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17101_T | For the Love of God | Focus on For the Love of God and explain the Media reporting and reviews. | The media coverage of the "sale" of the diamond skull was extensive and led some to question to what extent the announcement of the sale was some kind of media art, especially as the "sale" continues to be in question. This was further supported by the performative nature of the Sotheby's exhibition and auction of Hirst's artwork the following year.
In an article in The Guardian, Germaine Greer said, "Damien Hirst is a brand, because the art form of the 21st century is marketing. To develop so strong a brand on so conspicuously threadbare a rationale is hugely creative - revolutionary even."Richard Dorment, art critic of The Daily Telegraph, wrote: "If anyone but Hirst had made this curious object, we would be struck by its vulgarity. It looks like the kind of thing Asprey or Harrods might sell to credulous visitors from the oil states with unlimited amounts of money to spend, little taste, and no knowledge of art. I can imagine it gracing the drawing room of some African dictator or Colombian drug baron. But not just anyone made it - Hirst did. Knowing this, we look at it in a different way and realise that in the most brutal, direct way possible, For the Love of God questions something about the morality of art and money."Ralph Rugoff of the Hayward Gallery in London criticised the work as a mere decorative object, saying "It's not challenging or fresh. It's a decorative object which is not particularly well done."The Australian art critic Robert Hughes described the skull as "a letdown unless you believe the unverifiable claims about its cash value, and are mesmerised by mere bling of rather secondary quality." Hughes added that "as a spectacle of transformation and terror, the sugar skulls sold on any Mexican street corner on the Day of the Dead are 10 times as vivid and, as a bonus, raise real issues about death and its relation to religious belief in a way that is genuinely democratic, not just a vicarious spectacle for money groupies such as Hirst and his admirers".The performative nature of Hirst's work was later addressed in the exhibition at Tate Modern, "Pop Life: Art in a material world", which critic Ben Lewis found very offensive: "the gallery texts have the temerity to claim that the greed-fuelled auction sale was a work of performance art in itself. That's just the same as Stockhausen calling 9/11 a work of art."In her 2020 book, Written in Bone, professor Sue Black criticised the artwork, writing that the work raised questions "about the ethics of being able to buy and sell the remains of our ancestors, irrespective of their antiquity." She also criticised the use of real human teeth, arguing that it violated the integrity of the original remains for art.In a 2007 article in The Times, artist John LeKay, a friend of Hirst's in the early 1990s, claimed the work was based on a skull covered with crystals which LeKay had made in 1993. LeKay said, "When I heard he was doing it, I felt like I was being punched in the gut. When I saw the image online, I felt that a part of me was in the piece. I was a bit shocked." | [
"crystal",
"Harrods",
"Asprey",
"John LeKay",
"Germaine Greer",
"Robert Hughes",
"Tate Modern",
"Hayward Gallery",
"Ralph Rugoff",
"The Times",
"human teeth",
"Sue Black",
"Stockhausen calling 9/11 a work of art",
"London",
"Damien Hirst",
"The Guardian",
"oil states",
"Time",
"The Daily Telegraph"
]
|
|
17101_NT | For the Love of God | Focus on this artwork and explain the Media reporting and reviews. | The media coverage of the "sale" of the diamond skull was extensive and led some to question to what extent the announcement of the sale was some kind of media art, especially as the "sale" continues to be in question. This was further supported by the performative nature of the Sotheby's exhibition and auction of Hirst's artwork the following year.
In an article in The Guardian, Germaine Greer said, "Damien Hirst is a brand, because the art form of the 21st century is marketing. To develop so strong a brand on so conspicuously threadbare a rationale is hugely creative - revolutionary even."Richard Dorment, art critic of The Daily Telegraph, wrote: "If anyone but Hirst had made this curious object, we would be struck by its vulgarity. It looks like the kind of thing Asprey or Harrods might sell to credulous visitors from the oil states with unlimited amounts of money to spend, little taste, and no knowledge of art. I can imagine it gracing the drawing room of some African dictator or Colombian drug baron. But not just anyone made it - Hirst did. Knowing this, we look at it in a different way and realise that in the most brutal, direct way possible, For the Love of God questions something about the morality of art and money."Ralph Rugoff of the Hayward Gallery in London criticised the work as a mere decorative object, saying "It's not challenging or fresh. It's a decorative object which is not particularly well done."The Australian art critic Robert Hughes described the skull as "a letdown unless you believe the unverifiable claims about its cash value, and are mesmerised by mere bling of rather secondary quality." Hughes added that "as a spectacle of transformation and terror, the sugar skulls sold on any Mexican street corner on the Day of the Dead are 10 times as vivid and, as a bonus, raise real issues about death and its relation to religious belief in a way that is genuinely democratic, not just a vicarious spectacle for money groupies such as Hirst and his admirers".The performative nature of Hirst's work was later addressed in the exhibition at Tate Modern, "Pop Life: Art in a material world", which critic Ben Lewis found very offensive: "the gallery texts have the temerity to claim that the greed-fuelled auction sale was a work of performance art in itself. That's just the same as Stockhausen calling 9/11 a work of art."In her 2020 book, Written in Bone, professor Sue Black criticised the artwork, writing that the work raised questions "about the ethics of being able to buy and sell the remains of our ancestors, irrespective of their antiquity." She also criticised the use of real human teeth, arguing that it violated the integrity of the original remains for art.In a 2007 article in The Times, artist John LeKay, a friend of Hirst's in the early 1990s, claimed the work was based on a skull covered with crystals which LeKay had made in 1993. LeKay said, "When I heard he was doing it, I felt like I was being punched in the gut. When I saw the image online, I felt that a part of me was in the piece. I was a bit shocked." | [
"crystal",
"Harrods",
"Asprey",
"John LeKay",
"Germaine Greer",
"Robert Hughes",
"Tate Modern",
"Hayward Gallery",
"Ralph Rugoff",
"The Times",
"human teeth",
"Sue Black",
"Stockhausen calling 9/11 a work of art",
"London",
"Damien Hirst",
"The Guardian",
"oil states",
"Time",
"The Daily Telegraph"
]
|
|
17102_T | For the Love of God | Explore the Artistic responses of this artwork, For the Love of God. | In June and July 2007 Polish artist Peter Fuss presented his work For the Laugh of God at the exhibitions in Gdańsk and London parodying Hirst's For the Love of God. The work was a plastic human skull covered in "artificial diamonds".A photo of the work thrown out with rubbish bags outside the White Cube gallery was a spoof by artist Laura Keeble who created a replica skull with 6522 Swarovski crystals.In 2008, the Gaelic-language publisher Ùr-sgeul published a short story by Maoilios Caimbeul, "An Claigeann aig Damien Hirst" ("Damian Hirst's Skull"), as a fictional response to the work of art. This in turn was followed in 2009 by a single performed by the Gaelic rock band, Na Gathan, "Claigeann Damien Hirst" ("Damian Hirst's Skull"), released by Ùr-sgeul, which was inspired by Caimbeul's work. The song was shortlisted in the Nòs-ùr contest for a new song in a Celtic language or Scots.In December 2008 Hirst threatened to sue the artist Cartrain for copyright infringement. Cartrain had incorporated photos of For the Love of God into collages and sold them on the Internet.In 2009, Spanish artist Eugenio Merino unveiled a piece entitled "4 The Love of Go(l)d", a giant sculpture, encased in glass, of Hirst shooting himself in the head. Merino, in fact an admirer of Hirst, intended the piece as a comment on the emphasis on money within the art world, and with Hirst in particular. "I thought that, given that he thinks so much about money, his next work could be that he shot himself", said Merino. "Like that the value of his work would increase dramatically ... Obviously, though, he would not be around to enjoy it."In 2015, the band Rosie released a song called "For The Love of God", which contains lyrics written from the perspective of the jewelled skull. The song was featured in the rhythm video game The Metronomicon: Slay the Dance Floor. | [
"Eugenio Merino",
"Na Gathan",
"crystal",
"White Cube",
"Ùr-sgeul",
"Peter Fuss",
"Maoilios Caimbeul",
"Swarovski",
"Swarovski crystals",
"The Metronomicon: Slay the Dance Floor",
"Gdańsk",
"human skull",
"Cartrain",
"London",
"Laura Keeble",
"Damien Hirst"
]
|
|
17102_NT | For the Love of God | Explore the Artistic responses of this artwork. | In June and July 2007 Polish artist Peter Fuss presented his work For the Laugh of God at the exhibitions in Gdańsk and London parodying Hirst's For the Love of God. The work was a plastic human skull covered in "artificial diamonds".A photo of the work thrown out with rubbish bags outside the White Cube gallery was a spoof by artist Laura Keeble who created a replica skull with 6522 Swarovski crystals.In 2008, the Gaelic-language publisher Ùr-sgeul published a short story by Maoilios Caimbeul, "An Claigeann aig Damien Hirst" ("Damian Hirst's Skull"), as a fictional response to the work of art. This in turn was followed in 2009 by a single performed by the Gaelic rock band, Na Gathan, "Claigeann Damien Hirst" ("Damian Hirst's Skull"), released by Ùr-sgeul, which was inspired by Caimbeul's work. The song was shortlisted in the Nòs-ùr contest for a new song in a Celtic language or Scots.In December 2008 Hirst threatened to sue the artist Cartrain for copyright infringement. Cartrain had incorporated photos of For the Love of God into collages and sold them on the Internet.In 2009, Spanish artist Eugenio Merino unveiled a piece entitled "4 The Love of Go(l)d", a giant sculpture, encased in glass, of Hirst shooting himself in the head. Merino, in fact an admirer of Hirst, intended the piece as a comment on the emphasis on money within the art world, and with Hirst in particular. "I thought that, given that he thinks so much about money, his next work could be that he shot himself", said Merino. "Like that the value of his work would increase dramatically ... Obviously, though, he would not be around to enjoy it."In 2015, the band Rosie released a song called "For The Love of God", which contains lyrics written from the perspective of the jewelled skull. The song was featured in the rhythm video game The Metronomicon: Slay the Dance Floor. | [
"Eugenio Merino",
"Na Gathan",
"crystal",
"White Cube",
"Ùr-sgeul",
"Peter Fuss",
"Maoilios Caimbeul",
"Swarovski",
"Swarovski crystals",
"The Metronomicon: Slay the Dance Floor",
"Gdańsk",
"human skull",
"Cartrain",
"London",
"Laura Keeble",
"Damien Hirst"
]
|
|
17103_T | Alicia Markova "The Dying Swan" | Focus on Alicia Markova "The Dying Swan" and discuss the abstract. | Alicia Markova "The Dying Swan" is a 1949 painting by Vladimir Tretchikoff. (It is also known simply as The Dying Swan, but is not to be confused with another Tretchikoff painting with the same title.) The painting depicts the prima ballerina Alicia Markova in her most famous role, The Dying Swan, from which she became inseparable in the minds of the public; it is for this reason that the artist painted the swan and Markova as one and the same being. | [
"The Dying Swan",
"Alicia Markova",
"Vladimir Tretchikoff"
]
|
|
17103_NT | Alicia Markova "The Dying Swan" | Focus on this artwork and discuss the abstract. | Alicia Markova "The Dying Swan" is a 1949 painting by Vladimir Tretchikoff. (It is also known simply as The Dying Swan, but is not to be confused with another Tretchikoff painting with the same title.) The painting depicts the prima ballerina Alicia Markova in her most famous role, The Dying Swan, from which she became inseparable in the minds of the public; it is for this reason that the artist painted the swan and Markova as one and the same being. | [
"The Dying Swan",
"Alicia Markova",
"Vladimir Tretchikoff"
]
|
|
17104_T | Alicia Markova "The Dying Swan" | How does Alicia Markova "The Dying Swan" elucidate its Historical background? | Tretchikoff tells the story behind the painting in his 1973 autobiography, Pigeon's Luck. While the Royal Ballet were touring South Africa, Tretchikoff sat in at a rehearsal in Cape Town, where he saw Markova perform "The Dying Swan". Moved by the experience, he approached Markova's manager and asked for permission to paint her. Although initially reluctant, the manager agreed.
However, Markova had little free time to model for the painting, so Tretchikoff was obliged to work around her schedule. By the time he had painted the background and the outline of the swan (which he modelled on a dead duck), the company had already moved on. Tretchikoff followed Markova to Johannesburg, and then to Pretoria, while continuing to work on the painting. He described Markova as "infinitely patient in the long hours of posing".The idea behind the painting, he wrote, was "to paint Alicia intertwined with the bird she portrayed, the two inseparable in the moment of death, the end of the dance". | [
"Johannesburg",
"Pretoria",
"The Dying Swan",
"Cape Town",
"Royal Ballet"
]
|
|
17104_NT | Alicia Markova "The Dying Swan" | How does this artwork elucidate its Historical background? | Tretchikoff tells the story behind the painting in his 1973 autobiography, Pigeon's Luck. While the Royal Ballet were touring South Africa, Tretchikoff sat in at a rehearsal in Cape Town, where he saw Markova perform "The Dying Swan". Moved by the experience, he approached Markova's manager and asked for permission to paint her. Although initially reluctant, the manager agreed.
However, Markova had little free time to model for the painting, so Tretchikoff was obliged to work around her schedule. By the time he had painted the background and the outline of the swan (which he modelled on a dead duck), the company had already moved on. Tretchikoff followed Markova to Johannesburg, and then to Pretoria, while continuing to work on the painting. He described Markova as "infinitely patient in the long hours of posing".The idea behind the painting, he wrote, was "to paint Alicia intertwined with the bird she portrayed, the two inseparable in the moment of death, the end of the dance". | [
"Johannesburg",
"Pretoria",
"The Dying Swan",
"Cape Town",
"Royal Ballet"
]
|
|
17105_T | Obelisk of Montevideo | Focus on Obelisk of Montevideo and analyze the abstract. | The Obelisk of Montevideo, officially Obelisk to the Constituents of 1830 (Spanish: Obelisco a los Constituyentes de 1830) is a monument created by sculptor José Luis Zorrilla de San Martín (1891-1975). It is a three-sided obelisk made of granite, 40 metres (130 ft) tall with three bronze statues on its sides, representing "Law", "Liberty" and "Force". It has a hexagonal water fountain around it with six spheres on its outer circumference. It is located at the intersection of 18 de Julio and Artigas Boulevard avenues, in Montevideo, at the entrance of the Parque Batlle area. It was built in 1930 to celebrate the 100th anniversary of the first Constitution of Uruguay and is an homage to the participants of the General Assembly of the first Constitution.Six years later, a similar but larger monument was built at the intersection of 9 de Julio and Corrientes avenues in Buenos Aires, to celebrate the 400th anniversary of the first founding of the city.
In 1983 it was the site of the largest demonstration in the history of the country, the Río de Libertad. It demanded the end of the civil-military dictatorship. | [
"first Constitution of Uruguay",
"18 de Julio",
"Constitution of Uruguay",
"Río de Libertad",
"Uruguay",
"similar but larger monument",
"Montevideo",
"Artigas Boulevard",
"Parque Batlle",
"water fountain",
"civil-military dictatorship",
"Buenos Aires",
"monument",
"José Luis Zorrilla de San Martín",
"9 de Julio"
]
|
|
17105_NT | Obelisk of Montevideo | Focus on this artwork and analyze the abstract. | The Obelisk of Montevideo, officially Obelisk to the Constituents of 1830 (Spanish: Obelisco a los Constituyentes de 1830) is a monument created by sculptor José Luis Zorrilla de San Martín (1891-1975). It is a three-sided obelisk made of granite, 40 metres (130 ft) tall with three bronze statues on its sides, representing "Law", "Liberty" and "Force". It has a hexagonal water fountain around it with six spheres on its outer circumference. It is located at the intersection of 18 de Julio and Artigas Boulevard avenues, in Montevideo, at the entrance of the Parque Batlle area. It was built in 1930 to celebrate the 100th anniversary of the first Constitution of Uruguay and is an homage to the participants of the General Assembly of the first Constitution.Six years later, a similar but larger monument was built at the intersection of 9 de Julio and Corrientes avenues in Buenos Aires, to celebrate the 400th anniversary of the first founding of the city.
In 1983 it was the site of the largest demonstration in the history of the country, the Río de Libertad. It demanded the end of the civil-military dictatorship. | [
"first Constitution of Uruguay",
"18 de Julio",
"Constitution of Uruguay",
"Río de Libertad",
"Uruguay",
"similar but larger monument",
"Montevideo",
"Artigas Boulevard",
"Parque Batlle",
"water fountain",
"civil-military dictatorship",
"Buenos Aires",
"monument",
"José Luis Zorrilla de San Martín",
"9 de Julio"
]
|
|
17106_T | Still Life with Straw Hat | In Still Life with Straw Hat, how is the Van Gogh in Nuenen discussed? | In November 1884 Van Gogh taught some friends from Eindhoven, a large town near Nuenen, to paint inanimate objects in oil. Van Gogh, in his enthusiasm, created a series of still life paintings of bottles, bowls and pots and other objects. Still Life with Straw Hat was painted at Nuenen during this period. He wrote that the paintings would be hard to sell, but having deemed the effort valuable he painted still life compositions throughout the winter. | [
"Eindhoven",
"Nuenen"
]
|
|
17106_NT | Still Life with Straw Hat | In this artwork, how is the Van Gogh in Nuenen discussed? | In November 1884 Van Gogh taught some friends from Eindhoven, a large town near Nuenen, to paint inanimate objects in oil. Van Gogh, in his enthusiasm, created a series of still life paintings of bottles, bowls and pots and other objects. Still Life with Straw Hat was painted at Nuenen during this period. He wrote that the paintings would be hard to sell, but having deemed the effort valuable he painted still life compositions throughout the winter. | [
"Eindhoven",
"Nuenen"
]
|
|
17107_T | Still Life with Straw Hat | Focus on Still Life with Straw Hat and explore the The painting. | Still-Life with Straw Hat and another painting of this period, Still-life with Earthen Pot and Clogs, are regarded by critics and writers for their technical mastery. Both are characterized by smooth, meticulous brushwork and fine shading of colors. During his two-year stay in Nuenen, he completed numerous drawings and watercolors and nearly 200 oil paintings. However, his palette consisted mainly of sombre earth tones, particularly dark brown, and he showed no sign of developing the vivid coloration that distinguishes his later, best known work. When he complained that Theo was not making enough effort to sell his paintings in Paris, Theo replied that they were too dark and not in line with the current style of bright Impressionist paintings.The painting is part of the Kröller-Müller Museum collection in Otterlo, Netherlands | [
"Nuenen",
"Impressionist",
"Kröller-Müller Museum",
"Netherlands",
"Otterlo"
]
|
|
17107_NT | Still Life with Straw Hat | Focus on this artwork and explore the The painting. | Still-Life with Straw Hat and another painting of this period, Still-life with Earthen Pot and Clogs, are regarded by critics and writers for their technical mastery. Both are characterized by smooth, meticulous brushwork and fine shading of colors. During his two-year stay in Nuenen, he completed numerous drawings and watercolors and nearly 200 oil paintings. However, his palette consisted mainly of sombre earth tones, particularly dark brown, and he showed no sign of developing the vivid coloration that distinguishes his later, best known work. When he complained that Theo was not making enough effort to sell his paintings in Paris, Theo replied that they were too dark and not in line with the current style of bright Impressionist paintings.The painting is part of the Kröller-Müller Museum collection in Otterlo, Netherlands | [
"Nuenen",
"Impressionist",
"Kröller-Müller Museum",
"Netherlands",
"Otterlo"
]
|
|
17108_T | Rest on the Flight into Egypt (David, Madrid) | Focus on Rest on the Flight into Egypt (David, Madrid) and explain the abstract. | The Rest on the Flight into Egypt is an oil painting of around 1515 by the Flemish painter Gerard David now in the Prado Museum. It can be compared with other works on the same theme by the same painter in New York, Washington and Antwerp and a Virgin and Child in Rotterdam.
The Flight into Egypt derives from the Gospel of Matthew (II.13-18), though it does not mention a rest, which derives from apocryphal accounts. It was a popular theme for painters in many periods. David painted it on several occasions using different compositions, possibly not as the result of commissions but simply painted to put on the open market. Many of them are near-identical but for a few small details. However, in all of them David focuses attention on the seated Virgin Mary breastfeeding the Christ Child, enthroned in front of a deep forest landscape background. In the far background there is usually a scene related to either the rest or to the journey to Egypt.
It entered the Museum in 1915 from a convent in Navarre. It was then attributed to Hieronymus Bosch. It shows the Virgin and Child in the traditional Virgo Lactans composition, with the Holy Family's flight into Egypt shown in the forest in the left background. Behind the trees on the right is a city by a river and hills reaching to the horizon. The Flemish taste for detail is shown in the plants in the foreground, the food basket and the leaves of the beech and chestnut trees. The chiaroscuro shapes the figure of Mary and the tones (especially the blues and greens) are graded so as to give depth to the landscape. | [
"apocryphal accounts",
"Prado Museum",
"Antwerp",
"1515",
"Virgo Lactans",
"Hieronymus Bosch",
"Washington",
"Virgin and Child",
"New York",
"David",
"chiaroscuro",
"Gospel of Matthew",
"Flight into Egypt",
"Navarre",
"Gerard David"
]
|
|
17108_NT | Rest on the Flight into Egypt (David, Madrid) | Focus on this artwork and explain the abstract. | The Rest on the Flight into Egypt is an oil painting of around 1515 by the Flemish painter Gerard David now in the Prado Museum. It can be compared with other works on the same theme by the same painter in New York, Washington and Antwerp and a Virgin and Child in Rotterdam.
The Flight into Egypt derives from the Gospel of Matthew (II.13-18), though it does not mention a rest, which derives from apocryphal accounts. It was a popular theme for painters in many periods. David painted it on several occasions using different compositions, possibly not as the result of commissions but simply painted to put on the open market. Many of them are near-identical but for a few small details. However, in all of them David focuses attention on the seated Virgin Mary breastfeeding the Christ Child, enthroned in front of a deep forest landscape background. In the far background there is usually a scene related to either the rest or to the journey to Egypt.
It entered the Museum in 1915 from a convent in Navarre. It was then attributed to Hieronymus Bosch. It shows the Virgin and Child in the traditional Virgo Lactans composition, with the Holy Family's flight into Egypt shown in the forest in the left background. Behind the trees on the right is a city by a river and hills reaching to the horizon. The Flemish taste for detail is shown in the plants in the foreground, the food basket and the leaves of the beech and chestnut trees. The chiaroscuro shapes the figure of Mary and the tones (especially the blues and greens) are graded so as to give depth to the landscape. | [
"apocryphal accounts",
"Prado Museum",
"Antwerp",
"1515",
"Virgo Lactans",
"Hieronymus Bosch",
"Washington",
"Virgin and Child",
"New York",
"David",
"chiaroscuro",
"Gospel of Matthew",
"Flight into Egypt",
"Navarre",
"Gerard David"
]
|
|
17109_T | Portrait of a Man with a Blue Chaperon | Explore the abstract of this artwork, Portrait of a Man with a Blue Chaperon. | Portrait of a Man with a Blue Chaperon (or Portrait of a Man with a Blue Hood, earlier Portrait of a Jeweller or Man with a Ring) is a very small (22.5 cm x 16.6 cm with frame) oil on panel portrait of an unidentified man attributed to the Early Netherlandish painter Jan van Eyck.
The painting was commissioned and completed sometime around 1430. It contains a number of elements typical of van Eyck's secular portraits, including a slightly oversized head, a dark and flat background, forensic attention to the small details and textures of the man's face, and illusionistic devices. Artists did not give titles to their works during the Northern Renaissance period, and as with any portrait of a sitter whose identity is lost, the painting has attracted generic titles over the years. It had long been thought that the ring held in the man's right hand was meant as an indication of his profession as a jeweller or goldsmith and so the painting was long titled on variants of such. More recently the ring is interpreted as an emblem of betrothal and the titles given by various art historians and publications since are usually more descriptive of the colour or form of the headdress.
The painting was attributed to van Eyck in the late 19th century, but this was repeatedly challenged by some art historians until a 1991 cleaning when infrared photography revealed an underdrawing and methods of handling of oil that were unmistakably van Eyck's. | [
"Early Netherlandish",
"betrothal",
"panel",
"Portrait of a Man",
"Northern Renaissance",
"Jan van Eyck",
"illusionistic",
"infrared photography"
]
|
|
17109_NT | Portrait of a Man with a Blue Chaperon | Explore the abstract of this artwork. | Portrait of a Man with a Blue Chaperon (or Portrait of a Man with a Blue Hood, earlier Portrait of a Jeweller or Man with a Ring) is a very small (22.5 cm x 16.6 cm with frame) oil on panel portrait of an unidentified man attributed to the Early Netherlandish painter Jan van Eyck.
The painting was commissioned and completed sometime around 1430. It contains a number of elements typical of van Eyck's secular portraits, including a slightly oversized head, a dark and flat background, forensic attention to the small details and textures of the man's face, and illusionistic devices. Artists did not give titles to their works during the Northern Renaissance period, and as with any portrait of a sitter whose identity is lost, the painting has attracted generic titles over the years. It had long been thought that the ring held in the man's right hand was meant as an indication of his profession as a jeweller or goldsmith and so the painting was long titled on variants of such. More recently the ring is interpreted as an emblem of betrothal and the titles given by various art historians and publications since are usually more descriptive of the colour or form of the headdress.
The painting was attributed to van Eyck in the late 19th century, but this was repeatedly challenged by some art historians until a 1991 cleaning when infrared photography revealed an underdrawing and methods of handling of oil that were unmistakably van Eyck's. | [
"Early Netherlandish",
"betrothal",
"panel",
"Portrait of a Man",
"Northern Renaissance",
"Jan van Eyck",
"illusionistic",
"infrared photography"
]
|
|
17110_T | Portrait of a Man with a Blue Chaperon | Focus on Portrait of a Man with a Blue Chaperon and discuss the Description. | The man is shown in three-quarters view with his face dramatically lit by light falling from the left. This device provides striking contrasts of light and shadow and draws the viewer's attention on to the man's face. He has brown eyes, and while his expression is impassive there are traces of melancholy, especially in the down-turn of his mouth. He is obviously a member of the nobility, being very well dressed in a fur lined brown jacket over a black undervest. His headdress, a chaperon, contains two wings which hang down over the man's shoulders and extend to his chest. The edges of the cloth are given a shredded look at the edges of their trains. The hood is brightly and dramatically coloured using a pigment, ultramarine, extracted from the expensive lapis lazuli gemstone to give it its bright, intense hue. The headdress is of a similar but less extravagant type to that seen in van Eyck's c. 1433 Portrait of a Man, and worn by a figure in the distance in his c. 1435 Madonna of Chancellor Rolin. This type of headdress was to go out of fashion by the mid-1430s, conveniently and definitively dating the painting as having been completed before then.It is not known if the ring held in his right hand is intended to indicate that the sitter was a jeweller or goldsmith – as had been previously thought until Erwin Panofsky's analysis in the mid century – or that the painting was commissioned as a betrothal portrait to mark a proposal of marriage intended for an unseen bride and her family. This latter theory is supported by the panel's near miniature dimensions; such a small size would have been easily packed and transported to the intended's family.He has a light beard of one or two days' growth, a common feature in other of van Eyck's male portraits, where the sitter is often either unshaven, or according to Lorne Campbell of the National Gallery, London, "rather inefficiently shaved". Art historian Till-Holger Borchert praises van Eyck's recording of the man's stubble "with painstaking precision; nothing is idealised." Yet it is interesting to consider such an idealised portrait in the context of a betrothal portrait, where the intended bride's family most likely had not met the man and are dependent solely on the portrait for an indication of his means and character. Carol Richardson observes that the unidealised representation would have been a significant novelty and shock at the time, and that, complete with the evident skill of the painter, the verisimilitude would have given the sitter weight and creditability.
The panel contains two illusionistic passages; the ring and his right hand appear to project out of the painting, while the minutely described fingers of his left hand seem to lie on a parapet positioned on what would have been the lower border of the original—but now lost—frame. | [
"betrothal",
"Till-Holger Borchert",
"panel",
"Portrait of a Man",
"Lorne Campbell",
"parapet",
"ultramarine",
"left",
"Madonna of Chancellor Rolin",
"chaperon",
"illusionistic",
"Erwin Panofsky",
"National Gallery",
"lapis lazuli"
]
|
|
17110_NT | Portrait of a Man with a Blue Chaperon | Focus on this artwork and discuss the Description. | The man is shown in three-quarters view with his face dramatically lit by light falling from the left. This device provides striking contrasts of light and shadow and draws the viewer's attention on to the man's face. He has brown eyes, and while his expression is impassive there are traces of melancholy, especially in the down-turn of his mouth. He is obviously a member of the nobility, being very well dressed in a fur lined brown jacket over a black undervest. His headdress, a chaperon, contains two wings which hang down over the man's shoulders and extend to his chest. The edges of the cloth are given a shredded look at the edges of their trains. The hood is brightly and dramatically coloured using a pigment, ultramarine, extracted from the expensive lapis lazuli gemstone to give it its bright, intense hue. The headdress is of a similar but less extravagant type to that seen in van Eyck's c. 1433 Portrait of a Man, and worn by a figure in the distance in his c. 1435 Madonna of Chancellor Rolin. This type of headdress was to go out of fashion by the mid-1430s, conveniently and definitively dating the painting as having been completed before then.It is not known if the ring held in his right hand is intended to indicate that the sitter was a jeweller or goldsmith – as had been previously thought until Erwin Panofsky's analysis in the mid century – or that the painting was commissioned as a betrothal portrait to mark a proposal of marriage intended for an unseen bride and her family. This latter theory is supported by the panel's near miniature dimensions; such a small size would have been easily packed and transported to the intended's family.He has a light beard of one or two days' growth, a common feature in other of van Eyck's male portraits, where the sitter is often either unshaven, or according to Lorne Campbell of the National Gallery, London, "rather inefficiently shaved". Art historian Till-Holger Borchert praises van Eyck's recording of the man's stubble "with painstaking precision; nothing is idealised." Yet it is interesting to consider such an idealised portrait in the context of a betrothal portrait, where the intended bride's family most likely had not met the man and are dependent solely on the portrait for an indication of his means and character. Carol Richardson observes that the unidealised representation would have been a significant novelty and shock at the time, and that, complete with the evident skill of the painter, the verisimilitude would have given the sitter weight and creditability.
The panel contains two illusionistic passages; the ring and his right hand appear to project out of the painting, while the minutely described fingers of his left hand seem to lie on a parapet positioned on what would have been the lower border of the original—but now lost—frame. | [
"betrothal",
"Till-Holger Borchert",
"panel",
"Portrait of a Man",
"Lorne Campbell",
"parapet",
"ultramarine",
"left",
"Madonna of Chancellor Rolin",
"chaperon",
"illusionistic",
"Erwin Panofsky",
"National Gallery",
"lapis lazuli"
]
|
|
17111_T | Portrait of a Man with a Blue Chaperon | How does Portrait of a Man with a Blue Chaperon elucidate its Attribution? | The painting is not signed or dated by van Eyck. Curiously the panel bears an imitation of the "AD" signature associated with Albrecht Dürer to the top right, and was for a period dated 1492. These are later additions by an unknown hand for unknown reasons. The work was given its current attribution in the late 19th century and exhibited as such in Bruges in 1902. However, there were disagreements and often heated arguments among art historians in the early and mid-20th century over the authorship. Max J. Friedländer, like Georges Hulin de Loo, was convinced that it was a van Eyck; among other factors he saw a lot of similarity with the signed and dated London Léal Souvenir of c. 1432. Friedländer strongly and at length refuted claims by German art historian Karl Voll that the panel was completed in the 1490s by a follower. Although Voll later came to believe that work originated in the early 1430s, he remained convinced that it was not from the hand of van Eyck. His view was shared, some 30 years later, by Panofsky, who saw weakness in the portrait he believed irreconcilable with as skilled and accomplished a painter.Attribution to van Eyck is now broadly accepted since an infrared photography examination carried out during a 1991 restoration revealed an underdrawing and paint handling very similar to that found in confirmed, signed works by the artist. | [
"panel",
"Bruges in 1902",
"Léal Souvenir",
"Georges Hulin de Loo",
"Max J. Friedländer",
"Karl Voll",
"Albrecht Dürer",
"infrared photography"
]
|
|
17111_NT | Portrait of a Man with a Blue Chaperon | How does this artwork elucidate its Attribution? | The painting is not signed or dated by van Eyck. Curiously the panel bears an imitation of the "AD" signature associated with Albrecht Dürer to the top right, and was for a period dated 1492. These are later additions by an unknown hand for unknown reasons. The work was given its current attribution in the late 19th century and exhibited as such in Bruges in 1902. However, there were disagreements and often heated arguments among art historians in the early and mid-20th century over the authorship. Max J. Friedländer, like Georges Hulin de Loo, was convinced that it was a van Eyck; among other factors he saw a lot of similarity with the signed and dated London Léal Souvenir of c. 1432. Friedländer strongly and at length refuted claims by German art historian Karl Voll that the panel was completed in the 1490s by a follower. Although Voll later came to believe that work originated in the early 1430s, he remained convinced that it was not from the hand of van Eyck. His view was shared, some 30 years later, by Panofsky, who saw weakness in the portrait he believed irreconcilable with as skilled and accomplished a painter.Attribution to van Eyck is now broadly accepted since an infrared photography examination carried out during a 1991 restoration revealed an underdrawing and paint handling very similar to that found in confirmed, signed works by the artist. | [
"panel",
"Bruges in 1902",
"Léal Souvenir",
"Georges Hulin de Loo",
"Max J. Friedländer",
"Karl Voll",
"Albrecht Dürer",
"infrared photography"
]
|
|
17112_T | Portrait of a Man with a Blue Chaperon | In the context of Portrait of a Man with a Blue Chaperon, analyze the Provenance of the Attribution. | The painting came into the collection of Samuel von Brukenthal (1721-1803), Habsburg governor of Transylvania from 1774 to 1787. Along with the rest of his collection at his Baroque house, Brukenthal Palace in Hermannstadt (Sibiu), it became part of a public collection that opened in 1817. Until 1948, the panel belonged to the Brukenthal National Museum in Sibiu, Romania. That year, the new Communist regime seized the panel, along with eighteen others it considered the museum's most valuable holdings, and gave it to the National Museum of Art of Romania in Bucharest. At the end of 2006, in time for Sibiu's stint as European Capital of Culture, the works were returned to the Brukenthal Museum. | [
"Sibiu",
"panel",
"Transylvania",
"Samuel von Brukenthal",
"Habsburg",
"European Capital of Culture",
"Bucharest",
"Brukenthal National Museum",
"Romania",
"National Museum of Art of Romania",
"Communist regime"
]
|
|
17112_NT | Portrait of a Man with a Blue Chaperon | In the context of this artwork, analyze the Provenance of the Attribution. | The painting came into the collection of Samuel von Brukenthal (1721-1803), Habsburg governor of Transylvania from 1774 to 1787. Along with the rest of his collection at his Baroque house, Brukenthal Palace in Hermannstadt (Sibiu), it became part of a public collection that opened in 1817. Until 1948, the panel belonged to the Brukenthal National Museum in Sibiu, Romania. That year, the new Communist regime seized the panel, along with eighteen others it considered the museum's most valuable holdings, and gave it to the National Museum of Art of Romania in Bucharest. At the end of 2006, in time for Sibiu's stint as European Capital of Culture, the works were returned to the Brukenthal Museum. | [
"Sibiu",
"panel",
"Transylvania",
"Samuel von Brukenthal",
"Habsburg",
"European Capital of Culture",
"Bucharest",
"Brukenthal National Museum",
"Romania",
"National Museum of Art of Romania",
"Communist regime"
]
|
|
17113_T | Portrait of Michel Leiris, 1976 | In Portrait of Michel Leiris, 1976, how is the abstract discussed? | Portrait of Michel Leiris (sometimes Study for Portrait of Michel Leiris) is a 1976 oil-on-canvas-panel painting by the Irish-born British artist Francis Bacon. It is the first of two portraits Bacon made of his close friend, the French surrealist writer and anthropologist Michel Leiris; the second followed in 1978.
The painting has been in the collection of the Musée National d'Art Moderne, Paris, since it was gifted by Michel and Louise Leiris in 1984. It was described by art critic and curator David Sylvester as "easily Bacon's finest portrait in close-up". | [
"Musée National d'Art Moderne",
"surrealist",
"Michel Leiris",
"David Sylvester",
"Paris",
"Francis Bacon",
"anthropologist"
]
|
|
17113_NT | Portrait of Michel Leiris, 1976 | In this artwork, how is the abstract discussed? | Portrait of Michel Leiris (sometimes Study for Portrait of Michel Leiris) is a 1976 oil-on-canvas-panel painting by the Irish-born British artist Francis Bacon. It is the first of two portraits Bacon made of his close friend, the French surrealist writer and anthropologist Michel Leiris; the second followed in 1978.
The painting has been in the collection of the Musée National d'Art Moderne, Paris, since it was gifted by Michel and Louise Leiris in 1984. It was described by art critic and curator David Sylvester as "easily Bacon's finest portrait in close-up". | [
"Musée National d'Art Moderne",
"surrealist",
"Michel Leiris",
"David Sylvester",
"Paris",
"Francis Bacon",
"anthropologist"
]
|
|
17114_T | Portrait of Michel Leiris, 1976 | Focus on Portrait of Michel Leiris, 1976 and explore the Description. | Leiris is depicted against a flat black background, his face rendered in a radial swirl of luminous colours, his features distorted in a style typical of Bacon's portraits of the 1960s and 1970s. Only his left eye remains intact from these distortions, and is over-sized compared to the rest of his face; the theme of the painting seems to center on the sense of vision. He sees to be, according to the critic Ernst van Alphen "under the influence of something he sees. He is in a kind of hypnotic trance".The painting places an emphasis on Leiri's skull, and has been compared x-ray photographs used as source for his 1933 Crucifixion. For the same reason, and because of its reconstruction of the human head, it has also been compared to African Tribal masks, which Bacon was keenly interested in. | [
"Tribal mask"
]
|
|
17114_NT | Portrait of Michel Leiris, 1976 | Focus on this artwork and explore the Description. | Leiris is depicted against a flat black background, his face rendered in a radial swirl of luminous colours, his features distorted in a style typical of Bacon's portraits of the 1960s and 1970s. Only his left eye remains intact from these distortions, and is over-sized compared to the rest of his face; the theme of the painting seems to center on the sense of vision. He sees to be, according to the critic Ernst van Alphen "under the influence of something he sees. He is in a kind of hypnotic trance".The painting places an emphasis on Leiri's skull, and has been compared x-ray photographs used as source for his 1933 Crucifixion. For the same reason, and because of its reconstruction of the human head, it has also been compared to African Tribal masks, which Bacon was keenly interested in. | [
"Tribal mask"
]
|
|
17115_T | Löwe (sculpture) | Focus on Löwe (sculpture) and explain the abstract. | Löwe is a sculpture by August Gaul, installed in the Kolonnadenhof outside the Alte Nationalgalerie in Berlin, Germany. | [
"August Gaul",
"Alte Nationalgalerie",
"Berlin"
]
|
|
17115_NT | Löwe (sculpture) | Focus on this artwork and explain the abstract. | Löwe is a sculpture by August Gaul, installed in the Kolonnadenhof outside the Alte Nationalgalerie in Berlin, Germany. | [
"August Gaul",
"Alte Nationalgalerie",
"Berlin"
]
|
|
17116_T | Lost on the Grand Banks | Explore the abstract of this artwork, Lost on the Grand Banks. | Lost on the Grand Banks (1885) is one of several paintings on marine subjects by the American painter Winslow Homer (1836–1910). Together with The Herring Net and The Fog Warning, painted in the same year, it depicts the hard lives of North Atlantic fishermen in Prouts Neck, Maine.
The painting was bought in 1998 by Bill Gates, the then chairman of Microsoft, who reportedly paid $30 million for the seascape, at the time a record price for an American painting. | [
"Winslow Homer",
"Microsoft",
"Prouts Neck",
"Bill Gates",
"Maine",
"The Fog Warning",
"The Herring Net"
]
|
|
17116_NT | Lost on the Grand Banks | Explore the abstract of this artwork. | Lost on the Grand Banks (1885) is one of several paintings on marine subjects by the American painter Winslow Homer (1836–1910). Together with The Herring Net and The Fog Warning, painted in the same year, it depicts the hard lives of North Atlantic fishermen in Prouts Neck, Maine.
The painting was bought in 1998 by Bill Gates, the then chairman of Microsoft, who reportedly paid $30 million for the seascape, at the time a record price for an American painting. | [
"Winslow Homer",
"Microsoft",
"Prouts Neck",
"Bill Gates",
"Maine",
"The Fog Warning",
"The Herring Net"
]
|
|
17117_T | Statue of Christopher Columbus (Hartford, Connecticut) | Focus on Statue of Christopher Columbus (Hartford, Connecticut) and discuss the abstract. | The Hartford, Connecticut statue of Christopher Columbus is eight-foot tall bronze sculpture installed on Columbus Green, near Bushnell Park. The statue is by the artist Vincenzo Miserendino. | [
"Vincenzo Miserendino",
"Bushnell Park",
"Hartford, Connecticut",
"Connecticut",
"Christopher Columbus"
]
|
|
17117_NT | Statue of Christopher Columbus (Hartford, Connecticut) | Focus on this artwork and discuss the abstract. | The Hartford, Connecticut statue of Christopher Columbus is eight-foot tall bronze sculpture installed on Columbus Green, near Bushnell Park. The statue is by the artist Vincenzo Miserendino. | [
"Vincenzo Miserendino",
"Bushnell Park",
"Hartford, Connecticut",
"Connecticut",
"Christopher Columbus"
]
|
|
17118_T | Statue of Christopher Columbus (Hartford, Connecticut) | How does Statue of Christopher Columbus (Hartford, Connecticut) elucidate its History? | The statue was a gift of local Italian Americans and was dedicated on Columbus Day, October 12, 1926.On June 16, 2020, the City of Hartford ordered its removal. | [
"Columbus Day"
]
|
|
17118_NT | Statue of Christopher Columbus (Hartford, Connecticut) | How does this artwork elucidate its History? | The statue was a gift of local Italian Americans and was dedicated on Columbus Day, October 12, 1926.On June 16, 2020, the City of Hartford ordered its removal. | [
"Columbus Day"
]
|
|
17119_T | Hollywood Africans | Focus on Hollywood Africans and analyze the Exhibitions. | Hollywood Africans is part of the permanent collection at the Whitney Museum of American Art in New York. In 2017, it was exhibited at the Barbican Centre in London as part of Basquiat: Boom for Real. In 2020, the artwork was displayed at the Museum of Fine Arts, Boston for its exhibit, Writing the Future: Basquiat and the Hip-Hop Generation. | [
"Barbican Centre",
"Whitney Museum",
"Whitney Museum of American Art",
"New York",
"Hip-Hop",
"Museum of Fine Arts, Boston"
]
|
|
17119_NT | Hollywood Africans | Focus on this artwork and analyze the Exhibitions. | Hollywood Africans is part of the permanent collection at the Whitney Museum of American Art in New York. In 2017, it was exhibited at the Barbican Centre in London as part of Basquiat: Boom for Real. In 2020, the artwork was displayed at the Museum of Fine Arts, Boston for its exhibit, Writing the Future: Basquiat and the Hip-Hop Generation. | [
"Barbican Centre",
"Whitney Museum",
"Whitney Museum of American Art",
"New York",
"Hip-Hop",
"Museum of Fine Arts, Boston"
]
|
|
17120_T | Effect of Snow on Petit-Montrouge | In Effect of Snow on Petit-Montrouge, how is the abstract discussed? | Effect of Snow on Petit-Montrouge (French: Effet de neige à Petit-Montrouge) is an 1870 landscape painting by the French painter Édouard Manet. The 61.6 cm x 50.4 cm oil on canvas composition depicts the 14th arrondissement's district, Petit-Montrouge, under a wintry landscape. | [
"Petit-Montrouge",
"landscape painting",
"Édouard Manet"
]
|
|
17120_NT | Effect of Snow on Petit-Montrouge | In this artwork, how is the abstract discussed? | Effect of Snow on Petit-Montrouge (French: Effet de neige à Petit-Montrouge) is an 1870 landscape painting by the French painter Édouard Manet. The 61.6 cm x 50.4 cm oil on canvas composition depicts the 14th arrondissement's district, Petit-Montrouge, under a wintry landscape. | [
"Petit-Montrouge",
"landscape painting",
"Édouard Manet"
]
|
|
17121_T | Effect of Snow on Petit-Montrouge | Focus on Effect of Snow on Petit-Montrouge and explore the History. | The oil on canvas painting shows a winter view of Petit-Montrouge, an area in the 14th arrondissement of Paris. Manet painted this picture while a member of the National Guard during the 1870–71 Siege of Paris of the Franco-Prussian War. As opposed to the history painters of his time, Manet does not show a heroic view of battle, but rather the dusky ambiance of a looming battle. The image reflects Manet's loss of hope about the military situation, his profound loneliness, and the deprivation he suffered during this time. It is one of the few landscapes in Manet's oeuvre, and is one of his first plein air paintings. Today this work is in the collection of the National Museum Cardiff.
The painting is divided horizontally into two halves. The upper half features an almost monochromatic grey sky. The lower half of the painting is depicted in coarse brushtrokes that showcase a snowy landscape. Dividing the two halves is a horizontal line outlined with buildings; the church tower at the centre of the painting has been identified to be the bell tower of the church of St-Pierre de Montrouge, which was built in the 1860s in the Petit-Montrouge district of Paris.The crossing tower of the church rises to the right of the bell tower. The black contours of the roof of the crossing tower are clearly contrasted with the grey of the building, while the bell tower lacks such borders and thin brushstrokes indicate the windows in the characteristic spire. The snow-covered roof of the nave can be seen between the two towers, cut through by a chimney in front of it. Further chimneys can be found to limit the horizon line on the right edge of the picture and to the right of the residential building on the left edge of the picture, the identity of which can no longer be determined today. Only the upper floor and the roof of the building cut off by the edge of the picture are executed. The windows are indicated by three black dabs of color in the grey-ochre façade. On the upper area of the black roof, the snow lying on it is sketched in high-contrast white paint. Between this house and the church and directly in front of the church there are other dark roofs covered with snow, without these buildings being able to be identified.
The lower portion of the work is dedicated to representing a landscape in front of the cityscape silhouette. Using broad strokes of black, brown, ochre and white, Manet provides an undefined and rudimentary depiction of the scenery. The area to the right is calmer and drier, likely representative of a field or similar level area. Meanwhile, the uneven patch of ochre on the left indicates a mound of earth with hints of snow. The inclusion of an earth wall in the foreground on the left of the cavas is thought to allude to the Franco-Prussian War of 1870-1871, while the general lack of military imagery and personnel is considered striking.
The painting is signed, dated and dedicated to "H. Charlet" in the lower left corner, with the inscription "à mon ami H. Charlet" and "Manet 28 Xbre 1870". As this name cannot be found in Manet's address book, art scholars assume this person was a comrade of Manet in the National Guard. The exact date of execution of the painting is uncertain, though the signature was presumably added on the noted date. | [
"Franco-Prussian War",
"National Guard",
"Siege of Paris",
"Petit-Montrouge",
"plein air",
"history painters",
"National Museum Cardiff",
"14th arrondissement of Paris",
"Prussia"
]
|
|
17121_NT | Effect of Snow on Petit-Montrouge | Focus on this artwork and explore the History. | The oil on canvas painting shows a winter view of Petit-Montrouge, an area in the 14th arrondissement of Paris. Manet painted this picture while a member of the National Guard during the 1870–71 Siege of Paris of the Franco-Prussian War. As opposed to the history painters of his time, Manet does not show a heroic view of battle, but rather the dusky ambiance of a looming battle. The image reflects Manet's loss of hope about the military situation, his profound loneliness, and the deprivation he suffered during this time. It is one of the few landscapes in Manet's oeuvre, and is one of his first plein air paintings. Today this work is in the collection of the National Museum Cardiff.
The painting is divided horizontally into two halves. The upper half features an almost monochromatic grey sky. The lower half of the painting is depicted in coarse brushtrokes that showcase a snowy landscape. Dividing the two halves is a horizontal line outlined with buildings; the church tower at the centre of the painting has been identified to be the bell tower of the church of St-Pierre de Montrouge, which was built in the 1860s in the Petit-Montrouge district of Paris.The crossing tower of the church rises to the right of the bell tower. The black contours of the roof of the crossing tower are clearly contrasted with the grey of the building, while the bell tower lacks such borders and thin brushstrokes indicate the windows in the characteristic spire. The snow-covered roof of the nave can be seen between the two towers, cut through by a chimney in front of it. Further chimneys can be found to limit the horizon line on the right edge of the picture and to the right of the residential building on the left edge of the picture, the identity of which can no longer be determined today. Only the upper floor and the roof of the building cut off by the edge of the picture are executed. The windows are indicated by three black dabs of color in the grey-ochre façade. On the upper area of the black roof, the snow lying on it is sketched in high-contrast white paint. Between this house and the church and directly in front of the church there are other dark roofs covered with snow, without these buildings being able to be identified.
The lower portion of the work is dedicated to representing a landscape in front of the cityscape silhouette. Using broad strokes of black, brown, ochre and white, Manet provides an undefined and rudimentary depiction of the scenery. The area to the right is calmer and drier, likely representative of a field or similar level area. Meanwhile, the uneven patch of ochre on the left indicates a mound of earth with hints of snow. The inclusion of an earth wall in the foreground on the left of the cavas is thought to allude to the Franco-Prussian War of 1870-1871, while the general lack of military imagery and personnel is considered striking.
The painting is signed, dated and dedicated to "H. Charlet" in the lower left corner, with the inscription "à mon ami H. Charlet" and "Manet 28 Xbre 1870". As this name cannot be found in Manet's address book, art scholars assume this person was a comrade of Manet in the National Guard. The exact date of execution of the painting is uncertain, though the signature was presumably added on the noted date. | [
"Franco-Prussian War",
"National Guard",
"Siege of Paris",
"Petit-Montrouge",
"plein air",
"history painters",
"National Museum Cardiff",
"14th arrondissement of Paris",
"Prussia"
]
|
|
17122_T | Effect of Snow on Petit-Montrouge | Focus on Effect of Snow on Petit-Montrouge and explain the Composition. | The overall colour scheme is predominantly muted grey, lacking the presence of green, as if to encapsulate a wintry and overcast atmosphere, where no strong source of light illuminates the image - thus creating a lack of shadows. Manet uses earthly and muted tones to illustrate an urban snow landscape; between the large peaks of white and diagonals of murky brown the Paris district of Petit-Montrouge is depicted, overshadowed by the brown dirty snow and bleak beige sky. The buildings in the background were painted with muted colours to give an appearance of balancing precariously on a huge expanse of brown. | [
"Petit-Montrouge"
]
|
|
17122_NT | Effect of Snow on Petit-Montrouge | Focus on this artwork and explain the Composition. | The overall colour scheme is predominantly muted grey, lacking the presence of green, as if to encapsulate a wintry and overcast atmosphere, where no strong source of light illuminates the image - thus creating a lack of shadows. Manet uses earthly and muted tones to illustrate an urban snow landscape; between the large peaks of white and diagonals of murky brown the Paris district of Petit-Montrouge is depicted, overshadowed by the brown dirty snow and bleak beige sky. The buildings in the background were painted with muted colours to give an appearance of balancing precariously on a huge expanse of brown. | [
"Petit-Montrouge"
]
|
|
17123_T | Effect of Snow on Petit-Montrouge | Explore the Name of this artwork, Effect of Snow on Petit-Montrouge. | The naming etymology of the painting has experienced a long history of different iterations and translations since it left Manet's possession, as no name for the painting has survived from Manet himself and authors and translators have arrived at no uniform suggestion. As the painting has been in British possession since 1912, the majority of literature on the painting exists in English and thus translation between languages has proven difficult.
In French, the last title appearing in the artist's catalogues raisonnés is Effet de neige à Petit-Montrouge, "Snow Effect at Petit-Montrouge" from Rouart/Wildenstein in 1975, which has been assumed by the National Museum Cardiff. German titles for the painting vary, including misspellings of title from translation from French or English language sources: "Landschaft bei Petit-Mont-Rouge", "Schneeffekte bei Mont-Rouge", "Die Kirche von Petit-Montrouge, Paris", "Die Kirche von Petit-Montrouge im Schee" and "Das kleine Montrouge während des Krieges". | [
"Petit-Montrouge",
"National Museum Cardiff",
"catalogues raisonnés"
]
|
|
17123_NT | Effect of Snow on Petit-Montrouge | Explore the Name of this artwork. | The naming etymology of the painting has experienced a long history of different iterations and translations since it left Manet's possession, as no name for the painting has survived from Manet himself and authors and translators have arrived at no uniform suggestion. As the painting has been in British possession since 1912, the majority of literature on the painting exists in English and thus translation between languages has proven difficult.
In French, the last title appearing in the artist's catalogues raisonnés is Effet de neige à Petit-Montrouge, "Snow Effect at Petit-Montrouge" from Rouart/Wildenstein in 1975, which has been assumed by the National Museum Cardiff. German titles for the painting vary, including misspellings of title from translation from French or English language sources: "Landschaft bei Petit-Mont-Rouge", "Schneeffekte bei Mont-Rouge", "Die Kirche von Petit-Montrouge, Paris", "Die Kirche von Petit-Montrouge im Schee" and "Das kleine Montrouge während des Krieges". | [
"Petit-Montrouge",
"National Museum Cardiff",
"catalogues raisonnés"
]
|
|
17124_T | Effect of Snow on Petit-Montrouge | Focus on Effect of Snow on Petit-Montrouge and discuss the Provenance. | Effet de neige à Petit-Montrouge is not mentioned in Manet's sales documents, indicating that it is possible that he gave the painting to H. Charlet, mentioned in the dedication of the painting, shortly after it was completed. However, the Rouart/Wildenstein authors speculate that Manet gave the painting to the journalist Pierre Giffard (1853–1922), who in turn sold the painting to the Durand-Ruel art dealership in 1905. Durand-Ruel maintained possession of Effet de neige à Petit-Montrouge until October 1912, when it was acquired by the Welsh art collector Gwendoline Davies. After her death, Davies' impressive art collection, which housed this painting, was bequeathed to the present National Museum in Cardiff. | [
"Petit-Montrouge",
"Gwendoline Davies"
]
|
|
17124_NT | Effect of Snow on Petit-Montrouge | Focus on this artwork and discuss the Provenance. | Effet de neige à Petit-Montrouge is not mentioned in Manet's sales documents, indicating that it is possible that he gave the painting to H. Charlet, mentioned in the dedication of the painting, shortly after it was completed. However, the Rouart/Wildenstein authors speculate that Manet gave the painting to the journalist Pierre Giffard (1853–1922), who in turn sold the painting to the Durand-Ruel art dealership in 1905. Durand-Ruel maintained possession of Effet de neige à Petit-Montrouge until October 1912, when it was acquired by the Welsh art collector Gwendoline Davies. After her death, Davies' impressive art collection, which housed this painting, was bequeathed to the present National Museum in Cardiff. | [
"Petit-Montrouge",
"Gwendoline Davies"
]
|
|
17125_T | Effect of Snow on Petit-Montrouge | How does Effect of Snow on Petit-Montrouge elucidate its Manet as a National Guard – background to the creation of the painting? | In 1870, Manet took an innovative step in his artistic career by completing a work en plein air for the first time. This work, entitled In the Garden, was the first of its kind as his previous outdoor pieces arose from sketches that we later transferred to an oil canvas in his studio. On July 19 of the same year, France declared war on Prussia, with Manet taking part in the conflict as a staunch Republican opposed to the policies of Napoléon III. He spent the summer holiday with his family in Saint-Germain-en-Laye before returning to Paris in August, to observe the war's developments.
Upon the defeat of the French troops at the Battle of Sedan in 1870, Manet welcomed the proclamation of the Republic on 4 September, but recognised the danger of enemy armies advancing on Paris. He sent his mother, wife, and their son to Oloron-Sainte-Marie in the Pyrenees for safety. While some of Manet's artist friends, such as Claude Monet, had fled to London prior to the war, Manet remained in Paris and enlisted in the National Guard. During the ensuing months of siege of Paris, Manet, who otherwise left few written testimonies, wrote numerous letters to his family and friends, documenting the changing daily life of the capital and providing insight into his thoughts and emotional state. Since Paris had been surrounded by enemy troops from the 19 September, these letters had to be sent by balloon in order to leave the city.
At the beginning of the Siege of Paris, Claude Monet wrote about his daily military exercises and his duty as a sentry on the fortifications surrounding the city. His letters expressed a certain patriotic confidence, but he came to lament the boredom and increasing costs of food in his latter writings. In October of 1970, Monet was afflicted by a foot ailment and wrote to his wife the following month that he was "gradually dying of hunger." Three days later Manet reported the existence of slaughterhouses for cats, dogs, and rats. His experiences during the siege are believed to have inspired his etching of Snake in Front of the Butcher's Shop, which Edward Lilley interpreted as a representation of "history from below," depicting the great deprivation wreaked by the war on the general populace. | [
"National Guard",
"Siege of Paris",
"Saint-Germain-en-Laye",
"Napoléon III",
"en plein air",
"plein air",
"Oloron-Sainte-Marie",
"balloon",
"Pyrenees",
"Claude Monet",
"Prussia"
]
|
|
17125_NT | Effect of Snow on Petit-Montrouge | How does this artwork elucidate its Manet as a National Guard – background to the creation of the painting? | In 1870, Manet took an innovative step in his artistic career by completing a work en plein air for the first time. This work, entitled In the Garden, was the first of its kind as his previous outdoor pieces arose from sketches that we later transferred to an oil canvas in his studio. On July 19 of the same year, France declared war on Prussia, with Manet taking part in the conflict as a staunch Republican opposed to the policies of Napoléon III. He spent the summer holiday with his family in Saint-Germain-en-Laye before returning to Paris in August, to observe the war's developments.
Upon the defeat of the French troops at the Battle of Sedan in 1870, Manet welcomed the proclamation of the Republic on 4 September, but recognised the danger of enemy armies advancing on Paris. He sent his mother, wife, and their son to Oloron-Sainte-Marie in the Pyrenees for safety. While some of Manet's artist friends, such as Claude Monet, had fled to London prior to the war, Manet remained in Paris and enlisted in the National Guard. During the ensuing months of siege of Paris, Manet, who otherwise left few written testimonies, wrote numerous letters to his family and friends, documenting the changing daily life of the capital and providing insight into his thoughts and emotional state. Since Paris had been surrounded by enemy troops from the 19 September, these letters had to be sent by balloon in order to leave the city.
At the beginning of the Siege of Paris, Claude Monet wrote about his daily military exercises and his duty as a sentry on the fortifications surrounding the city. His letters expressed a certain patriotic confidence, but he came to lament the boredom and increasing costs of food in his latter writings. In October of 1970, Monet was afflicted by a foot ailment and wrote to his wife the following month that he was "gradually dying of hunger." Three days later Manet reported the existence of slaughterhouses for cats, dogs, and rats. His experiences during the siege are believed to have inspired his etching of Snake in Front of the Butcher's Shop, which Edward Lilley interpreted as a representation of "history from below," depicting the great deprivation wreaked by the war on the general populace. | [
"National Guard",
"Siege of Paris",
"Saint-Germain-en-Laye",
"Napoléon III",
"en plein air",
"plein air",
"Oloron-Sainte-Marie",
"balloon",
"Pyrenees",
"Claude Monet",
"Prussia"
]
|
|
17126_T | The Repentant Magdalene (Cagnacci) | Focus on The Repentant Magdalene (Cagnacci) and analyze the abstract. | The Repentant Magdalene, also called The Conversion of Mary Magdalene, is an oil painting of the early 1660s by the Baroque Italian painter Guido Cagnacci. It shows Mary Magdalene, beside her remonstrating sister Martha, at the moment she repents, echoed by an allegorical pairing of Virtue, an angel, chasing out Vice, a devil. The painting forms part of the collection of the Norton Simon Museum. | [
"Mary Magdalene",
"Vice",
"Virtue",
"Baroque",
"allegorical",
"Guido Cagnacci",
"oil painting",
"angel",
"she repents",
"Norton Simon Museum",
"devil",
"Martha"
]
|
|
17126_NT | The Repentant Magdalene (Cagnacci) | Focus on this artwork and analyze the abstract. | The Repentant Magdalene, also called The Conversion of Mary Magdalene, is an oil painting of the early 1660s by the Baroque Italian painter Guido Cagnacci. It shows Mary Magdalene, beside her remonstrating sister Martha, at the moment she repents, echoed by an allegorical pairing of Virtue, an angel, chasing out Vice, a devil. The painting forms part of the collection of the Norton Simon Museum. | [
"Mary Magdalene",
"Vice",
"Virtue",
"Baroque",
"allegorical",
"Guido Cagnacci",
"oil painting",
"angel",
"she repents",
"Norton Simon Museum",
"devil",
"Martha"
]
|
|
17127_T | The Repentant Magdalene (Cagnacci) | In The Repentant Magdalene (Cagnacci), how is the Provenance discussed? | The painting's owners have been:
Dukes of Mantua by 1665, Duke Carlo II, villa Marmirolo and villa Favorita
Duke Ferdinand Carlo Gonzaga, 10th and last Duke of Mantua in 1706, transported to Venice 1707; upon his death, transported 5 July 1708 to Padua, (sale, Venice, 1711, )
purchased by Christian Cole, and transported to England in April, 1711
Henry Bentinck (1st Duke of Portland by 1716), Bulstrode House; Harcourt House by 1854
Dukes of Portland, Welbeck Abbey and London
by descent to Lady Anne Bentinck, Welbeck Abbey (sold at Christie's, London, 11 December 1981, lot 52)
P.D. Colnaghi & Co., London
Norton Simon Art Foundation | [
"Harcourt House"
]
|
|
17127_NT | The Repentant Magdalene (Cagnacci) | In this artwork, how is the Provenance discussed? | The painting's owners have been:
Dukes of Mantua by 1665, Duke Carlo II, villa Marmirolo and villa Favorita
Duke Ferdinand Carlo Gonzaga, 10th and last Duke of Mantua in 1706, transported to Venice 1707; upon his death, transported 5 July 1708 to Padua, (sale, Venice, 1711, )
purchased by Christian Cole, and transported to England in April, 1711
Henry Bentinck (1st Duke of Portland by 1716), Bulstrode House; Harcourt House by 1854
Dukes of Portland, Welbeck Abbey and London
by descent to Lady Anne Bentinck, Welbeck Abbey (sold at Christie's, London, 11 December 1981, lot 52)
P.D. Colnaghi & Co., London
Norton Simon Art Foundation | [
"Harcourt House"
]
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|
17128_T | The Art Gallery of Jan Gildemeester Jansz | Focus on The Art Gallery of Jan Gildemeester Jansz and explore the abstract. | The Art Gallery of Jan Gildemeester Jansz is a painting created by the Dutch painter Adriaan de Lelie in 1794–95. It is part of the collection of the Rijksmuseum Amsterdam, executed in oil paint on panel. It depicts the art collector Jan Gildemeester Jansz (or Jan Jansz. Gildemeester) in the midst of his large collection of paintings, showing them to friends.
The painting was acquired by the Rijksmuseum in 1964 after being part of a French private collection. | [
"Amsterdam",
"Jan Gildemeester",
"art collector",
"Jan Gildemeester Jansz",
"Rijksmuseum Amsterdam",
"collection",
"Adriaan de Lelie",
"Rijksmuseum"
]
|
|
17128_NT | The Art Gallery of Jan Gildemeester Jansz | Focus on this artwork and explore the abstract. | The Art Gallery of Jan Gildemeester Jansz is a painting created by the Dutch painter Adriaan de Lelie in 1794–95. It is part of the collection of the Rijksmuseum Amsterdam, executed in oil paint on panel. It depicts the art collector Jan Gildemeester Jansz (or Jan Jansz. Gildemeester) in the midst of his large collection of paintings, showing them to friends.
The painting was acquired by the Rijksmuseum in 1964 after being part of a French private collection. | [
"Amsterdam",
"Jan Gildemeester",
"art collector",
"Jan Gildemeester Jansz",
"Rijksmuseum Amsterdam",
"collection",
"Adriaan de Lelie",
"Rijksmuseum"
]
|
|
17129_T | The Art Gallery of Jan Gildemeester Jansz | Explore the Konstkamers about the Art historical context and inspiration of this artwork, The Art Gallery of Jan Gildemeester Jansz. | According to the art historian C.J. De Bruyn Knops, the subject of the work – an art collector at home, showing his art collection to his friends – is unique in Northern-Netherlandish painting before 1800. In Flemish (Southern-Netherlandish) painting, this genre was common in the 17th century; it was executed by masters like Willem van Haecht, David Teniers, Gillis van Tilborgh and Gonzales Cocques, but in the Northern Netherlands the subject didn't become popular. Probably Adriaan de Lelie had seen such works while studying in Antwerp. However, the Flemish 'konstkamers' ('art rooms') looked very different: they used to depict imaginary architecture, and probably not reality as seen by the painter. The Art Gallery of Jan Gildemeester Jansz, on the contrary, is a very accurate depiction of a real space. | [
"Northern-Netherlandish",
"Gillis van Tilborgh",
"Gonzales Cocques",
"Antwerp",
"David Teniers",
"Jan Gildemeester",
"art collector",
"Southern-Netherlandish",
"Jan Gildemeester Jansz",
"collection",
"Adriaan de Lelie",
"Willem van Haecht",
"Netherlands"
]
|
|
17129_NT | The Art Gallery of Jan Gildemeester Jansz | Explore the Konstkamers about the Art historical context and inspiration of this artwork. | According to the art historian C.J. De Bruyn Knops, the subject of the work – an art collector at home, showing his art collection to his friends – is unique in Northern-Netherlandish painting before 1800. In Flemish (Southern-Netherlandish) painting, this genre was common in the 17th century; it was executed by masters like Willem van Haecht, David Teniers, Gillis van Tilborgh and Gonzales Cocques, but in the Northern Netherlands the subject didn't become popular. Probably Adriaan de Lelie had seen such works while studying in Antwerp. However, the Flemish 'konstkamers' ('art rooms') looked very different: they used to depict imaginary architecture, and probably not reality as seen by the painter. The Art Gallery of Jan Gildemeester Jansz, on the contrary, is a very accurate depiction of a real space. | [
"Northern-Netherlandish",
"Gillis van Tilborgh",
"Gonzales Cocques",
"Antwerp",
"David Teniers",
"Jan Gildemeester",
"art collector",
"Southern-Netherlandish",
"Jan Gildemeester Jansz",
"collection",
"Adriaan de Lelie",
"Willem van Haecht",
"Netherlands"
]
|
|
17130_T | The Art Gallery of Jan Gildemeester Jansz | In the context of The Art Gallery of Jan Gildemeester Jansz, discuss the Household scenes of the Art historical context and inspiration. | Adriaan de Lelie follows the tradition of intimate household scenes that were painted very commonly in the Northern Netherlands since the 17th century. Usually, the people in such genre works are clearly striking a pose, while the visitors in The Art Gallery of Jan Gildemeester Jansz look very natural, as if they are unaware of the presence of the painter. Probably, De Lelie was inspired by English contemporaries here: Jan Jansz. Gildemeester possessed a 1773 engraving of a spontaneous group painting by Johan Zoffany, which must have been familiar to De Lelie. | [
"Household",
"household",
"Johan Zoffany",
"Jan Gildemeester",
"Jan Gildemeester Jansz",
"Adriaan de Lelie",
"Netherlands"
]
|
|
17130_NT | The Art Gallery of Jan Gildemeester Jansz | In the context of this artwork, discuss the Household scenes of the Art historical context and inspiration. | Adriaan de Lelie follows the tradition of intimate household scenes that were painted very commonly in the Northern Netherlands since the 17th century. Usually, the people in such genre works are clearly striking a pose, while the visitors in The Art Gallery of Jan Gildemeester Jansz look very natural, as if they are unaware of the presence of the painter. Probably, De Lelie was inspired by English contemporaries here: Jan Jansz. Gildemeester possessed a 1773 engraving of a spontaneous group painting by Johan Zoffany, which must have been familiar to De Lelie. | [
"Household",
"household",
"Johan Zoffany",
"Jan Gildemeester",
"Jan Gildemeester Jansz",
"Adriaan de Lelie",
"Netherlands"
]
|
|
17131_T | The Art Gallery of Jan Gildemeester Jansz | How does The Art Gallery of Jan Gildemeester Jansz elucidate its Depicted space, people and artworks? | The two rooms depicted in this painting still exist: the large room in front and the smaller one with windows in the back are part of the house that was owned by Jan Jansz. Gildemeester since 1792, currently a Rijksmonument located on Herengracht 475 in Amsterdam. The ceiling painting in the first room (by Jacob de Wit, 1731) the relief above the door and other decorations have been restored during a 20th-century renovation.Jan Jansz. Gildemeester stands in the middle of the work. Adriaan de Lelie has probably portrayed himself kneeling on the right. Other people depicted in the work are possibly the Amsterdam-based art trader Pierre Fouquet Jr., Dutch physicist baron Cornelius Rudolphus Theodorus Krayenhoff (wearing a tricorne hat), painter Jurriaan Andriessen, tradesman Anthony Dull and his wife Marianne Dull-Dohrmann (sitting behind the easel on the left), and art collector and writer Bernardus de Bosch Jeronimosz. – according to C.J. De Bruyn Knops, the RKD and the Rijksmuseum's website, but this opinion is questioned by others.As usual in that era, the paintings are arranged in rows, close to each other on the walls. It is highly likely that the visible artworks were chosen by the collector and painter together, specifically for this painting, and that they were considered the highlights from Gildemeesters collection. Many works in the first room can be identified with certainty. The art collection of Jan Jansz. Gildemeester was auctioned after his death in 1800, and the auction catalogue documents the works in quite a bit of detail. Gildemeester's taste as an art collector corresponds with that of his contemporaries: he mainly owned genre pieces, marine paintings, landscapes, animal and still-life paintings. His earliest purchases probably were drawings and prints, of which he also built a considerable collection. | [
"Jacob de Wit",
"Amsterdam",
"landscapes",
"drawing",
"Jurriaan Andriessen",
"still-life",
"genre pieces",
"Rijksmonument",
"marine paintings",
"art collector",
"prints",
"animal",
"collection",
"Adriaan de Lelie",
"left",
"Cornelius Rudolphus Theodorus Krayenhoff",
"auction catalog",
"auction",
"Rijksmuseum",
"tricorne"
]
|
|
17131_NT | The Art Gallery of Jan Gildemeester Jansz | How does this artwork elucidate its Depicted space, people and artworks? | The two rooms depicted in this painting still exist: the large room in front and the smaller one with windows in the back are part of the house that was owned by Jan Jansz. Gildemeester since 1792, currently a Rijksmonument located on Herengracht 475 in Amsterdam. The ceiling painting in the first room (by Jacob de Wit, 1731) the relief above the door and other decorations have been restored during a 20th-century renovation.Jan Jansz. Gildemeester stands in the middle of the work. Adriaan de Lelie has probably portrayed himself kneeling on the right. Other people depicted in the work are possibly the Amsterdam-based art trader Pierre Fouquet Jr., Dutch physicist baron Cornelius Rudolphus Theodorus Krayenhoff (wearing a tricorne hat), painter Jurriaan Andriessen, tradesman Anthony Dull and his wife Marianne Dull-Dohrmann (sitting behind the easel on the left), and art collector and writer Bernardus de Bosch Jeronimosz. – according to C.J. De Bruyn Knops, the RKD and the Rijksmuseum's website, but this opinion is questioned by others.As usual in that era, the paintings are arranged in rows, close to each other on the walls. It is highly likely that the visible artworks were chosen by the collector and painter together, specifically for this painting, and that they were considered the highlights from Gildemeesters collection. Many works in the first room can be identified with certainty. The art collection of Jan Jansz. Gildemeester was auctioned after his death in 1800, and the auction catalogue documents the works in quite a bit of detail. Gildemeester's taste as an art collector corresponds with that of his contemporaries: he mainly owned genre pieces, marine paintings, landscapes, animal and still-life paintings. His earliest purchases probably were drawings and prints, of which he also built a considerable collection. | [
"Jacob de Wit",
"Amsterdam",
"landscapes",
"drawing",
"Jurriaan Andriessen",
"still-life",
"genre pieces",
"Rijksmonument",
"marine paintings",
"art collector",
"prints",
"animal",
"collection",
"Adriaan de Lelie",
"left",
"Cornelius Rudolphus Theodorus Krayenhoff",
"auction catalog",
"auction",
"Rijksmuseum",
"tricorne"
]
|
|
17132_T | Lamentation of Christ (Bouts) | Focus on Lamentation of Christ (Bouts) and analyze the abstract. | Lamentation of Christ is an Early Netherlandish panel painting made 1455–1460 by Flemish painter Dirk Bouts of the Lamentation of Christ. the picture was bequeathed to the Louvre Museum by Constant Mongé-Misbach in 1871, at which time it was misattributed to Rogier van der Weyden. It remains in that museum's collection as RF 1. | [
"Early Netherlandish",
"bequeathed",
"panel painting",
"Constant Mongé-Misbach",
"Rogier van der Weyden",
"Dirk Bouts",
"Louvre",
"Lamentation of Christ",
"Louvre Museum"
]
|
|
17132_NT | Lamentation of Christ (Bouts) | Focus on this artwork and analyze the abstract. | Lamentation of Christ is an Early Netherlandish panel painting made 1455–1460 by Flemish painter Dirk Bouts of the Lamentation of Christ. the picture was bequeathed to the Louvre Museum by Constant Mongé-Misbach in 1871, at which time it was misattributed to Rogier van der Weyden. It remains in that museum's collection as RF 1. | [
"Early Netherlandish",
"bequeathed",
"panel painting",
"Constant Mongé-Misbach",
"Rogier van der Weyden",
"Dirk Bouts",
"Louvre",
"Lamentation of Christ",
"Louvre Museum"
]
|
|
17133_T | Lamentation of Christ (Bouts) | In Lamentation of Christ (Bouts), how is the Composition discussed? | The subject, which commemorates the passion and death of Christ, arose in Byzantine art of the 11th century and would have served as a devotional object for focused contemplation, likely inspired by the Meditationes of the Pseudo-Bonaventura. The scene had become a popular one for artists and patrons in northern continental Europe by the 15th century.The rectangular panel shows the nearly naked, rigid body of the deceased Christ on a diagonal, held and supported in the lap of his mother, Mary. Both are attended by the figure of John the Evangelist in red, offering a white linen cloth to support Christ's head, to Mary's proper left. Mary Magdalene kneels in the middle ground, wrenching her hands in a gesture of grief, after a motif from Rogier van der Weyden's Descent from the Cross. A wooden tau cross stands off center and in the middle ground. A landscape of countryside around an imaginary Jerusalem recedes in the background with atmospheric perspective, under a blue and white sky. Details of carefully observed vegetation, likely after the manner of Jan van Eyck, appear in the lower foreground and in the distant background.
The Bouts Lamentation shows marked stylistic and compositional debt to Van der Weyden, especially in the emotion expressed by the Magdalene. The staid, restrained grief of the Mary and John bespeaks a signature Bouts style, where "time appears to be suspended in a moment of intense emotion, but one that is expressed calmly." The rendering of John's hair and face recall that of the figure of John in Bouts' Altarpiece of the Holy Sacrament, made in the mid- to late-1640s. | [
"landscape",
"continental Europe",
"Mary",
"Altarpiece of the Holy Sacrament",
"passion",
"Jerusalem",
"Rogier van der Weyden",
"tau cross",
"Pseudo-Bonaventura",
"Byzantine art",
"atmospheric perspective"
]
|
|
17133_NT | Lamentation of Christ (Bouts) | In this artwork, how is the Composition discussed? | The subject, which commemorates the passion and death of Christ, arose in Byzantine art of the 11th century and would have served as a devotional object for focused contemplation, likely inspired by the Meditationes of the Pseudo-Bonaventura. The scene had become a popular one for artists and patrons in northern continental Europe by the 15th century.The rectangular panel shows the nearly naked, rigid body of the deceased Christ on a diagonal, held and supported in the lap of his mother, Mary. Both are attended by the figure of John the Evangelist in red, offering a white linen cloth to support Christ's head, to Mary's proper left. Mary Magdalene kneels in the middle ground, wrenching her hands in a gesture of grief, after a motif from Rogier van der Weyden's Descent from the Cross. A wooden tau cross stands off center and in the middle ground. A landscape of countryside around an imaginary Jerusalem recedes in the background with atmospheric perspective, under a blue and white sky. Details of carefully observed vegetation, likely after the manner of Jan van Eyck, appear in the lower foreground and in the distant background.
The Bouts Lamentation shows marked stylistic and compositional debt to Van der Weyden, especially in the emotion expressed by the Magdalene. The staid, restrained grief of the Mary and John bespeaks a signature Bouts style, where "time appears to be suspended in a moment of intense emotion, but one that is expressed calmly." The rendering of John's hair and face recall that of the figure of John in Bouts' Altarpiece of the Holy Sacrament, made in the mid- to late-1640s. | [
"landscape",
"continental Europe",
"Mary",
"Altarpiece of the Holy Sacrament",
"passion",
"Jerusalem",
"Rogier van der Weyden",
"tau cross",
"Pseudo-Bonaventura",
"Byzantine art",
"atmospheric perspective"
]
|
|
17134_T | Lamentation of Christ (Bouts) | Focus on Lamentation of Christ (Bouts) and explore the Attribution and source material. | Among the artist's larger-scale religious works, the Lamentation may have been the central panel of a triptych, where the wings have been lost. It may also have come from the Bouts workshop in Leuven, after a lost original.Max Friedländer saw the work as early in the artist's oeuvre, based on "bony hands and lively contour of the Savior's body." Others base the period on the influence of Rogier van der Weyden.Endpoints for when the panel may have been created extend from 1445 (when van der Weyden's Milaflores altarpiece would have been available as a model—through 1466, the year identified by dendrochronologiccal analysis as the date for the panel of the copy of the Bouts Lamentation in Frankfurt.Evidence of tracing and some inconsistencies in style maybe argue for a reassignment of attribution, according to Catheline Périer-D’Ieteren, who insists the painting would have been made in the Bouts workshop (if not entirely by the artist himself) after an original painting there. | [
"triptych",
"Milaflores altarpiece",
"dendrochronologiccal",
"Max Friedländer",
"Rogier van der Weyden"
]
|
|
17134_NT | Lamentation of Christ (Bouts) | Focus on this artwork and explore the Attribution and source material. | Among the artist's larger-scale religious works, the Lamentation may have been the central panel of a triptych, where the wings have been lost. It may also have come from the Bouts workshop in Leuven, after a lost original.Max Friedländer saw the work as early in the artist's oeuvre, based on "bony hands and lively contour of the Savior's body." Others base the period on the influence of Rogier van der Weyden.Endpoints for when the panel may have been created extend from 1445 (when van der Weyden's Milaflores altarpiece would have been available as a model—through 1466, the year identified by dendrochronologiccal analysis as the date for the panel of the copy of the Bouts Lamentation in Frankfurt.Evidence of tracing and some inconsistencies in style maybe argue for a reassignment of attribution, according to Catheline Périer-D’Ieteren, who insists the painting would have been made in the Bouts workshop (if not entirely by the artist himself) after an original painting there. | [
"triptych",
"Milaflores altarpiece",
"dendrochronologiccal",
"Max Friedländer",
"Rogier van der Weyden"
]
|
|
17135_T | Lamentation of Christ (Bouts) | Focus on Lamentation of Christ (Bouts) and explain the Condition. | Scholars have consistently remarked upon the panel's satisfactory condition. The painting's whereabouts are unclear prior to 1871; it received conservation treatments in 1951, 1957, 1972, 1974, and 1978. It has been loaned to at least two exhibitions in the 20th century.At least five copies of the Bouts treatment of the subject exist, listed in catalogs by Max Friedländer and Wolfgang Schoene, including pictures now in the Städel Museum and the Museo Thyssen-Bornemisza. The Madrid example is the center panel of a triptych, and now ascribed to the Master of the Legend of Saint Lucy. | [
"Städel Museum",
"triptych",
"Städel",
"Max Friedländer",
"Master of the Legend of Saint Lucy",
"Museo Thyssen-Bornemisza"
]
|
|
17135_NT | Lamentation of Christ (Bouts) | Focus on this artwork and explain the Condition. | Scholars have consistently remarked upon the panel's satisfactory condition. The painting's whereabouts are unclear prior to 1871; it received conservation treatments in 1951, 1957, 1972, 1974, and 1978. It has been loaned to at least two exhibitions in the 20th century.At least five copies of the Bouts treatment of the subject exist, listed in catalogs by Max Friedländer and Wolfgang Schoene, including pictures now in the Städel Museum and the Museo Thyssen-Bornemisza. The Madrid example is the center panel of a triptych, and now ascribed to the Master of the Legend of Saint Lucy. | [
"Städel Museum",
"triptych",
"Städel",
"Max Friedländer",
"Master of the Legend of Saint Lucy",
"Museo Thyssen-Bornemisza"
]
|
|
17136_T | Chiming Fountain | Explore the abstract of this artwork, Chiming Fountain. | The Chiming Fountain, also known as Cupid's Fountain, the John Staehli Fountain, Portland's City Park Fountain and Washington Park Fountain, is an outdoor cast iron fountain and sculpture built in 1891 by John "Hans" Staehli. It is installed in Washington Park in Portland, Oregon, United States. The fountain's name derives from the sound made when water drips from the upper basin. Staehli designed the fountain to serve as a watering trough for horses pulling carriages into the park. Based on a Renaissance fountain, it was originally painted white and included a statuette of a boy, possibly depicting Cupid, though the figure was damaged and permanently removed from the sculpture before or during the 1940s.
The fountain was restored in 1960, but no longer functioned. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, its water-pumping function has also been restored. Chiming Fountain has been included in published biking and walking tours of Portland and has been mentioned as a highlight of Washington Park in guides recommending family-friendly activities in the city. | [
"Portland, Oregon",
"John \"Hans\" Staehli",
"Cupid",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Washington Park",
"watering trough"
]
|
|
17136_NT | Chiming Fountain | Explore the abstract of this artwork. | The Chiming Fountain, also known as Cupid's Fountain, the John Staehli Fountain, Portland's City Park Fountain and Washington Park Fountain, is an outdoor cast iron fountain and sculpture built in 1891 by John "Hans" Staehli. It is installed in Washington Park in Portland, Oregon, United States. The fountain's name derives from the sound made when water drips from the upper basin. Staehli designed the fountain to serve as a watering trough for horses pulling carriages into the park. Based on a Renaissance fountain, it was originally painted white and included a statuette of a boy, possibly depicting Cupid, though the figure was damaged and permanently removed from the sculpture before or during the 1940s.
The fountain was restored in 1960, but no longer functioned. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, its water-pumping function has also been restored. Chiming Fountain has been included in published biking and walking tours of Portland and has been mentioned as a highlight of Washington Park in guides recommending family-friendly activities in the city. | [
"Portland, Oregon",
"John \"Hans\" Staehli",
"Cupid",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Washington Park",
"watering trough"
]
|
|
17137_T | Chiming Fountain | Focus on Chiming Fountain and discuss the Description and history. | The decorative fountain is located at the junction of Southwest Sacajawea Boulevard and Southwest Sherwood Boulevard in the main circle of Washington Park. It was designed by John "Hans" Staehli, a woodcarver from Switzerland who immigrated to Portland and was known for his decorative carvings of churches. The fountain was commissioned by the city in 1891 for $400 and completed by Staehli later that year, becoming the city's second piece of public art. It served as a watering trough for horses pulling carriages into the park. The fountain has been given many different names, but is most commonly referred to as Chiming Fountain, in reference to the sound made by water dripping from the upper basin.The fountain is made of cast iron and measures approximately 12 feet (3.7 m) tall with a 7-foot (2.1 m) diameter. It has a pedestal and two round bronze basins separated by a narrow post, and stands in an octagonal concrete base which served as a retaining pool. The pedestal has four horned gargoyle-like figures. On the bottom of the pedestal's west side is an unsigned inscription which reads: "J. Staehli/Portland, Org./64 Second St."Staehli's design is based on a Renaissance fountain and was originally painted white. The central post originally held a figure of a boy carrying a staff (or possibly a fish or a torch) from which water spouted. Some sources suggest the figure depicted Cupid, hence one of the fountain's nicknames, "Cupid's Fountain". According to Portland Parks & Recreation, the figure was last recorded in 1912 in a photograph of Willis McElroy's band in the nearby bandstand. However, in the 1920s, freezing weather expanded water in the fountain, damaging the figure. The boy statuette was removed from the fountain and discarded by the 1940s, and it was not replaced.The city planned to remove the fountain in 1960 due to disrepair. However, Mayor Terry Schrunk instructed the parks bureau to begin a restoration after Francis J. Murnane, a local longshoreman and advocate for historic preservation, appealed its removal. Much of its original decoration was absent, so replicas of existing pieces were constructed at a cost of $450. The restoration cost around $1,775, including assembly and installation. Despite its restoration, the fountain was no longer functional. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, the fountain's plumbing has been restored. According to Smithsonian, the fountain is administered by the City of Portland's Metropolitan Arts Commission. | [
"longshoreman",
"John \"Hans\" Staehli",
"Cupid",
"Smithsonian Institution",
"Portland Parks & Recreation",
"Terry Schrunk",
"Save Outdoor Sculpture!",
"Washington Park",
"watering trough"
]
|
|
17137_NT | Chiming Fountain | Focus on this artwork and discuss the Description and history. | The decorative fountain is located at the junction of Southwest Sacajawea Boulevard and Southwest Sherwood Boulevard in the main circle of Washington Park. It was designed by John "Hans" Staehli, a woodcarver from Switzerland who immigrated to Portland and was known for his decorative carvings of churches. The fountain was commissioned by the city in 1891 for $400 and completed by Staehli later that year, becoming the city's second piece of public art. It served as a watering trough for horses pulling carriages into the park. The fountain has been given many different names, but is most commonly referred to as Chiming Fountain, in reference to the sound made by water dripping from the upper basin.The fountain is made of cast iron and measures approximately 12 feet (3.7 m) tall with a 7-foot (2.1 m) diameter. It has a pedestal and two round bronze basins separated by a narrow post, and stands in an octagonal concrete base which served as a retaining pool. The pedestal has four horned gargoyle-like figures. On the bottom of the pedestal's west side is an unsigned inscription which reads: "J. Staehli/Portland, Org./64 Second St."Staehli's design is based on a Renaissance fountain and was originally painted white. The central post originally held a figure of a boy carrying a staff (or possibly a fish or a torch) from which water spouted. Some sources suggest the figure depicted Cupid, hence one of the fountain's nicknames, "Cupid's Fountain". According to Portland Parks & Recreation, the figure was last recorded in 1912 in a photograph of Willis McElroy's band in the nearby bandstand. However, in the 1920s, freezing weather expanded water in the fountain, damaging the figure. The boy statuette was removed from the fountain and discarded by the 1940s, and it was not replaced.The city planned to remove the fountain in 1960 due to disrepair. However, Mayor Terry Schrunk instructed the parks bureau to begin a restoration after Francis J. Murnane, a local longshoreman and advocate for historic preservation, appealed its removal. Much of its original decoration was absent, so replicas of existing pieces were constructed at a cost of $450. The restoration cost around $1,775, including assembly and installation. Despite its restoration, the fountain was no longer functional. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, the fountain's plumbing has been restored. According to Smithsonian, the fountain is administered by the City of Portland's Metropolitan Arts Commission. | [
"longshoreman",
"John \"Hans\" Staehli",
"Cupid",
"Smithsonian Institution",
"Portland Parks & Recreation",
"Terry Schrunk",
"Save Outdoor Sculpture!",
"Washington Park",
"watering trough"
]
|
|
17138_T | Chiming Fountain | How does Chiming Fountain elucidate its Reception? | The fountain has been included in published biking and walking tours of the city, including one which described it as "elegant". It was also mentioned as a highlight of Washington Park in the 2010 guidebook Best Places: Portland and by Delta Sky Magazine. Similarly, Chiming Fountain has been included in descriptions of the park in guides recommending child-friendly activities and sites in the city. These guides include the website TravelforKids.com and the 2009 book The 10 Best of Everything Families: An Ultimate Guide for Travelers, which listed Washington Park as one of the ten "Best Parks and Playgrounds" in the Northwestern United States. | [
"Delta Sky Magazine",
"Washington Park",
"Northwestern United States"
]
|
|
17138_NT | Chiming Fountain | How does this artwork elucidate its Reception? | The fountain has been included in published biking and walking tours of the city, including one which described it as "elegant". It was also mentioned as a highlight of Washington Park in the 2010 guidebook Best Places: Portland and by Delta Sky Magazine. Similarly, Chiming Fountain has been included in descriptions of the park in guides recommending child-friendly activities and sites in the city. These guides include the website TravelforKids.com and the 2009 book The 10 Best of Everything Families: An Ultimate Guide for Travelers, which listed Washington Park as one of the ten "Best Parks and Playgrounds" in the Northwestern United States. | [
"Delta Sky Magazine",
"Washington Park",
"Northwestern United States"
]
|
|
17139_T | Our Lady of Cardigan | Focus on Our Lady of Cardigan and analyze the abstract. | Our Lady of Cardigan (Welsh: Mair o Aberteifi), also known as Our Lady of the Taper, the Catholic national shrine of Wales, is a statue of the Blessed Virgin Mary created by Sr Concordia Scott and located in a chapel in Cardigan, Ceredigion, Wales. | [
"Concordia Scott",
"Cardigan, Ceredigion",
"Wales",
"Ceredigion",
"national shrine",
"Blessed Virgin Mary",
"Catholic",
"Cardigan"
]
|
|
17139_NT | Our Lady of Cardigan | Focus on this artwork and analyze the abstract. | Our Lady of Cardigan (Welsh: Mair o Aberteifi), also known as Our Lady of the Taper, the Catholic national shrine of Wales, is a statue of the Blessed Virgin Mary created by Sr Concordia Scott and located in a chapel in Cardigan, Ceredigion, Wales. | [
"Concordia Scott",
"Cardigan, Ceredigion",
"Wales",
"Ceredigion",
"national shrine",
"Blessed Virgin Mary",
"Catholic",
"Cardigan"
]
|
|
17140_T | Our Lady of Cardigan | In Our Lady of Cardigan, how is the Legend discussed? | According to Medieval legend, a statue of Our Lady and Child was found beside the River Teifi, in southwest Wales, with a burning taper (candle) in her hand. The statue was taken to the local parish church, although it was moved several times before a church was specially built to house the shrine. | [
"River Teifi",
"Wales",
"candle",
"parish church"
]
|
|
17140_NT | Our Lady of Cardigan | In this artwork, how is the Legend discussed? | According to Medieval legend, a statue of Our Lady and Child was found beside the River Teifi, in southwest Wales, with a burning taper (candle) in her hand. The statue was taken to the local parish church, although it was moved several times before a church was specially built to house the shrine. | [
"River Teifi",
"Wales",
"candle",
"parish church"
]
|
|
17141_T | Our Lady of Cardigan | Focus on Our Lady of Cardigan and explore the Present. | A new statue was recast in bronze in 1986 by Sr Concordia Scott and blessed at Cardiff Cathedral before being taken around Wales and then installed before 4,500 pilgrims. A candle blessed by Pope John Paul II in Rome was placed in the statue's hand. The shrine was reinstated by Mgr John Petit and is visited by many pilgrims each year. In September 2010, the statue was transposed to Westminster Cathedral on the occasion of the pastoral visit of Pope Benedict XVI, who personally lighted a candle on the statue's hand and blessed a mosaic of Saint David in the cathedral.Pilgrimage to Our Lady of Cardigan has largely replaced that to Our Lady of Penrhys, in the Rhondda Valley of Glamorgan, documented in Welsh medieval literature but currently of difficult access for crowds. | [
"Penrhys",
"Concordia Scott",
"Cardiff Cathedral",
"Our Lady of Penrhys",
"Wales",
"candle",
"Rome",
"Pope Benedict XVI",
"Pope John Paul II",
"Westminster Cathedral",
"Pilgrim",
"Cardigan",
"pilgrim",
"Saint David"
]
|
|
17141_NT | Our Lady of Cardigan | Focus on this artwork and explore the Present. | A new statue was recast in bronze in 1986 by Sr Concordia Scott and blessed at Cardiff Cathedral before being taken around Wales and then installed before 4,500 pilgrims. A candle blessed by Pope John Paul II in Rome was placed in the statue's hand. The shrine was reinstated by Mgr John Petit and is visited by many pilgrims each year. In September 2010, the statue was transposed to Westminster Cathedral on the occasion of the pastoral visit of Pope Benedict XVI, who personally lighted a candle on the statue's hand and blessed a mosaic of Saint David in the cathedral.Pilgrimage to Our Lady of Cardigan has largely replaced that to Our Lady of Penrhys, in the Rhondda Valley of Glamorgan, documented in Welsh medieval literature but currently of difficult access for crowds. | [
"Penrhys",
"Concordia Scott",
"Cardiff Cathedral",
"Our Lady of Penrhys",
"Wales",
"candle",
"Rome",
"Pope Benedict XVI",
"Pope John Paul II",
"Westminster Cathedral",
"Pilgrim",
"Cardigan",
"pilgrim",
"Saint David"
]
|
|
17142_T | Decoration for a Thesis in Honor of Saint Francis Solano | Explore the Top sheet about the Visual description of this artwork, Decoration for a Thesis in Honor of Saint Francis Solano. | Standing in the middle of the piece is Saint Francis Solano dressed in traditional Franciscan garb, his arms encircling a rising sun. Above the sun appears an emblem displaying a cross overlaid by two crossed arms. He is surrounded by an ovular frame made of leaves, also encompassing within a background featuring two major landmarks in colonial Peru, the capital city of Lima and the Silver mines of Potosí, as well as the Pacific Ocean directly behind Solano. Both within the frame and around it lay several inscriptions written in Latin as well as four putti. Two putti sit at either side of Solano holding an inscription regarding Solano across his knees, while the others look down upon the scene from outside the frame each from one of the top corners. Each of the putti are holding individual coats of arms. Those near the feet of Solano are identical copies portraying medieval imagery and short Latin inscriptions. Those of the upper putti are distinct. The upper left is adorned with three crowns underneath a star with an inscription stating, ¨this is the sign of kings¨. The upper right depicts a friar surrounded by a crowd of men, heads adorned with halos, and an inscription stating, ¨pronounce twelve disciples from Peru¨. The space in the bottom corners is filled on both sides with bound books. | [
"Franciscan",
"putti",
"Latin",
"Potosí",
"Saint Francis Solano",
"twelve disciples",
"medieval",
"Lima"
]
|
|
17142_NT | Decoration for a Thesis in Honor of Saint Francis Solano | Explore the Top sheet about the Visual description of this artwork. | Standing in the middle of the piece is Saint Francis Solano dressed in traditional Franciscan garb, his arms encircling a rising sun. Above the sun appears an emblem displaying a cross overlaid by two crossed arms. He is surrounded by an ovular frame made of leaves, also encompassing within a background featuring two major landmarks in colonial Peru, the capital city of Lima and the Silver mines of Potosí, as well as the Pacific Ocean directly behind Solano. Both within the frame and around it lay several inscriptions written in Latin as well as four putti. Two putti sit at either side of Solano holding an inscription regarding Solano across his knees, while the others look down upon the scene from outside the frame each from one of the top corners. Each of the putti are holding individual coats of arms. Those near the feet of Solano are identical copies portraying medieval imagery and short Latin inscriptions. Those of the upper putti are distinct. The upper left is adorned with three crowns underneath a star with an inscription stating, ¨this is the sign of kings¨. The upper right depicts a friar surrounded by a crowd of men, heads adorned with halos, and an inscription stating, ¨pronounce twelve disciples from Peru¨. The space in the bottom corners is filled on both sides with bound books. | [
"Franciscan",
"putti",
"Latin",
"Potosí",
"Saint Francis Solano",
"twelve disciples",
"medieval",
"Lima"
]
|
|
17143_T | Decoration for a Thesis in Honor of Saint Francis Solano | Focusing on the Visual description of Decoration for a Thesis in Honor of Saint Francis Solano, discuss the Latin inscriptions about the Top sheet. | Latin inscriptions Ovular frame:Left: "The city of Lima for almost unlimited souls converted to the ecclesiastical glory of the Canonization of Solano"
Right: "The silver Mount Potosi, after conveying to Spain almost unlimited treasures, begs for the favor of the Beatification of Solano"Center banner:"Solano, the guardian angel of the Peruvians" | [
"Canonization",
"Latin",
"Beatification",
"Lima"
]
|
|
17143_NT | Decoration for a Thesis in Honor of Saint Francis Solano | Focusing on the Visual description of this artwork, discuss the Latin inscriptions about the Top sheet. | Latin inscriptions Ovular frame:Left: "The city of Lima for almost unlimited souls converted to the ecclesiastical glory of the Canonization of Solano"
Right: "The silver Mount Potosi, after conveying to Spain almost unlimited treasures, begs for the favor of the Beatification of Solano"Center banner:"Solano, the guardian angel of the Peruvians" | [
"Canonization",
"Latin",
"Beatification",
"Lima"
]
|
|
17144_T | Decoration for a Thesis in Honor of Saint Francis Solano | In Decoration for a Thesis in Honor of Saint Francis Solano, how is the Bottom sheet of the Visual description elucidated? | In the center of the piece stands 13th century Scottish theologian Friar John Duns Scotus dressed in the same fashion as Solano. Scotus is holding a Latin inscribed banner that flows down past his arms. He is flanked by two putti in the same manner as Solano in the work's top sheet. He stands above a Latin inscription and between two stone columns. The columns in the print show similarity to those in the Sevelli Chapel altar in the right transept of the cathedral. The emblem above the sun in the upper sheet also appears as an element in the altar. Directly to the outside of the columns are two sections of Latin inscriptions. The inscriptions on the side are the sixteen theses that were defended at Santa Maria in Aracoeli. | [
"Sevelli Chapel",
"John Duns Scotus",
"print",
"putti",
"cathedral",
"Latin",
"Santa Maria in Aracoeli",
"Duns Scotus"
]
|
|
17144_NT | Decoration for a Thesis in Honor of Saint Francis Solano | In this artwork, how is the Bottom sheet of the Visual description elucidated? | In the center of the piece stands 13th century Scottish theologian Friar John Duns Scotus dressed in the same fashion as Solano. Scotus is holding a Latin inscribed banner that flows down past his arms. He is flanked by two putti in the same manner as Solano in the work's top sheet. He stands above a Latin inscription and between two stone columns. The columns in the print show similarity to those in the Sevelli Chapel altar in the right transept of the cathedral. The emblem above the sun in the upper sheet also appears as an element in the altar. Directly to the outside of the columns are two sections of Latin inscriptions. The inscriptions on the side are the sixteen theses that were defended at Santa Maria in Aracoeli. | [
"Sevelli Chapel",
"John Duns Scotus",
"print",
"putti",
"cathedral",
"Latin",
"Santa Maria in Aracoeli",
"Duns Scotus"
]
|
|
17145_T | Decoration for a Thesis in Honor of Saint Francis Solano | Focusing on the Visual description of Decoration for a Thesis in Honor of Saint Francis Solano, analyze the Latin inscriptions about the Bottom sheet. | Latin inscriptions Center banner:"The whole doctrine is spread out by the egg of the prince of Scots theologians"Bottom margin:"General treatises of the whole Seraphic religion will be discussed at the convent of Santa Maria of Aracoeli in Rome, celebrated on the first of June 1639" | [
"Latin"
]
|
|
17145_NT | Decoration for a Thesis in Honor of Saint Francis Solano | Focusing on the Visual description of this artwork, analyze the Latin inscriptions about the Bottom sheet. | Latin inscriptions Center banner:"The whole doctrine is spread out by the egg of the prince of Scots theologians"Bottom margin:"General treatises of the whole Seraphic religion will be discussed at the convent of Santa Maria of Aracoeli in Rome, celebrated on the first of June 1639" | [
"Latin"
]
|
|
17146_T | Decoration for a Thesis in Honor of Saint Francis Solano | In the context of Decoration for a Thesis in Honor of Saint Francis Solano, explore the Steffano della Bella of the Historical background. | In 1610 Steffano della Bella was born to a Florentine sculptor father, whose early death led to Steffano becoming an apprentice in the arts himself. His career took him through various methods, ultimately landing on the practice of etching. He learned the practice from Remigio Cantagallina, former master of Callot, an important figure in Baroque era printmaking. Steffano produced around one thousand etchings throughout his career, focusing greatly on reproducing events going on in the world around him. In 1633 he would move to Rome, where he would eventually complete the titular piece of the article. | [
"Callot",
"Florentine",
"print",
"Remigio Cantagallina",
"etching"
]
|
|
17146_NT | Decoration for a Thesis in Honor of Saint Francis Solano | In the context of this artwork, explore the Steffano della Bella of the Historical background. | In 1610 Steffano della Bella was born to a Florentine sculptor father, whose early death led to Steffano becoming an apprentice in the arts himself. His career took him through various methods, ultimately landing on the practice of etching. He learned the practice from Remigio Cantagallina, former master of Callot, an important figure in Baroque era printmaking. Steffano produced around one thousand etchings throughout his career, focusing greatly on reproducing events going on in the world around him. In 1633 he would move to Rome, where he would eventually complete the titular piece of the article. | [
"Callot",
"Florentine",
"print",
"Remigio Cantagallina",
"etching"
]
|
|
17147_T | Decoration for a Thesis in Honor of Saint Francis Solano | In the context of Decoration for a Thesis in Honor of Saint Francis Solano, explain the St. Francis Solano of the Historical background. | The honoree of the thesis defense at Santa Maria in Aracoeli was a member of the Franciscan Order and a subset of the organization sent on mission to the Viceroyalty of Peru during the times of the colonial Spanish Empire. Franciscans in Peru were both utilized by the Spanish Crown as well as the Catholic church. The crown sought to seek cooperation with the indigenous populations of the region through religious connection, while the church viewed it as an opportunity to evangelize the people of the new world. St. Francis himself was particularly successful in the attempt to grow close with the indigenous peoples. His ability to communicate in various native dialects allowed him to form significant connections within the communities in which he served. It was for this reason that the thesis described in etching was dedicated to him personally. | [
"Franciscan",
"Santa Maria in Aracoeli",
"Catholic church",
"Franciscans",
"Viceroyalty of Peru",
"etching"
]
|
|
17147_NT | Decoration for a Thesis in Honor of Saint Francis Solano | In the context of this artwork, explain the St. Francis Solano of the Historical background. | The honoree of the thesis defense at Santa Maria in Aracoeli was a member of the Franciscan Order and a subset of the organization sent on mission to the Viceroyalty of Peru during the times of the colonial Spanish Empire. Franciscans in Peru were both utilized by the Spanish Crown as well as the Catholic church. The crown sought to seek cooperation with the indigenous populations of the region through religious connection, while the church viewed it as an opportunity to evangelize the people of the new world. St. Francis himself was particularly successful in the attempt to grow close with the indigenous peoples. His ability to communicate in various native dialects allowed him to form significant connections within the communities in which he served. It was for this reason that the thesis described in etching was dedicated to him personally. | [
"Franciscan",
"Santa Maria in Aracoeli",
"Catholic church",
"Franciscans",
"Viceroyalty of Peru",
"etching"
]
|
|
17148_T | Decoration for a Thesis in Honor of Saint Francis Solano | Explore the Buenaventura de Salinas y Córdoba about the Historical background of this artwork, Decoration for a Thesis in Honor of Saint Francis Solano. | Buenaventura was born of mixed Spanish and Peruvian heritage in 1610, in Lima, Peru. Nephew of former Spanish conquistadors, he attended Spanish academic institutions due to the connections of his family, being named the Secretary of the Interior to the Viceroyalty of Peru. However, in 1616 he abandoned his governmental position in favor of the same Franciscan Order as Solano. Compelled by his mixed heritage, he felt the need to protect the indigenous populations from the intentions of the Spaniards via his newfound position as a friar. Buenaventura took up an academic position within the order, authoring several works regarding the work done in the New World. Most notably, "Memorial de las historias del Nuevo Mundo, Perú", chronicling the efforts of the Franciscan Order in Peru, and arguing for the Canonization of Friar Francis Solano. This work prefaced the 1639 thesis defense in Rome. | [
"Franciscan",
"Canonization",
"Viceroyalty of Peru",
"Lima"
]
|
|
17148_NT | Decoration for a Thesis in Honor of Saint Francis Solano | Explore the Buenaventura de Salinas y Córdoba about the Historical background of this artwork. | Buenaventura was born of mixed Spanish and Peruvian heritage in 1610, in Lima, Peru. Nephew of former Spanish conquistadors, he attended Spanish academic institutions due to the connections of his family, being named the Secretary of the Interior to the Viceroyalty of Peru. However, in 1616 he abandoned his governmental position in favor of the same Franciscan Order as Solano. Compelled by his mixed heritage, he felt the need to protect the indigenous populations from the intentions of the Spaniards via his newfound position as a friar. Buenaventura took up an academic position within the order, authoring several works regarding the work done in the New World. Most notably, "Memorial de las historias del Nuevo Mundo, Perú", chronicling the efforts of the Franciscan Order in Peru, and arguing for the Canonization of Friar Francis Solano. This work prefaced the 1639 thesis defense in Rome. | [
"Franciscan",
"Canonization",
"Viceroyalty of Peru",
"Lima"
]
|
|
17149_T | Appeal to the Great Spirit | Focus on Appeal to the Great Spirit and discuss the abstract. | Appeal to the Great Spirit is a 1908 equestrian statue by Cyrus Dallin, located in front of the Museum of Fine Arts, Boston. It portrays a Native American on horseback facing skyward, his arms spread wide in a spiritual request to the Great Spirit. It was the last of Dallin's four prominent sculptures of Indigenous people known as The Epic of the Indian, which also include A Signal of Peace (1890), The Medicine Man (1899), and Protest of the Sioux (1904).
A statuette of Appeal to the Great Spirit is in the permanent collection of the White House and was exhibited in President Bill Clinton's Oval Office. British Prime Minister Rt. Hon. David Lloyd George also had a statuette, which he received in association with a meeting with Sioux Chief Two Eagle during an October 1923 tour of the US and Canada | [
"Cyrus Dallin",
"A Signal of Peace",
"Boston",
"Great Spirit",
"The Medicine Man",
"Oval Office",
"White House",
"Bill Clinton",
"David Lloyd George",
"Native American",
"Sioux",
"Museum of Fine Arts, Boston",
"Protest of the Sioux"
]
|
|
17149_NT | Appeal to the Great Spirit | Focus on this artwork and discuss the abstract. | Appeal to the Great Spirit is a 1908 equestrian statue by Cyrus Dallin, located in front of the Museum of Fine Arts, Boston. It portrays a Native American on horseback facing skyward, his arms spread wide in a spiritual request to the Great Spirit. It was the last of Dallin's four prominent sculptures of Indigenous people known as The Epic of the Indian, which also include A Signal of Peace (1890), The Medicine Man (1899), and Protest of the Sioux (1904).
A statuette of Appeal to the Great Spirit is in the permanent collection of the White House and was exhibited in President Bill Clinton's Oval Office. British Prime Minister Rt. Hon. David Lloyd George also had a statuette, which he received in association with a meeting with Sioux Chief Two Eagle during an October 1923 tour of the US and Canada | [
"Cyrus Dallin",
"A Signal of Peace",
"Boston",
"Great Spirit",
"The Medicine Man",
"Oval Office",
"White House",
"Bill Clinton",
"David Lloyd George",
"Native American",
"Sioux",
"Museum of Fine Arts, Boston",
"Protest of the Sioux"
]
|
|
17150_T | Appeal to the Great Spirit | How does Appeal to the Great Spirit elucidate its History? | Having grown up in Utah, the young Dallin frequently interacted with Native American children, who gave him insights that he called upon while creating this and other works. For Appeal to the Great Spirit , the model was Antonio Corsi, who posed for several great painters and sculptors of the era.Appeal to the Great Spirit was cast in Paris, and won a gold medal for its exhibition in the Paris Salon. On January 23, 1912, it was installed outside the main entrance to the Boston Museum of Fine Arts (MFA). The installation was originally intended to be temporary, but the statue was never removed, and eventually came to be considered as an iconic symbol of the MFA.A restoration of the original Boston version was reversed at Dallin's request, because he preferred the light green tones that had developed on the equestrian sculpture over time rather than the typical "statuary brown" patina the conservator applied without consulting him.
Prominent Equestrian Statues of Indigenous People, by Cyrus Edwin Dallin
On March 3, 2019, the MFA convened a public discussion of the artwork among five art historians and museum curators; two of the panelists were also members of Native American tribes. In October 2019, as part of its first community celebration of Indigenous Peoples' Day, the MFA surrounded its iconic statue with placards displaying questions and comments submitted by the community, including Native Americans. In 2020, the MFA website posted two brief essays written by Native Americans commenting on the sculpture and its cultural meanings.In 2021, two temporary art installations were placed around and near to the sculpture. Raven Reshapes Boston: A Native Corn Garden at the MFA, by Elizabeth James-Perry, (Aquinnah Wampanoag, b. 1973), consists of corn, beans, and sedges planted in a small garden completely surrounding the statue. Ekua Holmes (African American, b. 1955), planted a large patch of sunflowers close by, called Radiant Community, as part of her ongoing Roxbury Sunflower Project. | [
"Paris Salon",
"Boston",
"Great Spirit",
"equestrian sculpture",
"Aquinnah Wampanoag",
"Indigenous Peoples' Day",
"Boston Museum of Fine Arts",
"Cyrus Edwin Dallin",
"Ekua Holmes",
"Native American",
"patina",
"sunflower",
"Paris",
"Utah",
"sedge",
"cast"
]
|
|
17150_NT | Appeal to the Great Spirit | How does this artwork elucidate its History? | Having grown up in Utah, the young Dallin frequently interacted with Native American children, who gave him insights that he called upon while creating this and other works. For Appeal to the Great Spirit , the model was Antonio Corsi, who posed for several great painters and sculptors of the era.Appeal to the Great Spirit was cast in Paris, and won a gold medal for its exhibition in the Paris Salon. On January 23, 1912, it was installed outside the main entrance to the Boston Museum of Fine Arts (MFA). The installation was originally intended to be temporary, but the statue was never removed, and eventually came to be considered as an iconic symbol of the MFA.A restoration of the original Boston version was reversed at Dallin's request, because he preferred the light green tones that had developed on the equestrian sculpture over time rather than the typical "statuary brown" patina the conservator applied without consulting him.
Prominent Equestrian Statues of Indigenous People, by Cyrus Edwin Dallin
On March 3, 2019, the MFA convened a public discussion of the artwork among five art historians and museum curators; two of the panelists were also members of Native American tribes. In October 2019, as part of its first community celebration of Indigenous Peoples' Day, the MFA surrounded its iconic statue with placards displaying questions and comments submitted by the community, including Native Americans. In 2020, the MFA website posted two brief essays written by Native Americans commenting on the sculpture and its cultural meanings.In 2021, two temporary art installations were placed around and near to the sculpture. Raven Reshapes Boston: A Native Corn Garden at the MFA, by Elizabeth James-Perry, (Aquinnah Wampanoag, b. 1973), consists of corn, beans, and sedges planted in a small garden completely surrounding the statue. Ekua Holmes (African American, b. 1955), planted a large patch of sunflowers close by, called Radiant Community, as part of her ongoing Roxbury Sunflower Project. | [
"Paris Salon",
"Boston",
"Great Spirit",
"equestrian sculpture",
"Aquinnah Wampanoag",
"Indigenous Peoples' Day",
"Boston Museum of Fine Arts",
"Cyrus Edwin Dallin",
"Ekua Holmes",
"Native American",
"patina",
"sunflower",
"Paris",
"Utah",
"sedge",
"cast"
]
|
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