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|---|---|---|---|---|---|
17251_T | Statue of James Cook, Hyde Park | Describe the characteristics of the Previous exploration of Australia in Statue of James Cook, Hyde Park's Inscription controversy. | Critics have pointed out that although the inscription states that Cook "discovered this territory" in 1770, in fact, Cook's party landed at Botany Bay, several miles to the southwest, and never managed to find Sydney Harbour. Although Cook was the first to "claim the land on behalf of Great Britain", he was not the first modern navigator to "discover" Australia. Visits to Australia were recorded as early as 1606, and Portuguese cannons dating back to 1525 have been found on Carronade Island on the northwest coast. | [
"Carronade Island",
"Sydney",
"Botany Bay",
"Sydney Harbour"
] |
|
17251_NT | Statue of James Cook, Hyde Park | Describe the characteristics of the Previous exploration of Australia in this artwork's Inscription controversy. | Critics have pointed out that although the inscription states that Cook "discovered this territory" in 1770, in fact, Cook's party landed at Botany Bay, several miles to the southwest, and never managed to find Sydney Harbour. Although Cook was the first to "claim the land on behalf of Great Britain", he was not the first modern navigator to "discover" Australia. Visits to Australia were recorded as early as 1606, and Portuguese cannons dating back to 1525 have been found on Carronade Island on the northwest coast. | [
"Carronade Island",
"Sydney",
"Botany Bay",
"Sydney Harbour"
] |
|
17252_T | Statue of James Cook, Hyde Park | In the context of Statue of James Cook, Hyde Park, explore the Role of public subscription of the Inscription controversy. | In The Captain Cook Myth, author Jillian Robertson argues that the inscription stating that the statue had been "erected by public subscription assisted by a grant from the New South Wales Government" is also misleading. According to Robertson, only one quarter of funding for the statue came from public donations; the rest was covered by the government. | [
"New South Wales"
] |
|
17252_NT | Statue of James Cook, Hyde Park | In the context of this artwork, explore the Role of public subscription of the Inscription controversy. | In The Captain Cook Myth, author Jillian Robertson argues that the inscription stating that the statue had been "erected by public subscription assisted by a grant from the New South Wales Government" is also misleading. According to Robertson, only one quarter of funding for the statue came from public donations; the rest was covered by the government. | [
"New South Wales"
] |
|
17253_T | Statue of James Cook, Hyde Park | Focus on Statue of James Cook, Hyde Park and explain the Architecture. | Thomas Woolner depicted Cook with a telescope in his left hand and his right hand extended skyward. The statue is larger than Cook was himself. In 1931, The Sydney Morning Herald noted that his telescope is "at rest":Having looked through the telescope, he is satisfied that the great Southland is at last found – he is in the act of proclaiming his great discovery.The granite base is a single block weighing between fifteen and eighteen tons. | [
"great Southland",
"Thomas Woolner",
"right",
"Sydney",
"left",
"The Sydney Morning Herald"
] |
|
17253_NT | Statue of James Cook, Hyde Park | Focus on this artwork and explain the Architecture. | Thomas Woolner depicted Cook with a telescope in his left hand and his right hand extended skyward. The statue is larger than Cook was himself. In 1931, The Sydney Morning Herald noted that his telescope is "at rest":Having looked through the telescope, he is satisfied that the great Southland is at last found – he is in the act of proclaiming his great discovery.The granite base is a single block weighing between fifteen and eighteen tons. | [
"great Southland",
"Thomas Woolner",
"right",
"Sydney",
"left",
"The Sydney Morning Herald"
] |
|
17254_T | Statue of James Cook, Hyde Park | Explore the Inscriptions about the Architecture of this artwork, Statue of James Cook, Hyde Park. | There is an inscription on each side of the statue's plinth, in addition to a plaque on the front side. These read as follows: | [] |
|
17254_NT | Statue of James Cook, Hyde Park | Explore the Inscriptions about the Architecture of this artwork. | There is an inscription on each side of the statue's plinth, in addition to a plaque on the front side. These read as follows: | [] |
|
17255_T | Statue of James Cook, Hyde Park | Focusing on the Architecture of Statue of James Cook, Hyde Park, discuss the Front inscription about the Inscriptions. | Front inscription Captain Cook.
This statue was erected by public subscription assisted by a grant from the New South Wales Government
1879 | [
"New South Wales"
] |
|
17255_NT | Statue of James Cook, Hyde Park | Focusing on the Architecture of this artwork, discuss the Front inscription about the Inscriptions. | Front inscription Captain Cook.
This statue was erected by public subscription assisted by a grant from the New South Wales Government
1879 | [
"New South Wales"
] |
|
17256_T | Statue of James Cook, Hyde Park | Regarding Statue of James Cook, Hyde Park, how does the Architecture's Inscriptions incorporate the Plaque? | = Plaque This plaque marks the site of a previous plaque which disappeared in November 1991 and had the following inscription :
"This tablet was affixed by the Yorkshire Society of NSW as their tribute to the memory of Captain James Cook. 1908"
Councillor Frank Sartor Lord Mayor
Sydney City Council 1994 | [
"Yorkshire",
"Sydney City Council",
"Sydney",
"James Cook",
"Frank Sartor"
] |
|
17256_NT | Statue of James Cook, Hyde Park | Regarding this artwork, how does the Architecture's Inscriptions incorporate the Plaque? | = Plaque This plaque marks the site of a previous plaque which disappeared in November 1991 and had the following inscription :
"This tablet was affixed by the Yorkshire Society of NSW as their tribute to the memory of Captain James Cook. 1908"
Councillor Frank Sartor Lord Mayor
Sydney City Council 1994 | [
"Yorkshire",
"Sydney City Council",
"Sydney",
"James Cook",
"Frank Sartor"
] |
|
17257_T | Secret Painting | Focus on Secret Painting and explain the Background and analysis. | The series is distinguished from the monochrome paintings usually produced in the field of visual arts by their accompanying block of texts. It references both the history of monochrome painting and Kazimir Malevich's Black Square (1915), as well as functioning as an answer given by Ramsden to the paintings of Ad Reinhardt (1913-1967), an American painter and theoretician, a precursor of conceptual and minimal art.
The series has raised questions of the status of the art object and the play that is established between the artist and the visitor in the possible revelation of content. To his amusement, during the exhibition 1969: The Black Box of Conceptual Art, Ann Stephen (PhD and Chief Curator of the University of Sydney Art Museum) said: I've known Secret Paintings for a long time, but looking at the back, I suddenly realized that there was indeed a secret painting; there is a panel underneath with a secret painting. | [
"monochrome painting",
"American",
"Black Square",
"University of Sydney Art Museum",
"visual arts",
"minimal art",
"Kazimir Malevich",
"Sydney",
"University of Sydney"
] |
|
17257_NT | Secret Painting | Focus on this artwork and explain the Background and analysis. | The series is distinguished from the monochrome paintings usually produced in the field of visual arts by their accompanying block of texts. It references both the history of monochrome painting and Kazimir Malevich's Black Square (1915), as well as functioning as an answer given by Ramsden to the paintings of Ad Reinhardt (1913-1967), an American painter and theoretician, a precursor of conceptual and minimal art.
The series has raised questions of the status of the art object and the play that is established between the artist and the visitor in the possible revelation of content. To his amusement, during the exhibition 1969: The Black Box of Conceptual Art, Ann Stephen (PhD and Chief Curator of the University of Sydney Art Museum) said: I've known Secret Paintings for a long time, but looking at the back, I suddenly realized that there was indeed a secret painting; there is a panel underneath with a secret painting. | [
"monochrome painting",
"American",
"Black Square",
"University of Sydney Art Museum",
"visual arts",
"minimal art",
"Kazimir Malevich",
"Sydney",
"University of Sydney"
] |
|
17258_T | Statue of Sigmund Freud, Hampstead | Explore the abstract of this artwork, Statue of Sigmund Freud, Hampstead. | A statue of Sigmund Freud, the founder of psychoanalysis, is situated in the grounds of the Tavistock Clinic, at the junction of Fitzjohn's Avenue and Belsize Lane, in Hampstead, North London. The seated bronze statue on a limestone plinth is a work of the sculptor Oscar Nemon. Freud lived nearby at 20 Maresfield Gardens for the last months of his life; his house is now the Freud Museum.
Oscar Nemon was born and educated in Osijek before moving to work in Vienna in the 1920s. He had read Freud in his teens, initially approached Freud as a young sculptor and was rejected by him. After Nemon had gained his reputation in Brussels, he was approached by Freud's assistant Paul Federn in 1931 to sculpt Freud for his 75th birthday. Nemon finished busts of Freud in wood, bronze and plaster, and Freud chose to keep the wooden portrait for himself. The wooden bust is on display at the Freud Museum in Hampstead. Nemon visited Freud for a final time in London in 1938. His last sittings with Freud would create a "harsher[,] more abstracted portrait" which would become the head for the seated bronze in Hampstead.Freud wrote in his diary in July 1931 of Nemon's portrait that "The head, which the gaunt, goatee-bearded artist has fashioned from the dirt like the good Lord is very good and an astonishingly life-like impression of me." On seeing the head of Freud, his housekeeper Paula Fichtl said that Nemon had made Freud look "too angry", to which Freud responded, "But I am angry. I am angry with humanity."The bronze, slightly larger than life size, was commissioned in the 1960s, with funds raised by a committee chaired by Donald Winnicott. The sculpture portrays Freud with his head turned to one side as if in thought, with his hands in his waistcoat pockets. Freud's daughter Anna Freud attended the unveiling of the statue in October 1970, accompanied by children from her Hampstead Clinic (now the Anna Freud Centre). The statue was originally located in "an alcove behind Swiss Cottage Library, where it was virtually hidden away from the public." The Freud Museum arranged for the statue to be moved to its present location in 1998.The statue was listed Grade II on the National Heritage List for England in January 2016. | [
"Anna Freud Centre",
"National Heritage List for England",
"Swiss Cottage Library",
"Belsize Lane",
"Anna Freud",
"Tavistock Clinic",
"Osijek",
"Freud Museum",
"Paul Federn",
"Donald Winnicott",
"Sigmund Freud",
"Hampstead",
"Vienna",
"listed Grade II",
"psychoanalysis",
"London",
"Oscar Nemon"
] |
|
17258_NT | Statue of Sigmund Freud, Hampstead | Explore the abstract of this artwork. | A statue of Sigmund Freud, the founder of psychoanalysis, is situated in the grounds of the Tavistock Clinic, at the junction of Fitzjohn's Avenue and Belsize Lane, in Hampstead, North London. The seated bronze statue on a limestone plinth is a work of the sculptor Oscar Nemon. Freud lived nearby at 20 Maresfield Gardens for the last months of his life; his house is now the Freud Museum.
Oscar Nemon was born and educated in Osijek before moving to work in Vienna in the 1920s. He had read Freud in his teens, initially approached Freud as a young sculptor and was rejected by him. After Nemon had gained his reputation in Brussels, he was approached by Freud's assistant Paul Federn in 1931 to sculpt Freud for his 75th birthday. Nemon finished busts of Freud in wood, bronze and plaster, and Freud chose to keep the wooden portrait for himself. The wooden bust is on display at the Freud Museum in Hampstead. Nemon visited Freud for a final time in London in 1938. His last sittings with Freud would create a "harsher[,] more abstracted portrait" which would become the head for the seated bronze in Hampstead.Freud wrote in his diary in July 1931 of Nemon's portrait that "The head, which the gaunt, goatee-bearded artist has fashioned from the dirt like the good Lord is very good and an astonishingly life-like impression of me." On seeing the head of Freud, his housekeeper Paula Fichtl said that Nemon had made Freud look "too angry", to which Freud responded, "But I am angry. I am angry with humanity."The bronze, slightly larger than life size, was commissioned in the 1960s, with funds raised by a committee chaired by Donald Winnicott. The sculpture portrays Freud with his head turned to one side as if in thought, with his hands in his waistcoat pockets. Freud's daughter Anna Freud attended the unveiling of the statue in October 1970, accompanied by children from her Hampstead Clinic (now the Anna Freud Centre). The statue was originally located in "an alcove behind Swiss Cottage Library, where it was virtually hidden away from the public." The Freud Museum arranged for the statue to be moved to its present location in 1998.The statue was listed Grade II on the National Heritage List for England in January 2016. | [
"Anna Freud Centre",
"National Heritage List for England",
"Swiss Cottage Library",
"Belsize Lane",
"Anna Freud",
"Tavistock Clinic",
"Osijek",
"Freud Museum",
"Paul Federn",
"Donald Winnicott",
"Sigmund Freud",
"Hampstead",
"Vienna",
"listed Grade II",
"psychoanalysis",
"London",
"Oscar Nemon"
] |
|
17259_T | Eden II | Focus on Eden II and discuss the abstract. | Eden II is a public artwork by the Finnish artist Tea Mäkipää, located on the grounds of the Indianapolis Museum of Art in Indianapolis, Indiana. It is a mixed-media installation, consisting of a derelict ship on the lake and a guardhouse and its equipment on the shore. It was commissioned in 2010 by the Indianapolis Museum of Art for its sculpture garden, known as the 100 Acres Park. | [
"Finnish",
"Indianapolis Museum of Art",
"Tea Mäkipää",
"Indianapolis"
] |
|
17259_NT | Eden II | Focus on this artwork and discuss the abstract. | Eden II is a public artwork by the Finnish artist Tea Mäkipää, located on the grounds of the Indianapolis Museum of Art in Indianapolis, Indiana. It is a mixed-media installation, consisting of a derelict ship on the lake and a guardhouse and its equipment on the shore. It was commissioned in 2010 by the Indianapolis Museum of Art for its sculpture garden, known as the 100 Acres Park. | [
"Finnish",
"Indianapolis Museum of Art",
"Tea Mäkipää",
"Indianapolis"
] |
|
17260_T | Eden II | How does Eden II elucidate its Description? | Eden II consists of a ship made of steel, dock floats, concrete, paint, anchors, steel cable and various other mixed media, plus a guard house constructed with plywood and galvanized steel, containing LCD monitors, security cameras, a media player and an audio amplifier. The work combines real and fictional elements: the speakers play both local weather forecasts and dispatches from imaginary guards (whose voices were provided by IMA security staff), while the monitors display footage from the security camera trained on the viewer as well as simulated imagery from within the ship. It is intended as a commentary on global warming, with the refugees on board the ship driven out by "rising sea levels and the ecological impact of climate change". | [
"global warming",
"rising sea levels"
] |
|
17260_NT | Eden II | How does this artwork elucidate its Description? | Eden II consists of a ship made of steel, dock floats, concrete, paint, anchors, steel cable and various other mixed media, plus a guard house constructed with plywood and galvanized steel, containing LCD monitors, security cameras, a media player and an audio amplifier. The work combines real and fictional elements: the speakers play both local weather forecasts and dispatches from imaginary guards (whose voices were provided by IMA security staff), while the monitors display footage from the security camera trained on the viewer as well as simulated imagery from within the ship. It is intended as a commentary on global warming, with the refugees on board the ship driven out by "rising sea levels and the ecological impact of climate change". | [
"global warming",
"rising sea levels"
] |
|
17261_T | Eden II | Focus on Eden II and analyze the Construction. | Although the original plan was to use a pre-existing vessel, in the end Mäkipää opted to "construct a floating structure that resembles a ship" with the assistance of the local engineering company Silver Creek Engineering, Inc. A steel frame gives the ship the necessary strength to withstand waves, wind, snow and ice. A system of pontoons and weights keep it afloat and upright, and it is moored in place with weighted anchor lines. It was constructed both onsite and at the Herron School of Art & Design by Mäkipää, the Icelandic artist Halldúr Úlfarsson, Herron students, structural engineers from Silver Creek, and the IMA Design and Installation Crew. The museum's director at the time, Maxwell Anderson, has theorized that, in spite of the effort that went into constructing it, the ship will be slowly demolished by its aquatic environment, and he sees no reason to stop it: "We can imagine leaving Tea’s piece to become a shipwreck. Why not just let it do what it needs to do?" | [
"Herron School of Art & Design"
] |
|
17261_NT | Eden II | Focus on this artwork and analyze the Construction. | Although the original plan was to use a pre-existing vessel, in the end Mäkipää opted to "construct a floating structure that resembles a ship" with the assistance of the local engineering company Silver Creek Engineering, Inc. A steel frame gives the ship the necessary strength to withstand waves, wind, snow and ice. A system of pontoons and weights keep it afloat and upright, and it is moored in place with weighted anchor lines. It was constructed both onsite and at the Herron School of Art & Design by Mäkipää, the Icelandic artist Halldúr Úlfarsson, Herron students, structural engineers from Silver Creek, and the IMA Design and Installation Crew. The museum's director at the time, Maxwell Anderson, has theorized that, in spite of the effort that went into constructing it, the ship will be slowly demolished by its aquatic environment, and he sees no reason to stop it: "We can imagine leaving Tea’s piece to become a shipwreck. Why not just let it do what it needs to do?" | [
"Herron School of Art & Design"
] |
|
17262_T | Eden II | In Eden II, how is the Artist discussed? | This artwork is typical of Mäkipää in its examination of human beings and their ability to affect their environment. Much of her work is devoted to highlighting "environmental change and the role of humans in the destruction and possible preservation of the planet. ... [S]he treats humans as a unique animal species" with a unique ability to reshape the natural world. | [] |
|
17262_NT | Eden II | In this artwork, how is the Artist discussed? | This artwork is typical of Mäkipää in its examination of human beings and their ability to affect their environment. Much of her work is devoted to highlighting "environmental change and the role of humans in the destruction and possible preservation of the planet. ... [S]he treats humans as a unique animal species" with a unique ability to reshape the natural world. | [] |
|
17263_T | Three Travellers before a Waterfall | Focus on Three Travellers before a Waterfall and explore the abstract. | Three Travellers before a Waterfall is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Ryūsai Shigeharu (柳斎 重春) (1802–1853). It depicts a light-hearted scene of two men and one woman travelling on foot through the country-side. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada. | [
"Royal Ontario Museum",
"Edo",
"ukiyo-e",
"Edo period",
"woodblock print",
"Ryūsai Shigeharu",
"Prince Takamado"
] |
|
17263_NT | Three Travellers before a Waterfall | Focus on this artwork and explore the abstract. | Three Travellers before a Waterfall is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Ryūsai Shigeharu (柳斎 重春) (1802–1853). It depicts a light-hearted scene of two men and one woman travelling on foot through the country-side. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada. | [
"Royal Ontario Museum",
"Edo",
"ukiyo-e",
"Edo period",
"woodblock print",
"Ryūsai Shigeharu",
"Prince Takamado"
] |
|
17264_T | Three Travellers before a Waterfall | Focus on Three Travellers before a Waterfall and explain the Print details. | Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paper
Format: tate-e (縦絵) vertical print; ichimai-e (一枚絵) single sheet print
Genre: fūzokuga (風俗画) genre scene
Japanese title: none
Exhibit title: Three Travellers by a Waterfall
Inscription: none
Signature: Ryūsai Shigeharu (柳斎重春画) in bottom right corner
Publisher's mark: none
Publisher's seal: none
Censor seal: none
Date seal: none
Credit line: none | [
"fūzokuga",
"nishiki-e",
"woodblock print",
"Ryūsai Shigeharu"
] |
|
17264_NT | Three Travellers before a Waterfall | Focus on this artwork and explain the Print details. | Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paper
Format: tate-e (縦絵) vertical print; ichimai-e (一枚絵) single sheet print
Genre: fūzokuga (風俗画) genre scene
Japanese title: none
Exhibit title: Three Travellers by a Waterfall
Inscription: none
Signature: Ryūsai Shigeharu (柳斎重春画) in bottom right corner
Publisher's mark: none
Publisher's seal: none
Censor seal: none
Date seal: none
Credit line: none | [
"fūzokuga",
"nishiki-e",
"woodblock print",
"Ryūsai Shigeharu"
] |
|
17265_T | Three Travellers before a Waterfall | Explore the Artist of this artwork, Three Travellers before a Waterfall. | Though Ryūsai Shigeharu (柳窗重春/柳斎重春) (1802/3–1853) was born in Nagasaki, Kyushu, he moved to Osaka around 1820. He began to study under Utagawa (Takigawa) Kunihiro (歌川国広) (fl. c.1815-1841), then under Yanagawa Shigenobu (柳川重信) (1787–1832). His first print was published in 1820 under the name Nagasaki Kunishige (長崎国重), one of the various gō he used during his career. He took the name Ryūsai Shigeharu in 1825. He worked in several media including single-sheet prints, book illustration, theater billboards, and painting. He was active between c.1820 and 1849, and was, if not the only professional ukiyo-e artist in Osaka in the late nineteenth-century, one of the very few on the amateur-dominated scene. | [
"gō",
"ukiyo-e",
"Kyushu",
"Nagasaki",
"Ryūsai Shigeharu"
] |
|
17265_NT | Three Travellers before a Waterfall | Explore the Artist of this artwork. | Though Ryūsai Shigeharu (柳窗重春/柳斎重春) (1802/3–1853) was born in Nagasaki, Kyushu, he moved to Osaka around 1820. He began to study under Utagawa (Takigawa) Kunihiro (歌川国広) (fl. c.1815-1841), then under Yanagawa Shigenobu (柳川重信) (1787–1832). His first print was published in 1820 under the name Nagasaki Kunishige (長崎国重), one of the various gō he used during his career. He took the name Ryūsai Shigeharu in 1825. He worked in several media including single-sheet prints, book illustration, theater billboards, and painting. He was active between c.1820 and 1849, and was, if not the only professional ukiyo-e artist in Osaka in the late nineteenth-century, one of the very few on the amateur-dominated scene. | [
"gō",
"ukiyo-e",
"Kyushu",
"Nagasaki",
"Ryūsai Shigeharu"
] |
|
17266_T | Three Travellers before a Waterfall | Focus on Three Travellers before a Waterfall and discuss the Subject. | In the fore- and mid-ground of the scene, three travellers, two adult males and one youth, walk along a path in the countryside against the backdrop of a waterfall. The men wear waraji straw sandals, kyahan leggings, swords, and their kimono arranged such that the hems graze their calves in the style of Edo period travellers. All three figures wear variations of eboshi hats and light blue kimono; however each garment bears a different motif. In addition, each figure is carrying something. The boy carries a closed ōgi folding fan, the central figure carries the boy on his shoulder, and the figure in the foreground carries a small kotsuzumi (小鼓) drum in his left hand and a large white bundle in his right. | [
"Edo",
"kotsuzumi",
"waraji",
"Edo period",
"folding fan",
"kyahan",
"kimono"
] |
|
17266_NT | Three Travellers before a Waterfall | Focus on this artwork and discuss the Subject. | In the fore- and mid-ground of the scene, three travellers, two adult males and one youth, walk along a path in the countryside against the backdrop of a waterfall. The men wear waraji straw sandals, kyahan leggings, swords, and their kimono arranged such that the hems graze their calves in the style of Edo period travellers. All three figures wear variations of eboshi hats and light blue kimono; however each garment bears a different motif. In addition, each figure is carrying something. The boy carries a closed ōgi folding fan, the central figure carries the boy on his shoulder, and the figure in the foreground carries a small kotsuzumi (小鼓) drum in his left hand and a large white bundle in his right. | [
"Edo",
"kotsuzumi",
"waraji",
"Edo period",
"folding fan",
"kyahan",
"kimono"
] |
|
17267_T | Three Travellers before a Waterfall | How does Three Travellers before a Waterfall elucidate its Medium and genre? | Ryūsai Shigeharu spent his most productive years in Osaka, and as such his works are categorized as kamigata-e (上方絵). This term was used to distinguish prints produced in the Kamigata region (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were dominated by kabuki-e (images of kabuki actors), and were almost entirely the work of amateur “talented kabuki fans” promoting their heroes. Shigeharu was a rare exception to this rule.Although the "waterfall" of the print's title might suggest that the print belongs the fūkeiga (風景画) landscape genre, the focal point is the trio of travellers in the foreground. The image is related more closely to the fūzokuga (風俗画) 'genre scene' tradition. Also translated as "pictures of manners and customs," these images of common people engaged in popular activities appealed to ukiyo-e consumers through "a tremendous sense of immediacy, a feeling that he or she is right there participating in the scene." During the later years of the Edo period "travel became a popular form of leisure and the pleasures of the natural environment, interesting landmarks, and the adventures encountered on a journey became a popular inspiration for Ukiyo-e landscape prints and books." | [
"fūzokuga",
"Edo",
"kamigata-e",
"Ukiyo-e",
"ukiyo-e",
"Kamigata",
"Edo period",
"Ryūsai Shigeharu",
"fūkeiga"
] |
|
17267_NT | Three Travellers before a Waterfall | How does this artwork elucidate its Medium and genre? | Ryūsai Shigeharu spent his most productive years in Osaka, and as such his works are categorized as kamigata-e (上方絵). This term was used to distinguish prints produced in the Kamigata region (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were dominated by kabuki-e (images of kabuki actors), and were almost entirely the work of amateur “talented kabuki fans” promoting their heroes. Shigeharu was a rare exception to this rule.Although the "waterfall" of the print's title might suggest that the print belongs the fūkeiga (風景画) landscape genre, the focal point is the trio of travellers in the foreground. The image is related more closely to the fūzokuga (風俗画) 'genre scene' tradition. Also translated as "pictures of manners and customs," these images of common people engaged in popular activities appealed to ukiyo-e consumers through "a tremendous sense of immediacy, a feeling that he or she is right there participating in the scene." During the later years of the Edo period "travel became a popular form of leisure and the pleasures of the natural environment, interesting landmarks, and the adventures encountered on a journey became a popular inspiration for Ukiyo-e landscape prints and books." | [
"fūzokuga",
"Edo",
"kamigata-e",
"Ukiyo-e",
"ukiyo-e",
"Kamigata",
"Edo period",
"Ryūsai Shigeharu",
"fūkeiga"
] |
|
17268_T | Three Travellers before a Waterfall | Focus on Three Travellers before a Waterfall and analyze the Provenance. | The print was donated to the ROM by Sir Edmund Walker (1848–1924), long-time president of the Canadian Bank of Commerce and first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest North American collectors. He bought many pieces in New York in the 1870s and '80s, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto. | [
"Sir Edmund Walker",
"Canadian Bank of Commerce"
] |
|
17268_NT | Three Travellers before a Waterfall | Focus on this artwork and analyze the Provenance. | The print was donated to the ROM by Sir Edmund Walker (1848–1924), long-time president of the Canadian Bank of Commerce and first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest North American collectors. He bought many pieces in New York in the 1870s and '80s, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto. | [
"Sir Edmund Walker",
"Canadian Bank of Commerce"
] |
|
17269_T | Three Travellers before a Waterfall | In Three Travellers before a Waterfall, how is the Related works discussed? | The popularity of waterfalls within ukiyo-e design was given a distinct boost by a series of prints dating to around 1832 entitled Shokoku taki meguri (諸国瀧廻り) (A Tour of the Waterfalls of the Provinces) by the master Katsushika Hokusai. Unlike Ryūsai's design, however, the eight prints in the series all feature prominent waterfalls identified by name and belong to the landscape subgenre known as 名所絵 (meisho-e) (pictures of famous sites). Also different is the fact that in Hokusai's scenes the scale and power of the waterfall is typically emphasized by the placement of small human figures within the scene. | [
"Katsushika Hokusai",
"Hokusai",
"ukiyo-e",
"meisho"
] |
|
17269_NT | Three Travellers before a Waterfall | In this artwork, how is the Related works discussed? | The popularity of waterfalls within ukiyo-e design was given a distinct boost by a series of prints dating to around 1832 entitled Shokoku taki meguri (諸国瀧廻り) (A Tour of the Waterfalls of the Provinces) by the master Katsushika Hokusai. Unlike Ryūsai's design, however, the eight prints in the series all feature prominent waterfalls identified by name and belong to the landscape subgenre known as 名所絵 (meisho-e) (pictures of famous sites). Also different is the fact that in Hokusai's scenes the scale and power of the waterfall is typically emphasized by the placement of small human figures within the scene. | [
"Katsushika Hokusai",
"Hokusai",
"ukiyo-e",
"meisho"
] |
|
17270_T | Venice, Santa Maria della Salute from San Giorgio | Focus on Venice, Santa Maria della Salute from San Giorgio and explore the abstract. | Venice, Santa Maria della Salute from San Giorgio, is an oil painting by Eugène Louis Boudin, made on his 1895 trip to Venice. It that shows the Basilica di Santa Maria della Salute from the viewpoint of the San Giorgio Maggiore. Boudin created many paintings of Venice on this trip like "View of Venice" , "Venice, the Grand Canal", and "Venice–Seascape at the Giudecca".The painting is 46.3 cm by 65.4 cm, and it features an inscription in the lower-left corner that says "Venise 95. / E. Boudin". Boudin created at least three versions of this view, the focus point of which is the Salute, or Santa Maria della Salute.The painting was in the possession of the Parisian gallery MM. Allard et Noel by 1899, and was lent to the "Exposition des oeuvres d'Eugene Boudin". By 1919, it was in the possession of Robert J. Edwards, a resident of Boston. Upon his death in 1924, Edwards bequeathed the object to the Museum of Fine Arts, Boston (MFA) in memory of his mother, Juliana Cheney Edwards. The object was formally accessioned by the MFA on April 2, 1925, as part of a shared collection owned by the Edwards siblings. | [
"Museum of Fine Arts",
"San Giorgio Maggiore",
"Venice",
"Museum of Fine Arts, Boston",
"Santa Maria della Salute",
"Eugène Louis Boudin"
] |
|
17270_NT | Venice, Santa Maria della Salute from San Giorgio | Focus on this artwork and explore the abstract. | Venice, Santa Maria della Salute from San Giorgio, is an oil painting by Eugène Louis Boudin, made on his 1895 trip to Venice. It that shows the Basilica di Santa Maria della Salute from the viewpoint of the San Giorgio Maggiore. Boudin created many paintings of Venice on this trip like "View of Venice" , "Venice, the Grand Canal", and "Venice–Seascape at the Giudecca".The painting is 46.3 cm by 65.4 cm, and it features an inscription in the lower-left corner that says "Venise 95. / E. Boudin". Boudin created at least three versions of this view, the focus point of which is the Salute, or Santa Maria della Salute.The painting was in the possession of the Parisian gallery MM. Allard et Noel by 1899, and was lent to the "Exposition des oeuvres d'Eugene Boudin". By 1919, it was in the possession of Robert J. Edwards, a resident of Boston. Upon his death in 1924, Edwards bequeathed the object to the Museum of Fine Arts, Boston (MFA) in memory of his mother, Juliana Cheney Edwards. The object was formally accessioned by the MFA on April 2, 1925, as part of a shared collection owned by the Edwards siblings. | [
"Museum of Fine Arts",
"San Giorgio Maggiore",
"Venice",
"Museum of Fine Arts, Boston",
"Santa Maria della Salute",
"Eugène Louis Boudin"
] |
|
17271_T | Vasylkiv maiolica rooster | Focus on Vasylkiv maiolica rooster and explain the abstract. | Vasylkiv maiolica rooster (Ukrainian: Півник васильківської майоліки) is a replicated decorative piece produced by the maiolica factory in Vasylkiv, created by Valerii Protoriev and Nadiia Protorieva. It became a symbol of resilience during the Russian invasion of Ukraine after a photo of one of the houses in Borodianka went viral: despite the flat being almost completely destroyed, a kitchen cabinet on the wall survived. Upon closer inspection, a decorative maiolica rooster was noticed atop it. | [
"Russian invasion of Ukraine",
"maiolica",
"Borodianka",
"Vasylkiv"
] |
|
17271_NT | Vasylkiv maiolica rooster | Focus on this artwork and explain the abstract. | Vasylkiv maiolica rooster (Ukrainian: Півник васильківської майоліки) is a replicated decorative piece produced by the maiolica factory in Vasylkiv, created by Valerii Protoriev and Nadiia Protorieva. It became a symbol of resilience during the Russian invasion of Ukraine after a photo of one of the houses in Borodianka went viral: despite the flat being almost completely destroyed, a kitchen cabinet on the wall survived. Upon closer inspection, a decorative maiolica rooster was noticed atop it. | [
"Russian invasion of Ukraine",
"maiolica",
"Borodianka",
"Vasylkiv"
] |
|
17272_T | Vasylkiv maiolica rooster | Explore the History of this artwork, Vasylkiv maiolica rooster. | The origins of the Vasylkiv maiolica rooster date back to the 18th century, when the town of Vasylkiv was a center of pottery production in Ukraine. The tradition of creating maiolica pottery in Vasylkiv was brought to the region by skilled craftsmen from Italy, and was further developed by local artisans. It became a symbol of Ukrainian folk art and culture.The rooster was produced at the maiolica factory in Vasylkiv from early 1960s to 1980s. After a photo of the surviving cabinet with a rooster from a ruined house in Borodianka got famous all around the world, Ukrainian media and people on social networks became interested in this work of art. The cabinet was noticed and photographed by Yelyzaveta Servatynska and the deputy of the Kyiv City Council Victoria Burdukova drew everyone's attention to the rooster.The rooster, together with the cabinet, were taken to the exposition of the National Museum of the Revolution of Dignity. | [
"Yelyzaveta Servatynska",
"Kyiv",
"Revolution of Dignity",
"maiolica",
"Borodianka",
"Vasylkiv"
] |
|
17272_NT | Vasylkiv maiolica rooster | Explore the History of this artwork. | The origins of the Vasylkiv maiolica rooster date back to the 18th century, when the town of Vasylkiv was a center of pottery production in Ukraine. The tradition of creating maiolica pottery in Vasylkiv was brought to the region by skilled craftsmen from Italy, and was further developed by local artisans. It became a symbol of Ukrainian folk art and culture.The rooster was produced at the maiolica factory in Vasylkiv from early 1960s to 1980s. After a photo of the surviving cabinet with a rooster from a ruined house in Borodianka got famous all around the world, Ukrainian media and people on social networks became interested in this work of art. The cabinet was noticed and photographed by Yelyzaveta Servatynska and the deputy of the Kyiv City Council Victoria Burdukova drew everyone's attention to the rooster.The rooster, together with the cabinet, were taken to the exposition of the National Museum of the Revolution of Dignity. | [
"Yelyzaveta Servatynska",
"Kyiv",
"Revolution of Dignity",
"maiolica",
"Borodianka",
"Vasylkiv"
] |
|
17273_T | Vasylkiv maiolica rooster | Focus on Vasylkiv maiolica rooster and discuss the Authors. | The work was initially mistakenly attributed to Prokop Bidasiuk.Serhii Denysenko, the chief artist of the Vasylkiv maiolica factory, believes that the authorship of the rooster belongs to Valerii Protoriev and his wife Nadiia. | [
"maiolica",
"Vasylkiv"
] |
|
17273_NT | Vasylkiv maiolica rooster | Focus on this artwork and discuss the Authors. | The work was initially mistakenly attributed to Prokop Bidasiuk.Serhii Denysenko, the chief artist of the Vasylkiv maiolica factory, believes that the authorship of the rooster belongs to Valerii Protoriev and his wife Nadiia. | [
"maiolica",
"Vasylkiv"
] |
|
17274_T | Vasylkiv maiolica rooster | How does Vasylkiv maiolica rooster elucidate its Symbol? | The kitchen cabinet with a rooster, which survived the bombing and remained on the wall, became a symbol of fortitude and perseverance. A meme appeared: "Be as strong as this kitchen cabinet". It is also mentioned as a symbol of the indomitable Ukrainian spirit.The rooster appears in the illustrations of Olexandr Grekhov, Dima Kovalenko, Inzhyr the Cat. It is actively sought after on local online marketplaces.
The rooster has become one of the popular themes for pysanky (Easter eggs) – for example, the Lithuanian designer Laimės Kūdikis placed it on one.
During the visit of the UK Prime Minister Boris Johnson to Kyiv on April 9, 2022, both he and the President of Ukraine Volodymyr Zelenskyi were presented with similar ceramic roosters. | [
"pysanky",
"President of Ukraine",
"Volodymyr Zelenskyi",
"UK Prime Minister",
"Kyiv",
"Boris Johnson"
] |
|
17274_NT | Vasylkiv maiolica rooster | How does this artwork elucidate its Symbol? | The kitchen cabinet with a rooster, which survived the bombing and remained on the wall, became a symbol of fortitude and perseverance. A meme appeared: "Be as strong as this kitchen cabinet". It is also mentioned as a symbol of the indomitable Ukrainian spirit.The rooster appears in the illustrations of Olexandr Grekhov, Dima Kovalenko, Inzhyr the Cat. It is actively sought after on local online marketplaces.
The rooster has become one of the popular themes for pysanky (Easter eggs) – for example, the Lithuanian designer Laimės Kūdikis placed it on one.
During the visit of the UK Prime Minister Boris Johnson to Kyiv on April 9, 2022, both he and the President of Ukraine Volodymyr Zelenskyi were presented with similar ceramic roosters. | [
"pysanky",
"President of Ukraine",
"Volodymyr Zelenskyi",
"UK Prime Minister",
"Kyiv",
"Boris Johnson"
] |
|
17275_T | Glasses in a Basket (Stoskopff) | Focus on Glasses in a Basket (Stoskopff) and analyze the abstract. | Glasses in a Basket is a 1644 Baroque still life painting by the Alsatian artist Sebastian Stoskopff. It is on display in the Musée de l'Œuvre Notre-Dame of Strasbourg, France. Its inventory number is MBA 1281 ("MBA" stands for Musée des Beaux-Arts).The painting is representative for the new phase in Stoskopff's work, after he had settled again in his hometown after many years in Paris and demonstrated the extent of his art in his masterpiece from 1641, The Great Vanity. Stoskopff then concentrated on the pictorial rendition of the transparency and the fragility of glass, the reflections of light and contrasts in thickness among and between glasses, etc. These paintings were highly praised and sought after by collectors; Cardinal Richelieu himself owned one, although it is not known if it was MBA 1281.Still lifes depicting glassware had been pioneered by the painter Georg Flegel, but Stoskopff perfected the genre by concentrating essentially on the transparency and translucency. While MBA 1281 depicts luxury glassware, other paintings (examples below) sometimes depict ordinary drinking glasses. The broken glass alludes to the frailty of existence and serves as a Memento mori. | [
"glassware",
"France",
"Glass",
"Musée de l'Œuvre Notre-Dame",
"Baroque",
"Musée des Beaux-Arts",
"Memento mori",
"glass",
"transparency and translucency",
"Strasbourg",
"Basket",
"Alsatian",
"Sebastian Stoskopff",
"still life painting",
"Georg Flegel",
"Cardinal Richelieu",
"Paris",
"The Great Vanity",
"Still life"
] |
|
17275_NT | Glasses in a Basket (Stoskopff) | Focus on this artwork and analyze the abstract. | Glasses in a Basket is a 1644 Baroque still life painting by the Alsatian artist Sebastian Stoskopff. It is on display in the Musée de l'Œuvre Notre-Dame of Strasbourg, France. Its inventory number is MBA 1281 ("MBA" stands for Musée des Beaux-Arts).The painting is representative for the new phase in Stoskopff's work, after he had settled again in his hometown after many years in Paris and demonstrated the extent of his art in his masterpiece from 1641, The Great Vanity. Stoskopff then concentrated on the pictorial rendition of the transparency and the fragility of glass, the reflections of light and contrasts in thickness among and between glasses, etc. These paintings were highly praised and sought after by collectors; Cardinal Richelieu himself owned one, although it is not known if it was MBA 1281.Still lifes depicting glassware had been pioneered by the painter Georg Flegel, but Stoskopff perfected the genre by concentrating essentially on the transparency and translucency. While MBA 1281 depicts luxury glassware, other paintings (examples below) sometimes depict ordinary drinking glasses. The broken glass alludes to the frailty of existence and serves as a Memento mori. | [
"glassware",
"France",
"Glass",
"Musée de l'Œuvre Notre-Dame",
"Baroque",
"Musée des Beaux-Arts",
"Memento mori",
"glass",
"transparency and translucency",
"Strasbourg",
"Basket",
"Alsatian",
"Sebastian Stoskopff",
"still life painting",
"Georg Flegel",
"Cardinal Richelieu",
"Paris",
"The Great Vanity",
"Still life"
] |
|
17276_T | Shaking Man | In Shaking Man, how is the Description and history discussed? | The bronze statue depicts an executive wearing business attire, and measures approximately 5 ft. 5 in. x 2 ft. 6 in. x 2 ft. 6 in. The sculpture's plaque reads: "Shaking Man / Terry Allen / 1993 / Collection of the / San Francisco Redevelopment Agency."Shaking Man was completed in October 1993, and surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"Smithsonian Institution",
"San Francisco",
"San Francisco Redevelopment Agency",
"Save Outdoor Sculpture!"
] |
|
17276_NT | Shaking Man | In this artwork, how is the Description and history discussed? | The bronze statue depicts an executive wearing business attire, and measures approximately 5 ft. 5 in. x 2 ft. 6 in. x 2 ft. 6 in. The sculpture's plaque reads: "Shaking Man / Terry Allen / 1993 / Collection of the / San Francisco Redevelopment Agency."Shaking Man was completed in October 1993, and surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"Smithsonian Institution",
"San Francisco",
"San Francisco Redevelopment Agency",
"Save Outdoor Sculpture!"
] |
|
17277_T | Transfiguration (Bellini, Venice) | Focus on Transfiguration (Bellini, Venice) and explore the abstract. | The Transfiguration is a tempera-on-panel painting by Italian painter Giovanni Bellini, created c. 1454–1460. It depicts the Gospel episode the Transfiguration of Jesus. It is held in the Museo Correr in Venice.Andrea Mantegna was staying in the city of Venice at this time and his influence on Bellini was still strong at this time, as can be seen in this work. A fake set of initials in the lower right hand corner even led it to be misattributed to Mantegna for a time. Its provenance is unknown before 1830 since by the time he left it to Venice that year Teodoro Correr had destroyed all the documents relating to its previous history and ownership.It shows the Transfiguration on Mount Tabor, with Elijah and Moses flanking Christ; below them are the disciples Peter, James and John blinded by the vision. | [
"Giovanni Bellini",
"Bellini",
"Teodoro Correr",
"James",
"John",
"Mount Tabor",
"Peter",
"Andrea Mantegna",
"Transfiguration of Jesus",
"Venice",
"Transfiguration",
"Museo Correr"
] |
|
17277_NT | Transfiguration (Bellini, Venice) | Focus on this artwork and explore the abstract. | The Transfiguration is a tempera-on-panel painting by Italian painter Giovanni Bellini, created c. 1454–1460. It depicts the Gospel episode the Transfiguration of Jesus. It is held in the Museo Correr in Venice.Andrea Mantegna was staying in the city of Venice at this time and his influence on Bellini was still strong at this time, as can be seen in this work. A fake set of initials in the lower right hand corner even led it to be misattributed to Mantegna for a time. Its provenance is unknown before 1830 since by the time he left it to Venice that year Teodoro Correr had destroyed all the documents relating to its previous history and ownership.It shows the Transfiguration on Mount Tabor, with Elijah and Moses flanking Christ; below them are the disciples Peter, James and John blinded by the vision. | [
"Giovanni Bellini",
"Bellini",
"Teodoro Correr",
"James",
"John",
"Mount Tabor",
"Peter",
"Andrea Mantegna",
"Transfiguration of Jesus",
"Venice",
"Transfiguration",
"Museo Correr"
] |
|
17278_T | Statue of Charles James Napier, Trafalgar Square | Focus on Statue of Charles James Napier, Trafalgar Square and explain the abstract. | A bronze statue of Charles James Napier by the sculptor George Gammon Adams stands in Trafalgar Square in London, United Kingdom. It occupies one of the four plinths in Trafalgar Square, the one to the southwest of Nelson's Column. | [
"George Gammon Adams",
"Trafalgar Square",
"Charles James Napier",
"Nelson's Column",
"London"
] |
|
17278_NT | Statue of Charles James Napier, Trafalgar Square | Focus on this artwork and explain the abstract. | A bronze statue of Charles James Napier by the sculptor George Gammon Adams stands in Trafalgar Square in London, United Kingdom. It occupies one of the four plinths in Trafalgar Square, the one to the southwest of Nelson's Column. | [
"George Gammon Adams",
"Trafalgar Square",
"Charles James Napier",
"Nelson's Column",
"London"
] |
|
17279_T | Statue of Charles James Napier, Trafalgar Square | Explore the Background of this artwork, Statue of Charles James Napier, Trafalgar Square. | General Sir Charles James Napier GCB (not to be confused with his cousin and close contemporary, the Admiral Charles John Napier) was born in 1782 and died in 1853, 19 days after his 71st birthday. He was an officer in the British Army, and served in the Peninsular War, the War of 1812, and later in India. In 1843 he captured Sindh and was made its first Governor, holding the post until his first return to England in October 1847. In 1849 he was appointed Commander-in-Chief in India and held the post until February 1851, when he returned again to England and retired.Napier was chief of troops in the north of England between 1839 and 1841, during the early Chartist protests against low wages and poor conditions in Britain's factories. Although Napier's diaries show some sympathy with the Chartists' demands, he was responsible for using his troops to suppress the protests. | [
"Charles John Napier",
"War of 1812",
"Sindh",
"Chartist",
"British Army",
"Charles James Napier",
"Peninsular War"
] |
|
17279_NT | Statue of Charles James Napier, Trafalgar Square | Explore the Background of this artwork. | General Sir Charles James Napier GCB (not to be confused with his cousin and close contemporary, the Admiral Charles John Napier) was born in 1782 and died in 1853, 19 days after his 71st birthday. He was an officer in the British Army, and served in the Peninsular War, the War of 1812, and later in India. In 1843 he captured Sindh and was made its first Governor, holding the post until his first return to England in October 1847. In 1849 he was appointed Commander-in-Chief in India and held the post until February 1851, when he returned again to England and retired.Napier was chief of troops in the north of England between 1839 and 1841, during the early Chartist protests against low wages and poor conditions in Britain's factories. Although Napier's diaries show some sympathy with the Chartists' demands, he was responsible for using his troops to suppress the protests. | [
"Charles John Napier",
"War of 1812",
"Sindh",
"Chartist",
"British Army",
"Charles James Napier",
"Peninsular War"
] |
|
17280_T | Statue of Charles James Napier, Trafalgar Square | Focus on Statue of Charles James Napier, Trafalgar Square and discuss the Description and history. | The bronze sculpture stands on a tall granite pedestal, creating a monument about 12 feet (3.7 m) high. Napier is depicted standing, bareheaded, wearing military uniform with a cloak. He holds up his scabbard in his left hand, with a scroll in his right hand symbolising his governorship of Sind. It was erected in 1855–6 by means of public subscriptions, the most numerous contributors being private soldiers. It bears an inscription stating that Napier was "born in MDCCLXXXII and died LXXI years later in MDCCCLIII". It was quickly criticised as being one of the worst pieces of sculpture in England.A similar marble statue of Napier, also by George Gammon Adams, stands in the Crypt of St Paul's Cathedral, with Napier similarly in uniform and bearheaded, with his right hand resting on his sword and his left hand on his hip holding a scroll.In 1936 it was suggested that the statues of Generals Napier and Havelock in Trafalgar Square should be replaced by statues of Admirals Beatty and Jellicoe, the naval commanders at the Battle of Jutland in 1916, but a place was eventually found for bronze busts of the Edwardian admirals (and later for Admiral Cunningham) against the north wall of the square, without removing the statues of the Victorian generals from their plinths.
It became a Grade II listed building in 1970. Trafalgar Square is itself Grade I listed.
In October 2000 the then Mayor of London Ken Livingstone suggested that the statues of Napier and Havelock should be removed from Trafalgar Square, because he didn't have any idea who they were. | [
"George Gammon Adams",
"listed building",
"bronze sculpture",
"Beatty",
"Trafalgar Square",
"Ken Livingstone",
"Jellicoe",
"Admiral Cunningham",
"Havelock",
"Battle of Jutland",
"London",
"Mayor of London",
"St Paul's Cathedral"
] |
|
17280_NT | Statue of Charles James Napier, Trafalgar Square | Focus on this artwork and discuss the Description and history. | The bronze sculpture stands on a tall granite pedestal, creating a monument about 12 feet (3.7 m) high. Napier is depicted standing, bareheaded, wearing military uniform with a cloak. He holds up his scabbard in his left hand, with a scroll in his right hand symbolising his governorship of Sind. It was erected in 1855–6 by means of public subscriptions, the most numerous contributors being private soldiers. It bears an inscription stating that Napier was "born in MDCCLXXXII and died LXXI years later in MDCCCLIII". It was quickly criticised as being one of the worst pieces of sculpture in England.A similar marble statue of Napier, also by George Gammon Adams, stands in the Crypt of St Paul's Cathedral, with Napier similarly in uniform and bearheaded, with his right hand resting on his sword and his left hand on his hip holding a scroll.In 1936 it was suggested that the statues of Generals Napier and Havelock in Trafalgar Square should be replaced by statues of Admirals Beatty and Jellicoe, the naval commanders at the Battle of Jutland in 1916, but a place was eventually found for bronze busts of the Edwardian admirals (and later for Admiral Cunningham) against the north wall of the square, without removing the statues of the Victorian generals from their plinths.
It became a Grade II listed building in 1970. Trafalgar Square is itself Grade I listed.
In October 2000 the then Mayor of London Ken Livingstone suggested that the statues of Napier and Havelock should be removed from Trafalgar Square, because he didn't have any idea who they were. | [
"George Gammon Adams",
"listed building",
"bronze sculpture",
"Beatty",
"Trafalgar Square",
"Ken Livingstone",
"Jellicoe",
"Admiral Cunningham",
"Havelock",
"Battle of Jutland",
"London",
"Mayor of London",
"St Paul's Cathedral"
] |
|
17281_T | Fremont Troll | How does Fremont Troll elucidate its abstract? | The Fremont Troll (also known as The Troll, or the Troll Under the Bridge) is a public sculpture in the Fremont neighborhood of Seattle, Washington in the United States. | [
"Seattle",
"Washington",
"Bridge",
"Troll",
"neighborhood",
"Fremont",
"public sculpture"
] |
|
17281_NT | Fremont Troll | How does this artwork elucidate its abstract? | The Fremont Troll (also known as The Troll, or the Troll Under the Bridge) is a public sculpture in the Fremont neighborhood of Seattle, Washington in the United States. | [
"Seattle",
"Washington",
"Bridge",
"Troll",
"neighborhood",
"Fremont",
"public sculpture"
] |
|
17282_T | Fremont Troll | Focus on Fremont Troll and analyze the Description. | The Troll is a mixed media colossal statue, located on N. 36th Street at Troll Avenue N., under the north end of the George Washington Memorial Bridge (also known as the Aurora Bridge). It is clutching an actual Volkswagen Beetle, as if it had just swiped it from the roadway above. The vehicle has a California license plate. Originally, the car held a time capsule, including a plaster bust of Elvis Presley, which was stolen when the sculpture was vandalized.The Troll is 18 ft (5.5 m) high, weighs 13,000 lb (5,900 kg), and is made of steel rebar, wire, and concrete. | [
"Volkswagen Beetle",
"California",
"Elvis Presley",
"George Washington Memorial Bridge",
"rebar",
"Aurora Bridge",
"time capsule",
"concrete",
"Washington",
"Bridge",
"license plate",
"Troll",
"mixed media"
] |
|
17282_NT | Fremont Troll | Focus on this artwork and analyze the Description. | The Troll is a mixed media colossal statue, located on N. 36th Street at Troll Avenue N., under the north end of the George Washington Memorial Bridge (also known as the Aurora Bridge). It is clutching an actual Volkswagen Beetle, as if it had just swiped it from the roadway above. The vehicle has a California license plate. Originally, the car held a time capsule, including a plaster bust of Elvis Presley, which was stolen when the sculpture was vandalized.The Troll is 18 ft (5.5 m) high, weighs 13,000 lb (5,900 kg), and is made of steel rebar, wire, and concrete. | [
"Volkswagen Beetle",
"California",
"Elvis Presley",
"George Washington Memorial Bridge",
"rebar",
"Aurora Bridge",
"time capsule",
"concrete",
"Washington",
"Bridge",
"license plate",
"Troll",
"mixed media"
] |
|
17283_T | Fremont Troll | In Fremont Troll, how is the Artists and inspiration discussed? | The Troll was sculpted by four local artists: Steve Badanes, Will Martin, Donna Walter, and Ross Whitehead. The idea of a troll living under a bridge is derived from the Scandinavian (Norwegian) folklore.
The artists have copyright to the Troll images. They have sued businesses that use its image commercially without written permission. Postcards, beer, and other products approved by the artists are commercially available, and use is free to non-profit organizations. | [
"folklore",
"bridge",
"Troll",
"Scandinavia",
"Steve Badanes",
"troll"
] |
|
17283_NT | Fremont Troll | In this artwork, how is the Artists and inspiration discussed? | The Troll was sculpted by four local artists: Steve Badanes, Will Martin, Donna Walter, and Ross Whitehead. The idea of a troll living under a bridge is derived from the Scandinavian (Norwegian) folklore.
The artists have copyright to the Troll images. They have sued businesses that use its image commercially without written permission. Postcards, beer, and other products approved by the artists are commercially available, and use is free to non-profit organizations. | [
"folklore",
"bridge",
"Troll",
"Scandinavia",
"Steve Badanes",
"troll"
] |
|
17284_T | Fremont Troll | Focus on Fremont Troll and explore the In popular culture. | The 1999 romantic comedy film 10 Things I Hate About You features the Fremont Troll in a scene between Joseph Gordon-Levitt's and Larisa Oleynik's characters.The seventh and final season of the ABC fantasy-drama series Once Upon a Time features a fictionalized version of the sculpture. Filming for the series took place in Vancouver, Canada, as such, a replica of the sculpture was built for the show. In the season's fourteenth episode, "The Girl in the Tower", a backstory for the sculpture is revealed, which includes references to the 1982 children's book The BFG. In 2016, the Chicago rock band Majungas released "The Fremont Troll" off their Seattle Rock album.In 2022, the Seattle Kraken introduced Buoy, a mascot said to be the Fremont Troll's nephew. | [
"Vancouver",
"10 Things I Hate About You",
"Seattle Kraken",
"Seattle",
"Once Upon a Time",
"The BFG",
"seventh and final season",
"Buoy",
"Joseph Gordon-Levitt",
"Larisa Oleynik",
"The Girl in the Tower",
"Troll",
"ABC",
"Vancouver, Canada",
"Fremont"
] |
|
17284_NT | Fremont Troll | Focus on this artwork and explore the In popular culture. | The 1999 romantic comedy film 10 Things I Hate About You features the Fremont Troll in a scene between Joseph Gordon-Levitt's and Larisa Oleynik's characters.The seventh and final season of the ABC fantasy-drama series Once Upon a Time features a fictionalized version of the sculpture. Filming for the series took place in Vancouver, Canada, as such, a replica of the sculpture was built for the show. In the season's fourteenth episode, "The Girl in the Tower", a backstory for the sculpture is revealed, which includes references to the 1982 children's book The BFG. In 2016, the Chicago rock band Majungas released "The Fremont Troll" off their Seattle Rock album.In 2022, the Seattle Kraken introduced Buoy, a mascot said to be the Fremont Troll's nephew. | [
"Vancouver",
"10 Things I Hate About You",
"Seattle Kraken",
"Seattle",
"Once Upon a Time",
"The BFG",
"seventh and final season",
"Buoy",
"Joseph Gordon-Levitt",
"Larisa Oleynik",
"The Girl in the Tower",
"Troll",
"ABC",
"Vancouver, Canada",
"Fremont"
] |
|
17285_T | Armada Portrait | Focus on Armada Portrait and explain the abstract. | The Armada Portrait of Elizabeth I of England is the name of any of three surviving versions of an allegorical panel painting depicting the Tudor queen surrounded by symbols of royal majesty against a backdrop representing the defeat of the Spanish Armada in 1588. | [
"symbol",
"Elizabeth I",
"panel painting",
"Spanish Armada",
"Elizabeth I of England",
"Tudor",
"allegorical",
"royal majesty"
] |
|
17285_NT | Armada Portrait | Focus on this artwork and explain the abstract. | The Armada Portrait of Elizabeth I of England is the name of any of three surviving versions of an allegorical panel painting depicting the Tudor queen surrounded by symbols of royal majesty against a backdrop representing the defeat of the Spanish Armada in 1588. | [
"symbol",
"Elizabeth I",
"panel painting",
"Spanish Armada",
"Elizabeth I of England",
"Tudor",
"allegorical",
"royal majesty"
] |
|
17286_T | Armada Portrait | Explore the Iconography of this artwork, Armada Portrait. | The combination of a life-sized portrait of Elizabeth I with a landscape format is "quite unprecedented in her portraiture", although allegorical portraits in this format, such as the Family of Henry VIII: An Allegory of the Tudor Succession, a 1572 portrait attributed to Lucas de Heere pre-date the Armada Portrait.English art in this period was isolated from trends in Catholic Italy, and owed more to Flemish manuscript illumination and heraldic representation than to Renaissance ideas of unity in time and space in art. The 'Armada Portrait' is no exception: the chair to the right is viewed from two different angles, as are the tables on the left, and the background shows two different stages in the defeat of the Armada. In the background view on the left, English fireships drift towards the Spanish fleet, and on the right the Spanish ships are driven onto a rocky coast amid stormy seas by the "Protestant Wind". On a secondary level, these images show Elizabeth turning her back on storm and darkness while sunlight shines where she gazes, iconography that would be repeated in Marcus Gheeraerts the Younger's 1592 "Ditchley" portrait of the queen.
The queen's hand rests on a globe below a crown (probably not the state crown), "her fingers covering the Americas, indicating England's [command of the seas] and [dreams of establishing colonies] in the New World". The queen is flanked by two columns behind, probably a reference to the famous impresa of Charles V, Philip II's father, which represented the Pillars of Hercules.Art historians Andrew Belsey and Catherine Belsey have pointed out the striking geometry of the painting, with the repeating patterns of circles and arches described by the crown, the globe, and the sleeves, ruff, and gown worn by the queen. They also contrast the figure of the Virgin Queen wearing the large pearl symbolizing chastity suspended from her bodice and the mermaid carved on the chair of state, which they claim either represent female wiles luring sailors to their doom, or that the mermaid symbolises the executed Queen Mary. Elizabeth is facing away from the mermaid, possibly indicating that their conspiracies and Mary's execution have been put behind by Elizabeth. The crown also symbolises the English monarchy.The chains of pearls in the portrait may represent the pearls which Elizabeth had bought from the collection of Mary, Queen of Scots in 1568. | [
"New World",
"state crown",
"symbol",
"Iconography",
"Renaissance",
"Elizabeth I",
"Philip II's",
"Charles V",
"Lucas de Heere",
"fireship",
"manuscript illumination",
"Pillars of Hercules",
"bodice",
"English art in this period",
"English monarchy",
"chastity",
"Tudor",
"geometry",
"\"Ditchley\"",
"Mary, Queen of Scots",
"Allegory",
"Marcus Gheeraerts the Younger",
"allegorical",
"Art historians",
"portrait of Elizabeth I",
"heraldic",
"Protestant Wind",
"impresa",
"Queen Mary",
"ruff",
"iconography",
"Catholic",
"left",
"Flemish",
"Catherine Belsey",
"mermaid",
"collection of Mary, Queen of Scots"
] |
|
17286_NT | Armada Portrait | Explore the Iconography of this artwork. | The combination of a life-sized portrait of Elizabeth I with a landscape format is "quite unprecedented in her portraiture", although allegorical portraits in this format, such as the Family of Henry VIII: An Allegory of the Tudor Succession, a 1572 portrait attributed to Lucas de Heere pre-date the Armada Portrait.English art in this period was isolated from trends in Catholic Italy, and owed more to Flemish manuscript illumination and heraldic representation than to Renaissance ideas of unity in time and space in art. The 'Armada Portrait' is no exception: the chair to the right is viewed from two different angles, as are the tables on the left, and the background shows two different stages in the defeat of the Armada. In the background view on the left, English fireships drift towards the Spanish fleet, and on the right the Spanish ships are driven onto a rocky coast amid stormy seas by the "Protestant Wind". On a secondary level, these images show Elizabeth turning her back on storm and darkness while sunlight shines where she gazes, iconography that would be repeated in Marcus Gheeraerts the Younger's 1592 "Ditchley" portrait of the queen.
The queen's hand rests on a globe below a crown (probably not the state crown), "her fingers covering the Americas, indicating England's [command of the seas] and [dreams of establishing colonies] in the New World". The queen is flanked by two columns behind, probably a reference to the famous impresa of Charles V, Philip II's father, which represented the Pillars of Hercules.Art historians Andrew Belsey and Catherine Belsey have pointed out the striking geometry of the painting, with the repeating patterns of circles and arches described by the crown, the globe, and the sleeves, ruff, and gown worn by the queen. They also contrast the figure of the Virgin Queen wearing the large pearl symbolizing chastity suspended from her bodice and the mermaid carved on the chair of state, which they claim either represent female wiles luring sailors to their doom, or that the mermaid symbolises the executed Queen Mary. Elizabeth is facing away from the mermaid, possibly indicating that their conspiracies and Mary's execution have been put behind by Elizabeth. The crown also symbolises the English monarchy.The chains of pearls in the portrait may represent the pearls which Elizabeth had bought from the collection of Mary, Queen of Scots in 1568. | [
"New World",
"state crown",
"symbol",
"Iconography",
"Renaissance",
"Elizabeth I",
"Philip II's",
"Charles V",
"Lucas de Heere",
"fireship",
"manuscript illumination",
"Pillars of Hercules",
"bodice",
"English art in this period",
"English monarchy",
"chastity",
"Tudor",
"geometry",
"\"Ditchley\"",
"Mary, Queen of Scots",
"Allegory",
"Marcus Gheeraerts the Younger",
"allegorical",
"Art historians",
"portrait of Elizabeth I",
"heraldic",
"Protestant Wind",
"impresa",
"Queen Mary",
"ruff",
"iconography",
"Catholic",
"left",
"Flemish",
"Catherine Belsey",
"mermaid",
"collection of Mary, Queen of Scots"
] |
|
17287_T | Armada Portrait | Focus on Armada Portrait and discuss the Versions. | There are three surviving versions of the portrait, in addition to several derivative portraits:The version at Woburn Abbey
The version in the National Portrait Gallery, London, which has been cut down at both sides leaving just a portrait of the queen.
The version owned by the Tyrwhitt-Drake family, which may have been commissioned by Sir Francis Drake, was first recorded at Shardeloes in Buckinghamshire in 1775. Scholars agree that this version is by a different hand, noting distinctive techniques and approaches to the modelling of the queen's features. This version was heavily overpainted in the later 17th century, which complicates attribution and may account for several differences in details of the costume. The Drake version was purchased for the nation for £10.3 million in July 2016 following an Art Fund appeal. The work is hung in the national collection of Royal Museums Greenwich (RMG), in the Queen's House, a 17th-century royal residence built on the site of the original Greenwich Palace, Elizabeth I's birthplace.The first two portraits were formerly attributed to Elizabeth's Serjeant Painter George Gower, but curators at the National Portrait Gallery now believe that all three versions were created in separate workshops, and assign the attributions to "an unknown English artist". | [
"Woburn Abbey",
"Elizabeth I",
"George Gower",
"Shardeloes",
"Queen's House",
"Francis Drake",
"National Portrait Gallery, London",
"Greenwich Palace",
"Buckinghamshire",
"Serjeant Painter",
"Royal Museums Greenwich"
] |
|
17287_NT | Armada Portrait | Focus on this artwork and discuss the Versions. | There are three surviving versions of the portrait, in addition to several derivative portraits:The version at Woburn Abbey
The version in the National Portrait Gallery, London, which has been cut down at both sides leaving just a portrait of the queen.
The version owned by the Tyrwhitt-Drake family, which may have been commissioned by Sir Francis Drake, was first recorded at Shardeloes in Buckinghamshire in 1775. Scholars agree that this version is by a different hand, noting distinctive techniques and approaches to the modelling of the queen's features. This version was heavily overpainted in the later 17th century, which complicates attribution and may account for several differences in details of the costume. The Drake version was purchased for the nation for £10.3 million in July 2016 following an Art Fund appeal. The work is hung in the national collection of Royal Museums Greenwich (RMG), in the Queen's House, a 17th-century royal residence built on the site of the original Greenwich Palace, Elizabeth I's birthplace.The first two portraits were formerly attributed to Elizabeth's Serjeant Painter George Gower, but curators at the National Portrait Gallery now believe that all three versions were created in separate workshops, and assign the attributions to "an unknown English artist". | [
"Woburn Abbey",
"Elizabeth I",
"George Gower",
"Shardeloes",
"Queen's House",
"Francis Drake",
"National Portrait Gallery, London",
"Greenwich Palace",
"Buckinghamshire",
"Serjeant Painter",
"Royal Museums Greenwich"
] |
|
17288_T | Girl with Ball | How does Girl with Ball elucidate its abstract? | Girl with Ball is a 1961 painting by Roy Lichtenstein. It is an oil on canvas Pop art work that is now in the collection of the Museum of Modern Art, after being owned for several decades by Philip Johnson. It is one of Lichtenstein's earliest Pop art works and is known for its source, which is a newspaper ad that ran for several decades and which was among Lichtenstein's earliest works sourced from pop culture.
Girl with Ball was exhibited at Lichtenstein's first solo exhibition and was displayed in Newsweek's review of the show. This work significantly alters the original source and is considered exemplary of Lichtenstein's works that exaggerate the mechanically produced appearance although the result of his painterly work. It is an enduring depiction of the contemporary beauty figure. | [
"Newsweek",
"Roy Lichtenstein",
"Pop art",
"Museum of Modern Art",
"Philip Johnson"
] |
|
17288_NT | Girl with Ball | How does this artwork elucidate its abstract? | Girl with Ball is a 1961 painting by Roy Lichtenstein. It is an oil on canvas Pop art work that is now in the collection of the Museum of Modern Art, after being owned for several decades by Philip Johnson. It is one of Lichtenstein's earliest Pop art works and is known for its source, which is a newspaper ad that ran for several decades and which was among Lichtenstein's earliest works sourced from pop culture.
Girl with Ball was exhibited at Lichtenstein's first solo exhibition and was displayed in Newsweek's review of the show. This work significantly alters the original source and is considered exemplary of Lichtenstein's works that exaggerate the mechanically produced appearance although the result of his painterly work. It is an enduring depiction of the contemporary beauty figure. | [
"Newsweek",
"Roy Lichtenstein",
"Pop art",
"Museum of Modern Art",
"Philip Johnson"
] |
|
17289_T | Girl with Ball | Focus on Girl with Ball and analyze the Background. | Girl with Ball was inspired by a 1961 advertisement for the Mount Airy Lodge in the Pocono Mountains. The ad, which started running in 1955, was widely published in the New York metropolitan area and elsewhere, including several prominent newspapers such as The New York Times and the Daily News. The advertisement was still running in newspapers more than twenty years after Lichtenstein produced the work.According to the Lichtenstein Foundation website, in autumn 1961, a fellow teacher at Rutgers University named Allan Kaprow made introductions between Lichtenstein and Leo Castelli Gallery director Ivan Karp. Lichtenstein showed Karp several paintings including Girl with Ball, which was the one that intrigued Karp. Karp agreed to represent Lichtenstein weeks later. After showing the painting to Andy Warhol, he sold it to architect Philip Johnson that November. The painting appeared in Newsweek's 1962 review of Lichtenstein's Castelli Gallery show. The work appeared in the April 3, 1963 "Pop! Goes the Easel" show at the Contemporary Arts Museum Houston along with his Brattata (1962) and Head-Red and Yellow (1962). | [
"Brattata",
"Mount Airy Lodge",
"The New York Times",
"Newsweek",
"Allan Kaprow",
"Andy Warhol",
"Daily News",
"Rutgers University",
"Contemporary Arts Museum Houston",
"Ivan Karp",
"Pocono Mountains",
"New York metropolitan area",
"Leo Castelli",
"Philip Johnson"
] |
|
17289_NT | Girl with Ball | Focus on this artwork and analyze the Background. | Girl with Ball was inspired by a 1961 advertisement for the Mount Airy Lodge in the Pocono Mountains. The ad, which started running in 1955, was widely published in the New York metropolitan area and elsewhere, including several prominent newspapers such as The New York Times and the Daily News. The advertisement was still running in newspapers more than twenty years after Lichtenstein produced the work.According to the Lichtenstein Foundation website, in autumn 1961, a fellow teacher at Rutgers University named Allan Kaprow made introductions between Lichtenstein and Leo Castelli Gallery director Ivan Karp. Lichtenstein showed Karp several paintings including Girl with Ball, which was the one that intrigued Karp. Karp agreed to represent Lichtenstein weeks later. After showing the painting to Andy Warhol, he sold it to architect Philip Johnson that November. The painting appeared in Newsweek's 1962 review of Lichtenstein's Castelli Gallery show. The work appeared in the April 3, 1963 "Pop! Goes the Easel" show at the Contemporary Arts Museum Houston along with his Brattata (1962) and Head-Red and Yellow (1962). | [
"Brattata",
"Mount Airy Lodge",
"The New York Times",
"Newsweek",
"Allan Kaprow",
"Andy Warhol",
"Daily News",
"Rutgers University",
"Contemporary Arts Museum Houston",
"Ivan Karp",
"Pocono Mountains",
"New York metropolitan area",
"Leo Castelli",
"Philip Johnson"
] |
|
17290_T | Girl with Ball | In Girl with Ball, how is the Description discussed? | Girl with Ball depicts a woman wearing a bathing suit holding a beach ball with red stripes in the same color as her lips and tongue. Lichtenstein used a painter's version of comic strip artist techniques to create his own rendition of the subject of a nostalgic photograph, resulting in a simplified work of art with its own appeal. He produced the work using Ben-Day dots of primary colors. The process is described as exaggerating the "limitations of mechanical reproduction" to strip the photograph of its polish in a startling and intense form. In 1961, this painting was groundbreaking. Facial features such as nose and mouth are depicted using "commercial shorthand".His process of reworking original artwork is described as "abstraction by subtraction", in which all features of the original are reduced to simple graphic elements. Lichtenstein alters the planar position of the subject of the picture to position her "nearer to the picture plane". He drew the picture more distorted than might be expected of a cartoonist by augmenting and focusing on her two-dimensionality. | [
"comic strip",
"Ben-Day dots",
"primary color"
] |
|
17290_NT | Girl with Ball | In this artwork, how is the Description discussed? | Girl with Ball depicts a woman wearing a bathing suit holding a beach ball with red stripes in the same color as her lips and tongue. Lichtenstein used a painter's version of comic strip artist techniques to create his own rendition of the subject of a nostalgic photograph, resulting in a simplified work of art with its own appeal. He produced the work using Ben-Day dots of primary colors. The process is described as exaggerating the "limitations of mechanical reproduction" to strip the photograph of its polish in a startling and intense form. In 1961, this painting was groundbreaking. Facial features such as nose and mouth are depicted using "commercial shorthand".His process of reworking original artwork is described as "abstraction by subtraction", in which all features of the original are reduced to simple graphic elements. Lichtenstein alters the planar position of the subject of the picture to position her "nearer to the picture plane". He drew the picture more distorted than might be expected of a cartoonist by augmenting and focusing on her two-dimensionality. | [
"comic strip",
"Ben-Day dots",
"primary color"
] |
|
17291_T | Girl with Ball | Focus on Girl with Ball and explore the Reception. | The image and technique were regarded as unartistic. However, the painting presented an allusion to printing technology, with its Ben-Day dots, and to art history, with its "Art Nouveau forms". Though "crude and simplistic" the work demonstrates artistic intellect.Girl with Ball is described by Diane Waldman as "striking" in the simple and bold way it presents a vacation atmosphere. She notes it is "reminiscent of Picasso's frolicking bather in one of his paintings on the subject, Bather with Beach Ball (fig. 48), 1932," especially in the way Lichtenstein has scaled down the representation and the way he depicts movement.The newspaper ad source provided Lichtenstein with "one of the most common tropes of the day for the image of a woman." The updated Betty Grable-type subject, was a fashionable glamor figure that Lichtenstein used for a symbolic value that ranks her with "iconoclastic female figures, including Manet's Olympia, 1863, Picasso's Les Demoiselles d'Avignon, 1907 and de Kooning's three series of Women". | [
"Olympia",
"Betty Grable",
"Picasso",
"de Kooning",
"Ben-Day dots",
"Women",
"Les Demoiselles d'Avignon",
"Manet",
"Art Nouveau"
] |
|
17291_NT | Girl with Ball | Focus on this artwork and explore the Reception. | The image and technique were regarded as unartistic. However, the painting presented an allusion to printing technology, with its Ben-Day dots, and to art history, with its "Art Nouveau forms". Though "crude and simplistic" the work demonstrates artistic intellect.Girl with Ball is described by Diane Waldman as "striking" in the simple and bold way it presents a vacation atmosphere. She notes it is "reminiscent of Picasso's frolicking bather in one of his paintings on the subject, Bather with Beach Ball (fig. 48), 1932," especially in the way Lichtenstein has scaled down the representation and the way he depicts movement.The newspaper ad source provided Lichtenstein with "one of the most common tropes of the day for the image of a woman." The updated Betty Grable-type subject, was a fashionable glamor figure that Lichtenstein used for a symbolic value that ranks her with "iconoclastic female figures, including Manet's Olympia, 1863, Picasso's Les Demoiselles d'Avignon, 1907 and de Kooning's three series of Women". | [
"Olympia",
"Betty Grable",
"Picasso",
"de Kooning",
"Ben-Day dots",
"Women",
"Les Demoiselles d'Avignon",
"Manet",
"Art Nouveau"
] |
|
17292_T | Happy Tears (Lichtenstein) | Focus on Happy Tears (Lichtenstein) and explain the abstract. | Happy Tears is a 1964 pop art painting by Roy Lichtenstein. It formerly held the record for highest auction price for a Lichtenstein painting. | [
"Roy Lichtenstein",
"Happy Tears",
"pop art"
] |
|
17292_NT | Happy Tears (Lichtenstein) | Focus on this artwork and explain the abstract. | Happy Tears is a 1964 pop art painting by Roy Lichtenstein. It formerly held the record for highest auction price for a Lichtenstein painting. | [
"Roy Lichtenstein",
"Happy Tears",
"pop art"
] |
|
17293_T | Happy Tears (Lichtenstein) | Explore the History of this artwork, Happy Tears (Lichtenstein). | On November 13, 2002, Happy Tears surpassed Kiss II, which had sold for $6.0 million in May 1990, by selling for $7.1 million at Christie's auction house in New York. In November 2005, the 1963 work In the Car surpassed Happy Tears' Lichtenstein work record auction price, when it sold for $16.2 million.Happy Tears was acquired at the Leo Castelli Gallery, New York, in 1964. It did not change hands until it was sold again on November 13, 2002, at auction at Christie's in New York. The owner lent this work for exhibition twice in the late 1960s. From November 1967 to May 1968, the exhibit made stops at the Stedelijk Museum (Amsterdam), Tate Gallery (London), Kunsthalle Bern (Bern), and Kestner-Gesellschaft (Hannover). From September to November 1969, it was exhibited at the Solomon R. Guggenheim Museum. It was then displayed at the Gagosian Gallery in New York City in 2008.When the American independent comedy-drama film entitled Happy Tears, starring Parker Posey, Demi Moore, Rip Torn, Sebastian Roché, and Ellen Barkin, which was written and directed by Roy Lichtenstein's son, Mitchell Lichtenstein, was marketed, the film poster prominently included the image of his father's work. The film was named after this painting. | [
"In the Car",
"Parker Posey",
"Mitchell Lichtenstein",
"Kunsthalle Bern",
"Sebastian Roché",
"Rip Torn",
"comedy-drama",
"Tate",
"Kiss II",
"Tate Gallery",
"independent",
"Stedelijk Museum",
"Gagosian Gallery",
"Roy Lichtenstein",
"Christie's",
"Kestner-Gesellschaft",
"Demi Moore",
"Ellen Barkin",
"Happy Tears",
"Solomon R. Guggenheim Museum"
] |
|
17293_NT | Happy Tears (Lichtenstein) | Explore the History of this artwork. | On November 13, 2002, Happy Tears surpassed Kiss II, which had sold for $6.0 million in May 1990, by selling for $7.1 million at Christie's auction house in New York. In November 2005, the 1963 work In the Car surpassed Happy Tears' Lichtenstein work record auction price, when it sold for $16.2 million.Happy Tears was acquired at the Leo Castelli Gallery, New York, in 1964. It did not change hands until it was sold again on November 13, 2002, at auction at Christie's in New York. The owner lent this work for exhibition twice in the late 1960s. From November 1967 to May 1968, the exhibit made stops at the Stedelijk Museum (Amsterdam), Tate Gallery (London), Kunsthalle Bern (Bern), and Kestner-Gesellschaft (Hannover). From September to November 1969, it was exhibited at the Solomon R. Guggenheim Museum. It was then displayed at the Gagosian Gallery in New York City in 2008.When the American independent comedy-drama film entitled Happy Tears, starring Parker Posey, Demi Moore, Rip Torn, Sebastian Roché, and Ellen Barkin, which was written and directed by Roy Lichtenstein's son, Mitchell Lichtenstein, was marketed, the film poster prominently included the image of his father's work. The film was named after this painting. | [
"In the Car",
"Parker Posey",
"Mitchell Lichtenstein",
"Kunsthalle Bern",
"Sebastian Roché",
"Rip Torn",
"comedy-drama",
"Tate",
"Kiss II",
"Tate Gallery",
"independent",
"Stedelijk Museum",
"Gagosian Gallery",
"Roy Lichtenstein",
"Christie's",
"Kestner-Gesellschaft",
"Demi Moore",
"Ellen Barkin",
"Happy Tears",
"Solomon R. Guggenheim Museum"
] |
|
17294_T | Happy Tears (Lichtenstein) | Focus on Happy Tears (Lichtenstein) and discuss the Details. | 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 is cropped so closely that the hair flows beyond the edges of the canvas. The image is made more poignant by the cropping and positioning of the fingers. The woman exudes a sense of relief over something that is outside the canvas. | [] |
|
17294_NT | Happy Tears (Lichtenstein) | Focus on this artwork and discuss the Details. | 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 is cropped so closely that the hair flows beyond the edges of the canvas. The image is made more poignant by the cropping and positioning of the fingers. The woman exudes a sense of relief over something that is outside the canvas. | [] |
|
17295_T | Town and Gown (Sponenburgh) | How does Town and Gown (Sponenburgh) elucidate its Description? | Town and Gown depicts four people: two academics and two townspeople. The academics wear caps and gowns; the man carries a book and the female holds a branch. The two female townspeople wear capes, dresses, and hats; one carries a purse and the other holds an umbrella. The statues each measure approximately 50 x 18 x 12 inches, and the brick base measures approximately 33 x 80 x 55 inches. A plaque reads: TOWN AND GOWN / MARK SPONENBURGH, SCULPTOR / THIS SCULPTURE, DEPICTING TWO ACADEMICS / AND TWO TOWNSPEOPLE, COMMEMORATES / THE LONGSTANDING RELATIONSHIP BETWEEN / WILLAMETTE UNIVERSITY AND THE TOWN OF SALEM, / BOTH ESTABLISHED EARLY IN THE 1840S. / DEDICATED FEBRUARY 1, 1992, ON THE OCCASION / OF THE 150TH ANNIVERSARY OF THE FOUNDING OF WILLAMETTE UNIVERSITY. | [] |
|
17295_NT | Town and Gown (Sponenburgh) | How does this artwork elucidate its Description? | Town and Gown depicts four people: two academics and two townspeople. The academics wear caps and gowns; the man carries a book and the female holds a branch. The two female townspeople wear capes, dresses, and hats; one carries a purse and the other holds an umbrella. The statues each measure approximately 50 x 18 x 12 inches, and the brick base measures approximately 33 x 80 x 55 inches. A plaque reads: TOWN AND GOWN / MARK SPONENBURGH, SCULPTOR / THIS SCULPTURE, DEPICTING TWO ACADEMICS / AND TWO TOWNSPEOPLE, COMMEMORATES / THE LONGSTANDING RELATIONSHIP BETWEEN / WILLAMETTE UNIVERSITY AND THE TOWN OF SALEM, / BOTH ESTABLISHED EARLY IN THE 1840S. / DEDICATED FEBRUARY 1, 1992, ON THE OCCASION / OF THE 150TH ANNIVERSARY OF THE FOUNDING OF WILLAMETTE UNIVERSITY. | [] |
|
17296_T | Town and Gown (Sponenburgh) | Focus on Town and Gown (Sponenburgh) and analyze the History. | The sculpture was presented to commemorate the university's sesquicentennial, and was dedicated on February 1, 1992.Town and Gown was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
17296_NT | Town and Gown (Sponenburgh) | Focus on this artwork and analyze the History. | The sculpture was presented to commemorate the university's sesquicentennial, and was dedicated on February 1, 1992.Town and Gown was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"Smithsonian Institution",
"Save Outdoor Sculpture!"
] |
|
17297_T | The Street Singer (Manet) | In The Street Singer (Manet), how is the abstract discussed? | Street Singer is a circa 1862 oil-on-canvas painting by Édouard Manet depicting a female street musician standing near the entrance to a cabaret.The painting was inspired by a meeting between the artist and a street singer. Manet asked her to pose for him but she refused, so Manet asked a favorite model, Victorine Meurent, to pose for the work. It is either the first or second of Manet's several large-scale paintings for which Victorine posed. The style of the painting shows the influence of Frans Hals and Spanish masters such as Diego Velázquez.Street Singer is one of a series of single-figure compositions that Manet painted during the 1860s in which he depicted contemporary "types" at life size, upsetting the convention that such humble genre subjects be painted at a small scale.The painting was donated to the Boston Museum of Fine Arts in 1966. | [
"Victorine Meurent",
"genre",
"Frans Hals",
"Diego Velázquez",
"Édouard Manet"
] |
|
17297_NT | The Street Singer (Manet) | In this artwork, how is the abstract discussed? | Street Singer is a circa 1862 oil-on-canvas painting by Édouard Manet depicting a female street musician standing near the entrance to a cabaret.The painting was inspired by a meeting between the artist and a street singer. Manet asked her to pose for him but she refused, so Manet asked a favorite model, Victorine Meurent, to pose for the work. It is either the first or second of Manet's several large-scale paintings for which Victorine posed. The style of the painting shows the influence of Frans Hals and Spanish masters such as Diego Velázquez.Street Singer is one of a series of single-figure compositions that Manet painted during the 1860s in which he depicted contemporary "types" at life size, upsetting the convention that such humble genre subjects be painted at a small scale.The painting was donated to the Boston Museum of Fine Arts in 1966. | [
"Victorine Meurent",
"genre",
"Frans Hals",
"Diego Velázquez",
"Édouard Manet"
] |
|
17298_T | The Street Singer (Manet) | In the context of The Street Singer (Manet), explain the Subject matter of the Background. | Victorine Louise Meurent, born in 1844, would have been 18 when Manet discovered her and asked her to pose. Besides being Manet's favorite model, she was also an artist herself. Victorine was also painted in Le Bain and Olympia, two other paintings by Manet. According to a biography written by Margaret Seibert, Manet picked different types of models to fit the characters of the paintings he wanted to pursue. In this case, Victorine was chosen by Manet for the guitar singer as she is also a girl of "easy virtue." | [
"Le Bain",
"Olympia",
"Victorine Louise Meurent"
] |
|
17298_NT | The Street Singer (Manet) | In the context of this artwork, explain the Subject matter of the Background. | Victorine Louise Meurent, born in 1844, would have been 18 when Manet discovered her and asked her to pose. Besides being Manet's favorite model, she was also an artist herself. Victorine was also painted in Le Bain and Olympia, two other paintings by Manet. According to a biography written by Margaret Seibert, Manet picked different types of models to fit the characters of the paintings he wanted to pursue. In this case, Victorine was chosen by Manet for the guitar singer as she is also a girl of "easy virtue." | [
"Le Bain",
"Olympia",
"Victorine Louise Meurent"
] |
|
17299_T | The Street Singer (Manet) | Explore the Creation about the Background of this artwork, The Street Singer (Manet). | One day in the early 1860s, Manet and French journalist Antonin Proust were taking a walk to the painter's studio. They saw a woman holding a guitar leaving a café. The artist was amazed by her look and immediately decided to create a painting of her. Manet spoke with the singer and asked her if she would pose for him. The young lady went off laughing and refused. Manet then turned to Victorine as a model for the painting. | [
"Antonin Proust"
] |
|
17299_NT | The Street Singer (Manet) | Explore the Creation about the Background of this artwork. | One day in the early 1860s, Manet and French journalist Antonin Proust were taking a walk to the painter's studio. They saw a woman holding a guitar leaving a café. The artist was amazed by her look and immediately decided to create a painting of her. Manet spoke with the singer and asked her if she would pose for him. The young lady went off laughing and refused. Manet then turned to Victorine as a model for the painting. | [
"Antonin Proust"
] |
|
17300_T | The Street Singer (Manet) | Focus on The Street Singer (Manet) and discuss the Description. | Manet depicted an itinerant singer in fashionable contemporary dress leaving a cabaret by night, tightly holding a guitar and eating cherries. Victorine is depicted as a blonde, sharp, and plain young woman well known around the Pantheon Mountains. The features of her face are painted more sharply and slimmer than in other paintings. Her forehead is hidden behind her hat which she wears low on her head. Her nose is defined by deep shadows that form a parentheses shape on either side. Additionally, it appears that Spanish painter Velázquez inspired Manet in many ways here, especially in the use of color. Manet emphasized the features of Victorine by using a limited palette. Her chin and cheek are barely visible as they were covered by her right hand. Her upper lip is nearly invisible as it is partly covered by the two little ruby cherries on her ring finger and little finger. According to art historian Stéphane Guégan, the cherries were added as an afterthought. Art historian George Mauner says the woman's confrontational stare and her awkward grasp of the cherries and the guitar, "which seems almost too bulky for her to manage comfortably" produces a self-conscious effect that is unexpected in a genre painting. | [
"genre"
] |
|
17300_NT | The Street Singer (Manet) | Focus on this artwork and discuss the Description. | Manet depicted an itinerant singer in fashionable contemporary dress leaving a cabaret by night, tightly holding a guitar and eating cherries. Victorine is depicted as a blonde, sharp, and plain young woman well known around the Pantheon Mountains. The features of her face are painted more sharply and slimmer than in other paintings. Her forehead is hidden behind her hat which she wears low on her head. Her nose is defined by deep shadows that form a parentheses shape on either side. Additionally, it appears that Spanish painter Velázquez inspired Manet in many ways here, especially in the use of color. Manet emphasized the features of Victorine by using a limited palette. Her chin and cheek are barely visible as they were covered by her right hand. Her upper lip is nearly invisible as it is partly covered by the two little ruby cherries on her ring finger and little finger. According to art historian Stéphane Guégan, the cherries were added as an afterthought. Art historian George Mauner says the woman's confrontational stare and her awkward grasp of the cherries and the guitar, "which seems almost too bulky for her to manage comfortably" produces a self-conscious effect that is unexpected in a genre painting. | [
"genre"
] |
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