ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
sequence |
|---|---|---|---|---|---|
17201_T | Yonker Ramp and His Sweetheart | Explore the Painting of this artwork, Yonker Ramp and His Sweetheart. | The painting shows the face of a smiling woman leaning up against a young cavalier who is holding a flask above his head as if he has just taken it from her, apparently as part of a joke. With his left hand, the young cavalier is holding the head of a dog. The couple stand before a partially open curtain which shows a room beyond with a smiling man carrying a dish and a burning fireplace behind him. | [
"cavalier"
] |
|
17201_NT | Yonker Ramp and His Sweetheart | Explore the Painting of this artwork. | The painting shows the face of a smiling woman leaning up against a young cavalier who is holding a flask above his head as if he has just taken it from her, apparently as part of a joke. With his left hand, the young cavalier is holding the head of a dog. The couple stand before a partially open curtain which shows a room beyond with a smiling man carrying a dish and a burning fireplace behind him. | [
"cavalier"
] |
|
17202_T | Yonker Ramp and His Sweetheart | Focus on Yonker Ramp and His Sweetheart and discuss the Name. | The painting was for a long time considered to be a portrait of a young ensign of the Haarlem schutterij, Pieter Ramp. This has been rejected however as the female shows a strong resemblance to the young woman portrayed in Hals' Shrovetide Revellers. Both are considered to be genre works today, so the models could be anyone in Hals circle such as his children or pupils. In his 1910 catalog of Frans Hals works Hofstede de Groot noted this painting had a copy in London and wrote:139. JUNKER RAMP AND HIS GIRL. B. 13 ; M. 209.- In an interior a young cavalier, seen to the hips, stands facing three-quarters right. He wears a doublet with lace collar and wristbands, and a broad-brimmed hat with a plume. In his right hand he holds up a wine-glass, at which he laughs heartily. He grasps with his left hand the head of a dog, which is in the right-hand bottom corner. Behind him to the right stands a girl who smiles at the spectator. She lays her right hand on his right shoulder, and touches his left shoulder with her left hand. In the right background is a chimney-piece with two long pictures. In front of it a young man comes forward; he looks towards the left and carries something. On the left, beside the chimney-piece, hangs another picture. Signed on the edge of the chimney-piece, F. Hals 1623; canvas on panel, 42 inches by 31 inches. A repetition of this picture is in the Heseltine collection [see 140]. Sales. J. A. Versijden van Varick, Leyden, October 29, 1791, No. 103 (130 florins). Copes van Hasselt of Haarlem, Amsterdam, April 20, 1880, No. 1. Pourtales, Paris. In the possession of the London dealer Duveen. In the collection of B. Altman, New York. In his 1989 catalog of the international Frans Hals exhibition (which did not include this painting because it can never be lent out) Slive claimed it is the only genre work by Hals that is dated. Slive did mention in his discussion of Hals' Four evangelists that another interpretation is possible, namely that this painting could possibly be a Hals interpretation of the biblical Prodigal son. In the same year that Slive was writing, Claus Grimm rejected the attribution of this painting to Frans Hals, though he conceded it was probably after a painting by Hals, calling it a copy of a lost original.Hals' positioning of the two figures with a major figure accompanied by "an accomplice" was common to many of his paintings of the 1620s: | [
"Haarlem schutterij",
"Haarlem",
"Four evangelists",
"Hofstede de Groot",
"Pieter Ramp",
"cavalier",
"Shrovetide Revellers",
"Claus Grimm",
"B. Altman",
"Duveen",
"Heseltine",
"Frans Hals",
"Prodigal son"
] |
|
17202_NT | Yonker Ramp and His Sweetheart | Focus on this artwork and discuss the Name. | The painting was for a long time considered to be a portrait of a young ensign of the Haarlem schutterij, Pieter Ramp. This has been rejected however as the female shows a strong resemblance to the young woman portrayed in Hals' Shrovetide Revellers. Both are considered to be genre works today, so the models could be anyone in Hals circle such as his children or pupils. In his 1910 catalog of Frans Hals works Hofstede de Groot noted this painting had a copy in London and wrote:139. JUNKER RAMP AND HIS GIRL. B. 13 ; M. 209.- In an interior a young cavalier, seen to the hips, stands facing three-quarters right. He wears a doublet with lace collar and wristbands, and a broad-brimmed hat with a plume. In his right hand he holds up a wine-glass, at which he laughs heartily. He grasps with his left hand the head of a dog, which is in the right-hand bottom corner. Behind him to the right stands a girl who smiles at the spectator. She lays her right hand on his right shoulder, and touches his left shoulder with her left hand. In the right background is a chimney-piece with two long pictures. In front of it a young man comes forward; he looks towards the left and carries something. On the left, beside the chimney-piece, hangs another picture. Signed on the edge of the chimney-piece, F. Hals 1623; canvas on panel, 42 inches by 31 inches. A repetition of this picture is in the Heseltine collection [see 140]. Sales. J. A. Versijden van Varick, Leyden, October 29, 1791, No. 103 (130 florins). Copes van Hasselt of Haarlem, Amsterdam, April 20, 1880, No. 1. Pourtales, Paris. In the possession of the London dealer Duveen. In the collection of B. Altman, New York. In his 1989 catalog of the international Frans Hals exhibition (which did not include this painting because it can never be lent out) Slive claimed it is the only genre work by Hals that is dated. Slive did mention in his discussion of Hals' Four evangelists that another interpretation is possible, namely that this painting could possibly be a Hals interpretation of the biblical Prodigal son. In the same year that Slive was writing, Claus Grimm rejected the attribution of this painting to Frans Hals, though he conceded it was probably after a painting by Hals, calling it a copy of a lost original.Hals' positioning of the two figures with a major figure accompanied by "an accomplice" was common to many of his paintings of the 1620s: | [
"Haarlem schutterij",
"Haarlem",
"Four evangelists",
"Hofstede de Groot",
"Pieter Ramp",
"cavalier",
"Shrovetide Revellers",
"Claus Grimm",
"B. Altman",
"Duveen",
"Heseltine",
"Frans Hals",
"Prodigal son"
] |
|
17203_T | An East View of the Great Cataract of Niagara | How does An East View of the Great Cataract of Niagara elucidate its abstract? | An East View of the Great Cataract of Niagara is a historic watercolour of Niagara Falls painted on site by Thomas Davies (c. 1737–1812) in 1762. It was the first eyewitness painting and the first accurate view of the falls. | [
"Niagara",
"watercolour",
"Thomas Davies",
"Niagara Falls"
] |
|
17203_NT | An East View of the Great Cataract of Niagara | How does this artwork elucidate its abstract? | An East View of the Great Cataract of Niagara is a historic watercolour of Niagara Falls painted on site by Thomas Davies (c. 1737–1812) in 1762. It was the first eyewitness painting and the first accurate view of the falls. | [
"Niagara",
"watercolour",
"Thomas Davies",
"Niagara Falls"
] |
|
17204_T | An East View of the Great Cataract of Niagara | Focus on An East View of the Great Cataract of Niagara and analyze the Inscription. | Davies inscribed scientific notes about the falls and the landscape at the bottom of the work: | [] |
|
17204_NT | An East View of the Great Cataract of Niagara | Focus on this artwork and analyze the Inscription. | Davies inscribed scientific notes about the falls and the landscape at the bottom of the work: | [] |
|
17205_T | An East View of the Great Cataract of Niagara | In An East View of the Great Cataract of Niagara, how is the Other versions discussed? | J. Fougeron produced a handcoloured engraving of this work, published in Davies's Six Views of North American Waterfalls (c. 1763–1768). Davies later painted Niagara Falls from Above (c. 1766) and Niagara Falls from Below (c. 1766) showing the falls from different perspectives. These two are now in the collection of the New-York Historical Society. | [
"Niagara",
"Niagara Falls",
"New-York Historical Society",
"J. Fougeron"
] |
|
17205_NT | An East View of the Great Cataract of Niagara | In this artwork, how is the Other versions discussed? | J. Fougeron produced a handcoloured engraving of this work, published in Davies's Six Views of North American Waterfalls (c. 1763–1768). Davies later painted Niagara Falls from Above (c. 1766) and Niagara Falls from Below (c. 1766) showing the falls from different perspectives. These two are now in the collection of the New-York Historical Society. | [
"Niagara",
"Niagara Falls",
"New-York Historical Society",
"J. Fougeron"
] |
|
17206_T | Annunciation (Lanfranco, Rome) | Focus on Annunciation (Lanfranco, Rome) and explore the Description. | The Annunciation painting depicts the archangel Gabriel, aloft on a cloud, revealing to the Virgin Mary that she was pregnant with Jesus (Luke 1:10–20 King James Bible). The archangel, whose face is in shadows, points to the heavens. Above, a group of cherubs open the heavens to allow for light to fall on the Virgin, and to allow the descent (in the form of a dove) of the Holy Spirit. The edge of an orange curtain, lit from above, creates a diagonal rising from the right of the canvas, behind the Virgin, up to the clouds. Mary's face is flooded with light, while her hands take on the demure posture of troubled surprise. On a surface in front of Mary is the common iconographic symbol of the Annunciation, white lilies. On the floor is an empty basket and sheet, foreshadowing the coming child. The painting has striking chiaroscuro contrasts, with a mainly dark background behind Mary and the Archangel.The date of the painting is variously reported as 1616 or 1624. There is a second, smaller version of The Annunciation by Lanfranco, now displayed at the Hermitage Museum in Saint Petersburg, Russia. While many of the iconographic elements are similar, this painting has far less tenebrism: a bed and landscape can be visualized in the background. This painting was previously in the collection of Francois Tronchin in Geneva. Finally another Annunciation canvas (1636) attributed to Lanfranco is displayed in the church of the Agustinas Recoletas in Salamanca. A pen and brown ink drawing, inscribed with G Lanfranco, follows a similar layout. A print by the engraver Cornelis Bloemaert is based on the painting at the Hermitage. | [
"Annunciation",
"right",
"Holy Spirit",
"Cornelis Bloemaert",
"Hermitage Museum",
"archangel Gabriel",
"Francois Tronchin",
"cherubs"
] |
|
17206_NT | Annunciation (Lanfranco, Rome) | Focus on this artwork and explore the Description. | The Annunciation painting depicts the archangel Gabriel, aloft on a cloud, revealing to the Virgin Mary that she was pregnant with Jesus (Luke 1:10–20 King James Bible). The archangel, whose face is in shadows, points to the heavens. Above, a group of cherubs open the heavens to allow for light to fall on the Virgin, and to allow the descent (in the form of a dove) of the Holy Spirit. The edge of an orange curtain, lit from above, creates a diagonal rising from the right of the canvas, behind the Virgin, up to the clouds. Mary's face is flooded with light, while her hands take on the demure posture of troubled surprise. On a surface in front of Mary is the common iconographic symbol of the Annunciation, white lilies. On the floor is an empty basket and sheet, foreshadowing the coming child. The painting has striking chiaroscuro contrasts, with a mainly dark background behind Mary and the Archangel.The date of the painting is variously reported as 1616 or 1624. There is a second, smaller version of The Annunciation by Lanfranco, now displayed at the Hermitage Museum in Saint Petersburg, Russia. While many of the iconographic elements are similar, this painting has far less tenebrism: a bed and landscape can be visualized in the background. This painting was previously in the collection of Francois Tronchin in Geneva. Finally another Annunciation canvas (1636) attributed to Lanfranco is displayed in the church of the Agustinas Recoletas in Salamanca. A pen and brown ink drawing, inscribed with G Lanfranco, follows a similar layout. A print by the engraver Cornelis Bloemaert is based on the painting at the Hermitage. | [
"Annunciation",
"right",
"Holy Spirit",
"Cornelis Bloemaert",
"Hermitage Museum",
"archangel Gabriel",
"Francois Tronchin",
"cherubs"
] |
|
17207_T | Monk's Hermitage in a Cave | Focus on Monk's Hermitage in a Cave and explain the abstract. | Mountainous Landscape with a Bridge and Four Horsemen (French: Ermitage de moines dans une grotte) is an oil painting on panel by the Flemish painter Joos de Momper. Its date of execution is unknown. The painting was once attributed to Paul Bril. It is part of the permanent collection of the Louvre in Paris. | [
"Joos de Momper",
"Flemish",
"Mountainous Landscape with a Bridge and Four Horsemen",
"oil painting",
"Paul Bril",
"Louvre",
"Paris"
] |
|
17207_NT | Monk's Hermitage in a Cave | Focus on this artwork and explain the abstract. | Mountainous Landscape with a Bridge and Four Horsemen (French: Ermitage de moines dans une grotte) is an oil painting on panel by the Flemish painter Joos de Momper. Its date of execution is unknown. The painting was once attributed to Paul Bril. It is part of the permanent collection of the Louvre in Paris. | [
"Joos de Momper",
"Flemish",
"Mountainous Landscape with a Bridge and Four Horsemen",
"oil painting",
"Paul Bril",
"Louvre",
"Paris"
] |
|
17208_T | Monk's Hermitage in a Cave | Explore the Painting of this artwork, Monk's Hermitage in a Cave. | The painting depicts a frequent theme in 16th- and 17th-century Flemish painting, explored by Cornelis van Dalem, Pieter Bruegel the Elder, and Lucas van Valckenborch.The work was acquired by the French state from the monarchy. It was part of the collection of Louis XIV, who acquired it from Eberhard Jabach in 1671. The painting was attributed to Paul Bril in 1824, but is now considered to be the work of de Momper. | [
"Pieter Bruegel the Elder",
"Cornelis van Dalem",
"Louis XIV",
"Flemish",
"Flemish painting",
"Paul Bril",
"Lucas van Valckenborch",
"Eberhard Jabach"
] |
|
17208_NT | Monk's Hermitage in a Cave | Explore the Painting of this artwork. | The painting depicts a frequent theme in 16th- and 17th-century Flemish painting, explored by Cornelis van Dalem, Pieter Bruegel the Elder, and Lucas van Valckenborch.The work was acquired by the French state from the monarchy. It was part of the collection of Louis XIV, who acquired it from Eberhard Jabach in 1671. The painting was attributed to Paul Bril in 1824, but is now considered to be the work of de Momper. | [
"Pieter Bruegel the Elder",
"Cornelis van Dalem",
"Louis XIV",
"Flemish",
"Flemish painting",
"Paul Bril",
"Lucas van Valckenborch",
"Eberhard Jabach"
] |
|
17209_T | Fontana Maggiore | Focus on Fontana Maggiore and discuss the abstract. | The Fontana Maggiore, a masterpiece of medieval sculpture, placed in the centre of Piazza IV Novembre (formerly Piazza Grande), is the monument symbol of the city of Perugia. | [
"Piazza IV Novembre",
"Maggiore",
"Perugia"
] |
|
17209_NT | Fontana Maggiore | Focus on this artwork and discuss the abstract. | The Fontana Maggiore, a masterpiece of medieval sculpture, placed in the centre of Piazza IV Novembre (formerly Piazza Grande), is the monument symbol of the city of Perugia. | [
"Piazza IV Novembre",
"Maggiore",
"Perugia"
] |
|
17210_T | Fontana Maggiore | How does Fontana Maggiore elucidate its History? | The monumental fountain was designed by Frà Bevignate da Cingoli and built between 1275 and 1277 to celebrate the arrival of water in the acropolis of the city, by means of the new aqueduct. Bevignate cooperated with other talented professionals, as Boninsegna Veneziano, a hydraulic engineer, who accomplished an incredible audacious endeavour, being able to carry the water coming from monte Pacciano, located a few kilometres, without the help of pumps. By means of a forced pressure duct, he managed to give to the water the opposite movement, i.e., the water flowed uphill instead of downhill.Another co-worker was the melter Rosso Padellaio, who created the bronze upper part of the fountain. The marble reliefs were placed from 1278, carved by the most important sculptors of the period: Nicola Pisano, in partnership with Giovanni, his son.
The fountain was damaged by the earthquake of 1348, with the subsequent random reconstruction of the tile order; it was refurbished the first time in 1948/49 and then again in 1995/99.The fountain inspired Jacopo di Grondalo for the construction of the fountain Sturinalto of Fabriano in 1285.
In the early 20th century, the fountain was refurbished by the architect Giuseppe Sacconi. | [
"aqueduct",
"Rosso Padellaio",
"Giovanni",
"Boninsegna Veneziano",
"Sturinalto",
"relief",
"Frà Bevignate da Cingoli",
"Nicola Pisano",
"Bevignate da Cingoli",
"Fabriano",
"Giuseppe Sacconi"
] |
|
17210_NT | Fontana Maggiore | How does this artwork elucidate its History? | The monumental fountain was designed by Frà Bevignate da Cingoli and built between 1275 and 1277 to celebrate the arrival of water in the acropolis of the city, by means of the new aqueduct. Bevignate cooperated with other talented professionals, as Boninsegna Veneziano, a hydraulic engineer, who accomplished an incredible audacious endeavour, being able to carry the water coming from monte Pacciano, located a few kilometres, without the help of pumps. By means of a forced pressure duct, he managed to give to the water the opposite movement, i.e., the water flowed uphill instead of downhill.Another co-worker was the melter Rosso Padellaio, who created the bronze upper part of the fountain. The marble reliefs were placed from 1278, carved by the most important sculptors of the period: Nicola Pisano, in partnership with Giovanni, his son.
The fountain was damaged by the earthquake of 1348, with the subsequent random reconstruction of the tile order; it was refurbished the first time in 1948/49 and then again in 1995/99.The fountain inspired Jacopo di Grondalo for the construction of the fountain Sturinalto of Fabriano in 1285.
In the early 20th century, the fountain was refurbished by the architect Giuseppe Sacconi. | [
"aqueduct",
"Rosso Padellaio",
"Giovanni",
"Boninsegna Veneziano",
"Sturinalto",
"relief",
"Frà Bevignate da Cingoli",
"Nicola Pisano",
"Bevignate da Cingoli",
"Fabriano",
"Giuseppe Sacconi"
] |
|
17211_T | Fontana Maggiore | Focus on Fontana Maggiore and analyze the Description. | The fountain was prepared in a workshop and then assembled in the centre of the square; it was made of stone from Assisi. The fountain consists of two concentric polygonal marble basins, on top a bronze cup (by the artisan Rosso Padellaio from Perugia) decorated with a coloured bronze group of feminine figures (perhaps nymphs) out of which comes the water.
The lower basin is made up of 25 mirrors, each divided into 2 tiles that describe the 12 months of the year, each of which is related to a zodiac symbol. Each month is connected to scenes of daily life and the farming work that characterize it. As in other contemporary sculptures from Europe, in which the months are represented, here the manual work obtains dignity. In this basin manual labour is in fact represented together with the arti liberali (liberal arts), with philosophy, with characters from the Bible and the history of Rome; in this specific order:
The month of January (a gentleman and his wife at the hearth – Aquarius)
The month of February (two fishermen - Pisces)
The month of March (the "spinario" and the pruning of the vineyard - Aries)
The month of April (two allegories of spring - Taurus) The month of May (two Knights on Falconry - Gemini)
The month of June (the harvest and flailing - Cancer)
The month of July (the threshing and the division of wheat - Lion)
The month of August (the fig harvest - Virgo)
The month of September (the crushing of must - Libra and the grape harvest)The month of October (the filling up of casks - Scorpion and the construction of casks)
The month of November (the ploughing - Sagittarius and the sowing)
The month of December (the slaughter of the pork - Capricorn)
The Lion Guelph and the Griffin of Perugia
Grammar and DialecticRhetoric and Arithmetic
Geometry and Music
Astronomy and Philosophy
Two eagles, on the right one the signature of Giovanni Pisano
The Original Sin and the expulsion from EdenSamson kills the Lion and Samson and Dalila
Davide triumphant and Golia defeated
Romulus and Remus (represented as two falconers)
The she-wolf that fed Romulus, Remus and their mother Rea Silvia
Two of Aesop's fables (the fox and the crane and the wolf and the lamb)
In the upper basin, 24 statues at the corners, representing saints and mythological and biblical characters from the New and Old Testament. As in the lower basin, there is no contrast between the new Judeo-Cristian civilization and the ancient Greek-Roman civilization, they are harmonized and placed in continuity. The basin can be seen as a wind rose, where at each cardinal point there are relevant characters; i.e., the representation of Augusta Perusia with the cornucopia on her lap, which draw nourishment from the ears of wheat brought by the lady of Chiusi (once the granary of Perugia) and from the fish offered by Domina Iacus, the nymph of the Lake Trasimeno. Then follows all the characters related to the city. In the opposite cardinal point, to the North, Euliste, the legendary founder of Perugia. To the West, Rome, related to the representation of the Roman Church and of Divinitas Excelsa and of Saints Pietro and Paolo. Another important character to the East is S. Giovanni Battista, for the role of the water as an essential and sacred element; it is associated with Salomè and other biblical characters.
The representation of the 24 statues are: San PietroThe Church of Rome
Roma caput mundi (Rome capital of the world)
Divinitas Excelsa
San Paolo
A Cleric of San LorenzoSan Lorenzo, patron saint of the city
The nymph of the territory of Chiusi or Domina Clusi
Augusta Perusia
The nymph of Trasimeno or Domina lacus, who offers the fish to Perugia
San Ercolano, patron saint of the cityThe Cleric traitor of San Ercolano
Saint Benedict
John the Baptist
Solomon
David
Salomè
Mosè
Matteo da Correggio, podestà of Perugia
The Archangel Michele
Euliste, the legendary founder of Perugia
Melchisedec
Ermanno da Sassoferrato, capitano del Popolo
The Victory
In the lower frame of the second basins, Latin verses are carved; epigraphic abbreviation provides information on the authors and the date of the sculpture, and they are an invitation to examine and interpret the fountain: "Guarda tu che passi questa fontana dal lieto mormorio, se osservi bene puoi vedere cose mirabili…." (Look, you who pass by this fountain with its babbling, if you look closer you can see wonderful things.) | [
"Bible",
"Solomon",
"Rosso Padellaio",
"Rhetoric",
"Astronomy",
"Golia",
"Lake Trasimeno",
"San Ercolano",
"Rea Silvia",
"Dalila",
"Mosè",
"The Archangel Michele",
"Giovanni Pisano",
"Giovanni",
"Philosophy",
"Saint Benedict",
"Melchisedec",
"John the Baptist",
"Arithmetic",
"Romulus and Remus",
"she-wolf",
"San Pietro",
"David",
"Trasimeno",
"San Lorenzo",
"history of Rome",
"Dialectic",
"arti liberali",
"Aesop",
"San Paolo",
"Davide",
"Grammar",
"spinario",
"Perugia",
"Geometry",
"Salomè",
"Music",
"Samson",
"Assisi"
] |
|
17211_NT | Fontana Maggiore | Focus on this artwork and analyze the Description. | The fountain was prepared in a workshop and then assembled in the centre of the square; it was made of stone from Assisi. The fountain consists of two concentric polygonal marble basins, on top a bronze cup (by the artisan Rosso Padellaio from Perugia) decorated with a coloured bronze group of feminine figures (perhaps nymphs) out of which comes the water.
The lower basin is made up of 25 mirrors, each divided into 2 tiles that describe the 12 months of the year, each of which is related to a zodiac symbol. Each month is connected to scenes of daily life and the farming work that characterize it. As in other contemporary sculptures from Europe, in which the months are represented, here the manual work obtains dignity. In this basin manual labour is in fact represented together with the arti liberali (liberal arts), with philosophy, with characters from the Bible and the history of Rome; in this specific order:
The month of January (a gentleman and his wife at the hearth – Aquarius)
The month of February (two fishermen - Pisces)
The month of March (the "spinario" and the pruning of the vineyard - Aries)
The month of April (two allegories of spring - Taurus) The month of May (two Knights on Falconry - Gemini)
The month of June (the harvest and flailing - Cancer)
The month of July (the threshing and the division of wheat - Lion)
The month of August (the fig harvest - Virgo)
The month of September (the crushing of must - Libra and the grape harvest)The month of October (the filling up of casks - Scorpion and the construction of casks)
The month of November (the ploughing - Sagittarius and the sowing)
The month of December (the slaughter of the pork - Capricorn)
The Lion Guelph and the Griffin of Perugia
Grammar and DialecticRhetoric and Arithmetic
Geometry and Music
Astronomy and Philosophy
Two eagles, on the right one the signature of Giovanni Pisano
The Original Sin and the expulsion from EdenSamson kills the Lion and Samson and Dalila
Davide triumphant and Golia defeated
Romulus and Remus (represented as two falconers)
The she-wolf that fed Romulus, Remus and their mother Rea Silvia
Two of Aesop's fables (the fox and the crane and the wolf and the lamb)
In the upper basin, 24 statues at the corners, representing saints and mythological and biblical characters from the New and Old Testament. As in the lower basin, there is no contrast between the new Judeo-Cristian civilization and the ancient Greek-Roman civilization, they are harmonized and placed in continuity. The basin can be seen as a wind rose, where at each cardinal point there are relevant characters; i.e., the representation of Augusta Perusia with the cornucopia on her lap, which draw nourishment from the ears of wheat brought by the lady of Chiusi (once the granary of Perugia) and from the fish offered by Domina Iacus, the nymph of the Lake Trasimeno. Then follows all the characters related to the city. In the opposite cardinal point, to the North, Euliste, the legendary founder of Perugia. To the West, Rome, related to the representation of the Roman Church and of Divinitas Excelsa and of Saints Pietro and Paolo. Another important character to the East is S. Giovanni Battista, for the role of the water as an essential and sacred element; it is associated with Salomè and other biblical characters.
The representation of the 24 statues are: San PietroThe Church of Rome
Roma caput mundi (Rome capital of the world)
Divinitas Excelsa
San Paolo
A Cleric of San LorenzoSan Lorenzo, patron saint of the city
The nymph of the territory of Chiusi or Domina Clusi
Augusta Perusia
The nymph of Trasimeno or Domina lacus, who offers the fish to Perugia
San Ercolano, patron saint of the cityThe Cleric traitor of San Ercolano
Saint Benedict
John the Baptist
Solomon
David
Salomè
Mosè
Matteo da Correggio, podestà of Perugia
The Archangel Michele
Euliste, the legendary founder of Perugia
Melchisedec
Ermanno da Sassoferrato, capitano del Popolo
The Victory
In the lower frame of the second basins, Latin verses are carved; epigraphic abbreviation provides information on the authors and the date of the sculpture, and they are an invitation to examine and interpret the fountain: "Guarda tu che passi questa fontana dal lieto mormorio, se osservi bene puoi vedere cose mirabili…." (Look, you who pass by this fountain with its babbling, if you look closer you can see wonderful things.) | [
"Bible",
"Solomon",
"Rosso Padellaio",
"Rhetoric",
"Astronomy",
"Golia",
"Lake Trasimeno",
"San Ercolano",
"Rea Silvia",
"Dalila",
"Mosè",
"The Archangel Michele",
"Giovanni Pisano",
"Giovanni",
"Philosophy",
"Saint Benedict",
"Melchisedec",
"John the Baptist",
"Arithmetic",
"Romulus and Remus",
"she-wolf",
"San Pietro",
"David",
"Trasimeno",
"San Lorenzo",
"history of Rome",
"Dialectic",
"arti liberali",
"Aesop",
"San Paolo",
"Davide",
"Grammar",
"spinario",
"Perugia",
"Geometry",
"Salomè",
"Music",
"Samson",
"Assisi"
] |
|
17212_T | Fontana Maggiore | In Fontana Maggiore, how is the Stamp discussed? | In 1974, the Poste Italiane (Italian Posts) dedicated to Fontana Maggiore a 40 Lire stamp (ex-Italian currency), for the collection "Fontane d’Italia"(Italian fountains). | [
"Poste Italiane",
"Maggiore",
"Lire"
] |
|
17212_NT | Fontana Maggiore | In this artwork, how is the Stamp discussed? | In 1974, the Poste Italiane (Italian Posts) dedicated to Fontana Maggiore a 40 Lire stamp (ex-Italian currency), for the collection "Fontane d’Italia"(Italian fountains). | [
"Poste Italiane",
"Maggiore",
"Lire"
] |
|
17213_T | Portrait of the Duke of Wellington | Focus on Portrait of the Duke of Wellington and explore the abstract. | The Portrait of the Duke of Wellington is a painting by the Spanish artist Francisco de Goya of the British general Arthur Wellesley, 1st Duke of Wellington, during the latter's service in the Peninsular War. One of three portraits Goya painted of Wellington, it was begun in August 1812 after the subject's entry into Madrid, showing him as an earl in an all-red uniform and wearing the Peninsular Medal. The artist then modified it in 1814 to show him in full dress uniform with black gold–braided lapels and to add the Order of the Golden Fleece and Military Gold Cross with three clasps (both of which Wellington had been awarded in the interim). | [
"Order of the Golden Fleece",
"black gold",
"Military Gold Cross",
"Arthur Wellesley, 1st Duke of Wellington",
"Peninsular Medal",
"Francisco de Goya",
"Peninsular War",
"Duke of Wellington",
"Madrid"
] |
|
17213_NT | Portrait of the Duke of Wellington | Focus on this artwork and explore the abstract. | The Portrait of the Duke of Wellington is a painting by the Spanish artist Francisco de Goya of the British general Arthur Wellesley, 1st Duke of Wellington, during the latter's service in the Peninsular War. One of three portraits Goya painted of Wellington, it was begun in August 1812 after the subject's entry into Madrid, showing him as an earl in an all-red uniform and wearing the Peninsular Medal. The artist then modified it in 1814 to show him in full dress uniform with black gold–braided lapels and to add the Order of the Golden Fleece and Military Gold Cross with three clasps (both of which Wellington had been awarded in the interim). | [
"Order of the Golden Fleece",
"black gold",
"Military Gold Cross",
"Arthur Wellesley, 1st Duke of Wellington",
"Peninsular Medal",
"Francisco de Goya",
"Peninsular War",
"Duke of Wellington",
"Madrid"
] |
|
17214_T | Portrait of the Duke of Wellington | Focus on Portrait of the Duke of Wellington and explain the Description. | The painting was probably made from life, at sittings in Madrid, and painted in oils on a mahogany panel. Although a successful general, the Wellington depicted by Goya is tired from the long campaigning, having won a victory at the Battle of Salamanca on 22 July 1812 before triumphantly entering Madrid on 12 August 1812. The half-length portrait shows the subject in a three-quarter profile, facing to his right, with the head turned slightly to the left, towards the viewer. He is standing upright, with his head held high, perhaps to combat his relatively modest stature.
The face is carefully painted, but much of the painting was done quickly, with great energy, with the military orders outlined with a few brushstrokes. In some areas, such as the eyes and mouth, the brown priming remains visible to create a stronger contrast between light and dark areas of paint.
His uniform bears the insignia of several military orders. His left breast bears three stars: the British Order of the Bath (top, awarded in 1804), the Portuguese Order of the Tower and Sword (lower left, awarded in 1811) and the Spanish Order of San Fernando (lower right, awarded in 1812). He wears two broad sashes over his right shoulder: the pink sash of the Order of Bath over the blue sash of the Order of the Tower and Sword. Around his neck hangs the Order of the Golden Fleece (awarded in August 1812) on a red ribbon, the Military Gold Cross lying lower on longer pink and blue ribbons. Wellington was entitled to all nine gold clasps to the Military Gold Cross, but only three are shown, perhaps signifying the battles fought before the painting was started in the summer of 1812.
In 1812, Goya also completed a chalk drawing of Wellington, now held by the British Museum, and a large oil-on-canvas Equestrian portrait of the Duke of Wellington , which was exhibited at the Real Academia de Bellas Artes de San Fernando in Madrid in September 1812 and is now at Apsley House. X-ray analysis in the 1960 showed that the equestrian portrait has the head of Wellington added to a body painted previously, perhaps Manuel Godoy or Joseph Bonaparte. | [
"mahogany",
"Joseph Bonaparte",
"oils",
"Order of the Golden Fleece",
"panel",
"Manuel Godoy",
"mahogany panel",
"Equestrian portrait of the Duke of Wellington",
"Real Academia de Bellas Artes de San Fernando",
"Military Gold Cross",
"Order of the Bath",
"Order of the Tower and Sword",
"Battle of Salamanca",
"British Museum",
"three-quarter profile",
"Apsley House",
"Order of San Fernando",
"Duke of Wellington",
"Madrid"
] |
|
17214_NT | Portrait of the Duke of Wellington | Focus on this artwork and explain the Description. | The painting was probably made from life, at sittings in Madrid, and painted in oils on a mahogany panel. Although a successful general, the Wellington depicted by Goya is tired from the long campaigning, having won a victory at the Battle of Salamanca on 22 July 1812 before triumphantly entering Madrid on 12 August 1812. The half-length portrait shows the subject in a three-quarter profile, facing to his right, with the head turned slightly to the left, towards the viewer. He is standing upright, with his head held high, perhaps to combat his relatively modest stature.
The face is carefully painted, but much of the painting was done quickly, with great energy, with the military orders outlined with a few brushstrokes. In some areas, such as the eyes and mouth, the brown priming remains visible to create a stronger contrast between light and dark areas of paint.
His uniform bears the insignia of several military orders. His left breast bears three stars: the British Order of the Bath (top, awarded in 1804), the Portuguese Order of the Tower and Sword (lower left, awarded in 1811) and the Spanish Order of San Fernando (lower right, awarded in 1812). He wears two broad sashes over his right shoulder: the pink sash of the Order of Bath over the blue sash of the Order of the Tower and Sword. Around his neck hangs the Order of the Golden Fleece (awarded in August 1812) on a red ribbon, the Military Gold Cross lying lower on longer pink and blue ribbons. Wellington was entitled to all nine gold clasps to the Military Gold Cross, but only three are shown, perhaps signifying the battles fought before the painting was started in the summer of 1812.
In 1812, Goya also completed a chalk drawing of Wellington, now held by the British Museum, and a large oil-on-canvas Equestrian portrait of the Duke of Wellington , which was exhibited at the Real Academia de Bellas Artes de San Fernando in Madrid in September 1812 and is now at Apsley House. X-ray analysis in the 1960 showed that the equestrian portrait has the head of Wellington added to a body painted previously, perhaps Manuel Godoy or Joseph Bonaparte. | [
"mahogany",
"Joseph Bonaparte",
"oils",
"Order of the Golden Fleece",
"panel",
"Manuel Godoy",
"mahogany panel",
"Equestrian portrait of the Duke of Wellington",
"Real Academia de Bellas Artes de San Fernando",
"Military Gold Cross",
"Order of the Bath",
"Order of the Tower and Sword",
"Battle of Salamanca",
"British Museum",
"three-quarter profile",
"Apsley House",
"Order of San Fernando",
"Duke of Wellington",
"Madrid"
] |
|
17215_T | Portrait of the Duke of Wellington | Explore the Reception and theft of this artwork, Portrait of the Duke of Wellington. | The painting was acquired by the Duke of Wellington, and came into the possession of Louisa Catherine Caton—wife of Francis D'Arcy-Osborne, 7th Duke of Leeds—and sister-in-law of Wellington's older brother Richard Wellesley, 1st Marquess Wellesley. Her first husband, Felton Hervey-Bathurst, fought with Wellington in the Iberian Peninsula, commanding the 14th Light Dragoons from 1811 to 1814, and then on Wellington's staff in the Waterloo Campaign and Wellingtons representative at the signing of the Convention of St. Cloud on 3 July 1815.
It descended to John Osborne, 11th Duke of Leeds, by the time it was put up for auction at Sotheby's in 1961. The New York collector Charles Wrightsman bid £140,000 (equivalent to £3,315,375 in 2021), but the Wolfson Foundation offered £100,000 and the government added a special Treasury grant of £40,000, matching Wrightsman's bid and obtaining the painting for the National Gallery in London, where it was first put on display on 2 August 1961. It was stolen nineteen days later on 21 August 1961 by bus driver Kempton Bunton. Four years after the theft, Bunton contacted a newspaper, and through a left-luggage office at Birmingham New Street railway station, returned the painting voluntarily. Bunton confessed in July 1965 that he took the painting and its frame. Following a high-profile trial in which he was defended by Jeremy Hutchinson, QC, Bunton was found not guilty of stealing the painting, but guilty of stealing the frame.The theft entered popular culture, as it was referenced in the 1962 James Bond film Dr. No. In the film, the painting was on display in Dr. Julius No's lair, suggesting the first Bond villain had the work stolen.
The prop painted by Ken Adam was used in the film promotion and was then stolen itself.The story of the theft and the following trial of Bunton was dramatised in the film The Duke, directed by Roger Michell and starring Jim Broadbent and Helen Mirren, which was released in cinemas in the UK on 25 February 2022. | [
"Wolfson Foundation",
"Louisa Catherine Caton",
"Jeremy Hutchinson, QC",
"John Osborne, 11th Duke of Leeds",
"left-luggage",
"Charles Wrightsman",
"Helen Mirren",
"Felton Hervey-Bathurst",
"Ken Adam",
"Birmingham New Street railway station",
"Roger Michell",
"Waterloo Campaign",
"The Duke",
"Sotheby's",
"Richard Wellesley, 1st Marquess Wellesley",
"James Bond",
"National Gallery",
"Francis D'Arcy-Osborne, 7th Duke of Leeds",
"London",
"14th Light Dragoons",
"Jim Broadbent",
"Dr. No",
"Julius No",
"Kempton Bunton",
"Convention of St. Cloud",
"Duke of Wellington"
] |
|
17215_NT | Portrait of the Duke of Wellington | Explore the Reception and theft of this artwork. | The painting was acquired by the Duke of Wellington, and came into the possession of Louisa Catherine Caton—wife of Francis D'Arcy-Osborne, 7th Duke of Leeds—and sister-in-law of Wellington's older brother Richard Wellesley, 1st Marquess Wellesley. Her first husband, Felton Hervey-Bathurst, fought with Wellington in the Iberian Peninsula, commanding the 14th Light Dragoons from 1811 to 1814, and then on Wellington's staff in the Waterloo Campaign and Wellingtons representative at the signing of the Convention of St. Cloud on 3 July 1815.
It descended to John Osborne, 11th Duke of Leeds, by the time it was put up for auction at Sotheby's in 1961. The New York collector Charles Wrightsman bid £140,000 (equivalent to £3,315,375 in 2021), but the Wolfson Foundation offered £100,000 and the government added a special Treasury grant of £40,000, matching Wrightsman's bid and obtaining the painting for the National Gallery in London, where it was first put on display on 2 August 1961. It was stolen nineteen days later on 21 August 1961 by bus driver Kempton Bunton. Four years after the theft, Bunton contacted a newspaper, and through a left-luggage office at Birmingham New Street railway station, returned the painting voluntarily. Bunton confessed in July 1965 that he took the painting and its frame. Following a high-profile trial in which he was defended by Jeremy Hutchinson, QC, Bunton was found not guilty of stealing the painting, but guilty of stealing the frame.The theft entered popular culture, as it was referenced in the 1962 James Bond film Dr. No. In the film, the painting was on display in Dr. Julius No's lair, suggesting the first Bond villain had the work stolen.
The prop painted by Ken Adam was used in the film promotion and was then stolen itself.The story of the theft and the following trial of Bunton was dramatised in the film The Duke, directed by Roger Michell and starring Jim Broadbent and Helen Mirren, which was released in cinemas in the UK on 25 February 2022. | [
"Wolfson Foundation",
"Louisa Catherine Caton",
"Jeremy Hutchinson, QC",
"John Osborne, 11th Duke of Leeds",
"left-luggage",
"Charles Wrightsman",
"Helen Mirren",
"Felton Hervey-Bathurst",
"Ken Adam",
"Birmingham New Street railway station",
"Roger Michell",
"Waterloo Campaign",
"The Duke",
"Sotheby's",
"Richard Wellesley, 1st Marquess Wellesley",
"James Bond",
"National Gallery",
"Francis D'Arcy-Osborne, 7th Duke of Leeds",
"London",
"14th Light Dragoons",
"Jim Broadbent",
"Dr. No",
"Julius No",
"Kempton Bunton",
"Convention of St. Cloud",
"Duke of Wellington"
] |
|
17216_T | Bonaparte Before the Sphinx | Focus on Bonaparte Before the Sphinx and discuss the abstract. | Bonaparte Before the Sphinx (French: Bonaparte devant le Sphinx) is an 1886 painting by the French artist Jean-Léon Gérôme. It is also known as Oedipus (Œdipe). It depicts Napoleon Bonaparte during his Egyptian campaign, positioned on horseback in front of the Great Sphinx of Giza, with his army in the background.
The painting was presented at the Salon of 1886 under the title Œdipe, evoking the myth of Oedipus and the Sphinx. It popularized Napoleon in front of the Sphinx as a subject in art and caricature. It is located at the Hearst Castle in California. | [
"Napoleon",
"Sphinx",
"Oedipus",
"Salon",
"Napoleon Bonaparte",
"Jean-Léon Gérôme",
"Hearst",
"Egyptian campaign",
"Great Sphinx of Giza",
"Hearst Castle"
] |
|
17216_NT | Bonaparte Before the Sphinx | Focus on this artwork and discuss the abstract. | Bonaparte Before the Sphinx (French: Bonaparte devant le Sphinx) is an 1886 painting by the French artist Jean-Léon Gérôme. It is also known as Oedipus (Œdipe). It depicts Napoleon Bonaparte during his Egyptian campaign, positioned on horseback in front of the Great Sphinx of Giza, with his army in the background.
The painting was presented at the Salon of 1886 under the title Œdipe, evoking the myth of Oedipus and the Sphinx. It popularized Napoleon in front of the Sphinx as a subject in art and caricature. It is located at the Hearst Castle in California. | [
"Napoleon",
"Sphinx",
"Oedipus",
"Salon",
"Napoleon Bonaparte",
"Jean-Léon Gérôme",
"Hearst",
"Egyptian campaign",
"Great Sphinx of Giza",
"Hearst Castle"
] |
|
17217_T | Bonaparte Before the Sphinx | How does Bonaparte Before the Sphinx elucidate its Oedipus and the Sphinx? | In titling his work Oedipus, Gérôme referenced both the ancient myth and its depiction by previous artists.
In the myth, all travelers on the road to Thebes must solve a riddle posed by the Sphinx, or die.When the monster asked him: "What is it that has a voice and walks on four legs in the morning, on two at noon, and on three in the evening?" Oedipus answered that it was man, who as a child crawls on all fours, as an adult walks on two legs, and in old age uses a stick as a third leg.…The theme of [Ingres's] work is the triumph of intelligence and of human beauty. But the scene is also one of man confronting his destiny since Oedipus's exploit will lead to him becoming king of Thebes and marrying his mother Jocasta, as the oracle had predicted when he was born. It was a subject rarely portrayed from the end of the classical period until Ingres, but in the nineteenth century it came to fascinate many artists, most notably Gustave Moreau (1826-1898). | [
"Sphinx",
"Oedipus",
"Gustave Moreau"
] |
|
17217_NT | Bonaparte Before the Sphinx | How does this artwork elucidate its Oedipus and the Sphinx? | In titling his work Oedipus, Gérôme referenced both the ancient myth and its depiction by previous artists.
In the myth, all travelers on the road to Thebes must solve a riddle posed by the Sphinx, or die.When the monster asked him: "What is it that has a voice and walks on four legs in the morning, on two at noon, and on three in the evening?" Oedipus answered that it was man, who as a child crawls on all fours, as an adult walks on two legs, and in old age uses a stick as a third leg.…The theme of [Ingres's] work is the triumph of intelligence and of human beauty. But the scene is also one of man confronting his destiny since Oedipus's exploit will lead to him becoming king of Thebes and marrying his mother Jocasta, as the oracle had predicted when he was born. It was a subject rarely portrayed from the end of the classical period until Ingres, but in the nineteenth century it came to fascinate many artists, most notably Gustave Moreau (1826-1898). | [
"Sphinx",
"Oedipus",
"Gustave Moreau"
] |
|
17218_T | Bonaparte Before the Sphinx | Focus on Bonaparte Before the Sphinx and analyze the Reception. | Reviewing the Paris Salon of 1886,The New York Times wrote that Bonaparte Before the Sphinx was one of Gérôme's finest examples of his historical studies.The young Corsican, seated on his horse, is gazing in meditation upon the enormous enigmatic face of stone, that strange memorial of titanic ambitions, of forgotten sovereigns, of a vanished race. ... The master has kept out all distracting details; even those I have mentioned are felt rather than observed, not even the Pyramids are shown – only the cloudless sky, the smooth sand, from whose drifts the gigantic visage rears itself and the solitary, self-communing man.
The painting would be acquired by an American billionaire, himself the stuff of legend:Oedipus…imaginatively sets Napoleon in silent dialogue with the Sphinx, the young man of destiny confronted by the enigmatic gaze of a monument thousands of years old; intriguingly, this painting and its pendant, Bonaparte in Cairo, were to be bought by William Randolph Hearst in 1898. | [
"Napoleon",
"pendant",
"The New York Times",
"Sphinx",
"William Randolph Hearst",
"Oedipus",
"Salon",
"Hearst"
] |
|
17218_NT | Bonaparte Before the Sphinx | Focus on this artwork and analyze the Reception. | Reviewing the Paris Salon of 1886,The New York Times wrote that Bonaparte Before the Sphinx was one of Gérôme's finest examples of his historical studies.The young Corsican, seated on his horse, is gazing in meditation upon the enormous enigmatic face of stone, that strange memorial of titanic ambitions, of forgotten sovereigns, of a vanished race. ... The master has kept out all distracting details; even those I have mentioned are felt rather than observed, not even the Pyramids are shown – only the cloudless sky, the smooth sand, from whose drifts the gigantic visage rears itself and the solitary, self-communing man.
The painting would be acquired by an American billionaire, himself the stuff of legend:Oedipus…imaginatively sets Napoleon in silent dialogue with the Sphinx, the young man of destiny confronted by the enigmatic gaze of a monument thousands of years old; intriguingly, this painting and its pendant, Bonaparte in Cairo, were to be bought by William Randolph Hearst in 1898. | [
"Napoleon",
"pendant",
"The New York Times",
"Sphinx",
"William Randolph Hearst",
"Oedipus",
"Salon",
"Hearst"
] |
|
17219_T | Bonaparte Before the Sphinx | In Bonaparte Before the Sphinx, how is the Gérôme's images of Napoleon in Egypt discussed? | In the 1860s, Gérôme painted pictures showing Napoleon during the Egyptian campaign of 1798-9. He returned to this theme in the 1880s, and with the sculpture Napoleon Entering Cairo, exhibited in the Paris Salon of 1897.Gérôme was uniquely placed to depict this particular phase of Napoleon's career. He was already famous for his Egyptian genre subjects and landscapes, derived from extensive travel in the region from the mid-1850s onwards. Gérôme’s Napoleonic subjects evoke the notion of destiny; in each of the paintings, Napoleon is shown deep in thought, a striking contrast to conventional military subject paintings depicting specific incidents in a campaign, or heroism in the heat of battle. In Napoleon in Egypt (1863), the young general is shown on his own, set apart from his waiting groom, deep in contemplation.
Napoleon and His General Staff in Egypt (c. 1867) portrays the extreme conditions faced by Napoleon and his army during their short and ill-fated Egyptian campaign. Gérôme's friend Frédéric Masson, who had travelled with him in Egypt and who became a respected biographer of Napoleon, described this painting, noting the hot breath of the wind...the heat and the burning sand which blinds the officers of his staff...the golden mist raised by the Khamsinn...the frightful lassitude which takes possession of the best trained men save those who have compelled the body to be the docile slave of the mind.…[Napoleon] hesitates between the two halves of the world which he holds in his hands; he ponders upon the fate of Alexander, of Caesar....unconscious of suffering, his dream embraces the universe!
Bonaparte in Cairo, described as a pendant to Bonaparte Before the Sphinx, may have been painted at the same time; the paintings are the same size and were sold together to Hearst. Seen side by side, they offer a study in contrasts, as Bonaparte gazes up at the mysterious Sphinx and down upon the conquered city of Cairo.
The 1897 sculpture of the young Bonaparte making his 1798 entry into Cairo was the first in a series of historical equestrian figures Gérôme produced during the late 1890s, including Washington, Frederick the Great, Caesar, and Tamerlane. Of the Napoleon statute, a contemporary Salon critic, the sculptor René de Saint-Marceaux, wrote that never before had Gérôme "so brilliantly displayed, as a sculptor, his usual qualities of skilled, refined taste." The original Salon version was bought by the French state for the Luxembourg and, unusually for a purchased unique work, was subsequently reproduced in three sizes by Siot-Decauville. The foundry executed some of these reproductions in cold painted polychromy. | [
"Napoleon",
"pendant",
"Luxembourg",
"Frédéric Masson",
"Sphinx",
"Salon",
"René de Saint-Marceaux",
"Hearst",
"Egyptian campaign",
"Egyptian campaign of 1798-9"
] |
|
17219_NT | Bonaparte Before the Sphinx | In this artwork, how is the Gérôme's images of Napoleon in Egypt discussed? | In the 1860s, Gérôme painted pictures showing Napoleon during the Egyptian campaign of 1798-9. He returned to this theme in the 1880s, and with the sculpture Napoleon Entering Cairo, exhibited in the Paris Salon of 1897.Gérôme was uniquely placed to depict this particular phase of Napoleon's career. He was already famous for his Egyptian genre subjects and landscapes, derived from extensive travel in the region from the mid-1850s onwards. Gérôme’s Napoleonic subjects evoke the notion of destiny; in each of the paintings, Napoleon is shown deep in thought, a striking contrast to conventional military subject paintings depicting specific incidents in a campaign, or heroism in the heat of battle. In Napoleon in Egypt (1863), the young general is shown on his own, set apart from his waiting groom, deep in contemplation.
Napoleon and His General Staff in Egypt (c. 1867) portrays the extreme conditions faced by Napoleon and his army during their short and ill-fated Egyptian campaign. Gérôme's friend Frédéric Masson, who had travelled with him in Egypt and who became a respected biographer of Napoleon, described this painting, noting the hot breath of the wind...the heat and the burning sand which blinds the officers of his staff...the golden mist raised by the Khamsinn...the frightful lassitude which takes possession of the best trained men save those who have compelled the body to be the docile slave of the mind.…[Napoleon] hesitates between the two halves of the world which he holds in his hands; he ponders upon the fate of Alexander, of Caesar....unconscious of suffering, his dream embraces the universe!
Bonaparte in Cairo, described as a pendant to Bonaparte Before the Sphinx, may have been painted at the same time; the paintings are the same size and were sold together to Hearst. Seen side by side, they offer a study in contrasts, as Bonaparte gazes up at the mysterious Sphinx and down upon the conquered city of Cairo.
The 1897 sculpture of the young Bonaparte making his 1798 entry into Cairo was the first in a series of historical equestrian figures Gérôme produced during the late 1890s, including Washington, Frederick the Great, Caesar, and Tamerlane. Of the Napoleon statute, a contemporary Salon critic, the sculptor René de Saint-Marceaux, wrote that never before had Gérôme "so brilliantly displayed, as a sculptor, his usual qualities of skilled, refined taste." The original Salon version was bought by the French state for the Luxembourg and, unusually for a purchased unique work, was subsequently reproduced in three sizes by Siot-Decauville. The foundry executed some of these reproductions in cold painted polychromy. | [
"Napoleon",
"pendant",
"Luxembourg",
"Frédéric Masson",
"Sphinx",
"Salon",
"René de Saint-Marceaux",
"Hearst",
"Egyptian campaign",
"Egyptian campaign of 1798-9"
] |
|
17220_T | Ohhh...Alright... | Focus on Ohhh...Alright... and explore the abstract. | Ohhh...Alright... is a 1964 pop art painting by Roy Lichtenstein. It formerly held the record for highest auction price for a Lichtenstein painting. | [
"Roy Lichtenstein",
"pop art"
] |
|
17220_NT | Ohhh...Alright... | Focus on this artwork and explore the abstract. | Ohhh...Alright... is a 1964 pop art painting by Roy Lichtenstein. It formerly held the record for highest auction price for a Lichtenstein painting. | [
"Roy Lichtenstein",
"pop art"
] |
|
17221_T | Ohhh...Alright... | Focus on Ohhh...Alright... and explain the History. | In November 2010, Ohhh...Alright..., previously owned by Steve Martin and later by Steve Wynn, was sold at a record US $42.6 million (£26.7 million) at a sale at Christie's in New York, which surpassed the 2005 $16.2 million Lichtenstein record set when In the Car sold. The hammer price was $38 million. It was surpassed in the following year by I Can See the Whole Room...and There's Nobody in It!, which sold for $43.2 million. | [
"In the Car",
"hammer price",
"Christie's",
"I Can See the Whole Room...and There's Nobody in It!",
"Steve Martin",
"Steve Wynn"
] |
|
17221_NT | Ohhh...Alright... | Focus on this artwork and explain the History. | In November 2010, Ohhh...Alright..., previously owned by Steve Martin and later by Steve Wynn, was sold at a record US $42.6 million (£26.7 million) at a sale at Christie's in New York, which surpassed the 2005 $16.2 million Lichtenstein record set when In the Car sold. The hammer price was $38 million. It was surpassed in the following year by I Can See the Whole Room...and There's Nobody in It!, which sold for $43.2 million. | [
"In the Car",
"hammer price",
"Christie's",
"I Can See the Whole Room...and There's Nobody in It!",
"Steve Martin",
"Steve Wynn"
] |
|
17222_T | Ohhh...Alright... | Explore the Details of this artwork, Ohhh...Alright.... | Measuring 91.4 cm × 96.5 cm (36 in × 38 in), Ohhh...Alright... is derived from the June 1963 edition of Secret Hearts #88 by Arleigh Publishing Corp. (now part of D. C. Comics). After 1963, Lichtenstein's comics-based women "...look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that are cropped so closely that the hair flows beyond the edges of the canvas. The image was featured in the edition of November 8, 1993 of Time, which discussed the 1993 Lichtenstein retrospective at the Solomon R. Guggenheim Museum. It was also the image used to promote the 2012 Lichtenstein retrospective at the Art Institute of Chicago. This was painted at the apex of Lichtenstein's use of enlarged dots, cropping and magnification of the original source. | [
"Art Institute of Chicago",
"D. C. Comics",
"Secret Hearts",
"Time",
"Solomon R. Guggenheim Museum"
] |
|
17222_NT | Ohhh...Alright... | Explore the Details of this artwork. | Measuring 91.4 cm × 96.5 cm (36 in × 38 in), Ohhh...Alright... is derived from the June 1963 edition of Secret Hearts #88 by Arleigh Publishing Corp. (now part of D. C. Comics). After 1963, Lichtenstein's comics-based women "...look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that are cropped so closely that the hair flows beyond the edges of the canvas. The image was featured in the edition of November 8, 1993 of Time, which discussed the 1993 Lichtenstein retrospective at the Solomon R. Guggenheim Museum. It was also the image used to promote the 2012 Lichtenstein retrospective at the Art Institute of Chicago. This was painted at the apex of Lichtenstein's use of enlarged dots, cropping and magnification of the original source. | [
"Art Institute of Chicago",
"D. C. Comics",
"Secret Hearts",
"Time",
"Solomon R. Guggenheim Museum"
] |
|
17223_T | Ohhh...Alright... | Focus on Ohhh...Alright... and discuss the Exhibitions. | The exhibition history of this work includes three 21st-century exhibitions: Las Vegas, Bellagio Gallery of Fine Art, April–September 2001; London, Hayward Gallery; Madrid, Museo Nacional Centro de Arte Reina Sofía and San Francisco Museum of Modern Art, Roy Lichtenstein: All About Art, August 2003-February 2005; New York, Gagosian Gallery, Lichtenstein: Girls, May–June 2008. | [
"Museo Nacional Centro de Arte Reina Sofía",
"San Francisco Museum of Modern Art",
"Hayward Gallery",
"Gagosian Gallery",
"Bellagio Gallery of Fine Art",
"Roy Lichtenstein"
] |
|
17223_NT | Ohhh...Alright... | Focus on this artwork and discuss the Exhibitions. | The exhibition history of this work includes three 21st-century exhibitions: Las Vegas, Bellagio Gallery of Fine Art, April–September 2001; London, Hayward Gallery; Madrid, Museo Nacional Centro de Arte Reina Sofía and San Francisco Museum of Modern Art, Roy Lichtenstein: All About Art, August 2003-February 2005; New York, Gagosian Gallery, Lichtenstein: Girls, May–June 2008. | [
"Museo Nacional Centro de Arte Reina Sofía",
"San Francisco Museum of Modern Art",
"Hayward Gallery",
"Gagosian Gallery",
"Bellagio Gallery of Fine Art",
"Roy Lichtenstein"
] |
|
17224_T | Virgin and Child Enthroned (Romas) | How does Virgin and Child Enthroned (Romas) elucidate its abstract? | The Virgin and Child Enthroned is a tempera painting created by Spyridon Romas. He was a Greek painter from the island of Corfu and a prominent member of the Heptanese School active from 1745 to 1786 in Corfu, Lecce, Livorno, and London. Twenty-five of his works survived according to research completed by the Hellenic Institute. One of few Greek painters that changed his style completely Romas transitioned from the Heptanese School to the British style of painting. He traveled to London, England around 1770, and remained in the country until his death. Romas painted several portraits but also maintained art.
An important iconostasis containing most of his works is preserved in Livorno, Italy at the Museo della Città di Livorno (Museum of the City of Livorno).The Virgin and Child enthroned was an important theme painted by both Italian and Greek Byzantine painters. Cretan Renaissance painters and Greek Baroque painters depicted the sacred figures in their works. Important works were completed by Andreas Ritzos and Georgios Klontzas namely The Virgin Pantanassa. The painting style slowly evolved with Emmanuel Tzanes and his brother Konstantinos Tzanes both artists refined the Cretan School and brought the theme into the Heptanese School. One example is Lady the Lambovitissa. Spyridon adopted the technique prevalent on the Ionian Islands in the middle of the 1700s further refining the painting technique. The painting method was in demand in different Greek churches in Italy namely the church of the Holy Trinity in Livorno and the Chiesa Greco-Ortodossa di San Nicola in Lecce, Sicily. The current painting is in Livorno, Italy at the Museo della Città di Livorno (Museum of the City of Livorno). | [
"Georgios Klontzas",
"Heptanese School",
"Cretan Renaissance",
"Konstantinos",
"Konstantinos Tzanes",
"Spyridon Romas",
"Corfu",
"Andreas Ritzos",
"Emmanuel Tzanes",
"The Virgin Pantanassa",
"Cretan School",
"Livorno",
"Klontzas",
"Lecce",
"Lady the Lambovitissa",
"Ritzos",
"London"
] |
|
17224_NT | Virgin and Child Enthroned (Romas) | How does this artwork elucidate its abstract? | The Virgin and Child Enthroned is a tempera painting created by Spyridon Romas. He was a Greek painter from the island of Corfu and a prominent member of the Heptanese School active from 1745 to 1786 in Corfu, Lecce, Livorno, and London. Twenty-five of his works survived according to research completed by the Hellenic Institute. One of few Greek painters that changed his style completely Romas transitioned from the Heptanese School to the British style of painting. He traveled to London, England around 1770, and remained in the country until his death. Romas painted several portraits but also maintained art.
An important iconostasis containing most of his works is preserved in Livorno, Italy at the Museo della Città di Livorno (Museum of the City of Livorno).The Virgin and Child enthroned was an important theme painted by both Italian and Greek Byzantine painters. Cretan Renaissance painters and Greek Baroque painters depicted the sacred figures in their works. Important works were completed by Andreas Ritzos and Georgios Klontzas namely The Virgin Pantanassa. The painting style slowly evolved with Emmanuel Tzanes and his brother Konstantinos Tzanes both artists refined the Cretan School and brought the theme into the Heptanese School. One example is Lady the Lambovitissa. Spyridon adopted the technique prevalent on the Ionian Islands in the middle of the 1700s further refining the painting technique. The painting method was in demand in different Greek churches in Italy namely the church of the Holy Trinity in Livorno and the Chiesa Greco-Ortodossa di San Nicola in Lecce, Sicily. The current painting is in Livorno, Italy at the Museo della Città di Livorno (Museum of the City of Livorno). | [
"Georgios Klontzas",
"Heptanese School",
"Cretan Renaissance",
"Konstantinos",
"Konstantinos Tzanes",
"Spyridon Romas",
"Corfu",
"Andreas Ritzos",
"Emmanuel Tzanes",
"The Virgin Pantanassa",
"Cretan School",
"Livorno",
"Klontzas",
"Lecce",
"Lady the Lambovitissa",
"Ritzos",
"London"
] |
|
17225_T | Virgin and Child Enthroned (Romas) | Focus on Virgin and Child Enthroned (Romas) and analyze the Description. | The work of art was completed in 1764 for the Trinity Greek Orthodox Church in Livorno, Italy. It is part of a well-preserved iconostasis. The painting was completed using gold leaf, wood panel, and tempera paint. The height is 117.5 cm (46.3 in.) and the width is 78.5 cm (30.9 in.) nearly the same size as The Holy Trinity completed by Romas for the same church. In 1942, the church was torn down because of a city rehabilitation project, and the works of art were restored and moved to a museum. The icon is an epic depiction of the craftsmanship of the Heptanese School. The celestial heavenly throne features a shell-like decoration common to the works of Filippo Lippi and Emmanuel Tzanes. The Lady the Lambovitissa features the complex geometric structure. The throne follows the lines of the rococo style and is elaborately decorated with angels. The Virgins robe features gold trim, floating ripples, folds of fabric, and striations with delicate contours. The drapery folds are more in line with the painting by Konstantinos Tzanes rather than the traditional Cretan style. The painter uses a brilliant combination of gold, red, blue, and green on her robe. Both figures feature gold halos. The Christ child has curly hair and holds a round sphere with a cross. The sphere with the cross held by the Christ child was a common theme in Cretan Renaissance paintings it symbolized earth as a heavenly dominion. Christ's attire features decorative patterns on his robe and pillow. The facial features of both heavenly beings exhibit complex refined detail exemplary of the anatomy prevalent in paintings of the Heptanese School. Romas implemented a complex shadowing method adding refined realism. | [
"Heptanese School",
"Cretan Renaissance",
"Konstantinos",
"Konstantinos Tzanes",
"Emmanuel Tzanes",
"Livorno",
"Lady the Lambovitissa",
" The Holy Trinity",
"Filippo Lippi"
] |
|
17225_NT | Virgin and Child Enthroned (Romas) | Focus on this artwork and analyze the Description. | The work of art was completed in 1764 for the Trinity Greek Orthodox Church in Livorno, Italy. It is part of a well-preserved iconostasis. The painting was completed using gold leaf, wood panel, and tempera paint. The height is 117.5 cm (46.3 in.) and the width is 78.5 cm (30.9 in.) nearly the same size as The Holy Trinity completed by Romas for the same church. In 1942, the church was torn down because of a city rehabilitation project, and the works of art were restored and moved to a museum. The icon is an epic depiction of the craftsmanship of the Heptanese School. The celestial heavenly throne features a shell-like decoration common to the works of Filippo Lippi and Emmanuel Tzanes. The Lady the Lambovitissa features the complex geometric structure. The throne follows the lines of the rococo style and is elaborately decorated with angels. The Virgins robe features gold trim, floating ripples, folds of fabric, and striations with delicate contours. The drapery folds are more in line with the painting by Konstantinos Tzanes rather than the traditional Cretan style. The painter uses a brilliant combination of gold, red, blue, and green on her robe. Both figures feature gold halos. The Christ child has curly hair and holds a round sphere with a cross. The sphere with the cross held by the Christ child was a common theme in Cretan Renaissance paintings it symbolized earth as a heavenly dominion. Christ's attire features decorative patterns on his robe and pillow. The facial features of both heavenly beings exhibit complex refined detail exemplary of the anatomy prevalent in paintings of the Heptanese School. Romas implemented a complex shadowing method adding refined realism. | [
"Heptanese School",
"Cretan Renaissance",
"Konstantinos",
"Konstantinos Tzanes",
"Emmanuel Tzanes",
"Livorno",
"Lady the Lambovitissa",
" The Holy Trinity",
"Filippo Lippi"
] |
|
17226_T | No. 6 (Yellow, White, Blue over Yellow on Gray) | In No. 6 (Yellow, White, Blue over Yellow on Gray), how is the Description discussed? | The painting depicts three blurred blocks of yellow, white and blue opposed against a gray ground. He made the various layers of the painting dry quickly, without mixing of colors, so that he could soon create new layers on top of the earlier ones. No. 6 (Yellow, White, Blue over Yellow on Gray) belongs to Rothko’s late period when he for seven years painted in oil only on large canvases with vertical formats. Very large-scale designs were used, in Rothko's words, to make the viewer feel "enveloped within" the painting. | [] |
|
17226_NT | No. 6 (Yellow, White, Blue over Yellow on Gray) | In this artwork, how is the Description discussed? | The painting depicts three blurred blocks of yellow, white and blue opposed against a gray ground. He made the various layers of the painting dry quickly, without mixing of colors, so that he could soon create new layers on top of the earlier ones. No. 6 (Yellow, White, Blue over Yellow on Gray) belongs to Rothko’s late period when he for seven years painted in oil only on large canvases with vertical formats. Very large-scale designs were used, in Rothko's words, to make the viewer feel "enveloped within" the painting. | [] |
|
17227_T | Gerettet | Focus on Gerettet and explore the abstract. | Gerettet is a sculpture by Adolf Brütt, installed in the Kolonnadenhof outside the Alte Nationalgalerie in Berlin, Germany. | [
"Adolf Brütt",
"Kolonnadenhof",
"Alte Nationalgalerie",
"Berlin"
] |
|
17227_NT | Gerettet | Focus on this artwork and explore the abstract. | Gerettet is a sculpture by Adolf Brütt, installed in the Kolonnadenhof outside the Alte Nationalgalerie in Berlin, Germany. | [
"Adolf Brütt",
"Kolonnadenhof",
"Alte Nationalgalerie",
"Berlin"
] |
|
17228_T | Equestrian statue of Frederick the Great | Focus on Equestrian statue of Frederick the Great and explain the abstract. | The equestrian statue of Frederick the Great on Unter den Linden avenue in Berlin's Mitte district commemorates King Frederick II of Prussia. Created from 1839 to 1851 by Christian Daniel Rauch, it is a masterpiece of the Berlin school of sculpture, marking the transition from neoclassicism to realism. The bronze statue shows "The Old Fritz" dressed in military uniform, ermine coat and tricorne hat on horseback above the leading generals, statesmen, artists and scientist of his time. Walled in during World War II, it was disassembled by East Germany in 1950, reassembled in Sanssouci Park in 1963, and returned to its original location in 1980. | [
"Frederick the Great",
"Berlin",
"Christian Daniel Rauch",
"Frederick II",
"equestrian statue",
"East Germany",
"Unter den Linden",
"World War II",
"ermine",
"Sanssouci Park",
"neoclassicism",
"realism",
"Sanssouci",
"tricorne",
"Prussia"
] |
|
17228_NT | Equestrian statue of Frederick the Great | Focus on this artwork and explain the abstract. | The equestrian statue of Frederick the Great on Unter den Linden avenue in Berlin's Mitte district commemorates King Frederick II of Prussia. Created from 1839 to 1851 by Christian Daniel Rauch, it is a masterpiece of the Berlin school of sculpture, marking the transition from neoclassicism to realism. The bronze statue shows "The Old Fritz" dressed in military uniform, ermine coat and tricorne hat on horseback above the leading generals, statesmen, artists and scientist of his time. Walled in during World War II, it was disassembled by East Germany in 1950, reassembled in Sanssouci Park in 1963, and returned to its original location in 1980. | [
"Frederick the Great",
"Berlin",
"Christian Daniel Rauch",
"Frederick II",
"equestrian statue",
"East Germany",
"Unter den Linden",
"World War II",
"ermine",
"Sanssouci Park",
"neoclassicism",
"realism",
"Sanssouci",
"tricorne",
"Prussia"
] |
|
17229_T | Equestrian statue of Frederick the Great | Explore the History of this artwork, Equestrian statue of Frederick the Great. | Prussian King Frederick William III commissioned the monument from sculptor Christian Daniel Rauch in 1839. It was cast beginning in 1845 by Karl Ludwig Friebel, whom Rauch brought from Lauchhammer for the purpose; changes to the figures on the base extended work to six years, and the monument was unveiled on 31 May 1851. It is one of Rauch's best known works, and influenced other monuments erected in the late 19th and early 20th centuries.The equestrian statue influenced many other monuments and is a registered monument of the City of Berlin. Beneath the equestrian statue itself, the unusually large plinth includes reliefs of the four cardinal virtues and important scenes from Frederick's life, and depictions, many in full relief, of 74 notable men from his reign; bronze plaques beneath the bands of sculpture list military men, philosophers, mathematicians, poets, statesmen, engineers, and others important in Prussia's emergence as a great power in the mid-18th century.
During World War II, the monument was encased in concrete for protection. In May 1950, the East German Magistrat decided to remove it to the park at the palace of Sanssouci in Potsdam. Metal thieves damaged it after the protective casing was removed, and it was dismantled and taken away between 13 and 19 July. After being stored in pieces and at one point almost melted down, by 1962 the monument had been re-erected in the hippodrome at Charlottenhof Palace.
In the 1980s, the East German government changed its politics of memory and especially its position on the Prussian heritage. In 1980 Erich Honecker called Frederick "the Great" in an interview with Robert Maxwell; in the same year, the historian Ingrid Mittenzwei published a relatively positive biography of the king. The statue was restored and returned to Unter den Linden, approximately 6 metres (20 ft) east of its old position. West Germany saw a similar return of a more positive view on Prussia with the Berlin exhibition Preußen – Versuch einer Bilanz (Prussia, an attempt at a complete picture). The preparations to celebrate the 750th anniversary of the founding of Berlin in 1987 led to further reconsideration of the Prussian heritage; that year Gisela May performed a song celebrating the statue's return.After German reunification, the Senate of Berlin had the monument scientifically restored, and it was replaced in its original position, with the wrought-iron fence and 19th-century lamp posts recreated. After having paint thrown at it during a protest against the Bundeswehr, it was restored once more in 2006 and given a coating of wax to protect against graffiti. | [
"Gisela May",
"Berlin",
"Robert Maxwell",
"Christian Daniel Rauch",
"equestrian statue",
"Erich Honecker",
"politics of memory",
"plaque",
"plinth",
"Frederick William III",
"Unter den Linden",
"World War II",
"Frederick William I",
"Ingrid Mittenzwei",
"Potsdam",
"great power",
"cardinal virtues",
"Senate of Berlin",
"Bundeswehr",
"Lauchhammer",
"Charlottenhof Palace",
"Frederick William II",
"Sanssouci",
"graffiti",
"Prussia",
"the park"
] |
|
17229_NT | Equestrian statue of Frederick the Great | Explore the History of this artwork. | Prussian King Frederick William III commissioned the monument from sculptor Christian Daniel Rauch in 1839. It was cast beginning in 1845 by Karl Ludwig Friebel, whom Rauch brought from Lauchhammer for the purpose; changes to the figures on the base extended work to six years, and the monument was unveiled on 31 May 1851. It is one of Rauch's best known works, and influenced other monuments erected in the late 19th and early 20th centuries.The equestrian statue influenced many other monuments and is a registered monument of the City of Berlin. Beneath the equestrian statue itself, the unusually large plinth includes reliefs of the four cardinal virtues and important scenes from Frederick's life, and depictions, many in full relief, of 74 notable men from his reign; bronze plaques beneath the bands of sculpture list military men, philosophers, mathematicians, poets, statesmen, engineers, and others important in Prussia's emergence as a great power in the mid-18th century.
During World War II, the monument was encased in concrete for protection. In May 1950, the East German Magistrat decided to remove it to the park at the palace of Sanssouci in Potsdam. Metal thieves damaged it after the protective casing was removed, and it was dismantled and taken away between 13 and 19 July. After being stored in pieces and at one point almost melted down, by 1962 the monument had been re-erected in the hippodrome at Charlottenhof Palace.
In the 1980s, the East German government changed its politics of memory and especially its position on the Prussian heritage. In 1980 Erich Honecker called Frederick "the Great" in an interview with Robert Maxwell; in the same year, the historian Ingrid Mittenzwei published a relatively positive biography of the king. The statue was restored and returned to Unter den Linden, approximately 6 metres (20 ft) east of its old position. West Germany saw a similar return of a more positive view on Prussia with the Berlin exhibition Preußen – Versuch einer Bilanz (Prussia, an attempt at a complete picture). The preparations to celebrate the 750th anniversary of the founding of Berlin in 1987 led to further reconsideration of the Prussian heritage; that year Gisela May performed a song celebrating the statue's return.After German reunification, the Senate of Berlin had the monument scientifically restored, and it was replaced in its original position, with the wrought-iron fence and 19th-century lamp posts recreated. After having paint thrown at it during a protest against the Bundeswehr, it was restored once more in 2006 and given a coating of wax to protect against graffiti. | [
"Gisela May",
"Berlin",
"Robert Maxwell",
"Christian Daniel Rauch",
"equestrian statue",
"Erich Honecker",
"politics of memory",
"plaque",
"plinth",
"Frederick William III",
"Unter den Linden",
"World War II",
"Frederick William I",
"Ingrid Mittenzwei",
"Potsdam",
"great power",
"cardinal virtues",
"Senate of Berlin",
"Bundeswehr",
"Lauchhammer",
"Charlottenhof Palace",
"Frederick William II",
"Sanssouci",
"graffiti",
"Prussia",
"the park"
] |
|
17230_T | Equestrian statue of Frederick the Great | Focus on Equestrian statue of Frederick the Great and discuss the Description and location. | The monument is 13.5 metres (44 ft) tall, with the equestrian statue itself standing 5.66 metres (18.6 ft) high. It depicts Frederick in military uniform and an ermine-trimmed cloak, wearing his decorations, and with his characteristic bicorne hat; he holds the reins in his left hand and in his right has a walking stick. The statue is mounted on an unusually tall plinth, 7.84 metres (25.7 ft) high, bearing two bands of additional sculpture above a band of inscriptions: the upper section shows scenes from the king's life, with the four cardinal virtues at the corners, while the middle depicts 74 great men of Frederick the Great's time in life size, many in full relief.The statue stands at the east end of Unter den Linden, facing east at the west end of the former Forum Fridericianum (now Bebelplatz) towards the site of the royal palace. It is enclosed by a low wrought-iron fence, which was recreated when the monument was restored and replaced in its original position. | [
"Frederick the Great",
"Bebelplatz",
"bicorne",
"royal palace",
"equestrian statue",
"plinth",
"Unter den Linden",
"ermine",
"cardinal virtues",
"Forum Fridericianum"
] |
|
17230_NT | Equestrian statue of Frederick the Great | Focus on this artwork and discuss the Description and location. | The monument is 13.5 metres (44 ft) tall, with the equestrian statue itself standing 5.66 metres (18.6 ft) high. It depicts Frederick in military uniform and an ermine-trimmed cloak, wearing his decorations, and with his characteristic bicorne hat; he holds the reins in his left hand and in his right has a walking stick. The statue is mounted on an unusually tall plinth, 7.84 metres (25.7 ft) high, bearing two bands of additional sculpture above a band of inscriptions: the upper section shows scenes from the king's life, with the four cardinal virtues at the corners, while the middle depicts 74 great men of Frederick the Great's time in life size, many in full relief.The statue stands at the east end of Unter den Linden, facing east at the west end of the former Forum Fridericianum (now Bebelplatz) towards the site of the royal palace. It is enclosed by a low wrought-iron fence, which was recreated when the monument was restored and replaced in its original position. | [
"Frederick the Great",
"Bebelplatz",
"bicorne",
"royal palace",
"equestrian statue",
"plinth",
"Unter den Linden",
"ermine",
"cardinal virtues",
"Forum Fridericianum"
] |
|
17231_T | Equestrian statue of Frederick the Great | In Equestrian statue of Frederick the Great, how is the Upper band of the Description and location elucidated? | The upper sculpted band, immediately below the statue of the king, shows in bas-relief scenes from his life and is garnished at the corners with emblems of the four cardinal virtues in full relief.
The Virtues | [
"cardinal virtues",
"bas-relief"
] |
|
17231_NT | Equestrian statue of Frederick the Great | In this artwork, how is the Upper band of the Description and location elucidated? | The upper sculpted band, immediately below the statue of the king, shows in bas-relief scenes from his life and is garnished at the corners with emblems of the four cardinal virtues in full relief.
The Virtues | [
"cardinal virtues",
"bas-relief"
] |
|
17232_T | Equestrian statue of Frederick the Great | In the context of Equestrian statue of Frederick the Great, analyze the Middle band of the Description and location. | The middle band depicts 74 men of Frederick the Great's time in life-size; some, such as the figure of his brother August, are free-standing; others are depicted in high relief. A few, including James Keith, are in bas-relief. As with the upper band, four figures in full relief stand at the corners, this time on horseback: Frederick's brother, Prince Henry of Prussia; Charles William Ferdinand, Duke of Brunswick-Wolfenbüttel; Friedrich Wilhelm von Seydlitz; and Hans Joachim von Zieten.
Four mounted figures
Between the mounted figures stand 25 of the key men of Frederick's career. Some of them are full-sized free-standing figures and several are carved in partial relief. The figures represented are predominantly military, but also include civilians of note, including diplomats, the Prime Minister of Prussia, jurists, poets, artists, and philosophers. indicates that the figure is in bas-relief.Relief Figures | [
"Frederick the Great",
"Charles William Ferdinand, Duke of Brunswick",
"Charles William Ferdinand, Duke of Brunswick-Wolfenbüttel",
"August",
"high relief",
"Friedrich Wilhelm von Seydlitz",
"Prime Minister of Prussia",
"Hans Joachim von Zieten",
"bas-relief",
"Prince Henry of Prussia",
"James Keith",
"Prussia"
] |
|
17232_NT | Equestrian statue of Frederick the Great | In the context of this artwork, analyze the Middle band of the Description and location. | The middle band depicts 74 men of Frederick the Great's time in life-size; some, such as the figure of his brother August, are free-standing; others are depicted in high relief. A few, including James Keith, are in bas-relief. As with the upper band, four figures in full relief stand at the corners, this time on horseback: Frederick's brother, Prince Henry of Prussia; Charles William Ferdinand, Duke of Brunswick-Wolfenbüttel; Friedrich Wilhelm von Seydlitz; and Hans Joachim von Zieten.
Four mounted figures
Between the mounted figures stand 25 of the key men of Frederick's career. Some of them are full-sized free-standing figures and several are carved in partial relief. The figures represented are predominantly military, but also include civilians of note, including diplomats, the Prime Minister of Prussia, jurists, poets, artists, and philosophers. indicates that the figure is in bas-relief.Relief Figures | [
"Frederick the Great",
"Charles William Ferdinand, Duke of Brunswick",
"Charles William Ferdinand, Duke of Brunswick-Wolfenbüttel",
"August",
"high relief",
"Friedrich Wilhelm von Seydlitz",
"Prime Minister of Prussia",
"Hans Joachim von Zieten",
"bas-relief",
"Prince Henry of Prussia",
"James Keith",
"Prussia"
] |
|
17233_T | Equestrian statue of Frederick the Great | Describe the characteristics of the Lower band in Equestrian statue of Frederick the Great's Description and location. | The lowest band lists names of additional key figures from Frederick's reign, pressed in bronze. | [] |
|
17233_NT | Equestrian statue of Frederick the Great | Describe the characteristics of the Lower band in this artwork's Description and location. | The lowest band lists names of additional key figures from Frederick's reign, pressed in bronze. | [] |
|
17234_T | Equestrian statue of Frederick the Great | Focusing on the Description and location of Equestrian statue of Frederick the Great, explore the South face about the Lower band. | South face The south face displays bronze plaques with the names of 25 generals. | [
"plaque"
] |
|
17234_NT | Equestrian statue of Frederick the Great | Focusing on the Description and location of this artwork, explore the South face about the Lower band. | South face The south face displays bronze plaques with the names of 25 generals. | [
"plaque"
] |
|
17235_T | Equestrian statue of Frederick the Great | Focusing on the Description and location of Equestrian statue of Frederick the Great, explain the North face about the Lower band. | North face The north face contains the names of 32 key military figures in Frederick's life. Thirty-two are generals; three are men who contributed significantly to various battles but because of early deaths did not reach the highest military rank. | [] |
|
17235_NT | Equestrian statue of Frederick the Great | Focusing on the Description and location of this artwork, explain the North face about the Lower band. | North face The north face contains the names of 32 key military figures in Frederick's life. Thirty-two are generals; three are men who contributed significantly to various battles but because of early deaths did not reach the highest military rank. | [] |
|
17236_T | Equestrian statue of Frederick the Great | Explore the West face about the Lower band of the Description and location in this artwork, Equestrian statue of Frederick the Great. | West face The west face includes 14 men who contributed to the Prussian state as diplomats, authors, jurists, architects, painters and poets. | [
"Prussia"
] |
|
17236_NT | Equestrian statue of Frederick the Great | Explore the West face about the Lower band of the Description and location in this artwork. | West face The west face includes 14 men who contributed to the Prussian state as diplomats, authors, jurists, architects, painters and poets. | [
"Prussia"
] |
|
17237_T | Equestrian statue of Frederick the Great | Focusing on the Description and location of Equestrian statue of Frederick the Great, discuss the East face about the Lower band. | East face The east face bears the names of Frederick the Great, Frederick William III, and Frederick William IV, along with the dates on which the monument was commissioned and completed. | [
"Frederick the Great",
"Frederick William III",
"Frederick William I",
"Frederick William II"
] |
|
17237_NT | Equestrian statue of Frederick the Great | Focusing on the Description and location of this artwork, discuss the East face about the Lower band. | East face The east face bears the names of Frederick the Great, Frederick William III, and Frederick William IV, along with the dates on which the monument was commissioned and completed. | [
"Frederick the Great",
"Frederick William III",
"Frederick William I",
"Frederick William II"
] |
|
17238_T | Equestrian statue of Frederick the Great | How does Equestrian statue of Frederick the Great elucidate its Other statues of Frederick the Great? | Johann Gottfried Schadow, who was Rauch's teacher and had received many commissions under the previous king, Frederick William II, had expected to carry out this commission. He had already in 1821–22 made a lifesize bronze of Frederick the Great with two greyhounds, which is at Sanssouci. He also created a marble statue of Frederick for the city of Stettin, now lost, a bronze reproduction of which is now in the grounds outside the New Wing at Charlottenburg Palace.In 1865 two students of Rauch's, Aloisio Lazzerini and Carlo Baratta, made an approximately half-size copy in marble of Rauch's equestrian statue, which is in the park at Sanssouci.Another smaller copy of Rauch's statue was made to commemorate Frederick's overnight stay in the Dehlitz section of Lützen before the Battle of Rossbach in 1757, and stood in a park there from 1858 until World War II, when it was moved for safekeeping to Lützen Castle. | [
"Frederick the Great",
"Johann Gottfried Schadow",
"Lützen",
"equestrian statue",
"Battle of Rossbach",
"World War II",
"Frederick William I",
"Charlottenburg Palace",
"greyhound",
"Frederick William II",
"Sanssouci",
"Stettin",
"the park"
] |
|
17238_NT | Equestrian statue of Frederick the Great | How does this artwork elucidate its Other statues of Frederick the Great? | Johann Gottfried Schadow, who was Rauch's teacher and had received many commissions under the previous king, Frederick William II, had expected to carry out this commission. He had already in 1821–22 made a lifesize bronze of Frederick the Great with two greyhounds, which is at Sanssouci. He also created a marble statue of Frederick for the city of Stettin, now lost, a bronze reproduction of which is now in the grounds outside the New Wing at Charlottenburg Palace.In 1865 two students of Rauch's, Aloisio Lazzerini and Carlo Baratta, made an approximately half-size copy in marble of Rauch's equestrian statue, which is in the park at Sanssouci.Another smaller copy of Rauch's statue was made to commemorate Frederick's overnight stay in the Dehlitz section of Lützen before the Battle of Rossbach in 1757, and stood in a park there from 1858 until World War II, when it was moved for safekeeping to Lützen Castle. | [
"Frederick the Great",
"Johann Gottfried Schadow",
"Lützen",
"equestrian statue",
"Battle of Rossbach",
"World War II",
"Frederick William I",
"Charlottenburg Palace",
"greyhound",
"Frederick William II",
"Sanssouci",
"Stettin",
"the park"
] |
|
17239_T | Equestrian statue of Frederick the Great | Focus on Equestrian statue of Frederick the Great and analyze the Further information. | Jutta von Simson. Das Berliner Denkmal für Friedrich den Großen. Die Entwürfe als Spiegelung des preußischen Selbstverständnisses. Frankfurt/Berlin: Ullstein/Propyläen, 1976, ISBN 3-549-06619-8 (in German)
Bloch, Peter; Grzimek, Waldemar (1978). Die Berliner Bildhauerschule im neunzehnten Jahrhundert. Das klassische Berlin (in German). Berlin: Propyläen. ISBN 978-3-549-06631-7.
Frank Pieter Hesse and Gesine Sturm (ed.). Ein Denkmal für den König. Das Reiterstandbild für Friedrich II. Unter den Linden in Berlin. Beiträge zur Denkmalpflege in Berlin 17. Berlin: Schelzky & Jeep, 2001, ISBN 978-3-89541-158-8 (German/English picture book)
Wieland Giebel (ed.). Das Reiterdenkmal Friedrichs des Großen. Berlin: Story, 2007, ISBN 978-3-929829-69-3 (in German)
Majestät reiten wieder Archived 2016-03-05 at the Wayback Machine, video on restoration completed in 2001, Mefisto Video GmbH (Windows Media Player) (in German) | [
"Berlin",
"Wayback Machine",
"Unter den Linden"
] |
|
17239_NT | Equestrian statue of Frederick the Great | Focus on this artwork and analyze the Further information. | Jutta von Simson. Das Berliner Denkmal für Friedrich den Großen. Die Entwürfe als Spiegelung des preußischen Selbstverständnisses. Frankfurt/Berlin: Ullstein/Propyläen, 1976, ISBN 3-549-06619-8 (in German)
Bloch, Peter; Grzimek, Waldemar (1978). Die Berliner Bildhauerschule im neunzehnten Jahrhundert. Das klassische Berlin (in German). Berlin: Propyläen. ISBN 978-3-549-06631-7.
Frank Pieter Hesse and Gesine Sturm (ed.). Ein Denkmal für den König. Das Reiterstandbild für Friedrich II. Unter den Linden in Berlin. Beiträge zur Denkmalpflege in Berlin 17. Berlin: Schelzky & Jeep, 2001, ISBN 978-3-89541-158-8 (German/English picture book)
Wieland Giebel (ed.). Das Reiterdenkmal Friedrichs des Großen. Berlin: Story, 2007, ISBN 978-3-929829-69-3 (in German)
Majestät reiten wieder Archived 2016-03-05 at the Wayback Machine, video on restoration completed in 2001, Mefisto Video GmbH (Windows Media Player) (in German) | [
"Berlin",
"Wayback Machine",
"Unter den Linden"
] |
|
17240_T | Statues of Saints Barbara, Margaret and Elizabeth, Charles Bridge | In Statues of Saints Barbara, Margaret and Elizabeth, Charles Bridge, how is the abstract discussed? | The statues of Saints Barbara, Margaret and Elizabeth (Czech: Sousoší svaté Barbory, Markéty a Alžběty) are outdoor sculptures by Ferdinand Brokoff, Jan Brokoff, and Michael Brokoff, installed on the south side of the Charles Bridge in Prague, Czech Republic. | [
"Michael Brokoff",
"Prague",
"Charles Bridge",
"Jan Brokoff",
"Ferdinand Brokoff"
] |
|
17240_NT | Statues of Saints Barbara, Margaret and Elizabeth, Charles Bridge | In this artwork, how is the abstract discussed? | The statues of Saints Barbara, Margaret and Elizabeth (Czech: Sousoší svaté Barbory, Markéty a Alžběty) are outdoor sculptures by Ferdinand Brokoff, Jan Brokoff, and Michael Brokoff, installed on the south side of the Charles Bridge in Prague, Czech Republic. | [
"Michael Brokoff",
"Prague",
"Charles Bridge",
"Jan Brokoff",
"Ferdinand Brokoff"
] |
|
17241_T | Roswall | Focus on Roswall and explore the abstract. | RosWall (2008) is an environmental art mosaic project located in Roswell, Georgia, United States, a northern suburb of the state capital of Atlanta.
The mosaic runs approximately 150 feet and began on a small portion of the wall and has continued to grow with the help of local groups including students of the nearby The Cottage School and local mosaic artist Donna Pinter. | [
"The Cottage School",
"Roswell, Georgia",
"Donna Pinter",
"Cottage School",
"Roswell",
"Georgia",
"mosaic",
"Atlanta",
"United States"
] |
|
17241_NT | Roswall | Focus on this artwork and explore the abstract. | RosWall (2008) is an environmental art mosaic project located in Roswell, Georgia, United States, a northern suburb of the state capital of Atlanta.
The mosaic runs approximately 150 feet and began on a small portion of the wall and has continued to grow with the help of local groups including students of the nearby The Cottage School and local mosaic artist Donna Pinter. | [
"The Cottage School",
"Roswell, Georgia",
"Donna Pinter",
"Cottage School",
"Roswell",
"Georgia",
"mosaic",
"Atlanta",
"United States"
] |
|
17242_T | Dunham Massey Hall sundial | Explore the abstract of this artwork, Dunham Massey Hall sundial. | The Dunham Massey Hall sundial is a lead sculpture depicting a kneeling Black man holding a sundial on his head. It was created during the early 18th century, and until 2020 stood outside Dunham Massey Hall, a stately home in Cheshire, England.
Its subject matter attracted criticism and in 2020 the National Trust removed it amid the global wave of statue removals connected with the 2020 Black Lives Matter protests in the wake of the murder of George Floyd. It is currently held in storage. | [
"Dunham Massey Hall",
"wave of statue removals",
"murder of George Floyd",
"National Trust",
"sundial",
"2020 Black Lives Matter protests",
"stately home",
"Black Lives Matter protests",
"lead"
] |
|
17242_NT | Dunham Massey Hall sundial | Explore the abstract of this artwork. | The Dunham Massey Hall sundial is a lead sculpture depicting a kneeling Black man holding a sundial on his head. It was created during the early 18th century, and until 2020 stood outside Dunham Massey Hall, a stately home in Cheshire, England.
Its subject matter attracted criticism and in 2020 the National Trust removed it amid the global wave of statue removals connected with the 2020 Black Lives Matter protests in the wake of the murder of George Floyd. It is currently held in storage. | [
"Dunham Massey Hall",
"wave of statue removals",
"murder of George Floyd",
"National Trust",
"sundial",
"2020 Black Lives Matter protests",
"stately home",
"Black Lives Matter protests",
"lead"
] |
|
17243_T | Dunham Massey Hall sundial | Focus on Dunham Massey Hall sundial and discuss the Description. | The sundial sculpture is a black, polychromed cast-lead statue. It depicts a life-size kneeling figure of an African man wearing a feathered loincloth and holding a stone and brass sundial on his head. The figure's eyes are painted white with blue pupils, and the loincloth is painted blue and green. It dates from the 18th century and has been attributed to Andries Carpentière (1677–1737). It is thought that it was cast after a model by Jan van Nost (c.1660-1711-13) which was installed in 1701 in the Privy Garden of Hampton Court Palace. It was probably commissioned by George Booth, 2nd Earl of Warrington (1675-1758).
The figure has been categorised as an example of a tradition in western art history called the "blackamoor", a personification of the continent of Africa, and as an anonymous ‘kneeling slave’. The blackamoor caricatures appeared in a wide range of arts including sculpture, painting, architectural decoration, ceramics, silverware and furniture, and generally depicted a generic black person in exoticised costume and posted in a servile position, holding an object.Close to the sculpture was a plaque containing the words: “This sundial is in the style of one commissioned by King William III. It represents Africa, one of four continents known at the time. The figure depicts a Moor, not a slave, and he has knelt here since before 1750.” | [
"Africa",
"sundial",
"polychromed",
"slave",
"loincloth",
"Hampton Court Palace",
"blackamoor",
"Jan van Nost",
"lead",
"Andries Carpentière",
"George Booth, 2nd Earl of Warrington"
] |
|
17243_NT | Dunham Massey Hall sundial | Focus on this artwork and discuss the Description. | The sundial sculpture is a black, polychromed cast-lead statue. It depicts a life-size kneeling figure of an African man wearing a feathered loincloth and holding a stone and brass sundial on his head. The figure's eyes are painted white with blue pupils, and the loincloth is painted blue and green. It dates from the 18th century and has been attributed to Andries Carpentière (1677–1737). It is thought that it was cast after a model by Jan van Nost (c.1660-1711-13) which was installed in 1701 in the Privy Garden of Hampton Court Palace. It was probably commissioned by George Booth, 2nd Earl of Warrington (1675-1758).
The figure has been categorised as an example of a tradition in western art history called the "blackamoor", a personification of the continent of Africa, and as an anonymous ‘kneeling slave’. The blackamoor caricatures appeared in a wide range of arts including sculpture, painting, architectural decoration, ceramics, silverware and furniture, and generally depicted a generic black person in exoticised costume and posted in a servile position, holding an object.Close to the sculpture was a plaque containing the words: “This sundial is in the style of one commissioned by King William III. It represents Africa, one of four continents known at the time. The figure depicts a Moor, not a slave, and he has knelt here since before 1750.” | [
"Africa",
"sundial",
"polychromed",
"slave",
"loincloth",
"Hampton Court Palace",
"blackamoor",
"Jan van Nost",
"lead",
"Andries Carpentière",
"George Booth, 2nd Earl of Warrington"
] |
|
17244_T | Dunham Massey Hall sundial | How does Dunham Massey Hall sundial elucidate its Controversy and removal? | In June 2020, the National Trust announced that it was "reviewing" the statue amid the global wave of statue removals during the Black Lives Matter protests.Shortly afterwards, the Trust took the decision to remove the statue from its prominent location outside Dunham Massey Hall, stating that the sculpture "caused upset and distress because of the way it depicts a black person and because of its prominence at the front of the house". The National Trust also stated that it did not plan to "censor or deny" colonial history, but intended to devise a new way of displaying it "in a way that fully acknowledges the appalling histories of slavery and the slave trade". Historic England noted that the National Trust had not requested listed building consent prior to the removal of the Grade II-listed sundial. | [
"Dunham Massey Hall",
"wave of statue removals",
"National Trust",
"sundial",
"slave",
"Black Lives Matter protests",
"Historic England"
] |
|
17244_NT | Dunham Massey Hall sundial | How does this artwork elucidate its Controversy and removal? | In June 2020, the National Trust announced that it was "reviewing" the statue amid the global wave of statue removals during the Black Lives Matter protests.Shortly afterwards, the Trust took the decision to remove the statue from its prominent location outside Dunham Massey Hall, stating that the sculpture "caused upset and distress because of the way it depicts a black person and because of its prominence at the front of the house". The National Trust also stated that it did not plan to "censor or deny" colonial history, but intended to devise a new way of displaying it "in a way that fully acknowledges the appalling histories of slavery and the slave trade". Historic England noted that the National Trust had not requested listed building consent prior to the removal of the Grade II-listed sundial. | [
"Dunham Massey Hall",
"wave of statue removals",
"National Trust",
"sundial",
"slave",
"Black Lives Matter protests",
"Historic England"
] |
|
17245_T | Vallombrosa Altarpiece | Focus on Vallombrosa Altarpiece and analyze the abstract. | The Vallombrosa Altarpiece is a painting by the Italian Renaissance painter Pietro Perugino, dating to 1500–01. It is housed in the Accademia Gallery of Florence, Italy. | [
"Florence",
"Accademia Gallery",
"Renaissance",
"Italy",
"Italian",
"Pietro Perugino"
] |
|
17245_NT | Vallombrosa Altarpiece | Focus on this artwork and analyze the abstract. | The Vallombrosa Altarpiece is a painting by the Italian Renaissance painter Pietro Perugino, dating to 1500–01. It is housed in the Accademia Gallery of Florence, Italy. | [
"Florence",
"Accademia Gallery",
"Renaissance",
"Italy",
"Italian",
"Pietro Perugino"
] |
|
17246_T | Vallombrosa Altarpiece | In Vallombrosa Altarpiece, how is the History discussed? | The painting was commissioned to Perugino in 1497 for the high altar of the Vallombrosa Abbey, by Don Biagio Milanesi, Father General of the Order of the Vallombrosan friars.
It was finished in July 1500. Between the beginning of 1495 and the end of 1500, the Perugino workshop was engaged in manufacturing several large works on panel. Art historian G. C. Williamson calls it "one of the finest that Perugino ever produced".The work was originally completed by a predella, of which only two portraits remain (Biagio Milanesi, the then-abbot, and of the monk Baldassarre); both works are now at the Uffizi Gallery.
After the Napoleonic invasion of Italy and the suppression of the abbey, the canvas was moved to Paris in 1810. However, it was restored to Tuscany in 1817, being assigned to the Florentine gallery in this occasion. | [
"Uffizi",
"Italy",
"Vallombrosa Abbey",
"Uffizi Gallery",
"Vallombrosan friars",
"predella",
"G. C. Williamson",
"Napoleonic invasion of Italy"
] |
|
17246_NT | Vallombrosa Altarpiece | In this artwork, how is the History discussed? | The painting was commissioned to Perugino in 1497 for the high altar of the Vallombrosa Abbey, by Don Biagio Milanesi, Father General of the Order of the Vallombrosan friars.
It was finished in July 1500. Between the beginning of 1495 and the end of 1500, the Perugino workshop was engaged in manufacturing several large works on panel. Art historian G. C. Williamson calls it "one of the finest that Perugino ever produced".The work was originally completed by a predella, of which only two portraits remain (Biagio Milanesi, the then-abbot, and of the monk Baldassarre); both works are now at the Uffizi Gallery.
After the Napoleonic invasion of Italy and the suppression of the abbey, the canvas was moved to Paris in 1810. However, it was restored to Tuscany in 1817, being assigned to the Florentine gallery in this occasion. | [
"Uffizi",
"Italy",
"Vallombrosa Abbey",
"Uffizi Gallery",
"Vallombrosan friars",
"predella",
"G. C. Williamson",
"Napoleonic invasion of Italy"
] |
|
17247_T | Statue of James Cook, Hyde Park | Focus on Statue of James Cook, Hyde Park and explore the abstract. | A bronze statue of the British explorer Captain James Cook stands in Hyde Park, Sydney, Australia. Designed by Pre-Raphaelite Brotherhood sculptor Thomas Woolner and unveiled in 1879, the statue is larger than life and depicts Cook holding a telescope in his left hand with his right hand extended towards the sky. | [
"Hyde Park",
"Thomas Woolner",
"bronze statue",
"right",
"Sydney",
"James Cook",
"Pre-Raphaelite Brotherhood",
"Hyde Park, Sydney",
"left"
] |
|
17247_NT | Statue of James Cook, Hyde Park | Focus on this artwork and explore the abstract. | A bronze statue of the British explorer Captain James Cook stands in Hyde Park, Sydney, Australia. Designed by Pre-Raphaelite Brotherhood sculptor Thomas Woolner and unveiled in 1879, the statue is larger than life and depicts Cook holding a telescope in his left hand with his right hand extended towards the sky. | [
"Hyde Park",
"Thomas Woolner",
"bronze statue",
"right",
"Sydney",
"James Cook",
"Pre-Raphaelite Brotherhood",
"Hyde Park, Sydney",
"left"
] |
|
17248_T | Statue of James Cook, Hyde Park | Explore the Inception about the History of this artwork, Statue of James Cook, Hyde Park. | Interest in the construction of a statue of James Cook preceded its creation by over a decade. Starting in the 1860s, the Australia Patriotic Association held a public appeal for donations to erect a "double life-size bronze and granite" statue of Cook in Sydney's Hyde Park. The Cook Statue Fund, launched by the APA at a public meeting at Victoria Theatre in Sydney, raised £1,777. | [
"Hyde Park",
"Victoria Theatre",
"Statue",
"Sydney",
"Australia Patriotic Association",
"James Cook"
] |
|
17248_NT | Statue of James Cook, Hyde Park | Explore the Inception about the History of this artwork. | Interest in the construction of a statue of James Cook preceded its creation by over a decade. Starting in the 1860s, the Australia Patriotic Association held a public appeal for donations to erect a "double life-size bronze and granite" statue of Cook in Sydney's Hyde Park. The Cook Statue Fund, launched by the APA at a public meeting at Victoria Theatre in Sydney, raised £1,777. | [
"Hyde Park",
"Victoria Theatre",
"Statue",
"Sydney",
"Australia Patriotic Association",
"James Cook"
] |
|
17249_T | Statue of James Cook, Hyde Park | In the context of Statue of James Cook, Hyde Park, discuss the Construction of the History. | On 27 March 1869, Prince Alfred, the second son of Queen Victoria, laid the foundation stone during a well-attended gala at Hyde Park. Following the ceremony, however, the pedestal remained empty for nine years due to difficulties in raising additional funds; the Cook Statue Committee then asked the premier of New South Wales for assistance. Once Parliament voted to fund completion of the monument, Thomas Woolner, a fellow of the Royal Academy in London who had once lived in Australia, was commissioned for the sculpture.In a letter to Woolner dated 26 September 1874, Colonial Secretary Sir Henry Parkes requested the prolific sculptor send a design for the statue along with size and material specifications and a probable timeframe for its creation. Parkes directed that since the ‘position in Hyde Park is a very exposed one…the statue must be of bronze’. It was built by Cox & Sons at Thomas Ditton Foundry in Surrey. In 1878, the statue was briefly displayed opposite London's Athenaeum Club prior to being shipped to Sydney. It was described in The Art Journal as “unquestionably a work designed with force and spirit that raise it to the character of the sensational”.The granite base of the statue was transported from a quarry in Moruya, New South Wales, initially by being rolled along a wooden-railed bush tram line, covering six miles and taking three days. It was then transported to Sydney by the 80-ton schooner Settler's Friend. On the second night out, a few miles off Jervis Bay, the schooner collided with a 400-ton barque headed in the same direction. An axe was used to separate the ships and the jury-rigged Settler's Friend entered Port Jackson three days later. | [
"The Art Journal",
"Hyde Park",
"Thomas Woolner",
"Colonial Secretary",
"jury-rigged",
"Athenaeum Club",
"barque",
"Statue",
"New South Wales",
"Henry Parkes",
"schooner",
"Surrey",
"Moruya, New South Wales",
"Sydney",
"Royal Academy in London",
"Queen Victoria",
"Prince Alfred",
"Jervis Bay",
"Port Jackson",
"Sir Henry Parkes",
"Moruya"
] |
|
17249_NT | Statue of James Cook, Hyde Park | In the context of this artwork, discuss the Construction of the History. | On 27 March 1869, Prince Alfred, the second son of Queen Victoria, laid the foundation stone during a well-attended gala at Hyde Park. Following the ceremony, however, the pedestal remained empty for nine years due to difficulties in raising additional funds; the Cook Statue Committee then asked the premier of New South Wales for assistance. Once Parliament voted to fund completion of the monument, Thomas Woolner, a fellow of the Royal Academy in London who had once lived in Australia, was commissioned for the sculpture.In a letter to Woolner dated 26 September 1874, Colonial Secretary Sir Henry Parkes requested the prolific sculptor send a design for the statue along with size and material specifications and a probable timeframe for its creation. Parkes directed that since the ‘position in Hyde Park is a very exposed one…the statue must be of bronze’. It was built by Cox & Sons at Thomas Ditton Foundry in Surrey. In 1878, the statue was briefly displayed opposite London's Athenaeum Club prior to being shipped to Sydney. It was described in The Art Journal as “unquestionably a work designed with force and spirit that raise it to the character of the sensational”.The granite base of the statue was transported from a quarry in Moruya, New South Wales, initially by being rolled along a wooden-railed bush tram line, covering six miles and taking three days. It was then transported to Sydney by the 80-ton schooner Settler's Friend. On the second night out, a few miles off Jervis Bay, the schooner collided with a 400-ton barque headed in the same direction. An axe was used to separate the ships and the jury-rigged Settler's Friend entered Port Jackson three days later. | [
"The Art Journal",
"Hyde Park",
"Thomas Woolner",
"Colonial Secretary",
"jury-rigged",
"Athenaeum Club",
"barque",
"Statue",
"New South Wales",
"Henry Parkes",
"schooner",
"Surrey",
"Moruya, New South Wales",
"Sydney",
"Royal Academy in London",
"Queen Victoria",
"Prince Alfred",
"Jervis Bay",
"Port Jackson",
"Sir Henry Parkes",
"Moruya"
] |
|
17250_T | Statue of James Cook, Hyde Park | In Statue of James Cook, Hyde Park, how is the Dedication of the History elucidated? |
The statue was dedicated on Tuesday 25 February 1879. The day of the statue's unveiling was declared a public holiday. Approximately 12,000 joined the procession to Hyde Park and the unveiling itself was attended by an estimated 60,000 people.[From Our Sydney Correspondent]. SYDNEY. 7.30 p.m. The ceremony of unveiling Captain Cook's statue took place today, and was a great success. The procession was composed of marines, volunteers, and friendly societies, and was the largest ever seen in Sydney. The ceremony was witnessed by about 60,000 people. Two hundred children sang the National Anthem. His Excellency the Governor, Sir Hercules Robinson, unveiled the statue; and; in doing so, made a speech, in which he gave a narrative of Cook's life, and characterised him as a humane, just, and God-fearing man. He added that it would be well for the youth of Australia to imitate his nobility of character. – Newcastle Morning Herald and Miners' Advocate, 26 February 1879.The procession, two miles in length, featured marines, naval, fire & military brigades, associated bodies and thirteen bands. The statue was enshrouded in a Union Jack before being unveiled by six soldiers. The South Australian Advertiser reported that the unveiling "is acknowledged to have been the most patriotic ceremony which has ever taken place in New South Wales." In attendance was "nearly every member" of both houses of parliament, Anglican Bishop Barker, Catholic Archbishop Vaughan and numerous other distinguished persons.An electric light placed atop the post office was exhibited on the same night, illuminating the city and the face of Cook's statue, and "sufficient to enable one to read a newspaper two miles away." | [
"Vaughan",
"parliament",
"Hyde Park",
"Union Jack",
"Barker",
"New South Wales",
"Newcastle Morning Herald and Miners' Advocate",
"Sir Hercules Robinson",
"Sydney",
"South Australian Advertiser"
] |
|
17250_NT | Statue of James Cook, Hyde Park | In this artwork, how is the Dedication of the History elucidated? |
The statue was dedicated on Tuesday 25 February 1879. The day of the statue's unveiling was declared a public holiday. Approximately 12,000 joined the procession to Hyde Park and the unveiling itself was attended by an estimated 60,000 people.[From Our Sydney Correspondent]. SYDNEY. 7.30 p.m. The ceremony of unveiling Captain Cook's statue took place today, and was a great success. The procession was composed of marines, volunteers, and friendly societies, and was the largest ever seen in Sydney. The ceremony was witnessed by about 60,000 people. Two hundred children sang the National Anthem. His Excellency the Governor, Sir Hercules Robinson, unveiled the statue; and; in doing so, made a speech, in which he gave a narrative of Cook's life, and characterised him as a humane, just, and God-fearing man. He added that it would be well for the youth of Australia to imitate his nobility of character. – Newcastle Morning Herald and Miners' Advocate, 26 February 1879.The procession, two miles in length, featured marines, naval, fire & military brigades, associated bodies and thirteen bands. The statue was enshrouded in a Union Jack before being unveiled by six soldiers. The South Australian Advertiser reported that the unveiling "is acknowledged to have been the most patriotic ceremony which has ever taken place in New South Wales." In attendance was "nearly every member" of both houses of parliament, Anglican Bishop Barker, Catholic Archbishop Vaughan and numerous other distinguished persons.An electric light placed atop the post office was exhibited on the same night, illuminating the city and the face of Cook's statue, and "sufficient to enable one to read a newspaper two miles away." | [
"Vaughan",
"parliament",
"Hyde Park",
"Union Jack",
"Barker",
"New South Wales",
"Newcastle Morning Herald and Miners' Advocate",
"Sir Hercules Robinson",
"Sydney",
"South Australian Advertiser"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.