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17351_T | A Boyar Wedding Feast | Focus on A Boyar Wedding Feast and explore the Painting. | A Boyar Wedding Feast is an oil on canvas painting measuring 93 in × 154 in (240 cm × 390 cm), set in either the 16th or 17th century, in which a room of guests are depicted toasting a newlywed couple. A traditionally offered boyar wedding toast is meant to encourage the first kiss to make the wine sweeter. The couple stands at the head of the table (right), where the groom presents his bride to the wedding guests and sees her without her veil for the first time. She appears timid and bashful as the men toast for the first kiss. To the right of the couple, the "Lady of Ceremony" gently urges on the bride.
Makovsky's depiction of the wedding, an important social event of 16th and 17th century boyar life, is dramatically lit. The guests are depicted at the table with food and drink served on silverware in front of them. A roasted swan is being brought in on a large platter, the last dish served before the couple retire into the bedroom. Luxurious details such as silver cups, richly embroidered garments, and an ivory chest with a silver bowl in the foreground are depicted. The bride and the other women are wearing pearl-studded kokoshniki, a Russian woman's headdress. | [
"silverware",
"Russian",
"wedding",
"kokoshniki",
"boyar",
"Boyar"
] |
|
17351_NT | A Boyar Wedding Feast | Focus on this artwork and explore the Painting. | A Boyar Wedding Feast is an oil on canvas painting measuring 93 in × 154 in (240 cm × 390 cm), set in either the 16th or 17th century, in which a room of guests are depicted toasting a newlywed couple. A traditionally offered boyar wedding toast is meant to encourage the first kiss to make the wine sweeter. The couple stands at the head of the table (right), where the groom presents his bride to the wedding guests and sees her without her veil for the first time. She appears timid and bashful as the men toast for the first kiss. To the right of the couple, the "Lady of Ceremony" gently urges on the bride.
Makovsky's depiction of the wedding, an important social event of 16th and 17th century boyar life, is dramatically lit. The guests are depicted at the table with food and drink served on silverware in front of them. A roasted swan is being brought in on a large platter, the last dish served before the couple retire into the bedroom. Luxurious details such as silver cups, richly embroidered garments, and an ivory chest with a silver bowl in the foreground are depicted. The bride and the other women are wearing pearl-studded kokoshniki, a Russian woman's headdress. | [
"silverware",
"Russian",
"wedding",
"kokoshniki",
"boyar",
"Boyar"
] |
|
17352_T | A Boyar Wedding Feast | Focus on A Boyar Wedding Feast and explain the Provenance. | Winning the 1885 medal of honor at the Exposition Universelle d'Anvers (2 May – 2 November 1885), A Boyar Wedding Feast was purchased by American jeweler and art collector Charles William Schumann in August 1885 for $15,000 (or £10,000). Schumann reportedly outbid Alexander III of Russia to obtain the work. The painting was auctioned as part of Schumann's estate on 23 January 1936 and sold for $2,500. Sometime after the sale, A Boyar Wedding Feast entered the collection of Robert Ripley, creator of Ripley's Believe It or Not!. It was sold during his estate sale on 26 August 1949 for $2,200. The painting was again offered for sale on 18 December 1968. Between 1968 and 1973, the painting was acquired by Marjorie Merriweather Post. Upon her death in 1973, the Hillwood Estate, Museum & Gardens was founded by Post's estate, and A Boyar Wedding Feast was donated to the collection. | [
"Exposition Universelle d'Anvers",
"Hillwood Estate, Museum & Gardens",
"Robert Ripley",
"Marjorie Merriweather Post",
"Alexander III of Russia",
"Ripley's Believe It or Not!",
"Boyar",
"£"
] |
|
17352_NT | A Boyar Wedding Feast | Focus on this artwork and explain the Provenance. | Winning the 1885 medal of honor at the Exposition Universelle d'Anvers (2 May – 2 November 1885), A Boyar Wedding Feast was purchased by American jeweler and art collector Charles William Schumann in August 1885 for $15,000 (or £10,000). Schumann reportedly outbid Alexander III of Russia to obtain the work. The painting was auctioned as part of Schumann's estate on 23 January 1936 and sold for $2,500. Sometime after the sale, A Boyar Wedding Feast entered the collection of Robert Ripley, creator of Ripley's Believe It or Not!. It was sold during his estate sale on 26 August 1949 for $2,200. The painting was again offered for sale on 18 December 1968. Between 1968 and 1973, the painting was acquired by Marjorie Merriweather Post. Upon her death in 1973, the Hillwood Estate, Museum & Gardens was founded by Post's estate, and A Boyar Wedding Feast was donated to the collection. | [
"Exposition Universelle d'Anvers",
"Hillwood Estate, Museum & Gardens",
"Robert Ripley",
"Marjorie Merriweather Post",
"Alexander III of Russia",
"Ripley's Believe It or Not!",
"Boyar",
"£"
] |
|
17353_T | Zephyr (sculpture) | Explore the abstract of this artwork, Zephyr (sculpture). | Zephyr is a public sculpture created by artist Steve Wooldridge in 1998. It is located southeast of the Indiana University-Purdue University Indianapolis (IUPUI) University Library and north of New York Street on IUPUI's campus. The overall dimensions of this stainless steel sculpture are 13 feet (4.0 m) tall, 2 feet (0.61 m) long, and 10 feet (3.0 m) wide. | [
"Indianapolis",
"Indiana University",
"IUPUI's campus",
"stainless steel",
"Steve Wooldridge",
"Zephyr",
"Indiana University-Purdue University Indianapolis",
"public sculpture"
] |
|
17353_NT | Zephyr (sculpture) | Explore the abstract of this artwork. | Zephyr is a public sculpture created by artist Steve Wooldridge in 1998. It is located southeast of the Indiana University-Purdue University Indianapolis (IUPUI) University Library and north of New York Street on IUPUI's campus. The overall dimensions of this stainless steel sculpture are 13 feet (4.0 m) tall, 2 feet (0.61 m) long, and 10 feet (3.0 m) wide. | [
"Indianapolis",
"Indiana University",
"IUPUI's campus",
"stainless steel",
"Steve Wooldridge",
"Zephyr",
"Indiana University-Purdue University Indianapolis",
"public sculpture"
] |
|
17354_T | Zephyr (sculpture) | Focus on Zephyr (sculpture) and discuss the Description. | Zephyr is composed of several different three-dimensional geometric shapes, all made of stainless steel. Its base is a rectangle that measures 3 feet (0.91 m) tall and 2 feet (0.61 m) wide. Next are two cylinders lying on their sides with a north–south orientation. They each have a diameter of 8.5 inches (22 cm) and a length of 17 inches (43 cm). On top of the cylinders is a right triangle that measures 4 feet (1.2 m) tall and 20 inches (51 cm) on the shortest side. It lies at an angle so that the right angle rests between the two cylinders. A third cylinder rests on top of the triangle and it measures 6.5 inches (17 cm) in diameter and 1.5 feet (46 cm) long. On top of this cylinder and the triangle is a large hoop with a diameter of approximately 7 feet (2.1 m). There is a 10 feet (3.0 m) pole going through the hoop from the proper bottom right to the proper top left. It passes behind the hoop on the proper left and in front of the hoop on the proper right, where a semi-hollow cylinder with a diameter of 1 foot (30 cm) and a length of 10 inches (25 cm) rests.
"Steve E. Wooldridge", "1998", and "Zephyr" are visible on the metal next to the proper right side of the base. | [
"stainless steel",
"Zephyr"
] |
|
17354_NT | Zephyr (sculpture) | Focus on this artwork and discuss the Description. | Zephyr is composed of several different three-dimensional geometric shapes, all made of stainless steel. Its base is a rectangle that measures 3 feet (0.91 m) tall and 2 feet (0.61 m) wide. Next are two cylinders lying on their sides with a north–south orientation. They each have a diameter of 8.5 inches (22 cm) and a length of 17 inches (43 cm). On top of the cylinders is a right triangle that measures 4 feet (1.2 m) tall and 20 inches (51 cm) on the shortest side. It lies at an angle so that the right angle rests between the two cylinders. A third cylinder rests on top of the triangle and it measures 6.5 inches (17 cm) in diameter and 1.5 feet (46 cm) long. On top of this cylinder and the triangle is a large hoop with a diameter of approximately 7 feet (2.1 m). There is a 10 feet (3.0 m) pole going through the hoop from the proper bottom right to the proper top left. It passes behind the hoop on the proper left and in front of the hoop on the proper right, where a semi-hollow cylinder with a diameter of 1 foot (30 cm) and a length of 10 inches (25 cm) rests.
"Steve E. Wooldridge", "1998", and "Zephyr" are visible on the metal next to the proper right side of the base. | [
"stainless steel",
"Zephyr"
] |
|
17355_T | Zephyr (sculpture) | How does Zephyr (sculpture) elucidate its Information? | "Zephyr" means "west wind" and is also the name of a pioneer streamlined locomotive, dating to the 1930s. Each of the eight geometric shapes has a meaning. The rectangular base represents the core of education. The two side-by-side cylinders represent the wheels of progress while the triangle represents a mode of transportation designed for speed. The small cylinder that supports the hoop signifies fortitude and determination and the hoop itself stands for the circle of life. The long pole represents ambition and the hollow scroll stands for the scroll of knowledge. The artist dedicated the sculpture to today's youth. | [
"locomotive",
"pioneer streamlined",
"Zephyr"
] |
|
17355_NT | Zephyr (sculpture) | How does this artwork elucidate its Information? | "Zephyr" means "west wind" and is also the name of a pioneer streamlined locomotive, dating to the 1930s. Each of the eight geometric shapes has a meaning. The rectangular base represents the core of education. The two side-by-side cylinders represent the wheels of progress while the triangle represents a mode of transportation designed for speed. The small cylinder that supports the hoop signifies fortitude and determination and the hoop itself stands for the circle of life. The long pole represents ambition and the hollow scroll stands for the scroll of knowledge. The artist dedicated the sculpture to today's youth. | [
"locomotive",
"pioneer streamlined",
"Zephyr"
] |
|
17356_T | Zephyr (sculpture) | In the context of Zephyr (sculpture), analyze the Acquisition of the Information. | The Indiana University Board of Trustees approved the decision to keep the Zephyr sculpture on the IUPUI campus permanently at their January 28, 2005 meeting. Prior to this it had been on loan to the university for two years. | [
"Indiana University",
"Zephyr"
] |
|
17356_NT | Zephyr (sculpture) | In the context of this artwork, analyze the Acquisition of the Information. | The Indiana University Board of Trustees approved the decision to keep the Zephyr sculpture on the IUPUI campus permanently at their January 28, 2005 meeting. Prior to this it had been on loan to the university for two years. | [
"Indiana University",
"Zephyr"
] |
|
17357_T | Zephyr (sculpture) | In Zephyr (sculpture), how is the Artist discussed? | Steve Wooldridge was born in Sheridan, Indiana. He attended the Dayton Art Institute where he studied three-dimensional design and sculpture. He graduated from the Herron School of Art in 1963 with a degree in Sculpture. His preferred styles are abstract, assemblage, and minimalism. Wooldridge is known for his site specific sculpture for indoors and outdoors, and he is a member of the Artist Blacksmith's Association of North America. Fifty-two of his massive blacksmithing pieces were featured in the exhibit "Forged Art! The Art of Blacksmithing" at the Wells County Creative Art Center in Bluffton, Indiana in late 2007. Another of Wooldridge's sculptures, Spirit Keeper, is also located on the IUPUI campus. | [
"Bluffton, Indiana",
"Sheridan, Indiana",
"Spirit Keeper",
"assemblage",
"minimalism",
"blacksmith",
"Herron School of Art",
"Steve Wooldridge",
"abstract",
"Blacksmith",
"Dayton Art Institute"
] |
|
17357_NT | Zephyr (sculpture) | In this artwork, how is the Artist discussed? | Steve Wooldridge was born in Sheridan, Indiana. He attended the Dayton Art Institute where he studied three-dimensional design and sculpture. He graduated from the Herron School of Art in 1963 with a degree in Sculpture. His preferred styles are abstract, assemblage, and minimalism. Wooldridge is known for his site specific sculpture for indoors and outdoors, and he is a member of the Artist Blacksmith's Association of North America. Fifty-two of his massive blacksmithing pieces were featured in the exhibit "Forged Art! The Art of Blacksmithing" at the Wells County Creative Art Center in Bluffton, Indiana in late 2007. Another of Wooldridge's sculptures, Spirit Keeper, is also located on the IUPUI campus. | [
"Bluffton, Indiana",
"Sheridan, Indiana",
"Spirit Keeper",
"assemblage",
"minimalism",
"blacksmith",
"Herron School of Art",
"Steve Wooldridge",
"abstract",
"Blacksmith",
"Dayton Art Institute"
] |
|
17358_T | Zephyr (sculpture) | Focus on Zephyr (sculpture) and explore the Documentation. | A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. Zephyr was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States. | [
"Museum Studies",
"Smithsonian American Art Museum",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Zephyr"
] |
|
17358_NT | Zephyr (sculpture) | Focus on this artwork and explore the Documentation. | A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. Zephyr was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States. | [
"Museum Studies",
"Smithsonian American Art Museum",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Zephyr"
] |
|
17359_T | Sleep and His Half-Brother Death | Focus on Sleep and His Half-Brother Death and explain the abstract. | Sleep and His Half-Brother Death is a painting by John William Waterhouse completed in 1874.Waterhouse's first Royal Academy exhibit (submitted from his father's house at 1 Scarsdale Villas), it was painted after both his younger brothers died of tuberculosis. | [
"John William Waterhouse",
"tuberculosis",
"Royal Academy",
"Scarsdale Villas",
"Death"
] |
|
17359_NT | Sleep and His Half-Brother Death | Focus on this artwork and explain the abstract. | Sleep and His Half-Brother Death is a painting by John William Waterhouse completed in 1874.Waterhouse's first Royal Academy exhibit (submitted from his father's house at 1 Scarsdale Villas), it was painted after both his younger brothers died of tuberculosis. | [
"John William Waterhouse",
"tuberculosis",
"Royal Academy",
"Scarsdale Villas",
"Death"
] |
|
17360_T | Sleep and His Half-Brother Death | Explore the Hypnos and Thanatos of this artwork, Sleep and His Half-Brother Death. | The painting itself is a reference to the Greek gods Hypnos (sleep) and Thanatos (death) who, in the Greek mythology, were brothers. Despite their similar poses in the painting, the character in the foreground is bathed in light, while his brother is shrouded in darkness; the first therefore represents Sleep, the latter Death. The personification of Sleep clasps poppies, symbolic of narcosis and dreamlike-states. | [
"Hypnos",
"Thanatos",
"Greek mythology",
"Death"
] |
|
17360_NT | Sleep and His Half-Brother Death | Explore the Hypnos and Thanatos of this artwork. | The painting itself is a reference to the Greek gods Hypnos (sleep) and Thanatos (death) who, in the Greek mythology, were brothers. Despite their similar poses in the painting, the character in the foreground is bathed in light, while his brother is shrouded in darkness; the first therefore represents Sleep, the latter Death. The personification of Sleep clasps poppies, symbolic of narcosis and dreamlike-states. | [
"Hypnos",
"Thanatos",
"Greek mythology",
"Death"
] |
|
17361_T | Morgan Casket | Focus on Morgan Casket and discuss the abstract. | The Morgan Casket is a medieval casket from Southern Italy, probably Norman Sicily. However, it reflects the Islamic style of the Fatimid Caliphate in Egypt, the culturally dominant power in the Western Mediterranean at the time. It is made from carved ivory and bone and is dated to the 11th–12th centuries AD. | [
"Islamic style",
"Southern Italy",
"carved ivory",
"casket",
"Norman Sicily",
"Mediterranean",
"bone",
"Fatimid Caliphate",
"medieval"
] |
|
17361_NT | Morgan Casket | Focus on this artwork and discuss the abstract. | The Morgan Casket is a medieval casket from Southern Italy, probably Norman Sicily. However, it reflects the Islamic style of the Fatimid Caliphate in Egypt, the culturally dominant power in the Western Mediterranean at the time. It is made from carved ivory and bone and is dated to the 11th–12th centuries AD. | [
"Islamic style",
"Southern Italy",
"carved ivory",
"casket",
"Norman Sicily",
"Mediterranean",
"bone",
"Fatimid Caliphate",
"medieval"
] |
|
17362_T | Morgan Casket | How does Morgan Casket elucidate its Description? | The casket is made from carved ivory and bone. All the visible faces have carvings, and standing sword-wielding men in turbans are placed at the corners. The wider faces have animals and hunters with spears. The only woman shown (end to the left of the missing lock) is inside a curtained howdah on a camel. The style derives from Fatimid art, but the casket was probably made in Norman Sicily. It is similar to carvings on the ceiling of the Cappella Palatina in Palermo, and boxes in other collections. The structure of the casket is itself made up of nine panels, four of which make up the body while five make up the lid.It is 8 7/8 in. (22.3 cm) high, 15 3/16 in. (38.6 cm) wide, and 7 7/8 in. (20 cm) deep.It was part of the donation by J. P. Morgan in 1917. | [
"J. P. Morgan",
"carved ivory",
"casket",
"Norman Sicily",
"bone",
"Palermo",
"howdah",
"Fatimid art",
"Cappella Palatina"
] |
|
17362_NT | Morgan Casket | How does this artwork elucidate its Description? | The casket is made from carved ivory and bone. All the visible faces have carvings, and standing sword-wielding men in turbans are placed at the corners. The wider faces have animals and hunters with spears. The only woman shown (end to the left of the missing lock) is inside a curtained howdah on a camel. The style derives from Fatimid art, but the casket was probably made in Norman Sicily. It is similar to carvings on the ceiling of the Cappella Palatina in Palermo, and boxes in other collections. The structure of the casket is itself made up of nine panels, four of which make up the body while five make up the lid.It is 8 7/8 in. (22.3 cm) high, 15 3/16 in. (38.6 cm) wide, and 7 7/8 in. (20 cm) deep.It was part of the donation by J. P. Morgan in 1917. | [
"J. P. Morgan",
"carved ivory",
"casket",
"Norman Sicily",
"bone",
"Palermo",
"howdah",
"Fatimid art",
"Cappella Palatina"
] |
|
17363_T | Morgan Casket | Focus on Morgan Casket and analyze the Similar pieces. | A similar casket exists in the Treasury of the Basilica of Saint Servatius in Maastricht, the Netherlands. The Maastricht Siculo-Arabic chest is smaller than the Morgan Casket but the carvings are almost identical, including the corner figures.
Another ivory casket in the Museum of Islamic Art, Berlin is more or less the same size as the Morgan Casket but misses both the 'balustrade' along the lower edge, and the corner figures. This casket is said to originate from Speyer Cathedral.
Various olifants in museum collections worldwide are carved similarly and may originate from the same workshop. | [
"Treasury of the Basilica of Saint Servatius",
"Maastricht",
"Maastricht Siculo-Arabic chest",
"Speyer Cathedral",
"casket",
"Museum of Islamic Art, Berlin",
"olifants"
] |
|
17363_NT | Morgan Casket | Focus on this artwork and analyze the Similar pieces. | A similar casket exists in the Treasury of the Basilica of Saint Servatius in Maastricht, the Netherlands. The Maastricht Siculo-Arabic chest is smaller than the Morgan Casket but the carvings are almost identical, including the corner figures.
Another ivory casket in the Museum of Islamic Art, Berlin is more or less the same size as the Morgan Casket but misses both the 'balustrade' along the lower edge, and the corner figures. This casket is said to originate from Speyer Cathedral.
Various olifants in museum collections worldwide are carved similarly and may originate from the same workshop. | [
"Treasury of the Basilica of Saint Servatius",
"Maastricht",
"Maastricht Siculo-Arabic chest",
"Speyer Cathedral",
"casket",
"Museum of Islamic Art, Berlin",
"olifants"
] |
|
17364_T | Madonna della Vallicella | In Madonna della Vallicella, how is the abstract discussed? | The Madonna della Vallicella is an oil-on-slate painting produced between 1606 and 1608 by Peter Paul Rubens. It is his second confirmed commission in Rome, after his now-lost painting cycle for Santa Croce in Gerusalemme. | [
"Peter Paul Rubens",
"Rome",
"Santa Croce in Gerusalemme"
] |
|
17364_NT | Madonna della Vallicella | In this artwork, how is the abstract discussed? | The Madonna della Vallicella is an oil-on-slate painting produced between 1606 and 1608 by Peter Paul Rubens. It is his second confirmed commission in Rome, after his now-lost painting cycle for Santa Croce in Gerusalemme. | [
"Peter Paul Rubens",
"Rome",
"Santa Croce in Gerusalemme"
] |
|
17365_T | Madonna della Vallicella | Focus on Madonna della Vallicella and explore the History. | The painting was produced as the high-altarpiece for the church of Santa Maria in Vallicella in Rome (also known as the Chiesa Nuova, or "New Church." Its name refers to an ancient miraculous icon of the Nicopeia (bringer of victory) or Kyriotissa (enthroned) type known as the Madonna vallicelliana. Rubens reconstructed this image, surrounded by concentric circles of adoring angels and cherubs. On a copper plate placed over the Madonna della Vallicella, Rubens painted an additional Madonna with the Baby Jesus Giving Benediction that mirrors the sacred icon it covers. It's possible to raise the copper plate with a mechanism of pulleys and cords. In the central panel, space seems to expand out of the confines of its frames, a common theme in Baroque painting.
Rubens made a first version on canvas, but it must not have satisfied his clients for how light glared on its surface. So, he painted a new version on a slab of slate, a material with different reflective properties that eliminated the initial inconvenience.
In the altar niche, Madonna della Vallicella forms a triptych with two other paintings on chalkboard panels that are placed on the nearby walls. A painting of Pope Gregory I and Papias and Maurus on the left and a painting of the saints Flavia Domitilla, and Nereus and Achilleus on the right. The Chiesa Nuova also possesses reliquaries of the depicted saints. The choice of the paintings in the triptych perhaps suggests that Rubens was influenced by an analogous composition choice made by Annibale Carracci in the Chapel Salviati of San Gregorio Magno al Celio for Saint Gregory at Prayer only a few years before.Rubens, in fact, distanced the two side paintings of saints from the central altar of the church. The side paintings are therefore turned toward the central panel with the venerated Madonna della Vallicella. Their placement directs the devotional gazes of Pope Gregory and Saint Domitilla toward the altar. The paintings of the Chiesa Nuova are the only works Rubens made in Rome that remained in the original locations. | [
"reliquaries",
"Annibale Carracci",
"San Gregorio Magno al Celio",
"Flavia Domitilla",
"Nereus and Achilleus",
"Saint Gregory at Prayer",
"Nicopeia",
"Rome",
"Baroque painting",
"Pope Gregory I",
"Santa Maria in Vallicella"
] |
|
17365_NT | Madonna della Vallicella | Focus on this artwork and explore the History. | The painting was produced as the high-altarpiece for the church of Santa Maria in Vallicella in Rome (also known as the Chiesa Nuova, or "New Church." Its name refers to an ancient miraculous icon of the Nicopeia (bringer of victory) or Kyriotissa (enthroned) type known as the Madonna vallicelliana. Rubens reconstructed this image, surrounded by concentric circles of adoring angels and cherubs. On a copper plate placed over the Madonna della Vallicella, Rubens painted an additional Madonna with the Baby Jesus Giving Benediction that mirrors the sacred icon it covers. It's possible to raise the copper plate with a mechanism of pulleys and cords. In the central panel, space seems to expand out of the confines of its frames, a common theme in Baroque painting.
Rubens made a first version on canvas, but it must not have satisfied his clients for how light glared on its surface. So, he painted a new version on a slab of slate, a material with different reflective properties that eliminated the initial inconvenience.
In the altar niche, Madonna della Vallicella forms a triptych with two other paintings on chalkboard panels that are placed on the nearby walls. A painting of Pope Gregory I and Papias and Maurus on the left and a painting of the saints Flavia Domitilla, and Nereus and Achilleus on the right. The Chiesa Nuova also possesses reliquaries of the depicted saints. The choice of the paintings in the triptych perhaps suggests that Rubens was influenced by an analogous composition choice made by Annibale Carracci in the Chapel Salviati of San Gregorio Magno al Celio for Saint Gregory at Prayer only a few years before.Rubens, in fact, distanced the two side paintings of saints from the central altar of the church. The side paintings are therefore turned toward the central panel with the venerated Madonna della Vallicella. Their placement directs the devotional gazes of Pope Gregory and Saint Domitilla toward the altar. The paintings of the Chiesa Nuova are the only works Rubens made in Rome that remained in the original locations. | [
"reliquaries",
"Annibale Carracci",
"San Gregorio Magno al Celio",
"Flavia Domitilla",
"Nereus and Achilleus",
"Saint Gregory at Prayer",
"Nicopeia",
"Rome",
"Baroque painting",
"Pope Gregory I",
"Santa Maria in Vallicella"
] |
|
17366_T | St Mary Magdalene (Piero di Cosimo) | Explore the abstract of this artwork, St Mary Magdalene (Piero di Cosimo). | St Mary Magdalene Reading is a painting by the Italian Renaissance painter Piero di Cosimo. It is housed in the Galleria Nazionale d'Arte Antica of Palazzo Barberini, Rome. | [
"Mary Magdalene",
"Galleria Nazionale d'Arte Antica",
"Piero di Cosimo",
"Rome",
"Palazzo Barberini"
] |
|
17366_NT | St Mary Magdalene (Piero di Cosimo) | Explore the abstract of this artwork. | St Mary Magdalene Reading is a painting by the Italian Renaissance painter Piero di Cosimo. It is housed in the Galleria Nazionale d'Arte Antica of Palazzo Barberini, Rome. | [
"Mary Magdalene",
"Galleria Nazionale d'Arte Antica",
"Piero di Cosimo",
"Rome",
"Palazzo Barberini"
] |
|
17367_T | St Mary Magdalene (Piero di Cosimo) | Focus on St Mary Magdalene (Piero di Cosimo) and discuss the Description. | The work depicts Mary Magdalene at a window-like table, reading a bible. She is dressed in a contemporary multicolor gown and cape; she is identifiable as the Magdalen by her long slightly curled hair draping over her shoulders and the bottle of unguent on the shelf beside her. She wears a ring of pearls in her hair. Around her hair a filigree of a halo. On the sill is the painter's signature. The use of shadows to give dimension to the face, and the settled pose of the Magdalen, identify the work as emerging from Piero di Cosimo's late works, influence by Leonardo da Vinci. The intended patron of the work is not identified. Mary Magdalen paintings were sometimes desired by individuals bearing the name, however, there were also monasteries dedicated to fallen women which were often dedicated to this saint. | [
"Leonardo da Vinci",
"Mary Magdalene",
"Piero di Cosimo"
] |
|
17367_NT | St Mary Magdalene (Piero di Cosimo) | Focus on this artwork and discuss the Description. | The work depicts Mary Magdalene at a window-like table, reading a bible. She is dressed in a contemporary multicolor gown and cape; she is identifiable as the Magdalen by her long slightly curled hair draping over her shoulders and the bottle of unguent on the shelf beside her. She wears a ring of pearls in her hair. Around her hair a filigree of a halo. On the sill is the painter's signature. The use of shadows to give dimension to the face, and the settled pose of the Magdalen, identify the work as emerging from Piero di Cosimo's late works, influence by Leonardo da Vinci. The intended patron of the work is not identified. Mary Magdalen paintings were sometimes desired by individuals bearing the name, however, there were also monasteries dedicated to fallen women which were often dedicated to this saint. | [
"Leonardo da Vinci",
"Mary Magdalene",
"Piero di Cosimo"
] |
|
17368_T | Woman Playing a Guitar (Vouet) | How does Woman Playing a Guitar (Vouet) elucidate its abstract? | Woman Playing a Guitar is an oil-on-canvas painting by French artist Simon Vouet, executed c. 1618. The painting is in tenebrist style and depicts a finely dresses woman distractedly playing a guitar. The work is in the collection of the Metropolitan Museum of Art in New York. | [
"tenebrist",
"Simon Vouet",
"Woman Playing a Guitar",
"Guitar",
"guitar",
"Metropolitan Museum of Art",
"New York"
] |
|
17368_NT | Woman Playing a Guitar (Vouet) | How does this artwork elucidate its abstract? | Woman Playing a Guitar is an oil-on-canvas painting by French artist Simon Vouet, executed c. 1618. The painting is in tenebrist style and depicts a finely dresses woman distractedly playing a guitar. The work is in the collection of the Metropolitan Museum of Art in New York. | [
"tenebrist",
"Simon Vouet",
"Woman Playing a Guitar",
"Guitar",
"guitar",
"Metropolitan Museum of Art",
"New York"
] |
|
17369_T | Woman Playing a Guitar (Vouet) | Focus on Woman Playing a Guitar (Vouet) and analyze the Description. | Woman Playing a Guitar depicts a satin-garbed women playing a guitar, a subject that was common in 17th-century European art. The woman is seen gazing at into space, and is described by the Met as being "lost in reverie". Sources have also commented on the subject's sumptuous dress.The work was painted by Simon Vouet while he was living in Rome. It was painted for a private collector, and the Metropolitan Museum of Art speculates that the work may have once been in the collection of Palazzo Patrizi. | [
"Simon Vouet",
"Woman Playing a Guitar",
"Palazzo Patrizi",
"Guitar",
"guitar",
"Metropolitan Museum of Art"
] |
|
17369_NT | Woman Playing a Guitar (Vouet) | Focus on this artwork and analyze the Description. | Woman Playing a Guitar depicts a satin-garbed women playing a guitar, a subject that was common in 17th-century European art. The woman is seen gazing at into space, and is described by the Met as being "lost in reverie". Sources have also commented on the subject's sumptuous dress.The work was painted by Simon Vouet while he was living in Rome. It was painted for a private collector, and the Metropolitan Museum of Art speculates that the work may have once been in the collection of Palazzo Patrizi. | [
"Simon Vouet",
"Woman Playing a Guitar",
"Palazzo Patrizi",
"Guitar",
"guitar",
"Metropolitan Museum of Art"
] |
|
17370_T | Agostina Segatori Sitting in the Café du Tambourin | In Agostina Segatori Sitting in the Café du Tambourin, how is the Van Gogh's influence in Paris discussed? | In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo. He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints. His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others. The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow. Van Gogh explored the various influences and molded them into a style that was uniquely his own. In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period. | [
"Impressionists",
"Émile Bernard",
"Symbolists",
"Japanese prints",
"Hokusai",
"Hiroshige",
"Theo",
"Paul Gauguin",
"Pointillists",
"left",
"Camille Pissarro",
"Netherlands",
"Henri Toulouse-Lautrec"
] |
|
17370_NT | Agostina Segatori Sitting in the Café du Tambourin | In this artwork, how is the Van Gogh's influence in Paris discussed? | In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo. He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints. His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others. The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow. Van Gogh explored the various influences and molded them into a style that was uniquely his own. In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period. | [
"Impressionists",
"Émile Bernard",
"Symbolists",
"Japanese prints",
"Hokusai",
"Hiroshige",
"Theo",
"Paul Gauguin",
"Pointillists",
"left",
"Camille Pissarro",
"Netherlands",
"Henri Toulouse-Lautrec"
] |
|
17371_T | Agostina Segatori Sitting in the Café du Tambourin | Focus on Agostina Segatori Sitting in the Café du Tambourin and explore the The painting. | In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer. In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat. According to the style at the time, her jacket is a different design than her dress. A parasol sits on one of the seats next to her.
Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.
The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants. Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints. | [
"Impressionists",
"Edgar Degas",
"Portrait of Père Tanguy",
"Japanese prints",
"his Japanese prints",
"Édouard Manet",
"Manet",
"van Gogh's Japanese prints"
] |
|
17371_NT | Agostina Segatori Sitting in the Café du Tambourin | Focus on this artwork and explore the The painting. | In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer. In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat. According to the style at the time, her jacket is a different design than her dress. A parasol sits on one of the seats next to her.
Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.
The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants. Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints. | [
"Impressionists",
"Edgar Degas",
"Portrait of Père Tanguy",
"Japanese prints",
"his Japanese prints",
"Édouard Manet",
"Manet",
"van Gogh's Japanese prints"
] |
|
17372_T | Agostina Segatori Sitting in the Café du Tambourin | Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the Café du Tambourin. | Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls. He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times. She became ill and the business, in debt and likely involved in illegal prostitution, failed. Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands. | [
"Amsterdam",
"Paul-Albert Besnard",
"Émile Bernard",
"Van Gogh Museum",
"Café du Tambourin",
"still life works",
"Theo",
"franc",
"Corot",
"Agostina Segatori",
"Henri de Toulouse-Lautrec",
"centimes",
"Boulevard de Clichy",
"Netherlands",
"Manet"
] |
|
17372_NT | Agostina Segatori Sitting in the Café du Tambourin | Focus on this artwork and explain the Café du Tambourin. | Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls. He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times. She became ill and the business, in debt and likely involved in illegal prostitution, failed. Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands. | [
"Amsterdam",
"Paul-Albert Besnard",
"Émile Bernard",
"Van Gogh Museum",
"Café du Tambourin",
"still life works",
"Theo",
"franc",
"Corot",
"Agostina Segatori",
"Henri de Toulouse-Lautrec",
"centimes",
"Boulevard de Clichy",
"Netherlands",
"Manet"
] |
|
17373_T | Adoration of the Magi (Mostaert) | Explore the abstract of this artwork, Adoration of the Magi (Mostaert). | Adoration of the Magi is an oil on panel painting from the early 1520s by the Dutch Renaissance artist Jan Mostaert in the collection of the Rijksmuseum, Amsterdam, where in 2020 it was on display in room 0.1. The panel measures 51 cm × 36.5 cm (20 in × 14.4 in), and the painted surface a little less at 48.5 cm × 34 cm. It is often called the Mostaert Amsterdam Adoration in art history, to distinguish it from the multitude of other paintings of the Adoration of the Magi.
Based on the Gospel of Matthew 2:1–12, Mary sits with her child in the ruins of an elaborate palace to receive the gifts of the three Biblical Magi, whose retinues are seen in the background, with a fantasy landscape. The Christ child peers into Melchior's goblet of incense, which is inscribed "AVE MARIA" ("Hail Mary") around the rim. To the left, Saint Joseph stands watching and talking with a well-dressed figure behind the main group, and the heads of the traditional ox and ass can be seen. Smaller scenes shown decorating the ruined architecture include three scenes from the Old Testament, and one from Christian legend.
Melchior appears to be a portrait of the unknown person who commissioned the painting, and the older Caspar may be another portrait. The relatively small size of the panel and intimacy of the central group suggest a painting commissioned for a private house rather than a donation to a church or other public setting. | [
"",
"Dutch Renaissance",
"Gospel of Matthew",
"oil on panel",
"Mostaert",
"Caspar",
"Amsterdam",
"Jan Mostaert",
"Old Testament",
"portrait of the unknown person",
"Melchior",
"incense",
"Adoration of the Magi",
"Joseph",
"Biblical Magi",
"Saint Joseph",
"Rijksmuseum"
] |
|
17373_NT | Adoration of the Magi (Mostaert) | Explore the abstract of this artwork. | Adoration of the Magi is an oil on panel painting from the early 1520s by the Dutch Renaissance artist Jan Mostaert in the collection of the Rijksmuseum, Amsterdam, where in 2020 it was on display in room 0.1. The panel measures 51 cm × 36.5 cm (20 in × 14.4 in), and the painted surface a little less at 48.5 cm × 34 cm. It is often called the Mostaert Amsterdam Adoration in art history, to distinguish it from the multitude of other paintings of the Adoration of the Magi.
Based on the Gospel of Matthew 2:1–12, Mary sits with her child in the ruins of an elaborate palace to receive the gifts of the three Biblical Magi, whose retinues are seen in the background, with a fantasy landscape. The Christ child peers into Melchior's goblet of incense, which is inscribed "AVE MARIA" ("Hail Mary") around the rim. To the left, Saint Joseph stands watching and talking with a well-dressed figure behind the main group, and the heads of the traditional ox and ass can be seen. Smaller scenes shown decorating the ruined architecture include three scenes from the Old Testament, and one from Christian legend.
Melchior appears to be a portrait of the unknown person who commissioned the painting, and the older Caspar may be another portrait. The relatively small size of the panel and intimacy of the central group suggest a painting commissioned for a private house rather than a donation to a church or other public setting. | [
"",
"Dutch Renaissance",
"Gospel of Matthew",
"oil on panel",
"Mostaert",
"Caspar",
"Amsterdam",
"Jan Mostaert",
"Old Testament",
"portrait of the unknown person",
"Melchior",
"incense",
"Adoration of the Magi",
"Joseph",
"Biblical Magi",
"Saint Joseph",
"Rijksmuseum"
] |
|
17374_T | Adoration of the Magi (Mostaert) | Focus on Adoration of the Magi (Mostaert) and discuss the Iconography. | Many aspects of the iconography and composition of the painting are very similar to other Netherlandish depictions of this very popular subject from around this time, but some details are unusual.The Magi represent both the "three ages of man" and the three continents known to the medieval world. Melchior is traditionally shown as middle-aged and represents Asia; he is often specified as Persian. Most often it is Caspar, representing old age and Europe, whose moment of presentation of his gold is shown, but here presumably the donor's age suited a Melchior better. As usual, Balthazar, representing youth and Africa, is waiting his turn.Compositions showing the main figures at half-length, across the front of the image space, were an innovation of Hugo van der Goes late in the 15th century; two versions survive in early copies. They allow a closer and more intimate concentration on the main figures. Mostaert does not quite do this, and his vertical image format allows plenty of space above for the ruins, landscape, and retinues. However, he uses a smaller version of the table or ledge at the front centre.The stable of the account in the Gospel of Luke had often evolved into a ruined palace in paintings of the Nativity and the subsequent scenes. This was held to represent the palace of King David, who was also born in Bethlehem, and also symbolized the dilapidated state of the Old Covenant. The two poorly dressed men in the mid-ground above Melchior's head probably represent the shepherds arriving at the scene, as do the similar figures in Jan Gossaert's Adoration of the Kings (National Gallery). Both paintings show the ox and ass, but not prominently; they had only become usual in depictions of the Adoration of the Magi in the previous century.The costumes are mostly exotic versions of "modern" styles, and Mary's unusually rich dress has a "fashionable neckline", not to mention pearls hanging from the sleeve. The Magi dress richly, but without the extravagant exoticism found in many depictions by contemporary Antwerp Mannerists. Melchior wears a travelling cloak with a fashionable Spanish-style hood. | [
"",
"Jan Gossaert",
"Iconography",
"National Gallery",
"Mostaert",
"Caspar",
"Bethlehem",
"Old Covenant",
"Hugo van der Goes",
"Adoration of the Kings",
"Antwerp Mannerists",
"David",
"King David",
"Melchior",
"Gospel of Luke",
"Adoration of the Magi",
"iconography",
"paintings of the Nativity",
"three continents",
"Balthazar"
] |
|
17374_NT | Adoration of the Magi (Mostaert) | Focus on this artwork and discuss the Iconography. | Many aspects of the iconography and composition of the painting are very similar to other Netherlandish depictions of this very popular subject from around this time, but some details are unusual.The Magi represent both the "three ages of man" and the three continents known to the medieval world. Melchior is traditionally shown as middle-aged and represents Asia; he is often specified as Persian. Most often it is Caspar, representing old age and Europe, whose moment of presentation of his gold is shown, but here presumably the donor's age suited a Melchior better. As usual, Balthazar, representing youth and Africa, is waiting his turn.Compositions showing the main figures at half-length, across the front of the image space, were an innovation of Hugo van der Goes late in the 15th century; two versions survive in early copies. They allow a closer and more intimate concentration on the main figures. Mostaert does not quite do this, and his vertical image format allows plenty of space above for the ruins, landscape, and retinues. However, he uses a smaller version of the table or ledge at the front centre.The stable of the account in the Gospel of Luke had often evolved into a ruined palace in paintings of the Nativity and the subsequent scenes. This was held to represent the palace of King David, who was also born in Bethlehem, and also symbolized the dilapidated state of the Old Covenant. The two poorly dressed men in the mid-ground above Melchior's head probably represent the shepherds arriving at the scene, as do the similar figures in Jan Gossaert's Adoration of the Kings (National Gallery). Both paintings show the ox and ass, but not prominently; they had only become usual in depictions of the Adoration of the Magi in the previous century.The costumes are mostly exotic versions of "modern" styles, and Mary's unusually rich dress has a "fashionable neckline", not to mention pearls hanging from the sleeve. The Magi dress richly, but without the extravagant exoticism found in many depictions by contemporary Antwerp Mannerists. Melchior wears a travelling cloak with a fashionable Spanish-style hood. | [
"",
"Jan Gossaert",
"Iconography",
"National Gallery",
"Mostaert",
"Caspar",
"Bethlehem",
"Old Covenant",
"Hugo van der Goes",
"Adoration of the Kings",
"Antwerp Mannerists",
"David",
"King David",
"Melchior",
"Gospel of Luke",
"Adoration of the Magi",
"iconography",
"paintings of the Nativity",
"three continents",
"Balthazar"
] |
|
17375_T | Adoration of the Magi (Mostaert) | In Adoration of the Magi (Mostaert), how is the Small scenes of the Iconography elucidated? | It is common in Early Netherlandish painting to have small religious scenes shown as sculpted reliefs in the background, to increase the depth of religious reference. But the choices of the four small scenes shown on the pillar and architrave just behind the main group, and above Mary and Jesus, are unusual in painting. On the architrave, with a red background, the left side has been identified as starting with the obscure and uncommon scene from 2 Samuel 23:15–18 of King David, when Bethlehem was held by the Philistines, refusing to drink the water that three men had drawn from a well at great risk to themselves:
15 David longed for water and said, "Oh, that someone would get me a drink of water from the well near the gate of Bethlehem!" 16 So the three mighty warriors broke through the Philistine lines, drew water from the well near the gate of Bethlehem and carried it back to David. But he refused to drink it; instead, he poured it out before the Lord. 17 "Far be it from me, Lord, to do this!" he said. "Is it not the blood of men who went at the risk of their lives?" And David would not drink it. (NIV)
This scene had sometimes been used in art as a typological prefiguration of the Adoration of the Magi, apparently based on the basic similarity of a visual composition of three men offering something to a royal figure regarded as an ancestor of Jesus, rather than any theological relationship. For example, they appear in an altarpiece panel by Conrad Witz, and are carved in the frame of Michael Pacher's St. Wolfgang Altarpiece (St. Wolfgang im Salzkammergut, Austria, 1471–81).
To the right of that, along the beam, is a horizontal version of the much better-known scene of the Tree of Jesse, from Isaiah 11:1–12, which viewers of the period would easily have recognised. In the medieval Christian view, this illustrated the genealogy of Jesus.On the pillar there is the Tiburtine Sibyl showing Augustus a vision high above them, a well-known Christian legend. In the versions known to the later Middle Ages the Emperor Augustus asked the sibyl whether he should be worshipped as a god, as the Roman Senate had ordered. She replied by showing him a vision of a young woman with a baby boy, high in the sky, while a voice from the heavens said "This is the virgin who shall conceive the saviour of the world". The episode was regarded as a prefiguration of the Magi's visit, and for example is paired with an Adoration of the Magi on the two side-wings of Rogier van der Weyden's Bladelin Altarpiece (1460), now Gemäldegalerie, Berlin.
Below this on the pillar is the dream of the butler (or "cupbearer") from the Old Testament story of Joseph in Genesis 40: 9–15. He sits in the stocks, to represent his imprisoned state, carries Pharaoh's cup, but "oddly" wears a crown himself.
9 So the chief cupbearer told Joseph his dream. He said to him, "In my dream I saw a vine in front of me, 10 and on the vine were three branches. As soon as it budded, it blossomed, and its clusters ripened into grapes. 11 Pharaoh's cup was in my hand, and I took the grapes, squeezed them into Pharaoh's cup and put the cup in his hand."
12 "This is what it means", Joseph said to him. "The three branches are three days. 13 Within three days Pharaoh will lift up your head and restore you to your position, and you will put Pharaoh's cup in his hand, just as you used to do when you were his cupbearer".
A typical medieval interpretation of the prefiguring relationship with the birth of Christ was that "the cup bearer symbolized humanity captive in sin, the vine symbolized Christ who would redeem mankind, and the grape juice prefigured the blood of Christ."All these scenes are found in various versions of the Speculum humanae salvationis, an illustrated handbook of typological pairings, mostly between the Old and New Testaments, which was highly popular in illuminated manuscript, blockbook, and printed forms from the 14th to the early 16th centuries. Mostaert seems to have used a blockbook edition from some fifty years earlier as the basis of his compositions.Both a scene of Augustus and the Sibyl (in the background at left), and a vine relief pattern on a red background on a pillar appear in Mostaert's Portrait of the Knight Abel van Coustler, probably of a similar date, and a very similar scene and background building are used in a female portrait in the Gemäldegalerie, Berlin. A small painting of Joseph explaining the dreams of the Baker and Butler, c, 1500, in the Mauritshuis is tentatively attributed to Mostaert. Each dream is illustrated on the wall above the dreamer. A Tree of Jesse, hung near the Mostaert Adoration, has a complicated and disputed attribution, according to some scholars involving Mostaert, as well as Geertgen tot Sint Jans, who died in Haarlem in 1495, or his workshop or pupils. | [
"",
"Michael Pacher",
"Genesis",
"Conrad Witz",
"Mostaert",
"Tiburtine Sibyl",
"typological prefiguration",
"Bladelin Altarpiece",
"Bethlehem",
"Gemäldegalerie, Berlin",
"Middle Ages",
"Tree of Jesse",
"Mauritshuis",
"Rogier van der Weyden",
"Sibyl",
"sibyl",
"altarpiece",
"Old Testament",
"Geertgen tot Sint Jans",
"Altarpiece",
"relief",
"genealogy of Jesus",
"David",
"King David",
"blockbook",
"NIV",
"Roman Senate",
"Adoration of the Magi",
"Joseph",
"illuminated manuscript",
"Speculum humanae salvationis",
"architrave",
"New Testament",
"Augustus",
"Philistines",
"Early Netherlandish painting",
"stocks"
] |
|
17375_NT | Adoration of the Magi (Mostaert) | In this artwork, how is the Small scenes of the Iconography elucidated? | It is common in Early Netherlandish painting to have small religious scenes shown as sculpted reliefs in the background, to increase the depth of religious reference. But the choices of the four small scenes shown on the pillar and architrave just behind the main group, and above Mary and Jesus, are unusual in painting. On the architrave, with a red background, the left side has been identified as starting with the obscure and uncommon scene from 2 Samuel 23:15–18 of King David, when Bethlehem was held by the Philistines, refusing to drink the water that three men had drawn from a well at great risk to themselves:
15 David longed for water and said, "Oh, that someone would get me a drink of water from the well near the gate of Bethlehem!" 16 So the three mighty warriors broke through the Philistine lines, drew water from the well near the gate of Bethlehem and carried it back to David. But he refused to drink it; instead, he poured it out before the Lord. 17 "Far be it from me, Lord, to do this!" he said. "Is it not the blood of men who went at the risk of their lives?" And David would not drink it. (NIV)
This scene had sometimes been used in art as a typological prefiguration of the Adoration of the Magi, apparently based on the basic similarity of a visual composition of three men offering something to a royal figure regarded as an ancestor of Jesus, rather than any theological relationship. For example, they appear in an altarpiece panel by Conrad Witz, and are carved in the frame of Michael Pacher's St. Wolfgang Altarpiece (St. Wolfgang im Salzkammergut, Austria, 1471–81).
To the right of that, along the beam, is a horizontal version of the much better-known scene of the Tree of Jesse, from Isaiah 11:1–12, which viewers of the period would easily have recognised. In the medieval Christian view, this illustrated the genealogy of Jesus.On the pillar there is the Tiburtine Sibyl showing Augustus a vision high above them, a well-known Christian legend. In the versions known to the later Middle Ages the Emperor Augustus asked the sibyl whether he should be worshipped as a god, as the Roman Senate had ordered. She replied by showing him a vision of a young woman with a baby boy, high in the sky, while a voice from the heavens said "This is the virgin who shall conceive the saviour of the world". The episode was regarded as a prefiguration of the Magi's visit, and for example is paired with an Adoration of the Magi on the two side-wings of Rogier van der Weyden's Bladelin Altarpiece (1460), now Gemäldegalerie, Berlin.
Below this on the pillar is the dream of the butler (or "cupbearer") from the Old Testament story of Joseph in Genesis 40: 9–15. He sits in the stocks, to represent his imprisoned state, carries Pharaoh's cup, but "oddly" wears a crown himself.
9 So the chief cupbearer told Joseph his dream. He said to him, "In my dream I saw a vine in front of me, 10 and on the vine were three branches. As soon as it budded, it blossomed, and its clusters ripened into grapes. 11 Pharaoh's cup was in my hand, and I took the grapes, squeezed them into Pharaoh's cup and put the cup in his hand."
12 "This is what it means", Joseph said to him. "The three branches are three days. 13 Within three days Pharaoh will lift up your head and restore you to your position, and you will put Pharaoh's cup in his hand, just as you used to do when you were his cupbearer".
A typical medieval interpretation of the prefiguring relationship with the birth of Christ was that "the cup bearer symbolized humanity captive in sin, the vine symbolized Christ who would redeem mankind, and the grape juice prefigured the blood of Christ."All these scenes are found in various versions of the Speculum humanae salvationis, an illustrated handbook of typological pairings, mostly between the Old and New Testaments, which was highly popular in illuminated manuscript, blockbook, and printed forms from the 14th to the early 16th centuries. Mostaert seems to have used a blockbook edition from some fifty years earlier as the basis of his compositions.Both a scene of Augustus and the Sibyl (in the background at left), and a vine relief pattern on a red background on a pillar appear in Mostaert's Portrait of the Knight Abel van Coustler, probably of a similar date, and a very similar scene and background building are used in a female portrait in the Gemäldegalerie, Berlin. A small painting of Joseph explaining the dreams of the Baker and Butler, c, 1500, in the Mauritshuis is tentatively attributed to Mostaert. Each dream is illustrated on the wall above the dreamer. A Tree of Jesse, hung near the Mostaert Adoration, has a complicated and disputed attribution, according to some scholars involving Mostaert, as well as Geertgen tot Sint Jans, who died in Haarlem in 1495, or his workshop or pupils. | [
"",
"Michael Pacher",
"Genesis",
"Conrad Witz",
"Mostaert",
"Tiburtine Sibyl",
"typological prefiguration",
"Bladelin Altarpiece",
"Bethlehem",
"Gemäldegalerie, Berlin",
"Middle Ages",
"Tree of Jesse",
"Mauritshuis",
"Rogier van der Weyden",
"Sibyl",
"sibyl",
"altarpiece",
"Old Testament",
"Geertgen tot Sint Jans",
"Altarpiece",
"relief",
"genealogy of Jesus",
"David",
"King David",
"blockbook",
"NIV",
"Roman Senate",
"Adoration of the Magi",
"Joseph",
"illuminated manuscript",
"Speculum humanae salvationis",
"architrave",
"New Testament",
"Augustus",
"Philistines",
"Early Netherlandish painting",
"stocks"
] |
|
17376_T | Adoration of the Magi (Mostaert) | Focus on Adoration of the Magi (Mostaert) and analyze the Technical. | The painting is on a single oak panel, 1.3 cm thick. It is in good condition, and was restored in 2007. Infrared reflectography shows a detailed underdrawing, to which various minor changes have been made during painting. | [
"",
"Infrared reflectography",
"Infrared",
"underdrawing"
] |
|
17376_NT | Adoration of the Magi (Mostaert) | Focus on this artwork and analyze the Technical. | The painting is on a single oak panel, 1.3 cm thick. It is in good condition, and was restored in 2007. Infrared reflectography shows a detailed underdrawing, to which various minor changes have been made during painting. | [
"",
"Infrared reflectography",
"Infrared",
"underdrawing"
] |
|
17377_T | Adoration of the Magi (Mostaert) | In Adoration of the Magi (Mostaert), how is the Provenance discussed? | The painting is documented as far back as the estate inventory of Anna van Renesse, Lady of Assendelft (1622–1667), at Assumburgh Castle near Heemskerk. This painting was purchased in 1879 from the heirs of the original owners through the mediation of Cornelis François Roos, the son of Cornelis Sebille Roos, and has been included in all Highlights of the Rijksmuseum catalogues since. | [
"",
"Assumburgh Castle",
"Heemskerk",
"Cornelis Sebille Roos",
"Anna van Renesse",
"Assendelft",
"Rijksmuseum"
] |
|
17377_NT | Adoration of the Magi (Mostaert) | In this artwork, how is the Provenance discussed? | The painting is documented as far back as the estate inventory of Anna van Renesse, Lady of Assendelft (1622–1667), at Assumburgh Castle near Heemskerk. This painting was purchased in 1879 from the heirs of the original owners through the mediation of Cornelis François Roos, the son of Cornelis Sebille Roos, and has been included in all Highlights of the Rijksmuseum catalogues since. | [
"",
"Assumburgh Castle",
"Heemskerk",
"Cornelis Sebille Roos",
"Anna van Renesse",
"Assendelft",
"Rijksmuseum"
] |
|
17378_T | Statue of Milan Rastislav Štefánik, Prague | Focus on Statue of Milan Rastislav Štefánik, Prague and explore the abstract. | The statue of Milan Rastislav Štefánik (Czech: Socha Milana Rastislava Štefánika) is an outdoor sculpture by Bohumil Kafka, installed outside Štefánik's Observatory on Petřín in Prague, Czech Republic. | [
"Petřín",
"Štefánik's Observatory",
"Bohumil Kafka",
"Prague",
"Milan Rastislav Štefánik"
] |
|
17378_NT | Statue of Milan Rastislav Štefánik, Prague | Focus on this artwork and explore the abstract. | The statue of Milan Rastislav Štefánik (Czech: Socha Milana Rastislava Štefánika) is an outdoor sculpture by Bohumil Kafka, installed outside Štefánik's Observatory on Petřín in Prague, Czech Republic. | [
"Petřín",
"Štefánik's Observatory",
"Bohumil Kafka",
"Prague",
"Milan Rastislav Štefánik"
] |
|
17379_T | La Mariée | Focus on La Mariée and explain the abstract. | La Mariée (French for "The Bride") is a 1950 painting on canvas, measuring 68×53 cm, by Russian-French artist Marc Chagall. It is held in a private collection in Japan.
La Mariée was prominently featured in the 1999 film Notting Hill. | [
"Marc Chagall",
"1999",
"Notting Hill",
"painting"
] |
|
17379_NT | La Mariée | Focus on this artwork and explain the abstract. | La Mariée (French for "The Bride") is a 1950 painting on canvas, measuring 68×53 cm, by Russian-French artist Marc Chagall. It is held in a private collection in Japan.
La Mariée was prominently featured in the 1999 film Notting Hill. | [
"Marc Chagall",
"1999",
"Notting Hill",
"painting"
] |
|
17380_T | La Mariée | Explore the The painting of this artwork, La Mariée. | Chagall paintings often feature young women or couples, but in La Mariée the focus is on a singular young woman in quasi-wedding attire with a bouquet of flowers. Described by a Chagall fan as "an ode to young love", the woman is presented to the viewer in a bold and conspicuous fashion, as if the viewer is the one marrying her. | [
"painting"
] |
|
17380_NT | La Mariée | Explore the The painting of this artwork. | Chagall paintings often feature young women or couples, but in La Mariée the focus is on a singular young woman in quasi-wedding attire with a bouquet of flowers. Described by a Chagall fan as "an ode to young love", the woman is presented to the viewer in a bold and conspicuous fashion, as if the viewer is the one marrying her. | [
"painting"
] |
|
17381_T | La Mariée | In the context of La Mariée, discuss the Colours of the The painting. | The second peculiarity of La Mariée compared to the majority of other Chagall paintings is the choice of colors. The young woman is dressed in a red dress lively, with a virginal white veil draped over her head, while the background is mostly a mix of fresh and soft blue and gray. This effect allows the image of the woman to jump off the canvas and attract the viewer's attention. It is evident that Chagall has attempted to highlight the woman, as is tradition in every marriage. | [
"painting"
] |
|
17381_NT | La Mariée | In the context of this artwork, discuss the Colours of the The painting. | The second peculiarity of La Mariée compared to the majority of other Chagall paintings is the choice of colors. The young woman is dressed in a red dress lively, with a virginal white veil draped over her head, while the background is mostly a mix of fresh and soft blue and gray. This effect allows the image of the woman to jump off the canvas and attract the viewer's attention. It is evident that Chagall has attempted to highlight the woman, as is tradition in every marriage. | [
"painting"
] |
|
17382_T | La Mariée | In La Mariée, how is the Images in La Mariée of the The painting elucidated? | The wedding is the major theme of the painting, and includes a feature found in other Chagall paintings and in many other European artworks of the twentieth century, animals playing musical instruments. In this case it's a goat playing a cello. The painting also shows a man hanging over the head of the bride with his hands on her veil, a church which stands in the background almost as an afterthought, a man playing a flute, a girl with pigtails, a fish with arms holding a candle and a chair, several more buildings, and a squirrel. | [
"pigtail",
"cello",
"painting"
] |
|
17382_NT | La Mariée | In this artwork, how is the Images in La Mariée of the The painting elucidated? | The wedding is the major theme of the painting, and includes a feature found in other Chagall paintings and in many other European artworks of the twentieth century, animals playing musical instruments. In this case it's a goat playing a cello. The painting also shows a man hanging over the head of the bride with his hands on her veil, a church which stands in the background almost as an afterthought, a man playing a flute, a girl with pigtails, a fish with arms holding a candle and a chair, several more buildings, and a squirrel. | [
"pigtail",
"cello",
"painting"
] |
|
17383_T | La Mariée | Focus on La Mariée and analyze the Notting Hill. | In the 1999 film Notting Hill, Julia Roberts' character Anna Scott sees a poster of La Mariée in the home of Hugh Grant's character, William Thacker. Later in the film Anna, in proclaiming her love for William, gives him what is presumably the original.
According to director Roger Michell in an article in Entertainment Weekly, the painting was chosen because screenwriter Richard Curtis was a fan of Chagall's work, and because La Mariée "depicts a yearning for something that's lost." Producers had a reproduction made for use in the film, but had to first get permission from the painting's owners and obtain clearance from the British Design and Artists Copyright Society. The reproduction was created by British artist, Thomasina Smith. According to producer Duncan Kenworthy, "... we had to agree to destroy it. They were concerned that if our fake was too good, it might float around the market and create problems." The article notes that the real painting could have been "worth between $500,000 and $1 million." A closely related work by Chagall, also called La Mariée, was sold in 2003 by Christies for just above US$1 million. | [
"Richard Curtis",
"Entertainment Weekly",
"Duncan Kenworthy",
"Roger Michell",
"Julia Roberts",
"Design and Artists Copyright Society",
"1999",
"Hugh Grant",
"Notting Hill",
"painting"
] |
|
17383_NT | La Mariée | Focus on this artwork and analyze the Notting Hill. | In the 1999 film Notting Hill, Julia Roberts' character Anna Scott sees a poster of La Mariée in the home of Hugh Grant's character, William Thacker. Later in the film Anna, in proclaiming her love for William, gives him what is presumably the original.
According to director Roger Michell in an article in Entertainment Weekly, the painting was chosen because screenwriter Richard Curtis was a fan of Chagall's work, and because La Mariée "depicts a yearning for something that's lost." Producers had a reproduction made for use in the film, but had to first get permission from the painting's owners and obtain clearance from the British Design and Artists Copyright Society. The reproduction was created by British artist, Thomasina Smith. According to producer Duncan Kenworthy, "... we had to agree to destroy it. They were concerned that if our fake was too good, it might float around the market and create problems." The article notes that the real painting could have been "worth between $500,000 and $1 million." A closely related work by Chagall, also called La Mariée, was sold in 2003 by Christies for just above US$1 million. | [
"Richard Curtis",
"Entertainment Weekly",
"Duncan Kenworthy",
"Roger Michell",
"Julia Roberts",
"Design and Artists Copyright Society",
"1999",
"Hugh Grant",
"Notting Hill",
"painting"
] |
|
17384_T | View of Bentheim Castle | In View of Bentheim Castle, how is the abstract discussed? | View of Bentheim Castle (c. 1650s) is an oil on canvas painting of Burg Bentheim by the Dutch landscape painter Jacob van Ruisdael.
It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.
This painting was documented by Hofstede de Groot in 1911, who wrote; "21. THE CASTLE OF BENTHEIM. Sm. 16. The castle stands in the left middle distance on the rocky summit of a hill. To the right is a valley through which runs a road. In front are masses of rock between which flows a stream forming a little waterfall. On the left bank a shattered tree-trunk, beside the stump, lies diagonally across the stream. Farther back the stream widens; on the left bank a shepherd drives his sheep forward. A fine picture, full of light. [Pendant to 319.]
Signed in full to the right on a rock; canvas, 27 inches by 21 inches. Engraved by W. Unger. Sales. G. G. Baron Taets van Amerongen, Amsterdam, July 3, 1805, No. 35 (750 florins, Josi). p. de Smeth van Alphen, Amsterdam, August i, 1810, No. 86 (740 florins, Coclers); pendant to No. 85. In the Rijksmuseum, Amsterdam, 1910 catalogue, No. 2080; it was there in 1835 (Sm., who valued it at £ 350)."This scene is very similar to other paintings Ruisdael made in this period of Burg Bentheim and these often showed the castle on a high hill, though in reality it is only slightly elevated above the surrounding plain.
Little is known of Ruisdael's trip to Bentheim. It is speculated that he took a grand tour like many of his contemporaries did, but they were mostly interested in travel to Italy and headed southwards, not eastwards as Ruisdael had done. Sources are unclear about the reason the artist would travel to Bentheim to paint it. Bentheim is a small German town near the Dutch border about 26 kilometers beyond Ootmarsum, a town Ruisdael painted, and adjoins the town of Schüttorf, which Ruisdael sketched from across the river Vechte. In those days, people of Haarlem and Amsterdam were more likely to travel by foot or by trekschuit than by horse and buggy. Ruisdael's paintings also often show people walking along sandy tracks or traveling in boats, but only the cart tracks in his paintings show the traffic from other forms of transport. If he travelled eastwards by boat, then this could explain why he made so many sketches of water mills and sluices. There has been speculation that Ruisdael accompanied an expedition to acquire Bentheimer sandstone for building the new Amsterdam Town Hall, an ambitious project by mayor Nicolaes Tulp that employed many artists, including the Haarlem architect Jacob van Campen as master builder. Bentheimer sandstone was a popular product being used to build canal mansions along the new canals of Amsterdam. In Haarlem, the facade of the house of Pieter Teyler van der Hulst is cladded with Bentheimer sandstone, and though this was probably done later in the 1740s, it shows hows the popularity of this material overshadowed the use of Namur stone from Belgium, the material used earlier in the 17th century for cladding of the Waag, Haarlem, which is a few doors down from Teyler's house. However it is also entirely plausible that Ruisdael was invited to the castle to paint it, but little is known of the art collection in the castle at that time.
Ruisdael was even tempted to make a dramatic sweeping version of the castle that was copied almost in mirror image by Haarlem contemporary Nicolaes Berchem, called "his great friend" by Ruisdael biographer Arnold Houbraken. It is assumed that the artists travelled together, but no archival evidence beyond dated artworks survive which support this. | [
"Amsterdam",
"Namur",
"Hofstede de Groot",
"Jacob van Ruisdael",
"trekschuit",
"Dutch",
"Waag, Haarlem",
"oil",
"Jacob van Campen",
"grand tour",
"Dutch Golden Age painting",
"Sm. 16.",
"canals of Amsterdam",
"Pieter Teyler van der Hulst",
"Arnold Houbraken",
"Rijksmuseum",
"Schüttorf",
"Nicolaes Berchem",
"Bentheim Castle",
"Ootmarsum",
"Nicolaes Tulp",
"Burg Bentheim",
"Vechte"
] |
|
17384_NT | View of Bentheim Castle | In this artwork, how is the abstract discussed? | View of Bentheim Castle (c. 1650s) is an oil on canvas painting of Burg Bentheim by the Dutch landscape painter Jacob van Ruisdael.
It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.
This painting was documented by Hofstede de Groot in 1911, who wrote; "21. THE CASTLE OF BENTHEIM. Sm. 16. The castle stands in the left middle distance on the rocky summit of a hill. To the right is a valley through which runs a road. In front are masses of rock between which flows a stream forming a little waterfall. On the left bank a shattered tree-trunk, beside the stump, lies diagonally across the stream. Farther back the stream widens; on the left bank a shepherd drives his sheep forward. A fine picture, full of light. [Pendant to 319.]
Signed in full to the right on a rock; canvas, 27 inches by 21 inches. Engraved by W. Unger. Sales. G. G. Baron Taets van Amerongen, Amsterdam, July 3, 1805, No. 35 (750 florins, Josi). p. de Smeth van Alphen, Amsterdam, August i, 1810, No. 86 (740 florins, Coclers); pendant to No. 85. In the Rijksmuseum, Amsterdam, 1910 catalogue, No. 2080; it was there in 1835 (Sm., who valued it at £ 350)."This scene is very similar to other paintings Ruisdael made in this period of Burg Bentheim and these often showed the castle on a high hill, though in reality it is only slightly elevated above the surrounding plain.
Little is known of Ruisdael's trip to Bentheim. It is speculated that he took a grand tour like many of his contemporaries did, but they were mostly interested in travel to Italy and headed southwards, not eastwards as Ruisdael had done. Sources are unclear about the reason the artist would travel to Bentheim to paint it. Bentheim is a small German town near the Dutch border about 26 kilometers beyond Ootmarsum, a town Ruisdael painted, and adjoins the town of Schüttorf, which Ruisdael sketched from across the river Vechte. In those days, people of Haarlem and Amsterdam were more likely to travel by foot or by trekschuit than by horse and buggy. Ruisdael's paintings also often show people walking along sandy tracks or traveling in boats, but only the cart tracks in his paintings show the traffic from other forms of transport. If he travelled eastwards by boat, then this could explain why he made so many sketches of water mills and sluices. There has been speculation that Ruisdael accompanied an expedition to acquire Bentheimer sandstone for building the new Amsterdam Town Hall, an ambitious project by mayor Nicolaes Tulp that employed many artists, including the Haarlem architect Jacob van Campen as master builder. Bentheimer sandstone was a popular product being used to build canal mansions along the new canals of Amsterdam. In Haarlem, the facade of the house of Pieter Teyler van der Hulst is cladded with Bentheimer sandstone, and though this was probably done later in the 1740s, it shows hows the popularity of this material overshadowed the use of Namur stone from Belgium, the material used earlier in the 17th century for cladding of the Waag, Haarlem, which is a few doors down from Teyler's house. However it is also entirely plausible that Ruisdael was invited to the castle to paint it, but little is known of the art collection in the castle at that time.
Ruisdael was even tempted to make a dramatic sweeping version of the castle that was copied almost in mirror image by Haarlem contemporary Nicolaes Berchem, called "his great friend" by Ruisdael biographer Arnold Houbraken. It is assumed that the artists travelled together, but no archival evidence beyond dated artworks survive which support this. | [
"Amsterdam",
"Namur",
"Hofstede de Groot",
"Jacob van Ruisdael",
"trekschuit",
"Dutch",
"Waag, Haarlem",
"oil",
"Jacob van Campen",
"grand tour",
"Dutch Golden Age painting",
"Sm. 16.",
"canals of Amsterdam",
"Pieter Teyler van der Hulst",
"Arnold Houbraken",
"Rijksmuseum",
"Schüttorf",
"Nicolaes Berchem",
"Bentheim Castle",
"Ootmarsum",
"Nicolaes Tulp",
"Burg Bentheim",
"Vechte"
] |
|
17385_T | Middlebury to Her Soldiers | Focus on Middlebury to Her Soldiers and explore the abstract. | Middlebury to Her Soldiers is a public artwork by American artists Marshall Jones and Seward Jones, located on the triangle between Merchant's Row and South Pleasant Street in Middlebury, VT, United States of America. It was fabricated by the Jones Brothers Company of Barre, VT. The granite sculpture consists of a figure in a Civil War uniform holding a flag in his proper right arm standing atop a multi-layered granite pedestal. Figures depicting an artilleryman, a cavalryman, a marine, and an infantryman stand at the four corners of the pedestal's central section. | [
"proper right",
"American",
"granite",
"United States",
"VT",
"Barre",
"United States of America",
"Marshall Jones and Seward Jones",
"Middlebury"
] |
|
17385_NT | Middlebury to Her Soldiers | Focus on this artwork and explore the abstract. | Middlebury to Her Soldiers is a public artwork by American artists Marshall Jones and Seward Jones, located on the triangle between Merchant's Row and South Pleasant Street in Middlebury, VT, United States of America. It was fabricated by the Jones Brothers Company of Barre, VT. The granite sculpture consists of a figure in a Civil War uniform holding a flag in his proper right arm standing atop a multi-layered granite pedestal. Figures depicting an artilleryman, a cavalryman, a marine, and an infantryman stand at the four corners of the pedestal's central section. | [
"proper right",
"American",
"granite",
"United States",
"VT",
"Barre",
"United States of America",
"Marshall Jones and Seward Jones",
"Middlebury"
] |
|
17386_T | Middlebury to Her Soldiers | Focus on Middlebury to Her Soldiers and explain the Description. | On the west side, the base is inscribed "Middlebury to Her Soldiers". On the east side, the base is inscribed "Donated by S.A. Ilsley Erected 1905". Neither the sculptures nor the base are signed by the artists.The sculpture is made of a light, fine grained medium Barre granite from the Jones Brothers company's quarry. It measures approximately 32 feet 1 inch high, with the base measuring approximately 2 feet 8 inches x 17 feet 6 inches x 17 feet 6 inches.
The sculpture has also been referred to as the Soldier's Monument, the Civil War Monument, the Ilsley Monument, and the Spanish American Monument. | [
"American",
"granite",
"Barre",
"Middlebury"
] |
|
17386_NT | Middlebury to Her Soldiers | Focus on this artwork and explain the Description. | On the west side, the base is inscribed "Middlebury to Her Soldiers". On the east side, the base is inscribed "Donated by S.A. Ilsley Erected 1905". Neither the sculptures nor the base are signed by the artists.The sculpture is made of a light, fine grained medium Barre granite from the Jones Brothers company's quarry. It measures approximately 32 feet 1 inch high, with the base measuring approximately 2 feet 8 inches x 17 feet 6 inches x 17 feet 6 inches.
The sculpture has also been referred to as the Soldier's Monument, the Civil War Monument, the Ilsley Monument, and the Spanish American Monument. | [
"American",
"granite",
"Barre",
"Middlebury"
] |
|
17387_T | Middlebury to Her Soldiers | Explore the Historical information of this artwork, Middlebury to Her Soldiers. | The sculpture sits over a fire protection cistern which had been made obsolete after a water system had been installed in the village in 1902. | [] |
|
17387_NT | Middlebury to Her Soldiers | Explore the Historical information of this artwork. | The sculpture sits over a fire protection cistern which had been made obsolete after a water system had been installed in the village in 1902. | [] |
|
17388_T | Middlebury to Her Soldiers | In the context of Middlebury to Her Soldiers, discuss the Acquisition of the Historical information. | The sculpture was commissioned by Silas A. Ilsley (13 March 1840 – 9 January 1918) on 18 November 1904. Ilsley had served in the New York infantry during the Civil War and moved to Middlebury in 1901 following his retirement from the tinware business in Brooklyn, NY. He donated the monument to the town of Middlebury and the sculpture was dedicated 30 May 1905. The celebration of the dedication was reportedly attended by 7,000 people and included speeches, a parade, and fireworks. | [
"Middlebury"
] |
|
17388_NT | Middlebury to Her Soldiers | In the context of this artwork, discuss the Acquisition of the Historical information. | The sculpture was commissioned by Silas A. Ilsley (13 March 1840 – 9 January 1918) on 18 November 1904. Ilsley had served in the New York infantry during the Civil War and moved to Middlebury in 1901 following his retirement from the tinware business in Brooklyn, NY. He donated the monument to the town of Middlebury and the sculpture was dedicated 30 May 1905. The celebration of the dedication was reportedly attended by 7,000 people and included speeches, a parade, and fireworks. | [
"Middlebury"
] |
|
17389_T | Middlebury to Her Soldiers | How does Middlebury to Her Soldiers elucidate its Artist? | Marshall Jones and Seward Jones designed the sculpture which was fabricated by the Jones Brothers Company, founded in Boston, MA in 1882 and began operations in Barre, VT in 1886. The company's granite shed, now the home of the Vermont Granite Museum, is considered significant by the Vermont Division for Historic Preservation and was named one of "America's Treasures" by the United States Department of the Interior. | [
"Vermont",
"granite",
"Granite",
"United States",
"VT",
"MA",
"Boston",
"Barre",
"Marshall Jones and Seward Jones",
"United States Department of the Interior"
] |
|
17389_NT | Middlebury to Her Soldiers | How does this artwork elucidate its Artist? | Marshall Jones and Seward Jones designed the sculpture which was fabricated by the Jones Brothers Company, founded in Boston, MA in 1882 and began operations in Barre, VT in 1886. The company's granite shed, now the home of the Vermont Granite Museum, is considered significant by the Vermont Division for Historic Preservation and was named one of "America's Treasures" by the United States Department of the Interior. | [
"Vermont",
"granite",
"Granite",
"United States",
"VT",
"MA",
"Boston",
"Barre",
"Marshall Jones and Seward Jones",
"United States Department of the Interior"
] |
|
17390_T | Middlebury to Her Soldiers | Focus on Middlebury to Her Soldiers and analyze the Condition. | This sculpture was documented as needing conservation treatment in 1992 as part of Save Outdoor Sculpture!, a campaign organized by Heritage Preservation: The National Institute of Conservation in partnership with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States. In Vermont, the survey was sponsored by the Vermont Museum and Gallery Alliance from 1992 to 1993 where 110 volunteers surveyed 242 sculptures dating from 1740 to 1993. The archives from the project are maintained by the Vermont Historical Society. | [
"Vermont",
"American",
"Vermont Historical Society",
"Smithsonian American Art Museum",
"United States",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Heritage Preservation"
] |
|
17390_NT | Middlebury to Her Soldiers | Focus on this artwork and analyze the Condition. | This sculpture was documented as needing conservation treatment in 1992 as part of Save Outdoor Sculpture!, a campaign organized by Heritage Preservation: The National Institute of Conservation in partnership with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States. In Vermont, the survey was sponsored by the Vermont Museum and Gallery Alliance from 1992 to 1993 where 110 volunteers surveyed 242 sculptures dating from 1740 to 1993. The archives from the project are maintained by the Vermont Historical Society. | [
"Vermont",
"American",
"Vermont Historical Society",
"Smithsonian American Art Museum",
"United States",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Heritage Preservation"
] |
|
17391_T | Triad (sculpture) | In Triad (sculpture), how is the abstract discussed? | Triad is an outdoor sculpture by German American artist Evelyn Franz, located in Laurelhurst Park in southeast Portland, Oregon. | [
"Laurelhurst Park",
"Portland, Oregon",
"Evelyn Franz"
] |
|
17391_NT | Triad (sculpture) | In this artwork, how is the abstract discussed? | Triad is an outdoor sculpture by German American artist Evelyn Franz, located in Laurelhurst Park in southeast Portland, Oregon. | [
"Laurelhurst Park",
"Portland, Oregon",
"Evelyn Franz"
] |
|
17392_T | Triad (sculpture) | Focus on Triad (sculpture) and explore the Description and history. | Originally completed in 1980 and remade in 2003, Triad was designed by Evelyn Franz, who received her Master of Fine Arts in Sculpture in 1976 from Portland State University. The abstract stainless steel sculpture was funded by the Comprehensive Employment and Training Act (CETA) and is installed between Southeast 37th Avenue and Southeast Ankeny in Laurelhurst Park. According to the Regional Arts & Culture Council, which administers the work, it measures 7 feet (2.1 m), 5 inches (13 cm) tall, 5 feet (1.5 m), 5 inches (13 cm) long and 2 feet (0.61 m), 5 inches (13 cm) wide . The Smithsonian Institution lists the measurements as approximately 50 inches (130 cm) tall, 8 feet (2.4 m) long and 2 feet (0.61 m) wide . The sculpture contains no inscriptions and rests on a stainless steel base which measures approximately 16 inches (41 cm) tall, 80 inches (200 cm) long and 30 inches (76 cm) wide. It is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.Its condition was deemed "treatment needed" by the Smithsonian's "Save Outdoor Sculpture!" program in November 1994. | [
"Laurelhurst Park",
"Regional Arts & Culture Council",
"Smithsonian Institution",
"Comprehensive Employment and Training Act",
"Portland State University",
"Save Outdoor Sculpture!",
"stainless steel",
"abstract",
"Master of Fine Arts",
"Evelyn Franz"
] |
|
17392_NT | Triad (sculpture) | Focus on this artwork and explore the Description and history. | Originally completed in 1980 and remade in 2003, Triad was designed by Evelyn Franz, who received her Master of Fine Arts in Sculpture in 1976 from Portland State University. The abstract stainless steel sculpture was funded by the Comprehensive Employment and Training Act (CETA) and is installed between Southeast 37th Avenue and Southeast Ankeny in Laurelhurst Park. According to the Regional Arts & Culture Council, which administers the work, it measures 7 feet (2.1 m), 5 inches (13 cm) tall, 5 feet (1.5 m), 5 inches (13 cm) long and 2 feet (0.61 m), 5 inches (13 cm) wide . The Smithsonian Institution lists the measurements as approximately 50 inches (130 cm) tall, 8 feet (2.4 m) long and 2 feet (0.61 m) wide . The sculpture contains no inscriptions and rests on a stainless steel base which measures approximately 16 inches (41 cm) tall, 80 inches (200 cm) long and 30 inches (76 cm) wide. It is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.Its condition was deemed "treatment needed" by the Smithsonian's "Save Outdoor Sculpture!" program in November 1994. | [
"Laurelhurst Park",
"Regional Arts & Culture Council",
"Smithsonian Institution",
"Comprehensive Employment and Training Act",
"Portland State University",
"Save Outdoor Sculpture!",
"stainless steel",
"abstract",
"Master of Fine Arts",
"Evelyn Franz"
] |
|
17393_T | The Martyrdom of St Erasmus (Bouts) | Focus on The Martyrdom of St Erasmus (Bouts) and explain the Critical response. | The historian Johan Huizinga called the composition "clumsy and inept," and the entire scene "dermwinderken" ("gut-wrenching"), because the central panel shows how, according to legend, the intestines of Saint Erasmus were extracted from his body with the help of a windlass. The literature about the Bouts picture notes how the figure of Erasmus undergoes his suffering without betraying any emotion. The executioners likewise "carry out their duties seriously," in "disturbing silence," while the Emperor Diocletian and his three companions witnessing the event appear to stand in a meditative state, much as the saints on the side panels, "anachronistically attending the same event." The "sobriety and restraint" in the "calm atmosphere," and Diocletian's "amiable indifference" create a tableau of rather inappositely decorous balance and harmony. A newspaper in observed in 2006The martyr himself is pinioned, but passive. He lies there, stripped to a cloth, his bishop's mitre set on the ground next to him, his face slightly hardened, his body relaxed and unresponding. Even his flesh is without any natural resistance. From a neat opening in his belly, a thin line of innards is extracted bloodlessly and vertically from the horizontal man, with no more strain than drawing a thread through a needle.Max Friedländer sums up the content of the panels as "relating a story, not of cruelty as such, nor of suffering and defiance, but rather of judicial equanimity and of submission. The repulsive scene is rendered tolerable, not by the introduction of an element of passionate agitation, but by documenting it with unvarnished and sober clarity, as though it were a surgical operation. Yet its realism is overlaid with so much supernatural detachment, is so stiffly symmetrical, so pedantically clean that it has the effect of a symbolic tableau in a medieval mystery play."Works in the oeuvre of Bouts often contain "spacious outdoor settings." In discussing the continuity of the unified landscape background across the three parts of the painting, Lynn Jacobs notes how "all three panels of the triptych's interior are situated within one continuous landscape space that spreads, seemingly without interruption, across the joints between the center and wings. This allows Saint Jerome and Saint Bernard in the wings, in a mystical transformation of history, to become present as witnesses to Erasmus's martyrdom. Such a demonstration of connections through space and time ultimately offers the same kinds of connections, and transcendence into the realm of the sacred, to the viewers of the triptych." Bernhard Ridderbos likewise observes a "Mondrianish sense of balance constructed out of horizontals and verticals and colors." | [
"mystic",
"Jerome",
"windlass",
"Erasmus",
"Johan Huizinga",
"Max Friedländer",
"Mondrianish",
"triptych",
"martyr",
"Diocletian"
] |
|
17393_NT | The Martyrdom of St Erasmus (Bouts) | Focus on this artwork and explain the Critical response. | The historian Johan Huizinga called the composition "clumsy and inept," and the entire scene "dermwinderken" ("gut-wrenching"), because the central panel shows how, according to legend, the intestines of Saint Erasmus were extracted from his body with the help of a windlass. The literature about the Bouts picture notes how the figure of Erasmus undergoes his suffering without betraying any emotion. The executioners likewise "carry out their duties seriously," in "disturbing silence," while the Emperor Diocletian and his three companions witnessing the event appear to stand in a meditative state, much as the saints on the side panels, "anachronistically attending the same event." The "sobriety and restraint" in the "calm atmosphere," and Diocletian's "amiable indifference" create a tableau of rather inappositely decorous balance and harmony. A newspaper in observed in 2006The martyr himself is pinioned, but passive. He lies there, stripped to a cloth, his bishop's mitre set on the ground next to him, his face slightly hardened, his body relaxed and unresponding. Even his flesh is without any natural resistance. From a neat opening in his belly, a thin line of innards is extracted bloodlessly and vertically from the horizontal man, with no more strain than drawing a thread through a needle.Max Friedländer sums up the content of the panels as "relating a story, not of cruelty as such, nor of suffering and defiance, but rather of judicial equanimity and of submission. The repulsive scene is rendered tolerable, not by the introduction of an element of passionate agitation, but by documenting it with unvarnished and sober clarity, as though it were a surgical operation. Yet its realism is overlaid with so much supernatural detachment, is so stiffly symmetrical, so pedantically clean that it has the effect of a symbolic tableau in a medieval mystery play."Works in the oeuvre of Bouts often contain "spacious outdoor settings." In discussing the continuity of the unified landscape background across the three parts of the painting, Lynn Jacobs notes how "all three panels of the triptych's interior are situated within one continuous landscape space that spreads, seemingly without interruption, across the joints between the center and wings. This allows Saint Jerome and Saint Bernard in the wings, in a mystical transformation of history, to become present as witnesses to Erasmus's martyrdom. Such a demonstration of connections through space and time ultimately offers the same kinds of connections, and transcendence into the realm of the sacred, to the viewers of the triptych." Bernhard Ridderbos likewise observes a "Mondrianish sense of balance constructed out of horizontals and verticals and colors." | [
"mystic",
"Jerome",
"windlass",
"Erasmus",
"Johan Huizinga",
"Max Friedländer",
"Mondrianish",
"triptych",
"martyr",
"Diocletian"
] |
|
17394_T | The Martyrdom of St Erasmus (Bouts) | Explore the Patronage, commission and authorship of this artwork, The Martyrdom of St Erasmus (Bouts). | First mentioned in the sixteenth century, the Martyrdom of Saint Erasmus was documented as owned by the Confraternity of the Holy Sacrament by 1535. Whether the sodality had given the order as a group to make the work is uncertain, though the altarpiece would surely have been in possession of the brotherhood after 1475.
The initial patron of this work may have been Gerard Fabri, also known as Gerard de Smet (†1469), master of the collegiate school and a member of the Confraternity of the Holy Sacrament in Leuven. De Smet endowed the saying of an annual mass in the chapel on his behalf. The chapel had been dedicated to St. Erasmus in 1433, and the confranternity may have chosen Erasmus as the patron of this chapel because of its wish to honor Erasme van Brussele, a member of the brotherhood and the mayor of Leuven at the time.
Until the early nineteenth century, the picture had been ascribed to Bouts' contemporary, Hans Memling or to other artists. After centuries of shifting attributions, Bouts’ authorship of the painting was put on solid ground with the discovery in 1858 of a receipt signed by the artist, an attribution that was secured with the publication in 1898 by Edward van Even of the contract executed 15 March 1476 between Bouts and the Brotherhood. | [
"collegiate",
"Hans Memling",
"mass",
"sodality",
"Erasmus",
"altarpiece",
"Leuven",
"Martyr"
] |
|
17394_NT | The Martyrdom of St Erasmus (Bouts) | Explore the Patronage, commission and authorship of this artwork. | First mentioned in the sixteenth century, the Martyrdom of Saint Erasmus was documented as owned by the Confraternity of the Holy Sacrament by 1535. Whether the sodality had given the order as a group to make the work is uncertain, though the altarpiece would surely have been in possession of the brotherhood after 1475.
The initial patron of this work may have been Gerard Fabri, also known as Gerard de Smet (†1469), master of the collegiate school and a member of the Confraternity of the Holy Sacrament in Leuven. De Smet endowed the saying of an annual mass in the chapel on his behalf. The chapel had been dedicated to St. Erasmus in 1433, and the confranternity may have chosen Erasmus as the patron of this chapel because of its wish to honor Erasme van Brussele, a member of the brotherhood and the mayor of Leuven at the time.
Until the early nineteenth century, the picture had been ascribed to Bouts' contemporary, Hans Memling or to other artists. After centuries of shifting attributions, Bouts’ authorship of the painting was put on solid ground with the discovery in 1858 of a receipt signed by the artist, an attribution that was secured with the publication in 1898 by Edward van Even of the contract executed 15 March 1476 between Bouts and the Brotherhood. | [
"collegiate",
"Hans Memling",
"mass",
"sodality",
"Erasmus",
"altarpiece",
"Leuven",
"Martyr"
] |
|
17395_T | The Martyrdom of St Erasmus (Bouts) | In the context of The Martyrdom of St Erasmus (Bouts), discuss the Sources for the central image of the Patronage, commission and authorship. | Bouts likely drew upon images of the martyrdom of Erasmus from manuscript illustrations. An illumination in a book of hours owned by Catherine of Cleves is discussed by Bert Cardon in his contribution to the 1975 exhibition catalog. Inigo Bocken points to the similarity of Diocletian's clothing with that of the figure of Nicolas Rolin in a work by Jan van Eyck now at the Louvre. | [
"Erasmus",
"Nicolas Rolin",
"Catherine of Cleves",
"manuscript illustrations",
"martyr",
"book of hours",
"Diocletian"
] |
|
17395_NT | The Martyrdom of St Erasmus (Bouts) | In the context of this artwork, discuss the Sources for the central image of the Patronage, commission and authorship. | Bouts likely drew upon images of the martyrdom of Erasmus from manuscript illustrations. An illumination in a book of hours owned by Catherine of Cleves is discussed by Bert Cardon in his contribution to the 1975 exhibition catalog. Inigo Bocken points to the similarity of Diocletian's clothing with that of the figure of Nicolas Rolin in a work by Jan van Eyck now at the Louvre. | [
"Erasmus",
"Nicolas Rolin",
"Catherine of Cleves",
"manuscript illustrations",
"martyr",
"book of hours",
"Diocletian"
] |
|
17396_T | The Martyrdom of St Erasmus (Bouts) | How does The Martyrdom of St Erasmus (Bouts) elucidate its Placement and function? | The altarpiece adorned the chapel for the Brotherhood, dedicated to Erasmus by the Dukes of Burgundy in 1475, in the northeastern ambulatory of the church. A complement to liturgies performed in the chapel, it would have acted as a backdrop to altar, priest, and congregants. Its two side panels, hinged and enclosing both the painted central scene as well as celebrant and participants in Christian services, would have added depth and breadth to the space around the ritual.
Bouts came to be named city painter in 1468, which would have placed him among upper tier of city officials and likely in contact with the members of the confraternity sponsoring the paintings.The triptych has remained in its original setting except after a fire in 1914, and has been lent to six special exhibitions between 1902 and 1998, including the Flemish Primitives exhibition at Bruges in 1902. Since 1998, the neighboring M – Museum Leuven provides curatorial care for the objects in Sint Pieters. The triptych was featured in the 2023 exhibition of eleven works by Bouts n Leuven.Copies of figures or sections of the work exist as paintings in the Münster Landesmuseum, the Henry Cabot Lodge Collection in Washington, the Palazzo Ducale at Urbino, and in the Galerie Stern at Düsseldorf. Other renditions have appeared in prints, and have been taken up in books of hours in the Ghent-Bruges school of miniaturists. | [
"ambulatory",
"Landesmuseum",
"Henry Cabot Lodge Collection",
"Erasmus",
"altarpiece",
"Dukes of Burgundy",
"liturgies",
"Leuven",
"Palazzo Ducale",
"triptych",
"Münster",
"Ghent-Bruges school",
"Urbino",
"Flemish Primitives",
"Christian services",
"M – Museum Leuven"
] |
|
17396_NT | The Martyrdom of St Erasmus (Bouts) | How does this artwork elucidate its Placement and function? | The altarpiece adorned the chapel for the Brotherhood, dedicated to Erasmus by the Dukes of Burgundy in 1475, in the northeastern ambulatory of the church. A complement to liturgies performed in the chapel, it would have acted as a backdrop to altar, priest, and congregants. Its two side panels, hinged and enclosing both the painted central scene as well as celebrant and participants in Christian services, would have added depth and breadth to the space around the ritual.
Bouts came to be named city painter in 1468, which would have placed him among upper tier of city officials and likely in contact with the members of the confraternity sponsoring the paintings.The triptych has remained in its original setting except after a fire in 1914, and has been lent to six special exhibitions between 1902 and 1998, including the Flemish Primitives exhibition at Bruges in 1902. Since 1998, the neighboring M – Museum Leuven provides curatorial care for the objects in Sint Pieters. The triptych was featured in the 2023 exhibition of eleven works by Bouts n Leuven.Copies of figures or sections of the work exist as paintings in the Münster Landesmuseum, the Henry Cabot Lodge Collection in Washington, the Palazzo Ducale at Urbino, and in the Galerie Stern at Düsseldorf. Other renditions have appeared in prints, and have been taken up in books of hours in the Ghent-Bruges school of miniaturists. | [
"ambulatory",
"Landesmuseum",
"Henry Cabot Lodge Collection",
"Erasmus",
"altarpiece",
"Dukes of Burgundy",
"liturgies",
"Leuven",
"Palazzo Ducale",
"triptych",
"Münster",
"Ghent-Bruges school",
"Urbino",
"Flemish Primitives",
"Christian services",
"M – Museum Leuven"
] |
|
17397_T | The Martyrdom of St Erasmus (Bouts) | Focus on The Martyrdom of St Erasmus (Bouts) and analyze the Condition and conservation. | The panels received conservation treatments in the 1840s (transfer of paint from wood to panel support, and new frames), 1930, 1952 (retouching), 1958 (stabilization of paint), 1998 (UV glazing and anti-theft; cleaning and consolidation), and 2019. The transfer in 1840 caused some small losses requiring retouching, with flattening of the paint layers, and the weave of the canvas used for that transfer left some pattern on the central panel. Wolfgang Schöne wrote of damage and paint losses upon inspection in his 1938 dissertation, and confirmed what Paul Heiland had recorded in 1902/1903. The curatorial and conservation staff of the M – Museum Leuven act as custodians of the paintings. | [
"conservation",
"Leuven",
"left",
"M – Museum Leuven",
"UV glazing"
] |
|
17397_NT | The Martyrdom of St Erasmus (Bouts) | Focus on this artwork and analyze the Condition and conservation. | The panels received conservation treatments in the 1840s (transfer of paint from wood to panel support, and new frames), 1930, 1952 (retouching), 1958 (stabilization of paint), 1998 (UV glazing and anti-theft; cleaning and consolidation), and 2019. The transfer in 1840 caused some small losses requiring retouching, with flattening of the paint layers, and the weave of the canvas used for that transfer left some pattern on the central panel. Wolfgang Schöne wrote of damage and paint losses upon inspection in his 1938 dissertation, and confirmed what Paul Heiland had recorded in 1902/1903. The curatorial and conservation staff of the M – Museum Leuven act as custodians of the paintings. | [
"conservation",
"Leuven",
"left",
"M – Museum Leuven",
"UV glazing"
] |
|
17398_T | The Martyrdom of St Erasmus (Bouts) | In The Martyrdom of St Erasmus (Bouts), how is the Sources and further reading discussed? | Comblen-Sonkes, Micheline. The Collegiate Church of Saint Peter, Louvain. 2 volumes. (Corpus de la peinture des anciens Pays-Bas méridionaux et de la principauté de Liège au quinzième siècle 18.) Brussels: International Studiecentrum voor de Middeleeuwse Schilderkunst in het Schelde- en het Maasbekken, 1996, pages 85–117 + plates.
Marits Smeyers, ed. Dirk Bouts (c.1410–1475)—een Vlaams primitief te Leuven. Exhibition catalog. Leuven: Peeters 1998. ISBN 9042906618
Périer-D’Ieteren, Catheline. Dieric Bouts—The Complete Works. Brussels: Mercatorfonds, 2006.
Wisse, Jacob. "Official City Painters in Brabant, 1400-1500: A Documentary and Interpretive Approach." Ph.D. dissertation—New York University, 1999. | [
"Leuven",
"Dieric Bouts"
] |
|
17398_NT | The Martyrdom of St Erasmus (Bouts) | In this artwork, how is the Sources and further reading discussed? | Comblen-Sonkes, Micheline. The Collegiate Church of Saint Peter, Louvain. 2 volumes. (Corpus de la peinture des anciens Pays-Bas méridionaux et de la principauté de Liège au quinzième siècle 18.) Brussels: International Studiecentrum voor de Middeleeuwse Schilderkunst in het Schelde- en het Maasbekken, 1996, pages 85–117 + plates.
Marits Smeyers, ed. Dirk Bouts (c.1410–1475)—een Vlaams primitief te Leuven. Exhibition catalog. Leuven: Peeters 1998. ISBN 9042906618
Périer-D’Ieteren, Catheline. Dieric Bouts—The Complete Works. Brussels: Mercatorfonds, 2006.
Wisse, Jacob. "Official City Painters in Brabant, 1400-1500: A Documentary and Interpretive Approach." Ph.D. dissertation—New York University, 1999. | [
"Leuven",
"Dieric Bouts"
] |
|
17399_T | Animals in Pools | Focus on Animals in Pools and explore the abstract. | Animals in Pools is a series of fountains and bronze sculptures of Pacific Northwest animals, designed by American artist Georgia Gerber and located in Portland, Oregon, in the United States. The series was installed in 1986 as part of the renovations associated with construction of the MAX Light Rail. Funded by the Downtown Merchants Local Improvement District, TriMet and the United States Department of Transportation, the sculptures were presented as gifts to the city and remain part of the collection of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. | [
"Regional Arts & Culture Council",
"MAX Light Rail",
"Portland, Oregon",
"bronze sculpture",
"TriMet",
"United States Department of Transportation",
"Georgia Gerber"
] |
|
17399_NT | Animals in Pools | Focus on this artwork and explore the abstract. | Animals in Pools is a series of fountains and bronze sculptures of Pacific Northwest animals, designed by American artist Georgia Gerber and located in Portland, Oregon, in the United States. The series was installed in 1986 as part of the renovations associated with construction of the MAX Light Rail. Funded by the Downtown Merchants Local Improvement District, TriMet and the United States Department of Transportation, the sculptures were presented as gifts to the city and remain part of the collection of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. | [
"Regional Arts & Culture Council",
"MAX Light Rail",
"Portland, Oregon",
"bronze sculpture",
"TriMet",
"United States Department of Transportation",
"Georgia Gerber"
] |
|
17400_T | Animals in Pools | Focus on Animals in Pools and explain the Description and history. | Animals in Pools is a series of ten trough-style fountains and twenty-five life size bronze sculptures of Pacific Northwest animals, designed by American artist Georgia Gerber and installed in 1986 as part of the renovations associated with MAX Light Rail construction. Funded by the Downtown Merchants Local Improvement District, TriMet and the United States Department of Transportation, the sculptures were presented as gifts to the city. The pieces were installed on the block bounded by Southwest Yamhill and Morrison Streets and Southwest Fifth and Sixth Avenues in downtown Portland. Animals in Pools is in the collection of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.Gerber described Animals in Pools as "art for the people", designed in a way that encourages interactivity and "[brings] a bit of Pacific Northwestern wildlife to downtown in a fun and unexpected way". Depicted animals include a mother bear fishing for her two cubs, beavers, deer, ducks, otters, and sea lions. The fountains run all day during the spring, summer and fall seasons. | [
"Regional Arts & Culture Council",
"MAX Light Rail",
"bronze sculpture",
"TriMet",
"United States Department of Transportation",
"downtown Portland",
"Georgia Gerber"
] |
|
17400_NT | Animals in Pools | Focus on this artwork and explain the Description and history. | Animals in Pools is a series of ten trough-style fountains and twenty-five life size bronze sculptures of Pacific Northwest animals, designed by American artist Georgia Gerber and installed in 1986 as part of the renovations associated with MAX Light Rail construction. Funded by the Downtown Merchants Local Improvement District, TriMet and the United States Department of Transportation, the sculptures were presented as gifts to the city. The pieces were installed on the block bounded by Southwest Yamhill and Morrison Streets and Southwest Fifth and Sixth Avenues in downtown Portland. Animals in Pools is in the collection of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.Gerber described Animals in Pools as "art for the people", designed in a way that encourages interactivity and "[brings] a bit of Pacific Northwestern wildlife to downtown in a fun and unexpected way". Depicted animals include a mother bear fishing for her two cubs, beavers, deer, ducks, otters, and sea lions. The fountains run all day during the spring, summer and fall seasons. | [
"Regional Arts & Culture Council",
"MAX Light Rail",
"bronze sculpture",
"TriMet",
"United States Department of Transportation",
"downtown Portland",
"Georgia Gerber"
] |
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