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17301_T | The Street Singer (Manet) | How does The Street Singer (Manet) elucidate its Comparison with Mlle V.... in the Costume of an Espada? | Victorine also modeled for Manet’s Mlle V.... in the Costume of an Espada. The painting was finished in 1862. Victorine here is depicted as a matador. Her hair is hidden in her pink bandana. Though she is recognizable, her appearance differs from that of Street Singer. For example, she has a double chin and a somewhat chubby face, nose, lips, and jawbone. In Street Singer, Victorine’s dress is more feminine and French while here she appears to be a male Spanish matador. | [
"Mlle V.... in the Costume of an Espada"
] |
|
17301_NT | The Street Singer (Manet) | How does this artwork elucidate its Comparison with Mlle V.... in the Costume of an Espada? | Victorine also modeled for Manet’s Mlle V.... in the Costume of an Espada. The painting was finished in 1862. Victorine here is depicted as a matador. Her hair is hidden in her pink bandana. Though she is recognizable, her appearance differs from that of Street Singer. For example, she has a double chin and a somewhat chubby face, nose, lips, and jawbone. In Street Singer, Victorine’s dress is more feminine and French while here she appears to be a male Spanish matador. | [
"Mlle V.... in the Costume of an Espada"
] |
|
17302_T | The Street Singer (Manet) | Focus on The Street Singer (Manet) and analyze the Interpretation. | The art historian and critic Paul Mantz once said: "All form is lost in his big portraits of women, and notably in that of the Singer, where, because of an abnormality we find deeply disturbing, the eyebrows lose their horizontal position and slide vertically down the nose, like two commas of shadow; there is nothing there except the crude conflict of the chalk whites with the black tones. The effect is pallid, hard, sinister... we must ask to be excused from pleading M.Manet's case before the exhibition jury."On the other hand, Emile Zola, art critic and Manet’s friend, admired the painting as a “keen search for truth”.These two art critics represent two viewpoints at the time. Mantz favored the traditions of the academy, while Zola promoted a more modern style. | [
"Emile Zola"
] |
|
17302_NT | The Street Singer (Manet) | Focus on this artwork and analyze the Interpretation. | The art historian and critic Paul Mantz once said: "All form is lost in his big portraits of women, and notably in that of the Singer, where, because of an abnormality we find deeply disturbing, the eyebrows lose their horizontal position and slide vertically down the nose, like two commas of shadow; there is nothing there except the crude conflict of the chalk whites with the black tones. The effect is pallid, hard, sinister... we must ask to be excused from pleading M.Manet's case before the exhibition jury."On the other hand, Emile Zola, art critic and Manet’s friend, admired the painting as a “keen search for truth”.These two art critics represent two viewpoints at the time. Mantz favored the traditions of the academy, while Zola promoted a more modern style. | [
"Emile Zola"
] |
|
17303_T | Alone in the World (1881 painting) | In Alone in the World (1881 painting), how is the abstract discussed? | Alone in the World is an 1881 oil-on-canvas painting by Dutch artist Jozef Israëls. Its subject is isolation and death.
The painting was exhibited at the 1893 World's Columbian Exposition in Chicago Illinois. | [
"Jozef Israëls",
"World's Columbian Exposition",
"Chicago Illinois",
"Chicago",
"oil-on-canvas"
] |
|
17303_NT | Alone in the World (1881 painting) | In this artwork, how is the abstract discussed? | Alone in the World is an 1881 oil-on-canvas painting by Dutch artist Jozef Israëls. Its subject is isolation and death.
The painting was exhibited at the 1893 World's Columbian Exposition in Chicago Illinois. | [
"Jozef Israëls",
"World's Columbian Exposition",
"Chicago Illinois",
"Chicago",
"oil-on-canvas"
] |
|
17304_T | Alone in the World (1881 painting) | Focus on Alone in the World (1881 painting) and explore the Description. | The painting has been called strong, beautiful and realistic. The scene is a portrayal of death and poverty. The broken-hearted man, and the face of the dead woman in the dull light of the room portray isolation and death. The image shows a man, wearing an overcoat, sitting on a chair by a bed. A woman is lying in the bed and the man is facing away from her. The man has a stern expression and woman appears to be ill. | [] |
|
17304_NT | Alone in the World (1881 painting) | Focus on this artwork and explore the Description. | The painting has been called strong, beautiful and realistic. The scene is a portrayal of death and poverty. The broken-hearted man, and the face of the dead woman in the dull light of the room portray isolation and death. The image shows a man, wearing an overcoat, sitting on a chair by a bed. A woman is lying in the bed and the man is facing away from her. The man has a stern expression and woman appears to be ill. | [] |
|
17305_T | Alone in the World (1881 painting) | Focus on Alone in the World (1881 painting) and explain the Reception. | French critic Louis Edmond Duranty said of the painting, "dombre et de douleur" or shadow and pain. H.C. Payne said of the scene in the painting, "...a scene, so entirely subordinate to its human meaning, and this is so profound and so clearly felt, that we do not think of the painting at all". | [
"Louis Edmond Duranty"
] |
|
17305_NT | Alone in the World (1881 painting) | Focus on this artwork and explain the Reception. | French critic Louis Edmond Duranty said of the painting, "dombre et de douleur" or shadow and pain. H.C. Payne said of the scene in the painting, "...a scene, so entirely subordinate to its human meaning, and this is so profound and so clearly felt, that we do not think of the painting at all". | [
"Louis Edmond Duranty"
] |
|
17306_T | Gualino Madonna | Explore the abstract of this artwork, Gualino Madonna. | The Gualino Madonna is a painting attributed to Italian late medieval artist Duccio di Buoninsegna. It is housed in the Galleria Sabauda of Turin, northern Italy. | [
"Turin",
"Duccio",
"Duccio di Buoninsegna",
"Galleria Sabauda"
] |
|
17306_NT | Gualino Madonna | Explore the abstract of this artwork. | The Gualino Madonna is a painting attributed to Italian late medieval artist Duccio di Buoninsegna. It is housed in the Galleria Sabauda of Turin, northern Italy. | [
"Turin",
"Duccio",
"Duccio di Buoninsegna",
"Galleria Sabauda"
] |
|
17307_T | Gualino Madonna | Focus on Gualino Madonna and discuss the History. | The provenance of the panel is unknown. In 1910 it was sold on the Florence antiquary market covered by a 16th-century repainting, which was removed in 1920. In 1925 it was acquired by the Turinese entrepreneur and collector Riccardo Gualino who, in 1930, gave it to the Galleria Sabauda. In 1933-1959 it was in London, after which it returned to the Turinese museum.
The work is not signed, and has been attributed, among the others, to Cimabue. Now it is unanimously assigned to Duccio, belonging to his early career, when he was influenced by Cimabue. | [
"Turin",
"Duccio",
"Galleria Sabauda",
"Cimabue",
"Riccardo Gualino"
] |
|
17307_NT | Gualino Madonna | Focus on this artwork and discuss the History. | The provenance of the panel is unknown. In 1910 it was sold on the Florence antiquary market covered by a 16th-century repainting, which was removed in 1920. In 1925 it was acquired by the Turinese entrepreneur and collector Riccardo Gualino who, in 1930, gave it to the Galleria Sabauda. In 1933-1959 it was in London, after which it returned to the Turinese museum.
The work is not signed, and has been attributed, among the others, to Cimabue. Now it is unanimously assigned to Duccio, belonging to his early career, when he was influenced by Cimabue. | [
"Turin",
"Duccio",
"Galleria Sabauda",
"Cimabue",
"Riccardo Gualino"
] |
|
17308_T | Gloria Victis (sculpture) | How does Gloria Victis (sculpture) elucidate its abstract? | Gloria Victis ("glory to the vanquished") is a sculpture by Antonin Mercié. Many casts, with different finishes, exist of the group. That pictured here is seen at the National Gallery of Art in Washington DC. Another example of the statue can be found in Bordeaux, France, where it faces Saint André's Cathedral. One is found, for example, at the Ny Carlsberg Glyptotek, Copenhagen, Denmark, where the statue overlooks the museum's Winter Garden. Mercié designed this sculpture following France's defeat in the Franco-Prussian War. He intended to honor those French soldiers who had fallen in the conflict, especially his friend, the artist Henri Regnault (1843–1871). Upon France's defeat, Mercié changed the hero's head from lifted to fallen.
A winged female allegorical image of Fame (or of Hope) carries to glory a dying French hero, his broken sword a sign of defeat. Mercié's original plaster sculpture won a medal at the 1874 Paris Salon. Bronze copies were cast in different sizes by the great foundry of Ferdinand Barbedienne.
Its uplifting reassurance that those defeated were nevertheless cared for and granted immortality made this work well received among the French public, who felt humiliated after losing the war.Despite its acclaim, the work was harshly criticized by fellow French sculptor Jean Baffier for its neoclassical style and for its celebration of a defeat: "We have been beaten like wheat in a barn, and we shouted: 'Glory to the losers' – And along comes some sort of bastard artist, the pupil of a sexless school, to put up the image of our cowardice."
Mercié returned to this formula of a female allegorical figure with a soldier in his 1882 Belfort war memorial (nicknamed Quand même, or "Still"). | [
"Copenhagen",
"Washington DC",
"Ferdinand Barbedienne",
"Franco-Prussian War",
"National Gallery of Art",
"Henri Regnault",
"Paris Salon",
"France",
"Antonin Mercié",
"Fame",
"Ny Carlsberg Glyptotek",
"neoclassical",
"Jean Baffier",
"Belfort",
"Saint André's Cathedral",
"Bordeaux",
"Bronze",
"Paris"
] |
|
17308_NT | Gloria Victis (sculpture) | How does this artwork elucidate its abstract? | Gloria Victis ("glory to the vanquished") is a sculpture by Antonin Mercié. Many casts, with different finishes, exist of the group. That pictured here is seen at the National Gallery of Art in Washington DC. Another example of the statue can be found in Bordeaux, France, where it faces Saint André's Cathedral. One is found, for example, at the Ny Carlsberg Glyptotek, Copenhagen, Denmark, where the statue overlooks the museum's Winter Garden. Mercié designed this sculpture following France's defeat in the Franco-Prussian War. He intended to honor those French soldiers who had fallen in the conflict, especially his friend, the artist Henri Regnault (1843–1871). Upon France's defeat, Mercié changed the hero's head from lifted to fallen.
A winged female allegorical image of Fame (or of Hope) carries to glory a dying French hero, his broken sword a sign of defeat. Mercié's original plaster sculpture won a medal at the 1874 Paris Salon. Bronze copies were cast in different sizes by the great foundry of Ferdinand Barbedienne.
Its uplifting reassurance that those defeated were nevertheless cared for and granted immortality made this work well received among the French public, who felt humiliated after losing the war.Despite its acclaim, the work was harshly criticized by fellow French sculptor Jean Baffier for its neoclassical style and for its celebration of a defeat: "We have been beaten like wheat in a barn, and we shouted: 'Glory to the losers' – And along comes some sort of bastard artist, the pupil of a sexless school, to put up the image of our cowardice."
Mercié returned to this formula of a female allegorical figure with a soldier in his 1882 Belfort war memorial (nicknamed Quand même, or "Still"). | [
"Copenhagen",
"Washington DC",
"Ferdinand Barbedienne",
"Franco-Prussian War",
"National Gallery of Art",
"Henri Regnault",
"Paris Salon",
"France",
"Antonin Mercié",
"Fame",
"Ny Carlsberg Glyptotek",
"neoclassical",
"Jean Baffier",
"Belfort",
"Saint André's Cathedral",
"Bordeaux",
"Bronze",
"Paris"
] |
|
17309_T | Gloria Victis (sculpture) | Describe the characteristics of the France in Gloria Victis (sculpture)'s Casts. | Agen, jardin du Lycée Palissy (stolen in September 2008)
Bordeaux, place Jean-Moulin
Châlons-en-Champagne, place de la Libération
Cholet, place de la République
Niort, place de Strasbourg
Paris, Petit Palais
Saint-Denis, Musée d’art et d’histoire | [
"Agen",
"France",
"Petit Palais",
"Châlons-en-Champagne",
"Saint-Denis",
"Musée d’art et d’histoire",
"Bordeaux",
"Cholet",
"Niort",
"Paris"
] |
|
17309_NT | Gloria Victis (sculpture) | Describe the characteristics of the France in this artwork's Casts. | Agen, jardin du Lycée Palissy (stolen in September 2008)
Bordeaux, place Jean-Moulin
Châlons-en-Champagne, place de la Libération
Cholet, place de la République
Niort, place de Strasbourg
Paris, Petit Palais
Saint-Denis, Musée d’art et d’histoire | [
"Agen",
"France",
"Petit Palais",
"Châlons-en-Champagne",
"Saint-Denis",
"Musée d’art et d’histoire",
"Bordeaux",
"Cholet",
"Niort",
"Paris"
] |
|
17310_T | Gloria Victis (sculpture) | In the context of Gloria Victis (sculpture), explain the Bardedienne of the Casts. | Ferdinand Barbedienne produced several bronze versions in seven different sizes. Examples can be found at:Washington DC, National Gallery of Art
Belfort, France, Musée d'histoire
Winston-Salem, North Carolina, 110 Oakwood Dr. | [
"Washington DC",
"Ferdinand Barbedienne",
"National Gallery of Art",
"France",
"Belfort"
] |
|
17310_NT | Gloria Victis (sculpture) | In the context of this artwork, explain the Bardedienne of the Casts. | Ferdinand Barbedienne produced several bronze versions in seven different sizes. Examples can be found at:Washington DC, National Gallery of Art
Belfort, France, Musée d'histoire
Winston-Salem, North Carolina, 110 Oakwood Dr. | [
"Washington DC",
"Ferdinand Barbedienne",
"National Gallery of Art",
"France",
"Belfort"
] |
|
17311_T | Evening at Medfield, Massachusetts | Explore the abstract of this artwork, Evening at Medfield, Massachusetts. | Evening at Medfield, Massachusetts is a mid 19th-century painting by American artist George Inness. Done in oil on canvas, the painting depicts evening falling in the countryside near Medfield, Massachusetts. The painting is in the collection of the Metropolitan Museum of Art. | [
"Medfield, Massachusetts",
"Metropolitan Museum of Art",
"George Inness"
] |
|
17311_NT | Evening at Medfield, Massachusetts | Explore the abstract of this artwork. | Evening at Medfield, Massachusetts is a mid 19th-century painting by American artist George Inness. Done in oil on canvas, the painting depicts evening falling in the countryside near Medfield, Massachusetts. The painting is in the collection of the Metropolitan Museum of Art. | [
"Medfield, Massachusetts",
"Metropolitan Museum of Art",
"George Inness"
] |
|
17312_T | The Infant Bacchus | Focus on The Infant Bacchus and discuss the abstract. | The Infant Bacchus or Young Bacchus is a ca. 1505–1510 painting of the Roman god Bacchus as a boy by the Italian Renaissance master Giovanni Bellini. Originally painted on panel, it was later transferred to canvas.It was probably the Little Bacchus with a vase in his hand seen in Bartolo Delfino's house in Venice by Carlo Ridolfi in the mid-16th century and misidentified as a Giorgione. Shipley (1979) believes the subject is a metaphor for the winter solstice, based on a letter in Macrobius's Saturnalia, known during the Renaissance – the new year started as a baby and ended as an old man. It may be drawn from the same studies as the figure of Bacchus in The Feast of the Gods, which is very similar.
By the 19th century it was in Frederick Richards Leyland's collection in London, where it was thought to be by Marco Basaiti. It passed through several further collections before being acquired by the Duveen Brothers in 1927, who took it to the United States. There it was acquired by Samuel H. Kress, who in 1961 gave it to the National Gallery of Art in Washington, D.C., where it still hangs. | [
"Giovanni Bellini",
"Duveen Brothers",
"National Gallery of Art",
"The Feast of the Gods",
"Samuel H. Kress",
"Washington, D.C.",
"Marco Basaiti",
"Frederick Richards Leyland",
"Bacchus",
"Macrobius",
"Carlo Ridolfi",
"Giorgione",
"winter solstice"
] |
|
17312_NT | The Infant Bacchus | Focus on this artwork and discuss the abstract. | The Infant Bacchus or Young Bacchus is a ca. 1505–1510 painting of the Roman god Bacchus as a boy by the Italian Renaissance master Giovanni Bellini. Originally painted on panel, it was later transferred to canvas.It was probably the Little Bacchus with a vase in his hand seen in Bartolo Delfino's house in Venice by Carlo Ridolfi in the mid-16th century and misidentified as a Giorgione. Shipley (1979) believes the subject is a metaphor for the winter solstice, based on a letter in Macrobius's Saturnalia, known during the Renaissance – the new year started as a baby and ended as an old man. It may be drawn from the same studies as the figure of Bacchus in The Feast of the Gods, which is very similar.
By the 19th century it was in Frederick Richards Leyland's collection in London, where it was thought to be by Marco Basaiti. It passed through several further collections before being acquired by the Duveen Brothers in 1927, who took it to the United States. There it was acquired by Samuel H. Kress, who in 1961 gave it to the National Gallery of Art in Washington, D.C., where it still hangs. | [
"Giovanni Bellini",
"Duveen Brothers",
"National Gallery of Art",
"The Feast of the Gods",
"Samuel H. Kress",
"Washington, D.C.",
"Marco Basaiti",
"Frederick Richards Leyland",
"Bacchus",
"Macrobius",
"Carlo Ridolfi",
"Giorgione",
"winter solstice"
] |
|
17313_T | Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola | How does Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola elucidate its History? | The portrait of "the vicereine of Naples" was commissioned from Raphael in 1518 by Cardinal Bibbiena on behalf of Pope Leo X for Francis I of France, who collected portraits of beautiful women. Pierre de Bourdeille, seigneur de Brantôme took the description to refer to Giovanna d'Aragona (1502 – 1575); a study in 1997 demonstrated that the subject was rather Isabel de Requesens, the wife of Ramón de Cardona, who was viceroy of Naples from 1509 to 1522. According to Vasari, Raphael sent Giulio Romano, one of his young assistants, to Naples to paint the portrait, except for the face, which he was responsible for; documentary evidence survives in Raphael's hand confirming Giulio Romano's work on this commission. The face has indeed been altered; otherwise Vasari's description might also apply to another portrait which has been attributed to Giulio Romano and Raphael, Isabella of Aragon as Mona Lisa, depicting Isabella of Aragon, Duchess of Milan, also known as Isabella of Naples.
Opinions have varied as to who executed the cartoon for the Portrait of Doña Isabel de Requesens, which was likely reused for that of Isabella of Aragon; Luitpold Dussler considered the painting entirely Giulio Romano's work. However, both portraits are now generally thought to have been executed to Raphael's design, and the two paintings have been referred to as Raphael's Giocondae for their visual references to Leonardo's Mona Lisa (also known as La Gioconda), which was already in Francis I's collection. It is also possible that the portrait of Isabella of Aragon is a copy; the gallery that holds it, the Doria Pamphilj Gallery in Rome, lists it as "after" Raphael.A number of copies of the painting exist, and Vasari states that one copy entirely by Giulio Romano was made at the same time and included in the gift to the king; Brantôme reported having seen one version in the king's apartments at Fontainebleau, the other in the queen's.The Portrait of Doña Isabel de Requesens was restored by Francesco Primaticcio in the mid-16th century and transferred from the original wood to canvas either then or in the 18th century. | [
"vicereine",
"Raphael",
"Francis I of France",
"Pierre de Bourdeille, seigneur de Brantôme",
"Pope Leo X",
"Fontainebleau",
"Leo X",
"Francesco Primaticcio",
"viceroy of Naples",
"Mona Lisa",
"Isabel de Requesens",
"Isabella of Aragon, Duchess of Milan",
"Giulio Romano",
"Doria Pamphilj Gallery",
"Vasari",
"Giovanna d'Aragona",
"Ramón de Cardona",
"Cardinal Bibbiena",
"Leonardo"
] |
|
17313_NT | Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola | How does this artwork elucidate its History? | The portrait of "the vicereine of Naples" was commissioned from Raphael in 1518 by Cardinal Bibbiena on behalf of Pope Leo X for Francis I of France, who collected portraits of beautiful women. Pierre de Bourdeille, seigneur de Brantôme took the description to refer to Giovanna d'Aragona (1502 – 1575); a study in 1997 demonstrated that the subject was rather Isabel de Requesens, the wife of Ramón de Cardona, who was viceroy of Naples from 1509 to 1522. According to Vasari, Raphael sent Giulio Romano, one of his young assistants, to Naples to paint the portrait, except for the face, which he was responsible for; documentary evidence survives in Raphael's hand confirming Giulio Romano's work on this commission. The face has indeed been altered; otherwise Vasari's description might also apply to another portrait which has been attributed to Giulio Romano and Raphael, Isabella of Aragon as Mona Lisa, depicting Isabella of Aragon, Duchess of Milan, also known as Isabella of Naples.
Opinions have varied as to who executed the cartoon for the Portrait of Doña Isabel de Requesens, which was likely reused for that of Isabella of Aragon; Luitpold Dussler considered the painting entirely Giulio Romano's work. However, both portraits are now generally thought to have been executed to Raphael's design, and the two paintings have been referred to as Raphael's Giocondae for their visual references to Leonardo's Mona Lisa (also known as La Gioconda), which was already in Francis I's collection. It is also possible that the portrait of Isabella of Aragon is a copy; the gallery that holds it, the Doria Pamphilj Gallery in Rome, lists it as "after" Raphael.A number of copies of the painting exist, and Vasari states that one copy entirely by Giulio Romano was made at the same time and included in the gift to the king; Brantôme reported having seen one version in the king's apartments at Fontainebleau, the other in the queen's.The Portrait of Doña Isabel de Requesens was restored by Francesco Primaticcio in the mid-16th century and transferred from the original wood to canvas either then or in the 18th century. | [
"vicereine",
"Raphael",
"Francis I of France",
"Pierre de Bourdeille, seigneur de Brantôme",
"Pope Leo X",
"Fontainebleau",
"Leo X",
"Francesco Primaticcio",
"viceroy of Naples",
"Mona Lisa",
"Isabel de Requesens",
"Isabella of Aragon, Duchess of Milan",
"Giulio Romano",
"Doria Pamphilj Gallery",
"Vasari",
"Giovanna d'Aragona",
"Ramón de Cardona",
"Cardinal Bibbiena",
"Leonardo"
] |
|
17314_T | Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola | Focus on Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola and analyze the Description. | The subject is portrayed seated, turned to the viewer's left, wearing a deep red velvet dress trimmed with gold whose sleeves are slashed to reveal the cream fabric of her chemise, and a hat with jewels on the brim, whose shape suggests a halo. She is portrayed in three-quarters length, one hand fingering the fur around her shoulders, the other resting on one knee. In the background a woman leans against the railing of a loggia overlooking a garden; the vault is a visual quotation from the story of Cupid and Psyche as painted by Raphael on the ceiling of the Loggia di Psiche at the Villa Farnesina in Rome. Her loose hair, the red garments (the colour of love for Petrarch), and her meeting the viewer's gaze are all sensuous details; further, the portrait is innovative in including her knees, which in addition are visibly parted, and in not having her hands chastely together as a barrier. The composition corresponds to that of other Raphael portraits in being based on the musical ratio 9/12/16.Both Isabel de Requesens and Giovanna d'Aragona were famous beauties; Giovanna was the subject of a poem by Agostino Nifo, "De pulchro et amore", and it has been suggested that the beauty in the painting was as much formulaic as true to life.Both Giocondae portraits feature carved cats on the right which resemble lions, a punning allusion to Leonardo. The woman in the background is replaced by a man in the portrait of Isabella of Naples; they may allude respectively to the sitter and the artist in the Mona Lisa.Manet likely had this painting in mind when he painted his regal picture of his wife Suzanne, The Reading. | [
"Villa Farnesina",
"The Reading",
"Cupid and Psyche",
"Raphael",
"Suzanne",
"Agostino Nifo",
"left",
"Mona Lisa",
"Isabel de Requesens",
"Petrarch",
"Giovanna d'Aragona",
"Manet",
"Leonardo"
] |
|
17314_NT | Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola | Focus on this artwork and analyze the Description. | The subject is portrayed seated, turned to the viewer's left, wearing a deep red velvet dress trimmed with gold whose sleeves are slashed to reveal the cream fabric of her chemise, and a hat with jewels on the brim, whose shape suggests a halo. She is portrayed in three-quarters length, one hand fingering the fur around her shoulders, the other resting on one knee. In the background a woman leans against the railing of a loggia overlooking a garden; the vault is a visual quotation from the story of Cupid and Psyche as painted by Raphael on the ceiling of the Loggia di Psiche at the Villa Farnesina in Rome. Her loose hair, the red garments (the colour of love for Petrarch), and her meeting the viewer's gaze are all sensuous details; further, the portrait is innovative in including her knees, which in addition are visibly parted, and in not having her hands chastely together as a barrier. The composition corresponds to that of other Raphael portraits in being based on the musical ratio 9/12/16.Both Isabel de Requesens and Giovanna d'Aragona were famous beauties; Giovanna was the subject of a poem by Agostino Nifo, "De pulchro et amore", and it has been suggested that the beauty in the painting was as much formulaic as true to life.Both Giocondae portraits feature carved cats on the right which resemble lions, a punning allusion to Leonardo. The woman in the background is replaced by a man in the portrait of Isabella of Naples; they may allude respectively to the sitter and the artist in the Mona Lisa.Manet likely had this painting in mind when he painted his regal picture of his wife Suzanne, The Reading. | [
"Villa Farnesina",
"The Reading",
"Cupid and Psyche",
"Raphael",
"Suzanne",
"Agostino Nifo",
"left",
"Mona Lisa",
"Isabel de Requesens",
"Petrarch",
"Giovanna d'Aragona",
"Manet",
"Leonardo"
] |
|
17315_T | Noh masks of the Konparu school | In Noh masks of the Konparu school, how is the abstract discussed? | The Noh masks of the Konparu school are a set of 47 noh masks formerly owned by the famous Konparu family of noh actors and playwrights, now part of the collection of the Tokyo National Museum. These masks span five centuries, from the Muromachi to the Edo period (15th to 19th century), and are designated Important Cultural Properties.
The Konparu school was originally led by Konparu Zenchiku (1405 – ca. 1470) and his grandson Konparu Zenpō (1454 – ca. 1532). The troupe prospered during the Azuchi–Momoyama period (1573–1603), with a critical factor for their success being the patronage of the daimyō Toyotomi Hideyoshi (1537–1598), at a time when the leader of the Konparu school was Konparu Ansho (1549–1621), a retained actor of Toyotomi.During the late Edo period (1603–1868) the troupe faced difficulties and started to lose vitality, and during the Bakumatsu and the period of the Meiji Restoration in the late 19th century, many of the noh masks and other properties of the Konparu family were sold throughout Japan. In around 1868 this set of masks together with some other noh costumes and stage props were transferred to the Kasuga-taisha shrine in Nara. It was a group of ten volunteers in Nara, known collectively as Teirakusha, who dedicated themselves to preserve and protect them, purchasing many of the items and allowing the actors to continue using them.In 1950 after World War II the 47 masks and 196 costumes in the possession of the Teirakusha became part of the collection of the Tokyo National Museum in Tokyo, where they are now kept and exhibited occasionally. | [
"Azuchi–Momoyama period",
"Important Cultural Properties",
"Toyotomi Hideyoshi",
"Noh",
"Japan",
"daimyō",
"Nara",
"Muromachi",
"Edo period",
"Konparu Zenchiku",
"Bakumatsu",
"Noh masks",
"noh masks",
"Kasuga-taisha",
"Meiji Restoration",
"Konparu Zenpō",
"Tokyo",
"World War II",
"Tokyo National Museum"
] |
|
17315_NT | Noh masks of the Konparu school | In this artwork, how is the abstract discussed? | The Noh masks of the Konparu school are a set of 47 noh masks formerly owned by the famous Konparu family of noh actors and playwrights, now part of the collection of the Tokyo National Museum. These masks span five centuries, from the Muromachi to the Edo period (15th to 19th century), and are designated Important Cultural Properties.
The Konparu school was originally led by Konparu Zenchiku (1405 – ca. 1470) and his grandson Konparu Zenpō (1454 – ca. 1532). The troupe prospered during the Azuchi–Momoyama period (1573–1603), with a critical factor for their success being the patronage of the daimyō Toyotomi Hideyoshi (1537–1598), at a time when the leader of the Konparu school was Konparu Ansho (1549–1621), a retained actor of Toyotomi.During the late Edo period (1603–1868) the troupe faced difficulties and started to lose vitality, and during the Bakumatsu and the period of the Meiji Restoration in the late 19th century, many of the noh masks and other properties of the Konparu family were sold throughout Japan. In around 1868 this set of masks together with some other noh costumes and stage props were transferred to the Kasuga-taisha shrine in Nara. It was a group of ten volunteers in Nara, known collectively as Teirakusha, who dedicated themselves to preserve and protect them, purchasing many of the items and allowing the actors to continue using them.In 1950 after World War II the 47 masks and 196 costumes in the possession of the Teirakusha became part of the collection of the Tokyo National Museum in Tokyo, where they are now kept and exhibited occasionally. | [
"Azuchi–Momoyama period",
"Important Cultural Properties",
"Toyotomi Hideyoshi",
"Noh",
"Japan",
"daimyō",
"Nara",
"Muromachi",
"Edo period",
"Konparu Zenchiku",
"Bakumatsu",
"Noh masks",
"noh masks",
"Kasuga-taisha",
"Meiji Restoration",
"Konparu Zenpō",
"Tokyo",
"World War II",
"Tokyo National Museum"
] |
|
17316_T | The Saviour (El Greco) | Focus on The Saviour (El Greco) and explore the abstract. | The Saviour (Spanish - El Salvador) is a 1608–1614 oil on canvas painting by El Greco, now in the Museo del Prado in Madrid, Spain. It shows Christ as the saviour of the world, represented by the globe beneath his left hand.
It draws on the traditions of Byzantine art whilst also incorporating elements of Counter-Reformation painting. It forms part of a series of works featuring Christ and the 12 Apostles (an apostolado) commissioned for the church at Almadrones in the Province of Guadalajara, modelled on other works in Toledo Cathedral. Not all 13 works survived. | [
"Province of Guadalajara",
"Byzantine art",
"El Greco",
"Museo del Prado",
"Almadrones",
"Counter-Reformation",
"Toledo Cathedral"
] |
|
17316_NT | The Saviour (El Greco) | Focus on this artwork and explore the abstract. | The Saviour (Spanish - El Salvador) is a 1608–1614 oil on canvas painting by El Greco, now in the Museo del Prado in Madrid, Spain. It shows Christ as the saviour of the world, represented by the globe beneath his left hand.
It draws on the traditions of Byzantine art whilst also incorporating elements of Counter-Reformation painting. It forms part of a series of works featuring Christ and the 12 Apostles (an apostolado) commissioned for the church at Almadrones in the Province of Guadalajara, modelled on other works in Toledo Cathedral. Not all 13 works survived. | [
"Province of Guadalajara",
"Byzantine art",
"El Greco",
"Museo del Prado",
"Almadrones",
"Counter-Reformation",
"Toledo Cathedral"
] |
|
17317_T | Annunciation (Caravaggio) | Focus on Annunciation (Caravaggio) and explain the abstract. | The Annunciation is an oil painting by the Italian master Michelangelo Merisi da Caravaggio, finished around 1608. It housed in the Musée des Beaux-Arts de Nancy.
The painting has been considerably damaged and retouched, and what remains of Caravaggio's brushwork is the angel, who bears a resemblance to the figure in John the Baptist at the Fountain. The illusionistic treatment of the angel, floating on his cloud and seeming to protrude outside the picture plane, is more Baroque than is normal for Caravaggio, but the contrast between the energetic pose of the heavenly messenger and the receptive Mary is dramatically and psychologically effective. The loose brushwork is typical of Caravaggio's later period.
The painting was given by Henry II, Duke of Lorraine, to his primatial church in Nancy as the main altarpiece, and was perhaps acquired by one of the Duke's sons in the course of a visit to Malta in 1608. | [
"Henry II, Duke of Lorraine",
"M",
"Baroque",
"Caravaggio",
"Nancy",
"Italian",
"John the Baptist at the Fountain",
"Musée des Beaux-Arts de Nancy"
] |
|
17317_NT | Annunciation (Caravaggio) | Focus on this artwork and explain the abstract. | The Annunciation is an oil painting by the Italian master Michelangelo Merisi da Caravaggio, finished around 1608. It housed in the Musée des Beaux-Arts de Nancy.
The painting has been considerably damaged and retouched, and what remains of Caravaggio's brushwork is the angel, who bears a resemblance to the figure in John the Baptist at the Fountain. The illusionistic treatment of the angel, floating on his cloud and seeming to protrude outside the picture plane, is more Baroque than is normal for Caravaggio, but the contrast between the energetic pose of the heavenly messenger and the receptive Mary is dramatically and psychologically effective. The loose brushwork is typical of Caravaggio's later period.
The painting was given by Henry II, Duke of Lorraine, to his primatial church in Nancy as the main altarpiece, and was perhaps acquired by one of the Duke's sons in the course of a visit to Malta in 1608. | [
"Henry II, Duke of Lorraine",
"M",
"Baroque",
"Caravaggio",
"Nancy",
"Italian",
"John the Baptist at the Fountain",
"Musée des Beaux-Arts de Nancy"
] |
|
17318_T | Annunciation (Caravaggio) | Explore the Description of this artwork, Annunciation (Caravaggio). | The painting is composed of two figures. The angel above the Virgin is attributed to being Gabriel who was the angel of the annunciation. The lilies that Gabriel holds are also a symbol of the Virgin. The Virgin is in a prostrate position as she is being told by Gabriel of God's plan for her. The painting exhibits Caravaggio's signature sfumato and tenebrism, with almost the entire painting being dark except for the two main figures. | [
"tenebrism",
"Caravaggio",
"sfumato"
] |
|
17318_NT | Annunciation (Caravaggio) | Explore the Description of this artwork. | The painting is composed of two figures. The angel above the Virgin is attributed to being Gabriel who was the angel of the annunciation. The lilies that Gabriel holds are also a symbol of the Virgin. The Virgin is in a prostrate position as she is being told by Gabriel of God's plan for her. The painting exhibits Caravaggio's signature sfumato and tenebrism, with almost the entire painting being dark except for the two main figures. | [
"tenebrism",
"Caravaggio",
"sfumato"
] |
|
17319_T | Great Vanity (Stoskopff) | Focus on Great Vanity (Stoskopff) and discuss the abstract. | The Great Vanity is a 1641 Baroque allegorical still life painting by the Alsatian artist Sebastian Stoskopff. It is on display in the Musée de l'Œuvre Notre-Dame. Its inventory number is MBA 1249 ("MBA" stands for Musée des Beaux-Arts).The painting is the last, largest, and most ambitious of Stoskopff's vanitas still-lifes, and the sum of his painterly achievements at this point in his career (Stoskopff had just settled again in his hometown of Strasbourg, after many years in Paris). Among the multiple symbolic elements of its iconography relating to the frailty of existence and death, it quotes an engraving by Jacques Callot, depicting a jester. The three elaborate hanaps in the upper left edge of the painting are faithful depictions of works by Stoskopff's brother-in-law Nicolas Riedinger, a master goldsmith in Strasbourg since 1609. The whole composition consciously repeats Stoskopff's slightly morbid Kitchen Still Life with a Calf's Head from 1640 (see below), which had already been a Memento mori of sorts.A poem in German written with chalk on a board hanging from the left side of the table reveals the meaning of the painting:
Kunst, Reichtum, Macht und Kühnheit stirbetDie Welt und all ihr Tun verdirbetEin Ewiges kommt nach dieser ZeitIhr Toren, flieht die Eitelkeit.(Art, Wealth, Power and Audacity dieThe World and all its Doing perishEternity arrives once this Time is overFools that you are, run away from Vanity) | [
"goldsmith",
"Musée de l'Œuvre Notre-Dame",
"iconography",
"symbol",
"Baroque",
"Musée des Beaux-Arts",
"Memento mori",
"still-life",
"Vanity",
"poem",
"allegorical",
"engraving",
"Strasbourg",
"death",
"composition",
"Alsatian",
"Sebastian Stoskopff",
"German",
"jester",
"hanap",
"still life painting",
"Jacques Callot",
"Paris",
"vanitas"
] |
|
17319_NT | Great Vanity (Stoskopff) | Focus on this artwork and discuss the abstract. | The Great Vanity is a 1641 Baroque allegorical still life painting by the Alsatian artist Sebastian Stoskopff. It is on display in the Musée de l'Œuvre Notre-Dame. Its inventory number is MBA 1249 ("MBA" stands for Musée des Beaux-Arts).The painting is the last, largest, and most ambitious of Stoskopff's vanitas still-lifes, and the sum of his painterly achievements at this point in his career (Stoskopff had just settled again in his hometown of Strasbourg, after many years in Paris). Among the multiple symbolic elements of its iconography relating to the frailty of existence and death, it quotes an engraving by Jacques Callot, depicting a jester. The three elaborate hanaps in the upper left edge of the painting are faithful depictions of works by Stoskopff's brother-in-law Nicolas Riedinger, a master goldsmith in Strasbourg since 1609. The whole composition consciously repeats Stoskopff's slightly morbid Kitchen Still Life with a Calf's Head from 1640 (see below), which had already been a Memento mori of sorts.A poem in German written with chalk on a board hanging from the left side of the table reveals the meaning of the painting:
Kunst, Reichtum, Macht und Kühnheit stirbetDie Welt und all ihr Tun verdirbetEin Ewiges kommt nach dieser ZeitIhr Toren, flieht die Eitelkeit.(Art, Wealth, Power and Audacity dieThe World and all its Doing perishEternity arrives once this Time is overFools that you are, run away from Vanity) | [
"goldsmith",
"Musée de l'Œuvre Notre-Dame",
"iconography",
"symbol",
"Baroque",
"Musée des Beaux-Arts",
"Memento mori",
"still-life",
"Vanity",
"poem",
"allegorical",
"engraving",
"Strasbourg",
"death",
"composition",
"Alsatian",
"Sebastian Stoskopff",
"German",
"jester",
"hanap",
"still life painting",
"Jacques Callot",
"Paris",
"vanitas"
] |
|
17320_T | In the Car | How does In the Car elucidate its abstract? | In the Car (sometimes Driving) is a 1963 pop art painting by Roy Lichtenstein. The smaller, older of the two versions of this painting formerly held the record for highest auction price for a Lichtenstein painting. The larger version has been in the collection of the Scottish National Gallery of Modern Art in Edinburgh since 1980. | [
"Roy Lichtenstein",
"pop art",
"Edinburgh",
"Scottish National Gallery of Modern Art"
] |
|
17320_NT | In the Car | How does this artwork elucidate its abstract? | In the Car (sometimes Driving) is a 1963 pop art painting by Roy Lichtenstein. The smaller, older of the two versions of this painting formerly held the record for highest auction price for a Lichtenstein painting. The larger version has been in the collection of the Scottish National Gallery of Modern Art in Edinburgh since 1980. | [
"Roy Lichtenstein",
"pop art",
"Edinburgh",
"Scottish National Gallery of Modern Art"
] |
|
17321_T | In the Car | Focus on In the Car and analyze the Background. | The painting is based on a panel illustrated by Tony Abruzzo in the comic book series Girls' Romances #78, dated September 1961 and published by Signal Publishing Corp. (the romance comic imprint of DC Comics). The painting was part of Lichtenstein's second solo exhibition at Leo Castelli Gallery from September 28 to October 24, 1963 that included Drowning Girl, Torpedo...Los!, Baseball Manager, Conversation, and Whaam! Marketing materials for the show included the lithograph artwork, Crak!The smaller version, which was the original version, from the estate of Roy Lichtenstein and consigned by his son Mitchell Lichtenstein, was sold in 2005. On November 8, 2005, it surpassed the previous Lichtenstein work record auction price of $7.1 million set when Happy Tears sold three years earlier (November 13, 2002). In the Car sold for $16.2 million at Christie's auction house in New York City. In November 2010, this figure was surpassed when Ohhh...Alright... was sold for a record US $42.6 million (£26.7 million), also at Christie's in New York. The hammer price was $38 million. | [
"comic book",
"Baseball Manager",
"Mitchell Lichtenstein",
"lithograph",
"DC Comics",
"Roy Lichtenstein",
"Christie's",
"hammer price",
"Signal Publishing Corp.",
"Crak!",
"Ohhh...Alright...",
"Happy Tears",
"Torpedo...Los!",
"Drowning Girl",
"Whaam!",
"Girls' Romances"
] |
|
17321_NT | In the Car | Focus on this artwork and analyze the Background. | The painting is based on a panel illustrated by Tony Abruzzo in the comic book series Girls' Romances #78, dated September 1961 and published by Signal Publishing Corp. (the romance comic imprint of DC Comics). The painting was part of Lichtenstein's second solo exhibition at Leo Castelli Gallery from September 28 to October 24, 1963 that included Drowning Girl, Torpedo...Los!, Baseball Manager, Conversation, and Whaam! Marketing materials for the show included the lithograph artwork, Crak!The smaller version, which was the original version, from the estate of Roy Lichtenstein and consigned by his son Mitchell Lichtenstein, was sold in 2005. On November 8, 2005, it surpassed the previous Lichtenstein work record auction price of $7.1 million set when Happy Tears sold three years earlier (November 13, 2002). In the Car sold for $16.2 million at Christie's auction house in New York City. In November 2010, this figure was surpassed when Ohhh...Alright... was sold for a record US $42.6 million (£26.7 million), also at Christie's in New York. The hammer price was $38 million. | [
"comic book",
"Baseball Manager",
"Mitchell Lichtenstein",
"lithograph",
"DC Comics",
"Roy Lichtenstein",
"Christie's",
"hammer price",
"Signal Publishing Corp.",
"Crak!",
"Ohhh...Alright...",
"Happy Tears",
"Torpedo...Los!",
"Drowning Girl",
"Whaam!",
"Girls' Romances"
] |
|
17322_T | In the Car | In In the Car, how is the Details discussed? | After 1972, 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. As with most of his early romance comics, this consisted of "a boy and a girl" subject. It is described as a tense, melodramatic graphic single-frame depiction of a romantic dialogue between a man and woman. Lichtenstein used horizontal parallel lines to convey the sense of motion. A November 1963 Art Magazine review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing the women to be miserable, such as Drowning Girl, Hopeless and In the Car. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states. "In the Car evokes a mood of resignation, with silence apparently prevailing as the woman stares stonily out the window." | [
"Drowning Girl"
] |
|
17322_NT | In the Car | In this artwork, how is the Details discussed? | After 1972, 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. As with most of his early romance comics, this consisted of "a boy and a girl" subject. It is described as a tense, melodramatic graphic single-frame depiction of a romantic dialogue between a man and woman. Lichtenstein used horizontal parallel lines to convey the sense of motion. A November 1963 Art Magazine review stated that this was one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery.In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing the women to be miserable, such as Drowning Girl, Hopeless and In the Car. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states. "In the Car evokes a mood of resignation, with silence apparently prevailing as the woman stares stonily out the window." | [
"Drowning Girl"
] |
|
17323_T | Studio Wall | Focus on Studio Wall and explore the abstract. | Studio Wall (1872) is an oil painting by the German artist Adolph Menzel, now in the collection of the Hamburger Kunsthalle. It is considered a masterpiece of his maturity, which he deemed his best painting.The painting depicts a red colored wall of the artist's studio at night, upon which are hung a series of plaster casts illuminated from below. The casts include portrait busts, death masks and life masks of friends of the artist, children, classical personae such as Dante and Schiller, male and female torsos, a dog and possibly Goethe or Wagner; art historian Werner Hofmann saw this assemblage as a conscious blurring of "the dividing line between fame and anonymity." Numerous commentators have noted that the array of dramatically lit casts "convey an uncanny impression of quasi-animateness."Studio Wall was preceded by a work of the same title painted in 1852, an oil on paper now in the Alte Nationalgalerie in Berlin. That painting features casts of two arms and a separate hand, the arms arranged so as to suggest a relationship to a body from which they have been removed.Studio Wall is also seen as related to Menzel's larger painting Iron Rolling Mill (1872–1875), for which it may have served as a study in dramatic lighting, yet it has greater import than that of a merely preparatory exercise, and may have functioned as a kind of memorial: the central death mask is that of the artist's friend Friedrich Eggers, the first critic sympathetic to Menzel's work. Eggers died in August 1872, and the painting is dated from October of that year. A contemplation on the transience of life, Studio Wall is also a bravura piece of alla prima painting.Interpretations of the work vary greatly. For art historian Julius Meier-Graefe, Studio Wall was a harmonious example of pictorial unity; to the contrary, Hofmann saw the painting as a "coded manifesto", a rejection by Menzel of academic canons in favor of an aesthetic that celebrated the fragmentary and disjointed, and symbolic of the triumph of painting over sculpture. Fried rejects Hofman's view of fragmentariness and anti-academicism, seeing the picture as a structured composition of objects arranged in successive rows. For Fried the likeliest allegorical meaning would be the sublimation of tangible existence to that of "phantasmagorias", a world inhabited by ghosts in the form of plaster casts. | [
"Adolph Menzel",
"Goethe",
"Dante",
"Friedrich Eggers",
"oil painting",
"Schiller",
"Wagner",
"Hamburger Kunsthalle",
"phantasmagoria",
"alla prima",
"Julius Meier-Graefe",
"Hamburg",
"Alte Nationalgalerie"
] |
|
17323_NT | Studio Wall | Focus on this artwork and explore the abstract. | Studio Wall (1872) is an oil painting by the German artist Adolph Menzel, now in the collection of the Hamburger Kunsthalle. It is considered a masterpiece of his maturity, which he deemed his best painting.The painting depicts a red colored wall of the artist's studio at night, upon which are hung a series of plaster casts illuminated from below. The casts include portrait busts, death masks and life masks of friends of the artist, children, classical personae such as Dante and Schiller, male and female torsos, a dog and possibly Goethe or Wagner; art historian Werner Hofmann saw this assemblage as a conscious blurring of "the dividing line between fame and anonymity." Numerous commentators have noted that the array of dramatically lit casts "convey an uncanny impression of quasi-animateness."Studio Wall was preceded by a work of the same title painted in 1852, an oil on paper now in the Alte Nationalgalerie in Berlin. That painting features casts of two arms and a separate hand, the arms arranged so as to suggest a relationship to a body from which they have been removed.Studio Wall is also seen as related to Menzel's larger painting Iron Rolling Mill (1872–1875), for which it may have served as a study in dramatic lighting, yet it has greater import than that of a merely preparatory exercise, and may have functioned as a kind of memorial: the central death mask is that of the artist's friend Friedrich Eggers, the first critic sympathetic to Menzel's work. Eggers died in August 1872, and the painting is dated from October of that year. A contemplation on the transience of life, Studio Wall is also a bravura piece of alla prima painting.Interpretations of the work vary greatly. For art historian Julius Meier-Graefe, Studio Wall was a harmonious example of pictorial unity; to the contrary, Hofmann saw the painting as a "coded manifesto", a rejection by Menzel of academic canons in favor of an aesthetic that celebrated the fragmentary and disjointed, and symbolic of the triumph of painting over sculpture. Fried rejects Hofman's view of fragmentariness and anti-academicism, seeing the picture as a structured composition of objects arranged in successive rows. For Fried the likeliest allegorical meaning would be the sublimation of tangible existence to that of "phantasmagorias", a world inhabited by ghosts in the form of plaster casts. | [
"Adolph Menzel",
"Goethe",
"Dante",
"Friedrich Eggers",
"oil painting",
"Schiller",
"Wagner",
"Hamburger Kunsthalle",
"phantasmagoria",
"alla prima",
"Julius Meier-Graefe",
"Hamburg",
"Alte Nationalgalerie"
] |
|
17324_T | The Muster Point | Focus on The Muster Point and explain the Site. | The land on which the work is installed is part of the site of the steelworks, originally chosen for its proximity to coal. The art work site in Muster Point Park was important to the members of the Newcastle Industrial Heritage Association and to former employees, who wanted to build the memorial. The nearby Newcastle Steelworkers Memorial by artist/ blacksmith Will Maguire which specifically "honours those who lost their lives in the steelmaking industry in Newcastle from 1915 to 1999" was dedicated on 2 June 2015. | [
"steelmaking",
"Steel",
"Newcastle"
] |
|
17324_NT | The Muster Point | Focus on this artwork and explain the Site. | The land on which the work is installed is part of the site of the steelworks, originally chosen for its proximity to coal. The art work site in Muster Point Park was important to the members of the Newcastle Industrial Heritage Association and to former employees, who wanted to build the memorial. The nearby Newcastle Steelworkers Memorial by artist/ blacksmith Will Maguire which specifically "honours those who lost their lives in the steelmaking industry in Newcastle from 1915 to 1999" was dedicated on 2 June 2015. | [
"steelmaking",
"Steel",
"Newcastle"
] |
|
17325_T | The Muster Point | Explore the Artist of this artwork, The Muster Point. | Sculptor Julie Squires was born in Newcastle in 1966. She trained at the Hunter Institute of Technology and Newcastle University and has created other works in bronze and other public art works in Newcastle, including Destiny at Dyke Point, which was commissioned by the Newcastle Port Corporation to mark 200 years of operation as Australia's first commercial port. | [
"Newcastle University",
"Newcastle Port Corporation",
"bronze",
"Julie Squires",
"Newcastle"
] |
|
17325_NT | The Muster Point | Explore the Artist of this artwork. | Sculptor Julie Squires was born in Newcastle in 1966. She trained at the Hunter Institute of Technology and Newcastle University and has created other works in bronze and other public art works in Newcastle, including Destiny at Dyke Point, which was commissioned by the Newcastle Port Corporation to mark 200 years of operation as Australia's first commercial port. | [
"Newcastle University",
"Newcastle Port Corporation",
"bronze",
"Julie Squires",
"Newcastle"
] |
|
17326_T | The Muster Point | Focus on The Muster Point and discuss the Design. | The Muster Point is designed as a "walk-through" steel and bronze sculpture with gates that are locked but can be opened to allow access. The sculptor described the Muster Point work "as a visual analogy to reflect the real life experiences of the employees of the Newcastle Steelworks, prior to the closure of the plant".Items associated with work at the steelworks are included in the design. For example, there is a whistle and a clock as well as a locomotive driver to represent the rail that moved all the steel. The images of four men on the gates represent friendship and the four walls create a skyline profile that references the one seen when looking at the plant. The cats are in recognition that the animals were dumped in the area.The relevant trade unions associated with steel manufacture are acknowledged by their initials, incorporated into one wall. Among them are the Federated Ironworkers' Association of Australia, the Maritime Union of Australia, the Transport Workers Union of Australia, the Electrical Trades Union of Australia, the Building Workers Industrial Union, the Operative Painters and Decorators Union, the Federated Clerks Union of Australia, the Australian Manufacturing Workers Union.
A cross is incorporated into the design to honour the people who lost their lives doing dangerous work for BHP. | [
"Maritime Union of Australia",
"BHP",
"bronze",
"Building Workers Industrial Union",
"Newcastle Steelworks",
"sculpture",
"locomotive",
"Australian Manufacturing Workers Union",
"Electrical Trades Union of Australia",
"Steel",
"Federated Ironworkers' Association of Australia",
"Transport Workers Union of Australia",
"Newcastle"
] |
|
17326_NT | The Muster Point | Focus on this artwork and discuss the Design. | The Muster Point is designed as a "walk-through" steel and bronze sculpture with gates that are locked but can be opened to allow access. The sculptor described the Muster Point work "as a visual analogy to reflect the real life experiences of the employees of the Newcastle Steelworks, prior to the closure of the plant".Items associated with work at the steelworks are included in the design. For example, there is a whistle and a clock as well as a locomotive driver to represent the rail that moved all the steel. The images of four men on the gates represent friendship and the four walls create a skyline profile that references the one seen when looking at the plant. The cats are in recognition that the animals were dumped in the area.The relevant trade unions associated with steel manufacture are acknowledged by their initials, incorporated into one wall. Among them are the Federated Ironworkers' Association of Australia, the Maritime Union of Australia, the Transport Workers Union of Australia, the Electrical Trades Union of Australia, the Building Workers Industrial Union, the Operative Painters and Decorators Union, the Federated Clerks Union of Australia, the Australian Manufacturing Workers Union.
A cross is incorporated into the design to honour the people who lost their lives doing dangerous work for BHP. | [
"Maritime Union of Australia",
"BHP",
"bronze",
"Building Workers Industrial Union",
"Newcastle Steelworks",
"sculpture",
"locomotive",
"Australian Manufacturing Workers Union",
"Electrical Trades Union of Australia",
"Steel",
"Federated Ironworkers' Association of Australia",
"Transport Workers Union of Australia",
"Newcastle"
] |
|
17327_T | Portrait of Kristóf Hegedűs | How does Portrait of Kristóf Hegedűs elucidate its abstract? | The Portrait of Kristóf Hegedűs is an 1844 painting by Hungarian painter József Borsos. It was one of his earliest works.
The oil on canvas measures 126.5 x 82 cm and is currently on display at the Historical Picture Gallery section of the Hungarian National Museum, Budapest | [
"painter",
"Hungarian National Museum",
"Budapest",
"Hungarian",
"József Borsos"
] |
|
17327_NT | Portrait of Kristóf Hegedűs | How does this artwork elucidate its abstract? | The Portrait of Kristóf Hegedűs is an 1844 painting by Hungarian painter József Borsos. It was one of his earliest works.
The oil on canvas measures 126.5 x 82 cm and is currently on display at the Historical Picture Gallery section of the Hungarian National Museum, Budapest | [
"painter",
"Hungarian National Museum",
"Budapest",
"Hungarian",
"József Borsos"
] |
|
17328_T | Joseph and Potiphar's Wife (etching) | Focus on Joseph and Potiphar's Wife (etching) and analyze the abstract. | Joseph and Potiphar's Wife is a 1634 etching by Rembrandt (Bartsch 39). It depicts a story from the Bible, wherein Potiphar's Wife attempts to seduce Joseph. It is signed and dated "Rembrandt f. 1634" (f. for fecit or "made this"), and exists in two states. | [
"Potiphar's Wife",
"Joseph",
"Bible",
"Bartsch",
"Potiphar",
"Rembrandt",
"states"
] |
|
17328_NT | Joseph and Potiphar's Wife (etching) | Focus on this artwork and analyze the abstract. | Joseph and Potiphar's Wife is a 1634 etching by Rembrandt (Bartsch 39). It depicts a story from the Bible, wherein Potiphar's Wife attempts to seduce Joseph. It is signed and dated "Rembrandt f. 1634" (f. for fecit or "made this"), and exists in two states. | [
"Potiphar's Wife",
"Joseph",
"Bible",
"Bartsch",
"Potiphar",
"Rembrandt",
"states"
] |
|
17329_T | Joseph and Potiphar's Wife (etching) | In Joseph and Potiphar's Wife (etching), how is the Description discussed? | According to the Book of Genesis 39:1–20, Joseph was bought as a slave by the Egyptian Potiphar, an officer of the Pharaoh. Potiphar's Wife tried to seduce Joseph, who eluded her advances. As Joseph repelled her attempt to lure him into her bed, she grabbed him by his coat: "And it came to pass about this time, that Joseph went into the house to do his business; and there was none of the men of the house there within. And she caught him by his garment, saying, Lie with me: and he left his garment in her hand, and fled, and got him out" (Genesis 39: 11–12). Citing his garment as evidence, Potiphar's wife falsely accused Joseph of having assaulted her, and he was sent to prison.
Rembrandt's etching is a dramatic presentation of the moment Potiphar's wife grabs the fleeing Joseph. Considered "unprecedented in its erotic candor", it shows Joseph averting his eyes from the frankly depicted nude lower body of his master's wife. Only an etching of 1600 by Antonio Tempesta had portrayed a comparable sexual aggressiveness. Despite compositional similarities to the Tempesta, Rembrandt's depiction of human emotions—Joseph's revulsion and the desperation of Potiphar's wife—is unique to him, and the work is more blunt in its suggestion of the woman's physical appetite. As in his 1638 etching of Adam and Eve, the explicit depiction of the female's vulva is unusual, and emphasizes the seductress's lasciviousness; a persistent notion from antiquity to 17th century Holland was that a woman's genitals hungered insatiably for the male's seed. Of some 300 etchings that Rembrandt produced, Joseph and Potiphar's Wife was one of only four or five that may be classified as erotica; these prints were not widely disseminated during his life.
A context for Rembrandt's unidealized interpretation of the nude was proposed by Kenneth Clark, who noted that the artist's female figures from the early 1630s marked a break with the abundant exuberance of his contemporary, Peter Paul Rubens, and were at stark contrast with the classicism of the conventional nude. Rembrandt's etchings offered a "defiant truthfulness", as well as a sense of pity for physical imperfections, the fat and wrinkles of the human body.Rembrandt may have intended moral implications in the dramatic use of light and shadow, with Joseph seen radiantly illuminated on the left side of the print and Potiphar's wife surrounded by the darkness of her bedchamber on the right. The rich tonal quality Rembrandt achieved in early etchings like Joseph and Potiphar's Wife was produced by his building dark areas with multiple overlays of hatched lines, gained through repeated work on successive states of the print.The original printing plate survives in a private collection. The changes between the two states are minor, with some extra touches being added to the bed and bedding. Rembrandt made etchings of two earlier episodes in Joseph's story, in B 37 (1638) and B 38 (c. 1633), which are similar sizes but in a vertical "portrait" format. | [
"Potiphar's Wife",
"Joseph",
"Peter Paul Rubens",
"Potiphar",
"Potiphar's wife",
"Rembrandt",
"left",
"Antonio Tempesta",
"states",
"Book of Genesis",
"Pharaoh",
"Kenneth Clark"
] |
|
17329_NT | Joseph and Potiphar's Wife (etching) | In this artwork, how is the Description discussed? | According to the Book of Genesis 39:1–20, Joseph was bought as a slave by the Egyptian Potiphar, an officer of the Pharaoh. Potiphar's Wife tried to seduce Joseph, who eluded her advances. As Joseph repelled her attempt to lure him into her bed, she grabbed him by his coat: "And it came to pass about this time, that Joseph went into the house to do his business; and there was none of the men of the house there within. And she caught him by his garment, saying, Lie with me: and he left his garment in her hand, and fled, and got him out" (Genesis 39: 11–12). Citing his garment as evidence, Potiphar's wife falsely accused Joseph of having assaulted her, and he was sent to prison.
Rembrandt's etching is a dramatic presentation of the moment Potiphar's wife grabs the fleeing Joseph. Considered "unprecedented in its erotic candor", it shows Joseph averting his eyes from the frankly depicted nude lower body of his master's wife. Only an etching of 1600 by Antonio Tempesta had portrayed a comparable sexual aggressiveness. Despite compositional similarities to the Tempesta, Rembrandt's depiction of human emotions—Joseph's revulsion and the desperation of Potiphar's wife—is unique to him, and the work is more blunt in its suggestion of the woman's physical appetite. As in his 1638 etching of Adam and Eve, the explicit depiction of the female's vulva is unusual, and emphasizes the seductress's lasciviousness; a persistent notion from antiquity to 17th century Holland was that a woman's genitals hungered insatiably for the male's seed. Of some 300 etchings that Rembrandt produced, Joseph and Potiphar's Wife was one of only four or five that may be classified as erotica; these prints were not widely disseminated during his life.
A context for Rembrandt's unidealized interpretation of the nude was proposed by Kenneth Clark, who noted that the artist's female figures from the early 1630s marked a break with the abundant exuberance of his contemporary, Peter Paul Rubens, and were at stark contrast with the classicism of the conventional nude. Rembrandt's etchings offered a "defiant truthfulness", as well as a sense of pity for physical imperfections, the fat and wrinkles of the human body.Rembrandt may have intended moral implications in the dramatic use of light and shadow, with Joseph seen radiantly illuminated on the left side of the print and Potiphar's wife surrounded by the darkness of her bedchamber on the right. The rich tonal quality Rembrandt achieved in early etchings like Joseph and Potiphar's Wife was produced by his building dark areas with multiple overlays of hatched lines, gained through repeated work on successive states of the print.The original printing plate survives in a private collection. The changes between the two states are minor, with some extra touches being added to the bed and bedding. Rembrandt made etchings of two earlier episodes in Joseph's story, in B 37 (1638) and B 38 (c. 1633), which are similar sizes but in a vertical "portrait" format. | [
"Potiphar's Wife",
"Joseph",
"Peter Paul Rubens",
"Potiphar",
"Potiphar's wife",
"Rembrandt",
"left",
"Antonio Tempesta",
"states",
"Book of Genesis",
"Pharaoh",
"Kenneth Clark"
] |
|
17330_T | Chicago Stock Exchange Arch | Focus on Chicago Stock Exchange Arch and explore the abstract. | The Chicago Stock Exchange Arch is one of the few surviving fragments from the Chicago Stock Exchange building designed in 1893, installed outside the Art Institute of Chicago, in the U.S. state of Illinois. The arch was sculpted by Dankmar Adler & Louis Sullivan in 1893 and was preserved when the building was demolished in 1972. It was installed outside the Art Institute of Chicago in 1977. | [
"Louis Sullivan",
"U.S. state",
"Dankmar Adler",
"Dankmar Adler & Louis Sullivan",
"Art Institute of Chicago",
"Chicago",
"Chicago Stock Exchange",
"Illinois"
] |
|
17330_NT | Chicago Stock Exchange Arch | Focus on this artwork and explore the abstract. | The Chicago Stock Exchange Arch is one of the few surviving fragments from the Chicago Stock Exchange building designed in 1893, installed outside the Art Institute of Chicago, in the U.S. state of Illinois. The arch was sculpted by Dankmar Adler & Louis Sullivan in 1893 and was preserved when the building was demolished in 1972. It was installed outside the Art Institute of Chicago in 1977. | [
"Louis Sullivan",
"U.S. state",
"Dankmar Adler",
"Dankmar Adler & Louis Sullivan",
"Art Institute of Chicago",
"Chicago",
"Chicago Stock Exchange",
"Illinois"
] |
|
17331_T | Drake Fountain | Focus on Drake Fountain and explain the abstract. | The Drake Fountain, also known as the Columbus Monument, is located on a triangular site bounded by 92nd Street, South Chicago Avenue and Exchange Avenue in the Chicago neighborhood known as South Chicago. | [
"Drake",
"Chicago",
"South Chicago"
] |
|
17331_NT | Drake Fountain | Focus on this artwork and explain the abstract. | The Drake Fountain, also known as the Columbus Monument, is located on a triangular site bounded by 92nd Street, South Chicago Avenue and Exchange Avenue in the Chicago neighborhood known as South Chicago. | [
"Drake",
"Chicago",
"South Chicago"
] |
|
17332_T | Drake Fountain | Explore the History of this artwork, Drake Fountain. | John B. Drake, owner of the city's Grand Pacific Hotel and later the Drake and Blackstone Hotels, gave the fountain to the residents so those in The Loop would have chilled drinking water. The structure was designed by Richard Henry Park and originally stood on Washington Street adjacent to Chicago City Hall. The monument was dedicated in December 1892 to the 400th anniversary of the first voyage of Christopher Columbus. In 1906, it was moved to LaSalle Street and, in 1909, to its present site. | [
"The Loop",
"Richard Henry Park",
"Drake",
"John B. Drake",
"Grand Pacific Hotel",
"Chicago",
"Christopher Columbus",
"Blackstone Hotels"
] |
|
17332_NT | Drake Fountain | Explore the History of this artwork. | John B. Drake, owner of the city's Grand Pacific Hotel and later the Drake and Blackstone Hotels, gave the fountain to the residents so those in The Loop would have chilled drinking water. The structure was designed by Richard Henry Park and originally stood on Washington Street adjacent to Chicago City Hall. The monument was dedicated in December 1892 to the 400th anniversary of the first voyage of Christopher Columbus. In 1906, it was moved to LaSalle Street and, in 1909, to its present site. | [
"The Loop",
"Richard Henry Park",
"Drake",
"John B. Drake",
"Grand Pacific Hotel",
"Chicago",
"Christopher Columbus",
"Blackstone Hotels"
] |
|
17333_T | Drake Fountain | Focus on Drake Fountain and discuss the Architecture. | The fountain is composed of granite and designed in the Gothic Revival style. It consists of a square column with a pyramidal cap on a quatrefoil base. The column and cap are ornamented with classical columns and other carvings. At each corner of the column is a flying buttress which rises behind a large circular basin. The basins originally were drinking fountains and were chilled by ice blocks placed in the monument's base but currently serve as planters. The chambers under the fountain were large enough to accommodate two-tons of ice.
A bronze statue of Christopher Columbus stands in front of the column on a square granite base. Columbus is depicted during his university days and holds globe in his left hand and a compass in his right. Above the statue is a bronze plaque stating ICE WATER FOUNTAIN GIFT OF JOHN B. DRAKE TO THE CITY OF CHICAGO 1892.
The fountain was refurbished in 1986 and became a Chicago landmark March 10, 2004. It was rededicated October 8, 2004. | [
"flying buttress",
"Gothic Revival",
"Chicago",
"quatrefoil",
"Christopher Columbus"
] |
|
17333_NT | Drake Fountain | Focus on this artwork and discuss the Architecture. | The fountain is composed of granite and designed in the Gothic Revival style. It consists of a square column with a pyramidal cap on a quatrefoil base. The column and cap are ornamented with classical columns and other carvings. At each corner of the column is a flying buttress which rises behind a large circular basin. The basins originally were drinking fountains and were chilled by ice blocks placed in the monument's base but currently serve as planters. The chambers under the fountain were large enough to accommodate two-tons of ice.
A bronze statue of Christopher Columbus stands in front of the column on a square granite base. Columbus is depicted during his university days and holds globe in his left hand and a compass in his right. Above the statue is a bronze plaque stating ICE WATER FOUNTAIN GIFT OF JOHN B. DRAKE TO THE CITY OF CHICAGO 1892.
The fountain was refurbished in 1986 and became a Chicago landmark March 10, 2004. It was rededicated October 8, 2004. | [
"flying buttress",
"Gothic Revival",
"Chicago",
"quatrefoil",
"Christopher Columbus"
] |
|
17334_T | Drake Fountain | How does Drake Fountain elucidate its Removal of Christopher Columbus statue? | On July 31, 2020, the Drake Fountain Columbus statue, which was also the last Christopher Columbus monument in Chicago, was removed for undisclosed period. The Mayor's office released a statement claiming "Following public safety concerns over planned demonstrations similar to the one in Grant Park two weeks ago, the city has temporarily relocated the Christopher Columbus statue at Drake Fountain in the South Chicago neighborhood until further notice.” | [
"Drake",
"Chicago",
"Christopher Columbus",
"South Chicago"
] |
|
17334_NT | Drake Fountain | How does this artwork elucidate its Removal of Christopher Columbus statue? | On July 31, 2020, the Drake Fountain Columbus statue, which was also the last Christopher Columbus monument in Chicago, was removed for undisclosed period. The Mayor's office released a statement claiming "Following public safety concerns over planned demonstrations similar to the one in Grant Park two weeks ago, the city has temporarily relocated the Christopher Columbus statue at Drake Fountain in the South Chicago neighborhood until further notice.” | [
"Drake",
"Chicago",
"Christopher Columbus",
"South Chicago"
] |
|
17335_T | Crucifixion with Mary Magdalene | Focus on Crucifixion with Mary Magdalene and analyze the abstract. | The Crucifixion with Mary Magdalene (sometimes called the "Pazzi Crucifixion") is a fresco of c. 1495 of the Crucifixion of Christ by Perugino in the chapter house of the Cistercian monastery of Santa Maria Maddalena dei Pazzi in Florence. It is his most notable work in Florence. It was a commission from the Pucci family - Antonio Billi's account book reports Dionigi and Giovanna Pucci commissioning a work from "Master Piero della Pieve a Chastello, a Perugian" on 20 November 1493 and paying 55 gold ducats on its completion on 20 April 1496.
The central panel shows Mary Magdalene (to whom the monastery church was dedicated in 1257) in prayer at the foot of the cross. The left panel shows the Virgin Mary with Saint Bernard (a major leader in the reform of Benedictine monasticism that caused the formation of the Cistercian order) and the right one shows John the Apostle with Saint Benedict. The three tall trees behind St Bernard may symbolise the Holy Trinity. A fourth panel on the north wall (the others are on the east wall) shows Christ lowering himself from the cross to hold the hands of St Bernard.
The work is also mentioned in 16th century sources, although it was forgotten after the monastery passed to Carmelite nuns in 1628. In 1867 the nuns moved out and the convent was abandoned, leading to the rediscovery of the fresco. | [
"Mary Magdalene",
"Florence",
"Saint Benedict",
"Crucifixion with Mary Magdalene",
"Trinity",
"Holy Trinity",
"left",
"Perugino",
"Saint Bernard",
"Crucifixion of Christ",
"John the Apostle",
"Cistercian"
] |
|
17335_NT | Crucifixion with Mary Magdalene | Focus on this artwork and analyze the abstract. | The Crucifixion with Mary Magdalene (sometimes called the "Pazzi Crucifixion") is a fresco of c. 1495 of the Crucifixion of Christ by Perugino in the chapter house of the Cistercian monastery of Santa Maria Maddalena dei Pazzi in Florence. It is his most notable work in Florence. It was a commission from the Pucci family - Antonio Billi's account book reports Dionigi and Giovanna Pucci commissioning a work from "Master Piero della Pieve a Chastello, a Perugian" on 20 November 1493 and paying 55 gold ducats on its completion on 20 April 1496.
The central panel shows Mary Magdalene (to whom the monastery church was dedicated in 1257) in prayer at the foot of the cross. The left panel shows the Virgin Mary with Saint Bernard (a major leader in the reform of Benedictine monasticism that caused the formation of the Cistercian order) and the right one shows John the Apostle with Saint Benedict. The three tall trees behind St Bernard may symbolise the Holy Trinity. A fourth panel on the north wall (the others are on the east wall) shows Christ lowering himself from the cross to hold the hands of St Bernard.
The work is also mentioned in 16th century sources, although it was forgotten after the monastery passed to Carmelite nuns in 1628. In 1867 the nuns moved out and the convent was abandoned, leading to the rediscovery of the fresco. | [
"Mary Magdalene",
"Florence",
"Saint Benedict",
"Crucifixion with Mary Magdalene",
"Trinity",
"Holy Trinity",
"left",
"Perugino",
"Saint Bernard",
"Crucifixion of Christ",
"John the Apostle",
"Cistercian"
] |
|
17336_T | Crucifixion with Mary Magdalene | In Crucifixion with Mary Magdalene, how is the Bibliography (in Italian) discussed? | Vittoria Garibaldi, Perugino, in Pittori del Rinascimento, Scala, Florence, 2004 ISBN 88-8117-099-X
Pierluigi De Vecchi, Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milan, 1999 ISBN 88-451-7212-0
(in Italian) Entry on Polomuseale.firenze.it | [
"Florence",
"Perugino",
"Bompiani"
] |
|
17336_NT | Crucifixion with Mary Magdalene | In this artwork, how is the Bibliography (in Italian) discussed? | Vittoria Garibaldi, Perugino, in Pittori del Rinascimento, Scala, Florence, 2004 ISBN 88-8117-099-X
Pierluigi De Vecchi, Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milan, 1999 ISBN 88-451-7212-0
(in Italian) Entry on Polomuseale.firenze.it | [
"Florence",
"Perugino",
"Bompiani"
] |
|
17337_T | The Archangel Michael (Poulakis) | Focus on The Archangel Michael (Poulakis) and explore the abstract. | The Archangel Michael was created by Greek painter Theodore Poulakis. He was also a teacher. He was affiliated with Greek painter Philotheos Skoufos. Poulakis was active on the Ionian Islands and Venice. He studied painting in Venice for over a decade. He was also involved with Venetian politics. He was a member of the quarantia. He was a representative of two schools, the Cretan School and Heptanese School. He is considered one of the founding members of the Heptanese School along with Elias Moskos. One hundred thirty of his paintings survived.The Archangel Micheal is a biblical figure associated with the old testament. The earliest surviving documented usage of his name is from 3rd and 2nd-century Hebrew texts. He is often associated with the apocalypse. He is often the chief of the angels and archangels. He is typically responsible for the care of humanity. Christianity adopted old testament traditions concerning the Archangel. Michael is mentioned explicitly in Revelation 12:7–12, where he battles Satan. He has been depicted in Greek Italian Byzantine art since the dawn of the new religion.
Cretan Renaissance art and Baroque Roccoco Ionian art was heavily influenced by Italian art. One exemplary depiction of the Archangel was completed by Italian painter Raphael in his world-famous painting entitled St. Michael Vanquishing Satan. Elias Moskos also completed a version of the Archangel. Poulaki's version is a blend of both Italian and Greek prototypes. The work of art lies on the boundary of the Late Cretan School and Early Heptanese School. The work of art is at the Benaki Museum in Athens Greece. | [
"Heptanese School",
"Cretan Renaissance",
"Ionian Islands",
"Raphael",
"Archangel",
"Poulakis",
"St. Michael Vanquishing Satan",
"archangels",
"Cretan School",
"quarantia",
"Elias Moskos",
"Archangel Micheal",
"angels",
"Theodore Poulakis",
"Venice",
"Benaki Museum",
"Poulaki's",
"Moskos",
"Philotheos Skoufos",
"Ionian art"
] |
|
17337_NT | The Archangel Michael (Poulakis) | Focus on this artwork and explore the abstract. | The Archangel Michael was created by Greek painter Theodore Poulakis. He was also a teacher. He was affiliated with Greek painter Philotheos Skoufos. Poulakis was active on the Ionian Islands and Venice. He studied painting in Venice for over a decade. He was also involved with Venetian politics. He was a member of the quarantia. He was a representative of two schools, the Cretan School and Heptanese School. He is considered one of the founding members of the Heptanese School along with Elias Moskos. One hundred thirty of his paintings survived.The Archangel Micheal is a biblical figure associated with the old testament. The earliest surviving documented usage of his name is from 3rd and 2nd-century Hebrew texts. He is often associated with the apocalypse. He is often the chief of the angels and archangels. He is typically responsible for the care of humanity. Christianity adopted old testament traditions concerning the Archangel. Michael is mentioned explicitly in Revelation 12:7–12, where he battles Satan. He has been depicted in Greek Italian Byzantine art since the dawn of the new religion.
Cretan Renaissance art and Baroque Roccoco Ionian art was heavily influenced by Italian art. One exemplary depiction of the Archangel was completed by Italian painter Raphael in his world-famous painting entitled St. Michael Vanquishing Satan. Elias Moskos also completed a version of the Archangel. Poulaki's version is a blend of both Italian and Greek prototypes. The work of art lies on the boundary of the Late Cretan School and Early Heptanese School. The work of art is at the Benaki Museum in Athens Greece. | [
"Heptanese School",
"Cretan Renaissance",
"Ionian Islands",
"Raphael",
"Archangel",
"Poulakis",
"St. Michael Vanquishing Satan",
"archangels",
"Cretan School",
"quarantia",
"Elias Moskos",
"Archangel Micheal",
"angels",
"Theodore Poulakis",
"Venice",
"Benaki Museum",
"Poulaki's",
"Moskos",
"Philotheos Skoufos",
"Ionian art"
] |
|
17338_T | The Archangel Michael (Poulakis) | Focus on The Archangel Michael (Poulakis) and explain the Description. | The materials used for The Archangel Michael were tempera and gold leaf on wood panel. The height of the painting is 76 cm (29.92 in) and the width is 54.3 cm (21.37 in). The work of art follows the traditional maniera greca but the style is far more advanced than Byzantine and Cretan art. The painter employs an advanced painting style that evolved on the Ionian Islands. The masterpiece has roots in the Late Cretan School. The gilded gold background is still intact. Raphael and his contemporaries chose to remove the majestic exalting divine gold background for a more natural setting utilizing the background, foreground, and middle ground. Poulaki's painting superfluously venerates the Archangel and constructs a sculpturesque figure dressed in a lavish costume, with luxuriant patterns and brilliant colors. His cape floats creating a weightless setting. The artist employs an advanced shadowing method. Poulakis adds dimension to the shallow stage for the figures. The Archangel's legs stand on a wolflike demon. The wolflike demonic figure is present in the works of Leos Mosko's The Last Judgment, Georgios Klontza's The Last Judgment, and Poulaki's In Thee Rejoiceth . The wolflike demon captivates the audience with its expression of fright and terror. The Archangel suppresses and subjugates the powerful demonic entity with his exquisitely painted Lance, historically referred to as The Lance of Michael. The painter was an expert in the cangiante. The demonic figure is muscular, the hairs are a brilliant variation of brown. The brushstrokes of his fur clearly demonstrate grooves, lines, and contours. The painter clearly reveals the creature's hair as he floats on a pool of fire. The monster's paw and nails are grasping for The Lance of Michael. The painting is signed in the lower right-hand corner. | [
"cangiante",
"Ionian Islands",
"Raphael",
"right",
"Archangel",
"Poulakis",
"The Last Judgment",
"Cretan School",
"Leos Mosko",
"Georgios Klontza",
"In Thee Rejoiceth ",
"maniera greca",
"Poulaki's"
] |
|
17338_NT | The Archangel Michael (Poulakis) | Focus on this artwork and explain the Description. | The materials used for The Archangel Michael were tempera and gold leaf on wood panel. The height of the painting is 76 cm (29.92 in) and the width is 54.3 cm (21.37 in). The work of art follows the traditional maniera greca but the style is far more advanced than Byzantine and Cretan art. The painter employs an advanced painting style that evolved on the Ionian Islands. The masterpiece has roots in the Late Cretan School. The gilded gold background is still intact. Raphael and his contemporaries chose to remove the majestic exalting divine gold background for a more natural setting utilizing the background, foreground, and middle ground. Poulaki's painting superfluously venerates the Archangel and constructs a sculpturesque figure dressed in a lavish costume, with luxuriant patterns and brilliant colors. His cape floats creating a weightless setting. The artist employs an advanced shadowing method. Poulakis adds dimension to the shallow stage for the figures. The Archangel's legs stand on a wolflike demon. The wolflike demonic figure is present in the works of Leos Mosko's The Last Judgment, Georgios Klontza's The Last Judgment, and Poulaki's In Thee Rejoiceth . The wolflike demon captivates the audience with its expression of fright and terror. The Archangel suppresses and subjugates the powerful demonic entity with his exquisitely painted Lance, historically referred to as The Lance of Michael. The painter was an expert in the cangiante. The demonic figure is muscular, the hairs are a brilliant variation of brown. The brushstrokes of his fur clearly demonstrate grooves, lines, and contours. The painter clearly reveals the creature's hair as he floats on a pool of fire. The monster's paw and nails are grasping for The Lance of Michael. The painting is signed in the lower right-hand corner. | [
"cangiante",
"Ionian Islands",
"Raphael",
"right",
"Archangel",
"Poulakis",
"The Last Judgment",
"Cretan School",
"Leos Mosko",
"Georgios Klontza",
"In Thee Rejoiceth ",
"maniera greca",
"Poulaki's"
] |
|
17339_T | World War I Memorial Flagpole (Hawkins) | Explore the Description of this artwork, World War I Memorial Flagpole (Hawkins). | It is a flagpole topped with a bronze eagle; four stylized figures are cast in relief around the octagonal base.
Dimensions at the base are approximately 17 1/2 x 57 x 57 inches. | [
"bronze"
] |
|
17339_NT | World War I Memorial Flagpole (Hawkins) | Explore the Description of this artwork. | It is a flagpole topped with a bronze eagle; four stylized figures are cast in relief around the octagonal base.
Dimensions at the base are approximately 17 1/2 x 57 x 57 inches. | [
"bronze"
] |
|
17340_T | World War I Memorial Flagpole (Hawkins) | Focus on World War I Memorial Flagpole (Hawkins) and discuss the Information. | It was sculpted by Benjamin Franklin Hawkins (born 1896) and made at Kunst Foundry.
Its Smithsonian Control Number is IAS 74020038.
Located in MacArthur Square, Northeast corner of North Prospect Avenue and Lincoln Memorial Drive, Milwaukee, Wisconsin, it is administered by the City of Milwaukee, Bureau of Bridges & Public Buildings, 841 North Broadway, Milwaukee, Wisconsin 53202.
It was erected by Service Star Legion, Inc. Milwaukee Chapter 1934. Moved June 1979 to present site from triangle at West Wells Street, North Plankinton and North 2nd streets.
It was surveyed July 1993 and rated as "Treatment needed". | [
"Milwaukee",
"Benjamin Franklin Hawkins",
"Milwaukee, Wisconsin"
] |
|
17340_NT | World War I Memorial Flagpole (Hawkins) | Focus on this artwork and discuss the Information. | It was sculpted by Benjamin Franklin Hawkins (born 1896) and made at Kunst Foundry.
Its Smithsonian Control Number is IAS 74020038.
Located in MacArthur Square, Northeast corner of North Prospect Avenue and Lincoln Memorial Drive, Milwaukee, Wisconsin, it is administered by the City of Milwaukee, Bureau of Bridges & Public Buildings, 841 North Broadway, Milwaukee, Wisconsin 53202.
It was erected by Service Star Legion, Inc. Milwaukee Chapter 1934. Moved June 1979 to present site from triangle at West Wells Street, North Plankinton and North 2nd streets.
It was surveyed July 1993 and rated as "Treatment needed". | [
"Milwaukee",
"Benjamin Franklin Hawkins",
"Milwaukee, Wisconsin"
] |
|
17341_T | Adoration of the Shepherds (Rubens) | How does Adoration of the Shepherds (Rubens) elucidate its abstract? | Adoration of the Shepherds is an oil on canvas painting dating to 1608, painted by Peter Paul Rubens. It is now in the Pinacoteca civica in Fermo, Italy. It was rediscovered at the start of the twentieth century by the art historian Roberto Longhi, who identified it with the painting recorded as La notte in 1607.Produced in around three months for the church of saint Philip Neri in Fermo, its chiaroscuro is in the style of Caravaggio, who Rubens had got to know in Rome during the Flemish painter's ten years' study in Italy. The painting is also heavily influenced by Correggio's La Notte.
It shows the shepherds reaching the stable of the Nativity, with the Virgin Mary showing the baby Jesus to the shepherds, four swirling angels holding up a scroll announcing Jesus's birth and with St Joseph, two female figures and two male figures in the left background. It has recently been suggested that the elderly female figure can be identified with the disbelieving midwife of the Gospel of James, raising her hands to heaven as she is cured. | [
"Fermo",
"Gospel of James",
"Peter Paul Rubens",
"Caravaggio",
"Rubens",
"Roberto Longhi",
"saint Philip Neri",
"Correggio",
"chiaroscuro",
"La Notte",
"Pinacoteca civica in Fermo"
] |
|
17341_NT | Adoration of the Shepherds (Rubens) | How does this artwork elucidate its abstract? | Adoration of the Shepherds is an oil on canvas painting dating to 1608, painted by Peter Paul Rubens. It is now in the Pinacoteca civica in Fermo, Italy. It was rediscovered at the start of the twentieth century by the art historian Roberto Longhi, who identified it with the painting recorded as La notte in 1607.Produced in around three months for the church of saint Philip Neri in Fermo, its chiaroscuro is in the style of Caravaggio, who Rubens had got to know in Rome during the Flemish painter's ten years' study in Italy. The painting is also heavily influenced by Correggio's La Notte.
It shows the shepherds reaching the stable of the Nativity, with the Virgin Mary showing the baby Jesus to the shepherds, four swirling angels holding up a scroll announcing Jesus's birth and with St Joseph, two female figures and two male figures in the left background. It has recently been suggested that the elderly female figure can be identified with the disbelieving midwife of the Gospel of James, raising her hands to heaven as she is cured. | [
"Fermo",
"Gospel of James",
"Peter Paul Rubens",
"Caravaggio",
"Rubens",
"Roberto Longhi",
"saint Philip Neri",
"Correggio",
"chiaroscuro",
"La Notte",
"Pinacoteca civica in Fermo"
] |
|
17342_T | Heart Scarab of Hatnefer | Focus on Heart Scarab of Hatnefer and analyze the abstract. | The Heart Scarab of Hatnefer is a piece of funerary jewelry dating to the 15th century BC. Done in gold and serpentinite, the Heart scarab was intended to be interred with a person of importance. The piece is currently in the collection of the Metropolitan Museum of Art. | [
"serpentinite",
"jewelry",
"Art",
"Heart scarab",
"Hatnefer",
"scarab",
"funerary",
"gold",
"interred",
"Metropolitan Museum of Art"
] |
|
17342_NT | Heart Scarab of Hatnefer | Focus on this artwork and analyze the abstract. | The Heart Scarab of Hatnefer is a piece of funerary jewelry dating to the 15th century BC. Done in gold and serpentinite, the Heart scarab was intended to be interred with a person of importance. The piece is currently in the collection of the Metropolitan Museum of Art. | [
"serpentinite",
"jewelry",
"Art",
"Heart scarab",
"Hatnefer",
"scarab",
"funerary",
"gold",
"interred",
"Metropolitan Museum of Art"
] |
|
17343_T | Heart Scarab of Hatnefer | In Heart Scarab of Hatnefer, how is the Description discussed? | The work, dating to the Eighteenth Dynasty of Egypt, is intricately detailed; the scarab (a common symbol associated with the god Khepri) at the center of the work is carved from a single mottled grey-green serpentinite stone. This figure is mounted on a gold base, and is fastened to said base by more gold. A chapter from the Book of the Dead is inscribed on the object, indicating that the work was intended to be buried with Egyptian noblewoman Hatnefer. Specificity, the inscription invokes Spell 30 from Chapter A of the Book of the Dead, entreating the gods to not judge Hatnefer's heart in the afterlife.
As noted by the Metropolitan Museum of Art, Hatnefer's name was inscribed on the piece over another name, indicating that the scarab was originally not meant for her. | [
"serpentinite",
"Art",
"Eighteenth Dynasty of Egypt",
"Hatnefer",
"Book of the Dead",
"scarab",
"gold",
"Khepri",
"Metropolitan Museum of Art"
] |
|
17343_NT | Heart Scarab of Hatnefer | In this artwork, how is the Description discussed? | The work, dating to the Eighteenth Dynasty of Egypt, is intricately detailed; the scarab (a common symbol associated with the god Khepri) at the center of the work is carved from a single mottled grey-green serpentinite stone. This figure is mounted on a gold base, and is fastened to said base by more gold. A chapter from the Book of the Dead is inscribed on the object, indicating that the work was intended to be buried with Egyptian noblewoman Hatnefer. Specificity, the inscription invokes Spell 30 from Chapter A of the Book of the Dead, entreating the gods to not judge Hatnefer's heart in the afterlife.
As noted by the Metropolitan Museum of Art, Hatnefer's name was inscribed on the piece over another name, indicating that the scarab was originally not meant for her. | [
"serpentinite",
"Art",
"Eighteenth Dynasty of Egypt",
"Hatnefer",
"Book of the Dead",
"scarab",
"gold",
"Khepri",
"Metropolitan Museum of Art"
] |
|
17344_T | White House at Night | Focus on White House at Night and explore the abstract. | White House at Night is an oil-on-canvas painting created on 16 June 1890 in the small town of Auvers-sur-Oise by Vincent van Gogh, six weeks before his death. It is displayed at the Hermitage Museum, St. Petersburg.
According to the Hermitage Museum, the painting "expresses the great psychological tension under which Van Gogh found himself"; two of the windows, considered the "eyes" of a home, are rendered with "alarming" red splashes, while the star, a sign of fate, is seen as symbolic of van Gogh's anguish.It is thought that van Gogh painted White House at Night around 8:00 PM due to the position of the "star" in the painting. Astronomers Donald Olson and Russell Doescher from the Texas State University-San Marcos calculated that the star in the painting must be Venus which was bright in the evening sky in June 1890. The house is the same one depicted in Blossoming Chestnut Tree.The painting has a turbulent history. It was exhibited in Switzerland several times during the 1920s, but in the late 1920s disappeared into the private collection of German industrialist Otto Krebs. Many of his acquisitions were of a style which was soon to be labelled "degenerate art" by the Nazis, which contributed towards the already publicity-shy Krebs keeping his collection secret.Thought to have been lost after World War II, the painting languished in the Hermitage archives for fifty years before resurfacing in 1995 as part of an exhibition displaying artworks looted by the Soviets at the end of the war. Three other van Goghs from Krebs's collection were also shown: Landscape with House and Ploughman, Morning: Going out to Work (After Millet), and the Portrait of Madame Trabuc. | [
"Portrait of Madame Trabuc",
"Otto Krebs",
"Soviets",
"Donald Olson",
"Hermitage Museum",
"Texas State University",
"Blossoming Chestnut Tree",
"Texas State University-San Marcos",
"Landscape with House and Ploughman",
"Auvers-sur-Oise",
"Vincent van Gogh",
"degenerate art",
"World War II",
"Morning: Going out to Work (After Millet)"
] |
|
17344_NT | White House at Night | Focus on this artwork and explore the abstract. | White House at Night is an oil-on-canvas painting created on 16 June 1890 in the small town of Auvers-sur-Oise by Vincent van Gogh, six weeks before his death. It is displayed at the Hermitage Museum, St. Petersburg.
According to the Hermitage Museum, the painting "expresses the great psychological tension under which Van Gogh found himself"; two of the windows, considered the "eyes" of a home, are rendered with "alarming" red splashes, while the star, a sign of fate, is seen as symbolic of van Gogh's anguish.It is thought that van Gogh painted White House at Night around 8:00 PM due to the position of the "star" in the painting. Astronomers Donald Olson and Russell Doescher from the Texas State University-San Marcos calculated that the star in the painting must be Venus which was bright in the evening sky in June 1890. The house is the same one depicted in Blossoming Chestnut Tree.The painting has a turbulent history. It was exhibited in Switzerland several times during the 1920s, but in the late 1920s disappeared into the private collection of German industrialist Otto Krebs. Many of his acquisitions were of a style which was soon to be labelled "degenerate art" by the Nazis, which contributed towards the already publicity-shy Krebs keeping his collection secret.Thought to have been lost after World War II, the painting languished in the Hermitage archives for fifty years before resurfacing in 1995 as part of an exhibition displaying artworks looted by the Soviets at the end of the war. Three other van Goghs from Krebs's collection were also shown: Landscape with House and Ploughman, Morning: Going out to Work (After Millet), and the Portrait of Madame Trabuc. | [
"Portrait of Madame Trabuc",
"Otto Krebs",
"Soviets",
"Donald Olson",
"Hermitage Museum",
"Texas State University",
"Blossoming Chestnut Tree",
"Texas State University-San Marcos",
"Landscape with House and Ploughman",
"Auvers-sur-Oise",
"Vincent van Gogh",
"degenerate art",
"World War II",
"Morning: Going out to Work (After Millet)"
] |
|
17345_T | Two Mills (Ruisdael) | Focus on Two Mills (Ruisdael) and explain the abstract. | Two Mills is a 1650s painting by the Dutch painter Jacob van Ruisdael. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 625.The painting belongs to a series of depictions of a watermill either at Singraven near Denekamp, or at Haaksbergen near Enschede. It was bought at Colnaghi's for the Strasbourg museum by Wilhelm von Bode around 1892; the painting had previously belonged to the collector Albert Levy of London and Colnaghi had bought it at the sale of Levy's collection on 16 June 1876, item number 360, for 126 British pounds (equivalent to £12,610 in 2021). | [
"Wilhelm von Bode",
"Singraven",
"Enschede",
"watermill",
"Jacob van Ruisdael",
"Denekamp",
"Dutch",
"a series of depictions",
"Musée des Beaux-Arts",
"British pound",
"Haaksbergen",
"Strasbourg",
"Colnaghi's"
] |
|
17345_NT | Two Mills (Ruisdael) | Focus on this artwork and explain the abstract. | Two Mills is a 1650s painting by the Dutch painter Jacob van Ruisdael. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 625.The painting belongs to a series of depictions of a watermill either at Singraven near Denekamp, or at Haaksbergen near Enschede. It was bought at Colnaghi's for the Strasbourg museum by Wilhelm von Bode around 1892; the painting had previously belonged to the collector Albert Levy of London and Colnaghi had bought it at the sale of Levy's collection on 16 June 1876, item number 360, for 126 British pounds (equivalent to £12,610 in 2021). | [
"Wilhelm von Bode",
"Singraven",
"Enschede",
"watermill",
"Jacob van Ruisdael",
"Denekamp",
"Dutch",
"a series of depictions",
"Musée des Beaux-Arts",
"British pound",
"Haaksbergen",
"Strasbourg",
"Colnaghi's"
] |
|
17346_T | Holyday (Tissot) | Explore the abstract of this artwork, Holyday (Tissot). | Holyday, later also known as The Picnic, is an oil painting by French painter James Tissot (1836–1902), painted in 1876. Tissot moved to England in the year 1871, when he was thirty five years old and settled there. Before moving to London, Tissot was a successful painter of Paris society.
The painting shows a group of elegantly dressed men and women during a picnic at the pond in the painter's garden. The painting is characterized by the attention to detail and vivid colours. Holyday is held in London's Tate Gallery. | [
"Tate",
"Tate Gallery",
"James Tissot",
"London"
] |
|
17346_NT | Holyday (Tissot) | Explore the abstract of this artwork. | Holyday, later also known as The Picnic, is an oil painting by French painter James Tissot (1836–1902), painted in 1876. Tissot moved to England in the year 1871, when he was thirty five years old and settled there. Before moving to London, Tissot was a successful painter of Paris society.
The painting shows a group of elegantly dressed men and women during a picnic at the pond in the painter's garden. The painting is characterized by the attention to detail and vivid colours. Holyday is held in London's Tate Gallery. | [
"Tate",
"Tate Gallery",
"James Tissot",
"London"
] |
|
17347_T | Holyday (Tissot) | Focus on Holyday (Tissot) and discuss the History. | Tissot's Holyday was shown in 1877 in London's Grosvenor Gallery as a pendant for A Convalescent, which was also painted by Tissot in his yard. He made studies for both paintings in a single sketchbook. He probably intended the two to be a diptych, though they were quickly separated when sold and never exhibited together afterward. A Convalescent is in the Manchester Art Gallery; Holyday was acquired by the Tate Gallery in 1928. | [
"Manchester Art Gallery",
"diptych",
"Tate",
"A Convalescent",
"Tate Gallery",
"Grosvenor Gallery",
"London"
] |
|
17347_NT | Holyday (Tissot) | Focus on this artwork and discuss the History. | Tissot's Holyday was shown in 1877 in London's Grosvenor Gallery as a pendant for A Convalescent, which was also painted by Tissot in his yard. He made studies for both paintings in a single sketchbook. He probably intended the two to be a diptych, though they were quickly separated when sold and never exhibited together afterward. A Convalescent is in the Manchester Art Gallery; Holyday was acquired by the Tate Gallery in 1928. | [
"Manchester Art Gallery",
"diptych",
"Tate",
"A Convalescent",
"Tate Gallery",
"Grosvenor Gallery",
"London"
] |
|
17348_T | Fiesole Altarpiece | How does Fiesole Altarpiece elucidate its abstract? | The Fiesole Altarpiece is a painting by the Italian early Renaissance master Fra Angelico, executed around 1424–1425. It is housed in the Convent of San Domenico, Fiesole, central Italy. The background was repainted by Lorenzo di Credi in 1501. | [
"Convent of San Domenico, Fiesole",
"Italy",
"Lorenzo di Credi",
"Fra Angelico"
] |
|
17348_NT | Fiesole Altarpiece | How does this artwork elucidate its abstract? | The Fiesole Altarpiece is a painting by the Italian early Renaissance master Fra Angelico, executed around 1424–1425. It is housed in the Convent of San Domenico, Fiesole, central Italy. The background was repainted by Lorenzo di Credi in 1501. | [
"Convent of San Domenico, Fiesole",
"Italy",
"Lorenzo di Credi",
"Fra Angelico"
] |
|
17349_T | Fiesole Altarpiece | Focus on Fiesole Altarpiece and analyze the Description. | The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order (the same owning the convent) and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.
The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.
The composition resembles that of Masaccio's San Giovenale Triptych (1422). The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral (1404–1405). It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.
Elements such as the less evolved perspective and the tile pavements (also found in an anonymous Florentine triptych from 1419 and an altarpiece by Angelico himself at San Gimignano) led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.
The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections. | [
"Dominican Order",
"National Gallery, London",
"Masaccio",
"Chantilly",
"Maestà",
"Eucharist",
"Barnabas",
"San Gimignano",
"San Giovenale Triptych",
"Dominic",
"Thomas Aquinas",
"San Pietro Martire Triptych",
"Lorenzo Ghiberti",
"National Gallery",
"Musée Condé",
"predella",
"Florence Cathedral"
] |
|
17349_NT | Fiesole Altarpiece | Focus on this artwork and analyze the Description. | The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order (the same owning the convent) and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.
The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.
The composition resembles that of Masaccio's San Giovenale Triptych (1422). The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral (1404–1405). It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.
Elements such as the less evolved perspective and the tile pavements (also found in an anonymous Florentine triptych from 1419 and an altarpiece by Angelico himself at San Gimignano) led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.
The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections. | [
"Dominican Order",
"National Gallery, London",
"Masaccio",
"Chantilly",
"Maestà",
"Eucharist",
"Barnabas",
"San Gimignano",
"San Giovenale Triptych",
"Dominic",
"Thomas Aquinas",
"San Pietro Martire Triptych",
"Lorenzo Ghiberti",
"National Gallery",
"Musée Condé",
"predella",
"Florence Cathedral"
] |
|
17350_T | A Boyar Wedding Feast | In A Boyar Wedding Feast, how is the Background discussed? | Konstantin Makovsky (1839–1915) was a famous Russian realist painter who opposed academic restrictions that existed in the art world at the time. His father was the Russian art figure and amateur painter, Egor Makovsky and his mother was a composer. Because of his parents' professions, Makovsky showed an early interest in painting and music. He entered the Moscow School of Painting, Sculpture and Architecture at the age of 12, where he was influenced by teachers such as Vasily Tropinin and Karl Bryullov. After graduating, Makovsky went to France in hopes of becoming a composer, but after touring Europe in order to get acquainted with traditional folk and classical music, he ultimately chose painting.In 1858 Makovsky entered the Imperial Academy of Arts in Saint Petersburg, where he created artworks such as Curing of the Blind (1860) and Agents of the False Dmitry kill the son of Boris Godunov (1862). In 1863, Makovsky and thirteen other students protested against the Academy's decision to only allow artwork of Scandinavian mythology in the competition for the Large Gold Medal of Academia. Thus, all of them left the academy without a diploma. This incident later came to be known as the "Revolt of the Fourteen".Later, Makovsky joined the Artel of Artists, a cooperative association founded by Ivan Kramskoi, whose members were realist artists that advocated for more realistic depictions of the everyday life of old Russia. Notable works by Makovsky of this period are "The Widow" (1865) and "The Herringwoman" (1867). In 1870 he became a founding member of the Society for Travelling Art Exhibitions and continued to work on paintings in the realism genre. He went on to travel North Africa and Serbia in the mid-1870s., which resulted in a significant stylistic change as he started putting greater emphasis on colours and shapes.At the World's Fair of 1889 in Paris, he received the Large Gold Medal for his paintings Death of Ivan the Terrible, The Judgement of Paris, and Demon and Tamara. By the end of the century, Makovsky was one of the most respected and highly-paid Russian artists, regarded by some critics as the forerunner of Russian impressionism. He died in 1915 when his crew crashed into a tram on the streets of St. Petersburg. | [
"Moscow School of Painting, Sculpture and Architecture",
"Serbia",
"World's Fair",
"Vasily Tropinin",
"Karl Bryullov",
"Russian",
"Society for Travelling Art Exhibitions",
"Artel of Artists",
"World's Fair of 1889",
"Konstantin Makovsky",
"left",
"impressionism",
"Saint Petersburg",
"Imperial Academy of Arts",
"Revolt of the Fourteen",
"North Africa",
"Egor Makovsky",
"Ivan Kramskoi"
] |
|
17350_NT | A Boyar Wedding Feast | In this artwork, how is the Background discussed? | Konstantin Makovsky (1839–1915) was a famous Russian realist painter who opposed academic restrictions that existed in the art world at the time. His father was the Russian art figure and amateur painter, Egor Makovsky and his mother was a composer. Because of his parents' professions, Makovsky showed an early interest in painting and music. He entered the Moscow School of Painting, Sculpture and Architecture at the age of 12, where he was influenced by teachers such as Vasily Tropinin and Karl Bryullov. After graduating, Makovsky went to France in hopes of becoming a composer, but after touring Europe in order to get acquainted with traditional folk and classical music, he ultimately chose painting.In 1858 Makovsky entered the Imperial Academy of Arts in Saint Petersburg, where he created artworks such as Curing of the Blind (1860) and Agents of the False Dmitry kill the son of Boris Godunov (1862). In 1863, Makovsky and thirteen other students protested against the Academy's decision to only allow artwork of Scandinavian mythology in the competition for the Large Gold Medal of Academia. Thus, all of them left the academy without a diploma. This incident later came to be known as the "Revolt of the Fourteen".Later, Makovsky joined the Artel of Artists, a cooperative association founded by Ivan Kramskoi, whose members were realist artists that advocated for more realistic depictions of the everyday life of old Russia. Notable works by Makovsky of this period are "The Widow" (1865) and "The Herringwoman" (1867). In 1870 he became a founding member of the Society for Travelling Art Exhibitions and continued to work on paintings in the realism genre. He went on to travel North Africa and Serbia in the mid-1870s., which resulted in a significant stylistic change as he started putting greater emphasis on colours and shapes.At the World's Fair of 1889 in Paris, he received the Large Gold Medal for his paintings Death of Ivan the Terrible, The Judgement of Paris, and Demon and Tamara. By the end of the century, Makovsky was one of the most respected and highly-paid Russian artists, regarded by some critics as the forerunner of Russian impressionism. He died in 1915 when his crew crashed into a tram on the streets of St. Petersburg. | [
"Moscow School of Painting, Sculpture and Architecture",
"Serbia",
"World's Fair",
"Vasily Tropinin",
"Karl Bryullov",
"Russian",
"Society for Travelling Art Exhibitions",
"Artel of Artists",
"World's Fair of 1889",
"Konstantin Makovsky",
"left",
"impressionism",
"Saint Petersburg",
"Imperial Academy of Arts",
"Revolt of the Fourteen",
"North Africa",
"Egor Makovsky",
"Ivan Kramskoi"
] |
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