. | [
"Illescas, Toledo",
"Coronation of the Virgin",
"Annunciation",
"Doña María de Aragón Altarpiece",
"El Greco",
"Nativity of Jesus",
"National Museum of Art of Romania",
"Charity",
"Marriage of the Virgin"
] |
|
17044_T | Pulp Fiction (Banksy) | How does Pulp Fiction (Banksy) elucidate its abstract? | Pulp Fiction is a type of work by stencil graffiti artist Banksy. Instances of it depict the characters played by Samuel L. Jackson and John Travolta in the 1994 film Pulp Fiction, with their guns replaced by bananas. A stencil graffiti work existed on a wall near the Old Street tube station in the City of London from 2002 to 2007. Prints of the image on its original site have been sold for £1,000. A print of the Pulp Fiction stencil was sold for £10,600 in 2012. On 24 November 2020 a signed print has fetched £125,000 at Tate Ward Auctions' "By Collectors for Collectors" event. | [
"John Travolta",
"City of London",
"Old Street tube station",
"Banksy",
"Pulp Fiction",
"stencil graffiti",
"Samuel L. Jackson"
] |
|
17044_NT | Pulp Fiction (Banksy) | How does this artwork elucidate its abstract? | Pulp Fiction is a type of work by stencil graffiti artist Banksy. Instances of it depict the characters played by Samuel L. Jackson and John Travolta in the 1994 film Pulp Fiction, with their guns replaced by bananas. A stencil graffiti work existed on a wall near the Old Street tube station in the City of London from 2002 to 2007. Prints of the image on its original site have been sold for £1,000. A print of the Pulp Fiction stencil was sold for £10,600 in 2012. On 24 November 2020 a signed print has fetched £125,000 at Tate Ward Auctions' "By Collectors for Collectors" event. | [
"John Travolta",
"City of London",
"Old Street tube station",
"Banksy",
"Pulp Fiction",
"stencil graffiti",
"Samuel L. Jackson"
] |
|
17045_T | Pulp Fiction (Banksy) | Focus on Pulp Fiction (Banksy) and analyze the Studio release. | In 2004 a silkscreen print version of the motif was released by publishers Pictures on Walls consisting of a signed edition of 150 and an unsigned edition of 600. | [
"silkscreen print"
] |
|
17045_NT | Pulp Fiction (Banksy) | Focus on this artwork and analyze the Studio release. | In 2004 a silkscreen print version of the motif was released by publishers Pictures on Walls consisting of a signed edition of 150 and an unsigned edition of 600. | [
"silkscreen print"
] |
|
17046_T | Receiver (statue) | In Receiver (statue), how is the abstract discussed? | The Receiver statue is a 22-foot (6.7 m) tall public statue in Green Bay, Wisconsin associated with the Green Bay Packers football team. Originally located outside the Green Bay Packers Hall of Fame, the statue was dedicated to the "great past, present and future enshrinees in the Green Bay Packers Hall of Fame" on June 8, 1985. The player on the statue had number 88 on his jersey and the name listed on the back jersey was "PACKER." The statue was sold in 2003 to Titletown Brewing and was moved to the corner of Dousman Street and Donald Driver Way in front of the old Chicago and North Western Railway Passenger Depot. It was re-dedicated in the likeness of Donald Driver on June 15, 2013. | [
"Chicago and North Western Railway Passenger Depot",
"Donald Driver",
"Green Bay, Wisconsin",
"Green Bay Packers Hall of Fame",
"Green Bay Packers",
"Wisconsin"
] |
|
17046_NT | Receiver (statue) | In this artwork, how is the abstract discussed? | The Receiver statue is a 22-foot (6.7 m) tall public statue in Green Bay, Wisconsin associated with the Green Bay Packers football team. Originally located outside the Green Bay Packers Hall of Fame, the statue was dedicated to the "great past, present and future enshrinees in the Green Bay Packers Hall of Fame" on June 8, 1985. The player on the statue had number 88 on his jersey and the name listed on the back jersey was "PACKER." The statue was sold in 2003 to Titletown Brewing and was moved to the corner of Dousman Street and Donald Driver Way in front of the old Chicago and North Western Railway Passenger Depot. It was re-dedicated in the likeness of Donald Driver on June 15, 2013. | [
"Chicago and North Western Railway Passenger Depot",
"Donald Driver",
"Green Bay, Wisconsin",
"Green Bay Packers Hall of Fame",
"Green Bay Packers",
"Wisconsin"
] |
|
17047_T | Lapham Memorial | Focus on Lapham Memorial and explore the abstract. | The Lapham Memorial is a public artwork by American artist Albert H. Atkins, located near the entrance to Lapham Hall, on the University of Wisconsin–Milwaukee campus. It is in memory of Increase A. Lapham, a 19th-century scientist famous for prompting the creation of the National Weather Service and recording the antiquities of Wisconsin, among other accomplishments. | [
"National Weather Service",
"American",
"Lapham Hall",
"Albert H. Atkins",
"antiquities",
"Increase A. Lapham",
"Milwaukee",
"University of Wisconsin–Milwaukee"
] |
|
17047_NT | Lapham Memorial | Focus on this artwork and explore the abstract. | The Lapham Memorial is a public artwork by American artist Albert H. Atkins, located near the entrance to Lapham Hall, on the University of Wisconsin–Milwaukee campus. It is in memory of Increase A. Lapham, a 19th-century scientist famous for prompting the creation of the National Weather Service and recording the antiquities of Wisconsin, among other accomplishments. | [
"National Weather Service",
"American",
"Lapham Hall",
"Albert H. Atkins",
"antiquities",
"Increase A. Lapham",
"Milwaukee",
"University of Wisconsin–Milwaukee"
] |
|
17048_T | Lapham Memorial | Focus on Lapham Memorial and explain the Description. | The relief plaque is made out of bronze and is mounted on a granite base. The plaque is approximately 27.5 inches by 37 inches and the base is approximately 50 inches by 82 inches by 82 inches, weighing 40,000 pounds. The plaque is in a landscape format featuring the bust of Increase A. Lapham in the center. The male figure has a mustache and a beard, and is wearing a high collared shirt, a bow tie, and jacket. To the upper left there is an oil lamp, which represents Lapham's contribution to learning in Wisconsin. It is inscribed: "In memory of Increase Allen Lapham." There is a fish on the plaque's upper right representing his interest in the fresh water lakes and natural resources of Wisconsin. It is inscribed: "Naturalist MDCCC.XI . MDCCC.LXXV." The words inscribed below the portrait are as follows: "Erected by his friends in commemoration of his services to the cause of human knowledge and his unselfish devotion to the welfare of the people. Under the auspices of the old settlers club of Milwaukee County." | [
"bronze",
"oil lamp",
"granite",
"Naturalist",
"Increase A. Lapham",
"Milwaukee",
"plaque",
"bust"
] |
|
17048_NT | Lapham Memorial | Focus on this artwork and explain the Description. | The relief plaque is made out of bronze and is mounted on a granite base. The plaque is approximately 27.5 inches by 37 inches and the base is approximately 50 inches by 82 inches by 82 inches, weighing 40,000 pounds. The plaque is in a landscape format featuring the bust of Increase A. Lapham in the center. The male figure has a mustache and a beard, and is wearing a high collared shirt, a bow tie, and jacket. To the upper left there is an oil lamp, which represents Lapham's contribution to learning in Wisconsin. It is inscribed: "In memory of Increase Allen Lapham." There is a fish on the plaque's upper right representing his interest in the fresh water lakes and natural resources of Wisconsin. It is inscribed: "Naturalist MDCCC.XI . MDCCC.LXXV." The words inscribed below the portrait are as follows: "Erected by his friends in commemoration of his services to the cause of human knowledge and his unselfish devotion to the welfare of the people. Under the auspices of the old settlers club of Milwaukee County." | [
"bronze",
"oil lamp",
"granite",
"Naturalist",
"Increase A. Lapham",
"Milwaukee",
"plaque",
"bust"
] |
|
17049_T | Lapham Memorial | Explore the Historical information of this artwork, Lapham Memorial. | Lapham was a member of the Old Settlers' Club of Milwaukee. The club commissioned the plaque. | [
"Old Settlers' Club",
"Milwaukee",
"plaque"
] |
|
17049_NT | Lapham Memorial | Explore the Historical information of this artwork. | Lapham was a member of the Old Settlers' Club of Milwaukee. The club commissioned the plaque. | [
"Old Settlers' Club",
"Milwaukee",
"plaque"
] |
|
17050_T | Lapham Memorial | In the context of Lapham Memorial, discuss the Location history of the Historical information. | It was originally installed at an entrance to Lapham Park on 8th Street in Milwaukee. This was where Lapham had surveyed an Indian mound. The city began a housing project on this site in the 1960s and the plaque was moved to a drive leading to Lapham Hall on the University of Wisconsin–Milwaukee campus. It was later moved in front of Lapham Hall along North Maryland Avenue for better visibility. | [
"Lapham Hall",
"Lapham Park",
"Milwaukee",
"University of Wisconsin–Milwaukee",
"plaque"
] |
|
17050_NT | Lapham Memorial | In the context of this artwork, discuss the Location history of the Historical information. | It was originally installed at an entrance to Lapham Park on 8th Street in Milwaukee. This was where Lapham had surveyed an Indian mound. The city began a housing project on this site in the 1960s and the plaque was moved to a drive leading to Lapham Hall on the University of Wisconsin–Milwaukee campus. It was later moved in front of Lapham Hall along North Maryland Avenue for better visibility. | [
"Lapham Hall",
"Lapham Park",
"Milwaukee",
"University of Wisconsin–Milwaukee",
"plaque"
] |
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