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17451_T | Einstein Gargoyle | Focus on Einstein Gargoyle and discuss the abstract. | Einstein Gargoyle, also referred to as Albert Einstein, Einstein, and Einstein Gargoyles, is an outdoor 1986 sculpture by Wayne Chabre, installed on the exterior of Willamette Hall on the University of Oregon campus in Eugene, Oregon, United States. The portrait bust depicts Albert Einstein in high relief with a fluttering necktie, and was inspired by a photograph of the scientist on his birthday. It is made of hammered copper sheet and measures approximately 2.5 feet (0.76 m) x 1.5 feet (0.46 m) x 1.5 feet (0.46 m). The sculpture's condition was undetermined when it was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993. The sculpture is administered by the University of Oregon. | [
"Albert Einstein",
"University of Oregon",
"Smithsonian Institution",
"Wayne Chabre",
"Willamette Hall",
"Save Outdoor Sculpture!",
"Eugene, Oregon"
] |
|
17451_NT | Einstein Gargoyle | Focus on this artwork and discuss the abstract. | Einstein Gargoyle, also referred to as Albert Einstein, Einstein, and Einstein Gargoyles, is an outdoor 1986 sculpture by Wayne Chabre, installed on the exterior of Willamette Hall on the University of Oregon campus in Eugene, Oregon, United States. The portrait bust depicts Albert Einstein in high relief with a fluttering necktie, and was inspired by a photograph of the scientist on his birthday. It is made of hammered copper sheet and measures approximately 2.5 feet (0.76 m) x 1.5 feet (0.46 m) x 1.5 feet (0.46 m). The sculpture's condition was undetermined when it was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993. The sculpture is administered by the University of Oregon. | [
"Albert Einstein",
"University of Oregon",
"Smithsonian Institution",
"Wayne Chabre",
"Willamette Hall",
"Save Outdoor Sculpture!",
"Eugene, Oregon"
] |
|
17452_T | Kibi Daijin Nittō Emaki | How does Kibi Daijin Nittō Emaki elucidate its abstract? | The Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, "Scroll of Minister Kibi's Adventures in China") is an emakimono or emaki (painted narrative handscroll) from the end of the 12th century, in either the Heian or Kamakura periods of Japanese history. An illuminated manuscript, it was originally made up of a long paper scroll decorated with paint and calligraphy, and is now separated into four parts, all of which are held by the Museum of Fine Arts, Boston. It recounts the legend associated with the voyage of the Japanese Minister Kibi no Makibi to Imperial China of the Tang dynasty in the 8th century. | [
"Kamakura",
"Kamakura period",
"Heian",
"Kibi no Makibi",
"Japanese history",
"handscroll",
"Museum of Fine Arts, Boston",
"emakimono",
"illuminated manuscript",
"Tang dynasty",
"Kibi"
] |
|
17452_NT | Kibi Daijin Nittō Emaki | How does this artwork elucidate its abstract? | The Kibi Daijin Nittō Emaki (吉備大臣入唐絵巻, "Scroll of Minister Kibi's Adventures in China") is an emakimono or emaki (painted narrative handscroll) from the end of the 12th century, in either the Heian or Kamakura periods of Japanese history. An illuminated manuscript, it was originally made up of a long paper scroll decorated with paint and calligraphy, and is now separated into four parts, all of which are held by the Museum of Fine Arts, Boston. It recounts the legend associated with the voyage of the Japanese Minister Kibi no Makibi to Imperial China of the Tang dynasty in the 8th century. | [
"Kamakura",
"Kamakura period",
"Heian",
"Kibi no Makibi",
"Japanese history",
"handscroll",
"Museum of Fine Arts, Boston",
"emakimono",
"illuminated manuscript",
"Tang dynasty",
"Kibi"
] |
|
17453_T | Kibi Daijin Nittō Emaki | Focus on Kibi Daijin Nittō Emaki and analyze the Background. | Originating in Japan in the sixth or seventh century through trade with the Chinese Empire, emakimono art spread widely among the aristocracy in the Heian period. An emakimono consists of one or more long scrolls of paper narrating a story through Yamato-e texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then horizontal writing direction of Japanese script), so that only a portion of text or image of about 60 cm (24 in) is visible. The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc. | [
"Heian",
"oni",
"Heian period",
"horizontal writing direction of Japanese script",
"Yamato-e",
"emakimono",
"left"
] |
|
17453_NT | Kibi Daijin Nittō Emaki | Focus on this artwork and analyze the Background. | Originating in Japan in the sixth or seventh century through trade with the Chinese Empire, emakimono art spread widely among the aristocracy in the Heian period. An emakimono consists of one or more long scrolls of paper narrating a story through Yamato-e texts and paintings. The reader discovers the story by progressively unrolling the scroll with one hand while rewinding it with the other hand, from right to left (according to the then horizontal writing direction of Japanese script), so that only a portion of text or image of about 60 cm (24 in) is visible. The narrative assumes a series of scenes, the rhythm, composition and transitions of which are entirely the artist's sensitivity and technique. The themes of the stories were very varied: illustrations of novels, historical chronicles, religious texts, biographies of famous people, humorous or fantastic anecdotes, etc. | [
"Heian",
"oni",
"Heian period",
"horizontal writing direction of Japanese script",
"Yamato-e",
"emakimono",
"left"
] |
|
17454_T | Kibi Daijin Nittō Emaki | In Kibi Daijin Nittō Emaki, how is the Style and composition discussed? | The Kibi Daijin Nittō Emaki, like all emakimono of its time, was created in the then fashionable Yamato-e style of Japanese painting. It is similar in style to the Ban Dainagon Ekotoba, which dates from around the same time, and is attributed to Tokiwa Mitsunaga; that work has brilliant colours used for costumes and accessories, but is in a more realistic than poetic tone.Mitsunaga was a late Heian and early Kamakura period Yamato-e master: the records, and also the similarities in pictorial style, suggest that he was also the author of the Kibi Daijin Nittō Emaki, but that hypothesis is questionable according to art historians, because of the stylistic variations and the artistic superiority of the Ban Dainagon Ekotoba. Rather, the artist was probably a painter from the capital Kyoto and contemporary of Mitsunaga.The composition of the Kibi Daijin Nittō Emaki is based on repetition in the six scenes of the same easily identifiable decoration: the tower, the Imperial Palace and the palace gate. This is the simplest approach to suggest the temporal evolution of a story in narrative paintings, used in older works like the Kokawa-dera Engi Emaki. Perspective is rendered in a cavalier unrealistic manner, with long diagonals, while no landscape appears, except trees that decrease in size as they approach the horizon.
The very colourful, predominantly red paintings were realised using the tsukuri-e technique: first, a sketch of the outlines was done, then the opaque colour was added en aplat, and finally the outlines and small details were redrawn in ink over the paint.The artist seems to have had limited knowledge of the ancient Tang dynasty China, where the story takes place: rather the work is inspired by Japanese Buddhist paintings of the 11th and 12th centuries, usually based on Chinese models.The faces of the Chinese people in the work are very expressive, almost caricatural, but not very individualised. Kibi, for his part, is painted in a manner close to hikime kagibana: a white and expressionless face with a few features for the eyes, nose and mouth, a refined method in vogue in the works of the aristocrats of the Imperial Court such as the Genji Monogatari Emaki, here modified in relation to some details such as the moustache and the eyelids. | [
"Kamakura",
"Kamakura period",
"ink",
"Heian",
"Genji Monogatari Emaki",
"Japanese painting",
"Kokawa-dera Engi Emaki",
"hikime kagibana",
"Yamato-e",
"emakimono",
"Tokiwa Mitsunaga",
"Ban Dainagon Ekotoba",
"Tang dynasty",
"Kibi",
"en aplat"
] |
|
17454_NT | Kibi Daijin Nittō Emaki | In this artwork, how is the Style and composition discussed? | The Kibi Daijin Nittō Emaki, like all emakimono of its time, was created in the then fashionable Yamato-e style of Japanese painting. It is similar in style to the Ban Dainagon Ekotoba, which dates from around the same time, and is attributed to Tokiwa Mitsunaga; that work has brilliant colours used for costumes and accessories, but is in a more realistic than poetic tone.Mitsunaga was a late Heian and early Kamakura period Yamato-e master: the records, and also the similarities in pictorial style, suggest that he was also the author of the Kibi Daijin Nittō Emaki, but that hypothesis is questionable according to art historians, because of the stylistic variations and the artistic superiority of the Ban Dainagon Ekotoba. Rather, the artist was probably a painter from the capital Kyoto and contemporary of Mitsunaga.The composition of the Kibi Daijin Nittō Emaki is based on repetition in the six scenes of the same easily identifiable decoration: the tower, the Imperial Palace and the palace gate. This is the simplest approach to suggest the temporal evolution of a story in narrative paintings, used in older works like the Kokawa-dera Engi Emaki. Perspective is rendered in a cavalier unrealistic manner, with long diagonals, while no landscape appears, except trees that decrease in size as they approach the horizon.
The very colourful, predominantly red paintings were realised using the tsukuri-e technique: first, a sketch of the outlines was done, then the opaque colour was added en aplat, and finally the outlines and small details were redrawn in ink over the paint.The artist seems to have had limited knowledge of the ancient Tang dynasty China, where the story takes place: rather the work is inspired by Japanese Buddhist paintings of the 11th and 12th centuries, usually based on Chinese models.The faces of the Chinese people in the work are very expressive, almost caricatural, but not very individualised. Kibi, for his part, is painted in a manner close to hikime kagibana: a white and expressionless face with a few features for the eyes, nose and mouth, a refined method in vogue in the works of the aristocrats of the Imperial Court such as the Genji Monogatari Emaki, here modified in relation to some details such as the moustache and the eyelids. | [
"Kamakura",
"Kamakura period",
"ink",
"Heian",
"Genji Monogatari Emaki",
"Japanese painting",
"Kokawa-dera Engi Emaki",
"hikime kagibana",
"Yamato-e",
"emakimono",
"Tokiwa Mitsunaga",
"Ban Dainagon Ekotoba",
"Tang dynasty",
"Kibi",
"en aplat"
] |
|
17455_T | Kibi Daijin Nittō Emaki | Focus on Kibi Daijin Nittō Emaki and explore the Historiographical value. | The people of Japan are always represented in emakimono, which therefore constitute valuable historical documents on the daily life, landscapes and culture of the Japanese archipelago. In the Kibi Daijin Nittō Emaki, Tang dynasty China, where the story takes place, is not painted with great precision, but several Japanese elements, in particular the boat used by Kibi and the dishes he brought from Japan as a diplomatic gift, are much more detailed. The paintings in the work also depict the game of Go, which has existed for millennia in Asia, as it was practised at the time of the work's creation, and that has actually changed very little since then. The introduction of Go to Japan is also sometimes attributed to Kibi.Historically, the two oldest surviving texts on Kibi's legendary chronicles are the Gōdanshō and the calligraphies of the Kibi Daijin Nittō Emaki. | [
"game of Go",
"oni",
"Go",
"diplomatic gift",
"Gōdanshō",
"emakimono",
"Tang dynasty",
"Kibi"
] |
|
17455_NT | Kibi Daijin Nittō Emaki | Focus on this artwork and explore the Historiographical value. | The people of Japan are always represented in emakimono, which therefore constitute valuable historical documents on the daily life, landscapes and culture of the Japanese archipelago. In the Kibi Daijin Nittō Emaki, Tang dynasty China, where the story takes place, is not painted with great precision, but several Japanese elements, in particular the boat used by Kibi and the dishes he brought from Japan as a diplomatic gift, are much more detailed. The paintings in the work also depict the game of Go, which has existed for millennia in Asia, as it was practised at the time of the work's creation, and that has actually changed very little since then. The introduction of Go to Japan is also sometimes attributed to Kibi.Historically, the two oldest surviving texts on Kibi's legendary chronicles are the Gōdanshō and the calligraphies of the Kibi Daijin Nittō Emaki. | [
"game of Go",
"oni",
"Go",
"diplomatic gift",
"Gōdanshō",
"emakimono",
"Tang dynasty",
"Kibi"
] |
|
17456_T | Race Riot (Warhol) | Focus on Race Riot (Warhol) and explain the abstract. | Race Riot is an 1964 acrylic and silkscreen painting by the American artist Andy Warhol that he executed in 1964. It fetched $62,885,000 at Christie's in New York on 13 May 2014. | [
"Andy Warhol",
"Christie's",
"silkscreen",
"acrylic"
] |
|
17456_NT | Race Riot (Warhol) | Focus on this artwork and explain the abstract. | Race Riot is an 1964 acrylic and silkscreen painting by the American artist Andy Warhol that he executed in 1964. It fetched $62,885,000 at Christie's in New York on 13 May 2014. | [
"Andy Warhol",
"Christie's",
"silkscreen",
"acrylic"
] |
|
17457_T | Race Riot (Warhol) | Explore the Description of this artwork, Race Riot (Warhol). | In 1963 Warhol began preparing for a large scale exhibition at the Sonnabend Gallery in Paris. Anxious to avoid a charge of mass-consumerism at his first major exhibition abroad, he chose a theme he initially called Death in America. These paintings, of subjects such as car crashes, suicides, food poisoning, the electric chair, gangster funerals, and the Atom Bomb, were to become known as the Death and Disaster paintings. In an interview at the time, he explained what had made him start:I guess it was the big plane crash picture, the front page of a newspaper: 129 DIE. I was also painting the Marilyns. I realized that everything I was doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like, "4 million are going to die." That started it. But when you see a gruesome picture over and over again, it doesn't really have any effect.
1963 was also the year of the Birmingham campaign in the Civil Rights Movement. Americans were shocked by a photo-essay published in Life magazine that showed young black protesters being fire-hosed and set upon by police dogs. These Life photographs were by Charles Moore, and the then president John F. Kennedy was to say of them, and of similar images by civil rights photographers of the time, that the events they depicted were "so much more eloquently reported by the news camera than by any number of explanatory words". Three of Moore's photographs were of a dog attacking a black man and although the theme was not strictly "Death", Warhol was sufficiently aware of their power to want to include them in his exhibition, consistent with his aim of showing the dark underside of the American Dream: "My show in Paris is going to be called 'Death in America.' I'll show the electric-chair pictures and the dogs in Birmingham and car wrecks and some suicide pictures." In all Warhol made some ten silkscreen painting on the theme. They became known as his Race Riot paintings (counterfactually, in reality the images were of a peaceful march disrupted by police), and they represent Warhol's only overtly political statement, although he himself insisted that Moore's photographs had merely "caught his eye".The first four of these paintings (Pink Race Riot in the Museum Ludwig, Cologne; Mustard Race Riot, in the Museum Brandhorst, Munich; and two other examples whose whereabouts are currently unknown) were made in 1963 in direct response to the Life magazine photo-essay and feature all three of Moore's attack dogs photographs. Pink Race Riot was the painting exhibited at the Sonnabend Gallery in 1964. The remaining six paintings in the series, which Warhol called his "little Race Riots", date from 1964. Of these Race Riot, at nearly six feet square, is the largest and the only multicoloured example. It consists of four panels each depicting the same Charles Moore photograph of a black man fleeing a dog tearing at his trousers, the middle of the three that appeared in Life magazine. The panels are tinted in red, white and blue, possibly refracting the byline Life magazine gave Moore's photographs, They Fight a Fire That Won't Go Out. The panels are a faithful representation of Moore's photograph, but with heightened contrast expressing a newsprint quality. Warhol used Moore's photographs without his permission, and Moore subsequently filed a lawsuit against him for copyright infringement. The case was settled out of court.The painting was originally owned by Sam Wagstaff, who gave it to his partner Robert Mapplethorpe. Wagstaff also commissioned a print from Warhol, Birmingham Race Riot, as part of the series Ten Works by Ten Painters published in an edition of 500 by Wadsworth Athenaeum, Hartford, Connecticut. | [
"Birmingham campaign",
"Charles Moore",
"John F. Kennedy",
"copyright infringement",
"American Dream",
"Robert Mapplethorpe",
"Museum Ludwig",
"civil rights photographers of the time",
"Wadsworth Athenaeum",
"Sonnabend Gallery",
"Civil Rights Movement",
"silkscreen",
"Sam Wagstaff",
"Museum Brandhorst",
"Life",
"settled out of court"
] |
|
17457_NT | Race Riot (Warhol) | Explore the Description of this artwork. | In 1963 Warhol began preparing for a large scale exhibition at the Sonnabend Gallery in Paris. Anxious to avoid a charge of mass-consumerism at his first major exhibition abroad, he chose a theme he initially called Death in America. These paintings, of subjects such as car crashes, suicides, food poisoning, the electric chair, gangster funerals, and the Atom Bomb, were to become known as the Death and Disaster paintings. In an interview at the time, he explained what had made him start:I guess it was the big plane crash picture, the front page of a newspaper: 129 DIE. I was also painting the Marilyns. I realized that everything I was doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like, "4 million are going to die." That started it. But when you see a gruesome picture over and over again, it doesn't really have any effect.
1963 was also the year of the Birmingham campaign in the Civil Rights Movement. Americans were shocked by a photo-essay published in Life magazine that showed young black protesters being fire-hosed and set upon by police dogs. These Life photographs were by Charles Moore, and the then president John F. Kennedy was to say of them, and of similar images by civil rights photographers of the time, that the events they depicted were "so much more eloquently reported by the news camera than by any number of explanatory words". Three of Moore's photographs were of a dog attacking a black man and although the theme was not strictly "Death", Warhol was sufficiently aware of their power to want to include them in his exhibition, consistent with his aim of showing the dark underside of the American Dream: "My show in Paris is going to be called 'Death in America.' I'll show the electric-chair pictures and the dogs in Birmingham and car wrecks and some suicide pictures." In all Warhol made some ten silkscreen painting on the theme. They became known as his Race Riot paintings (counterfactually, in reality the images were of a peaceful march disrupted by police), and they represent Warhol's only overtly political statement, although he himself insisted that Moore's photographs had merely "caught his eye".The first four of these paintings (Pink Race Riot in the Museum Ludwig, Cologne; Mustard Race Riot, in the Museum Brandhorst, Munich; and two other examples whose whereabouts are currently unknown) were made in 1963 in direct response to the Life magazine photo-essay and feature all three of Moore's attack dogs photographs. Pink Race Riot was the painting exhibited at the Sonnabend Gallery in 1964. The remaining six paintings in the series, which Warhol called his "little Race Riots", date from 1964. Of these Race Riot, at nearly six feet square, is the largest and the only multicoloured example. It consists of four panels each depicting the same Charles Moore photograph of a black man fleeing a dog tearing at his trousers, the middle of the three that appeared in Life magazine. The panels are tinted in red, white and blue, possibly refracting the byline Life magazine gave Moore's photographs, They Fight a Fire That Won't Go Out. The panels are a faithful representation of Moore's photograph, but with heightened contrast expressing a newsprint quality. Warhol used Moore's photographs without his permission, and Moore subsequently filed a lawsuit against him for copyright infringement. The case was settled out of court.The painting was originally owned by Sam Wagstaff, who gave it to his partner Robert Mapplethorpe. Wagstaff also commissioned a print from Warhol, Birmingham Race Riot, as part of the series Ten Works by Ten Painters published in an edition of 500 by Wadsworth Athenaeum, Hartford, Connecticut. | [
"Birmingham campaign",
"Charles Moore",
"John F. Kennedy",
"copyright infringement",
"American Dream",
"Robert Mapplethorpe",
"Museum Ludwig",
"civil rights photographers of the time",
"Wadsworth Athenaeum",
"Sonnabend Gallery",
"Civil Rights Movement",
"silkscreen",
"Sam Wagstaff",
"Museum Brandhorst",
"Life",
"settled out of court"
] |
|
17458_T | Race Riot (Warhol) | Focus on Race Riot (Warhol) and discuss the Provenance. | Leo Castelli Gallery, New York
Sam Wagstaff, New York
Robert Mapplethorpe, New York
The Estate of Robert Mapplethorpe, New York
Christie's, New York, 7 November 1989, lot 74
Bruno Bischofberger, Zurich
Mr. and Mrs. Oliver Stahel, Zurich
Christie's, New York, 18 November 1992, lot 48
Private collection, Monaco
Gagosian Gallery (Christie's, New York, 13 May 2014: $62,885,000) | [
"Robert Mapplethorpe",
"Gagosian Gallery",
"Christie's",
"Sam Wagstaff"
] |
|
17458_NT | Race Riot (Warhol) | Focus on this artwork and discuss the Provenance. | Leo Castelli Gallery, New York
Sam Wagstaff, New York
Robert Mapplethorpe, New York
The Estate of Robert Mapplethorpe, New York
Christie's, New York, 7 November 1989, lot 74
Bruno Bischofberger, Zurich
Mr. and Mrs. Oliver Stahel, Zurich
Christie's, New York, 18 November 1992, lot 48
Private collection, Monaco
Gagosian Gallery (Christie's, New York, 13 May 2014: $62,885,000) | [
"Robert Mapplethorpe",
"Gagosian Gallery",
"Christie's",
"Sam Wagstaff"
] |
|
17459_T | Race Riot (Warhol) | How does Race Riot (Warhol) elucidate its Exhibition history? | Various including:Chicago, Museum of Contemporary Art, Violence! In Recent American Art, November 1968 – January 1969, no. 40 (upper left and upper right panels exhibited).
Pasadena Art Museum; Chicago, Museum of Contemporary Art; Eindhoven, Stedelijk van Abbemuseum; Paris, Musée d'art moderne de la ville de Paris; London, Tate Gallery and New York, Whitney Museum of American Art, Andy Warhol, May 1970 – June 1971, no. 31, Eindhoven, no. 44; Paris, no. 82; London, no. 104 (upper left, upper right and lower right panels exhibited).
New York, Museum of Modern Art; Art Institute of Chicago; London, Hayward Gallery; Cologne, Museum Ludwig; Venice, Palazzo Grassi and Paris, Musée National d'Art Moderne Centre Georges Pompidou, Andy Warhol: A Retrospective, February 1989 – September 1990, p. 268, no. 275 (illustrated in color). New York and Chicago only. | [
"Museum Ludwig",
"Tate",
"Andy Warhol",
"left",
"Tate Gallery"
] |
|
17459_NT | Race Riot (Warhol) | How does this artwork elucidate its Exhibition history? | Various including:Chicago, Museum of Contemporary Art, Violence! In Recent American Art, November 1968 – January 1969, no. 40 (upper left and upper right panels exhibited).
Pasadena Art Museum; Chicago, Museum of Contemporary Art; Eindhoven, Stedelijk van Abbemuseum; Paris, Musée d'art moderne de la ville de Paris; London, Tate Gallery and New York, Whitney Museum of American Art, Andy Warhol, May 1970 – June 1971, no. 31, Eindhoven, no. 44; Paris, no. 82; London, no. 104 (upper left, upper right and lower right panels exhibited).
New York, Museum of Modern Art; Art Institute of Chicago; London, Hayward Gallery; Cologne, Museum Ludwig; Venice, Palazzo Grassi and Paris, Musée National d'Art Moderne Centre Georges Pompidou, Andy Warhol: A Retrospective, February 1989 – September 1990, p. 268, no. 275 (illustrated in color). New York and Chicago only. | [
"Museum Ludwig",
"Tate",
"Andy Warhol",
"left",
"Tate Gallery"
] |
|
17460_T | Composition VI | In Composition VI, how is the Exposition discussed? | Composition VI was the artist's main entry for the Erster Deutscher Herbstsalon (First German Autumn Salon), organized in 1913 in Berlin by Herwarth Walden, alongside painters such as August Macke and Franz Marc. | [
"August Macke",
"Franz Marc",
"Erster Deutscher Herbstsalon",
"Herwarth Walden"
] |
|
17460_NT | Composition VI | In this artwork, how is the Exposition discussed? | Composition VI was the artist's main entry for the Erster Deutscher Herbstsalon (First German Autumn Salon), organized in 1913 in Berlin by Herwarth Walden, alongside painters such as August Macke and Franz Marc. | [
"August Macke",
"Franz Marc",
"Erster Deutscher Herbstsalon",
"Herwarth Walden"
] |
|
17461_T | Statue of John of Nepomuk, Vyšehrad | Focus on Statue of John of Nepomuk, Vyšehrad and explore the abstract. | The statue of John of Nepomuk (Czech: Socha svatého Jana Nepomuckého) is installed at Vyšehrad in Prague, Czech Republic. | [
"Prague",
"John of Nepomuk",
"Vyšehrad"
] |
|
17461_NT | Statue of John of Nepomuk, Vyšehrad | Focus on this artwork and explore the abstract. | The statue of John of Nepomuk (Czech: Socha svatého Jana Nepomuckého) is installed at Vyšehrad in Prague, Czech Republic. | [
"Prague",
"John of Nepomuk",
"Vyšehrad"
] |
|
17462_T | Figure in a Landscape | Focus on Figure in a Landscape and explain the abstract. | Figure in a Landscape is a 1945 painting by the Irish-born artist Francis Bacon. Based on a photograph of Eric Hall dozing on a seat in Hyde Park, also the basis of another painting, Figure in a Landscape (1945), which was bought by Diana Watson and later in 1950 by the Tate Gallery with the support of Graham Sutherland, then a trustee (1948–1954).Figure Study (1945) was destroyed; "Figure Study I2 and "Figure Study II" are from 1945 or 1946. Study for Man with Microphones (1946) was shown at the Lefevre Gallery (British Painters Past and Present July–August 1946), and at the Anglo-French Art Centre (Seventh Exhibition November – December 1946). Bacon was clearly unhappy with this picture: it was listed as an abandoned work in the 1964 catalogue raisonné, and was passed on to the Estate in 1992 as a slashed canvas.
At some point in 1947–1948, Bacon returned to make a second version, Study for Man with Microphones (1947–48). It was exhibited from February to March 1948 at the Museum of Modern Art, New York, in the exhibition Contemporary Painters (last (monochrome) plate in the catalogue by James Thrall Soby) as Study for Man with Microphones (1946); and from October to November 1962 in Francis Bacon at the Galleria d'Arte Galatea, Milan as Gorilla with Microphones (1945–46). | [
"Lefevre Gallery",
"Tate",
"Anglo-French Art Centre",
"Milan",
"Hyde Park",
"Francis Bacon",
"catalogue raisonné",
"Graham Sutherland",
"Tate Gallery",
"Museum of Modern Art"
] |
|
17462_NT | Figure in a Landscape | Focus on this artwork and explain the abstract. | Figure in a Landscape is a 1945 painting by the Irish-born artist Francis Bacon. Based on a photograph of Eric Hall dozing on a seat in Hyde Park, also the basis of another painting, Figure in a Landscape (1945), which was bought by Diana Watson and later in 1950 by the Tate Gallery with the support of Graham Sutherland, then a trustee (1948–1954).Figure Study (1945) was destroyed; "Figure Study I2 and "Figure Study II" are from 1945 or 1946. Study for Man with Microphones (1946) was shown at the Lefevre Gallery (British Painters Past and Present July–August 1946), and at the Anglo-French Art Centre (Seventh Exhibition November – December 1946). Bacon was clearly unhappy with this picture: it was listed as an abandoned work in the 1964 catalogue raisonné, and was passed on to the Estate in 1992 as a slashed canvas.
At some point in 1947–1948, Bacon returned to make a second version, Study for Man with Microphones (1947–48). It was exhibited from February to March 1948 at the Museum of Modern Art, New York, in the exhibition Contemporary Painters (last (monochrome) plate in the catalogue by James Thrall Soby) as Study for Man with Microphones (1946); and from October to November 1962 in Francis Bacon at the Galleria d'Arte Galatea, Milan as Gorilla with Microphones (1945–46). | [
"Lefevre Gallery",
"Tate",
"Anglo-French Art Centre",
"Milan",
"Hyde Park",
"Francis Bacon",
"catalogue raisonné",
"Graham Sutherland",
"Tate Gallery",
"Museum of Modern Art"
] |
|
17463_T | Kettle Drums (Metropolitan Museum of Art) | Explore the abstract of this artwork, Kettle Drums (Metropolitan Museum of Art). | The Metropolitan Museum of Art holds a pair of late 18th century kettle drums in its collection. Cast from iron and adorned with gilding and silver, the drums were made for the household guard of George III. | [
"George III",
"Metropolitan Museum of Art",
"kettle drums"
] |
|
17463_NT | Kettle Drums (Metropolitan Museum of Art) | Explore the abstract of this artwork. | The Metropolitan Museum of Art holds a pair of late 18th century kettle drums in its collection. Cast from iron and adorned with gilding and silver, the drums were made for the household guard of George III. | [
"George III",
"Metropolitan Museum of Art",
"kettle drums"
] |
|
17464_T | Kettle Drums (Metropolitan Museum of Art) | Focus on Kettle Drums (Metropolitan Museum of Art) and discuss the Description. | The drums were made by Hanoverian silversmith Franz Peter Bunsen (also known as Peter Franz Bunsen). The pair was made for the life guards (an elite military contingent that guarded the King's person) of King George III of Great Britain, who was the Prince-elector of the dominion of Hanover within the greater Holy Roman Empire. The ceremonial drums were intend to be used on horseback to announce the king's presence and to coordinate the guard at events of state. While they were seen as symbols of wealth and power in the 18th century, many such drums were eventually melted down for their silver.The drum's body (referred to as its kettle) is cast from silver. The drum's struts, hoop, tuning bolts, and feet are made from gilded iron and silver. The head of the drum is made from calfskin. Bunsen included a raised section on both drums in the form of George III's coat of arms. | [
"silversmith",
"Hanover",
"Great Britain",
"George III",
"life guards",
"Prince-elector",
"Franz Peter Bunsen",
"Holy Roman Empire",
"coat of arms"
] |
|
17464_NT | Kettle Drums (Metropolitan Museum of Art) | Focus on this artwork and discuss the Description. | The drums were made by Hanoverian silversmith Franz Peter Bunsen (also known as Peter Franz Bunsen). The pair was made for the life guards (an elite military contingent that guarded the King's person) of King George III of Great Britain, who was the Prince-elector of the dominion of Hanover within the greater Holy Roman Empire. The ceremonial drums were intend to be used on horseback to announce the king's presence and to coordinate the guard at events of state. While they were seen as symbols of wealth and power in the 18th century, many such drums were eventually melted down for their silver.The drum's body (referred to as its kettle) is cast from silver. The drum's struts, hoop, tuning bolts, and feet are made from gilded iron and silver. The head of the drum is made from calfskin. Bunsen included a raised section on both drums in the form of George III's coat of arms. | [
"silversmith",
"Hanover",
"Great Britain",
"George III",
"life guards",
"Prince-elector",
"Franz Peter Bunsen",
"Holy Roman Empire",
"coat of arms"
] |
|
17465_T | Portrait of Girolamo Savonarola | How does Portrait of Girolamo Savonarola elucidate its abstract? | The Portrait of Girolamo Savonarola is an oil-on-panel painting by the Italian Renaissance artist Fra Bartolomeo, created c. 1498. This portrait is believed to have been made when reformer Girolamo Savonarola was still alive and when Fra Bartolomeo was a follower of his renewal religious movement in Florence. It is held at the Museo di San Marco, in Florence. | [
"Fra Bartolomeo",
"Girolamo Savonarola",
"Florence",
"Museo di San Marco",
"Italian Renaissance"
] |
|
17465_NT | Portrait of Girolamo Savonarola | How does this artwork elucidate its abstract? | The Portrait of Girolamo Savonarola is an oil-on-panel painting by the Italian Renaissance artist Fra Bartolomeo, created c. 1498. This portrait is believed to have been made when reformer Girolamo Savonarola was still alive and when Fra Bartolomeo was a follower of his renewal religious movement in Florence. It is held at the Museo di San Marco, in Florence. | [
"Fra Bartolomeo",
"Girolamo Savonarola",
"Florence",
"Museo di San Marco",
"Italian Renaissance"
] |
|
17466_T | Portrait of Girolamo Savonarola | Focus on Portrait of Girolamo Savonarola and analyze the History and description. | Savonarola was involved in a religious movement that attempted to fight what he believed to be the corrupt way of living in Florence, which led him to conflict with the political and religious authorities of the city, and eventually to his excommunication and execution in 1498. He attracted many followers and encouraged the creation of the famous bonfire of the vanities, where many worldly and secular belongings were burned in the fire. This movement also attracted some artists, including Fra Bartolomeo, who is believed to have burned some nude studies from his youth there. After Savonarola's death, Fra Bartolomeo would enter the Dominican order, in 1500, and temporarily renounce painting, until being encouraged to return to this activity by his order, in 1504.This portrait was made most likely in the last year of Savonarola's life, and expresses the artist admiration and support for the religious reformer. He is seen in profile, looking to his left, in a dark background, wearing dark religious clothing, including a hood. His profile appears sharp and decided, and the latin inscription below expresses Fra Bartolomeo support for his religious mission: "Portrait of the prophet Jerome of Ferrara, sent by God."The portrait was part of the exhibition Fra Bartolommeo – The Divine Renaissance, held in the Museum Boijmans Van Beuningen, in Rotterdam, in 2016. | [
"Fra Bartolomeo",
"bonfire of the vanities",
"Rotterdam",
"Museum Boijmans Van Beuningen",
"Florence"
] |
|
17466_NT | Portrait of Girolamo Savonarola | Focus on this artwork and analyze the History and description. | Savonarola was involved in a religious movement that attempted to fight what he believed to be the corrupt way of living in Florence, which led him to conflict with the political and religious authorities of the city, and eventually to his excommunication and execution in 1498. He attracted many followers and encouraged the creation of the famous bonfire of the vanities, where many worldly and secular belongings were burned in the fire. This movement also attracted some artists, including Fra Bartolomeo, who is believed to have burned some nude studies from his youth there. After Savonarola's death, Fra Bartolomeo would enter the Dominican order, in 1500, and temporarily renounce painting, until being encouraged to return to this activity by his order, in 1504.This portrait was made most likely in the last year of Savonarola's life, and expresses the artist admiration and support for the religious reformer. He is seen in profile, looking to his left, in a dark background, wearing dark religious clothing, including a hood. His profile appears sharp and decided, and the latin inscription below expresses Fra Bartolomeo support for his religious mission: "Portrait of the prophet Jerome of Ferrara, sent by God."The portrait was part of the exhibition Fra Bartolommeo – The Divine Renaissance, held in the Museum Boijmans Van Beuningen, in Rotterdam, in 2016. | [
"Fra Bartolomeo",
"bonfire of the vanities",
"Rotterdam",
"Museum Boijmans Van Beuningen",
"Florence"
] |
|
17467_T | Twisted House | In Twisted House, how is the abstract discussed? | Twisted House is a public artwork by American artist John McNaughton, located at the Indianapolis Art Center in Indianapolis, Indiana, United States. Twisted House was installed as part of the center's ARTSPARK initiative. | [
"American",
"Indianapolis",
"Indianapolis, Indiana",
"United States",
"John McNaughton",
"Indianapolis Art Center"
] |
|
17467_NT | Twisted House | In this artwork, how is the abstract discussed? | Twisted House is a public artwork by American artist John McNaughton, located at the Indianapolis Art Center in Indianapolis, Indiana, United States. Twisted House was installed as part of the center's ARTSPARK initiative. | [
"American",
"Indianapolis",
"Indianapolis, Indiana",
"United States",
"John McNaughton",
"Indianapolis Art Center"
] |
|
17468_T | Twisted House | Focus on Twisted House and explore the Description. | The sculpture is made of cedar wood and depicts a tall house, bent in such a way that it appears to rest on its foundation and roof. The roof of the house digs into the forest floor and five square, glass windows travel upwards on the house and a distorted door juts to the right, open for viewers to interact with—inside one can step and look out a large window looking out into the forest. The windows each have sills with exterior flower holders and fake wood flowers. The piece sits on natural stone placed in the ground and the dirt of the forest grounds. | [
"cedar wood"
] |
|
17468_NT | Twisted House | Focus on this artwork and explore the Description. | The sculpture is made of cedar wood and depicts a tall house, bent in such a way that it appears to rest on its foundation and roof. The roof of the house digs into the forest floor and five square, glass windows travel upwards on the house and a distorted door juts to the right, open for viewers to interact with—inside one can step and look out a large window looking out into the forest. The windows each have sills with exterior flower holders and fake wood flowers. The piece sits on natural stone placed in the ground and the dirt of the forest grounds. | [
"cedar wood"
] |
|
17469_T | Twisted House | Focus on Twisted House and explain the John McNaughton. | John McNaughton has been teaching woodworking, drawing and sculpture for over 35 years at the University of Southern Indiana. Receiving his Bachelor of Science and Master of Arts at Ball State University and his Master of Fine Arts at Bowling Green State University, he has been awarded two National Endowment for the Arts awards. His art furniture and sculptures reside in the collections of the Smithsonian Institution, the Indianapolis Museum of Art and the White House. | [
"Indianapolis",
"Bowling Green State University",
"National Endowment for the Arts",
"Indianapolis Museum of Art",
"Smithsonian Institution",
"John McNaughton",
"woodworking",
"University of Southern Indiana",
"Ball State University",
"White House"
] |
|
17469_NT | Twisted House | Focus on this artwork and explain the John McNaughton. | John McNaughton has been teaching woodworking, drawing and sculpture for over 35 years at the University of Southern Indiana. Receiving his Bachelor of Science and Master of Arts at Ball State University and his Master of Fine Arts at Bowling Green State University, he has been awarded two National Endowment for the Arts awards. His art furniture and sculptures reside in the collections of the Smithsonian Institution, the Indianapolis Museum of Art and the White House. | [
"Indianapolis",
"Bowling Green State University",
"National Endowment for the Arts",
"Indianapolis Museum of Art",
"Smithsonian Institution",
"John McNaughton",
"woodworking",
"University of Southern Indiana",
"Ball State University",
"White House"
] |
|
17470_T | Twisted House | Explore the Acquisition of this artwork, Twisted House. | This piece was placed in conjunction with the center's ARTSPARK which brings together art and nature. | [] |
|
17470_NT | Twisted House | Explore the Acquisition of this artwork. | This piece was placed in conjunction with the center's ARTSPARK which brings together art and nature. | [] |
|
17471_T | Twisted House | Focus on Twisted House and discuss the Information. | According to the Indianapolis Art Center, McNaughton's goal with the work is to show viewers that sculpture can be interactive and touch heavily into the imagination.Starting in June 2010 IAC hosted a "Community Masterpiece" event designed by artist Vandra Pentecost. The mural consists of seven panels with each one depicting Twisted House in a different artistic style: expressionism, realism, surrealism, American scene painting, cubism, pop art and impressionism. The two panels for pop art and surrealism were completed at the Broad Ripple Art Fair by visitors. In July and August the rest of the panels were completed and the full mural now resides on the Outreach Lawn Wall of the ARTSPARK. | [
"American",
"Broad Ripple Art Fair",
"cubism",
"Indianapolis",
"realism",
"Indianapolis Art Center",
"impressionism",
"surrealism",
"Vandra Pentecost",
"expressionism",
"American scene painting",
"mural",
"pop art"
] |
|
17471_NT | Twisted House | Focus on this artwork and discuss the Information. | According to the Indianapolis Art Center, McNaughton's goal with the work is to show viewers that sculpture can be interactive and touch heavily into the imagination.Starting in June 2010 IAC hosted a "Community Masterpiece" event designed by artist Vandra Pentecost. The mural consists of seven panels with each one depicting Twisted House in a different artistic style: expressionism, realism, surrealism, American scene painting, cubism, pop art and impressionism. The two panels for pop art and surrealism were completed at the Broad Ripple Art Fair by visitors. In July and August the rest of the panels were completed and the full mural now resides on the Outreach Lawn Wall of the ARTSPARK. | [
"American",
"Broad Ripple Art Fair",
"cubism",
"Indianapolis",
"realism",
"Indianapolis Art Center",
"impressionism",
"surrealism",
"Vandra Pentecost",
"expressionism",
"American scene painting",
"mural",
"pop art"
] |
|
17472_T | Motra Tone | How does Motra Tone elucidate its abstract? | The Motra Tone is a half-length portrait of a woman by the Albanian artist Kolë Idromeno. Idromeno painted it in 1883. The picture is part of the collection of National Art Gallery of Albania. | [
"Kolë Idromeno",
"National Art Gallery of Albania"
] |
|
17472_NT | Motra Tone | How does this artwork elucidate its abstract? | The Motra Tone is a half-length portrait of a woman by the Albanian artist Kolë Idromeno. Idromeno painted it in 1883. The picture is part of the collection of National Art Gallery of Albania. | [
"Kolë Idromeno",
"National Art Gallery of Albania"
] |
|
17473_T | Adoration of the Kings (Damaskinos) | Focus on Adoration of the Kings (Damaskinos) and analyze the Description. | The work is egg tempera and gold leaf on wood with dimensions 43.3 in (109.9 cm) x 33.4 in (84.8 cm). It was created towards the end of the 16th century. The central figure is the king. The painter wants to emphasize the importance of the visitors of the newborn king. According to Damaschino's logic, the king is embraced by kings. The viewer's eye has to search for the Virgin and Child. The scene is saturated with important figures namely the three magi. Two of the magi are crowned. After establishing the royal hierarchical structure one of the hi ranking nobles kneels before baby Jesus transferring power to the infant. A young boy is also bringing the young king a crown. The magi are offering gifts of gold, frankincense, and myrrh. Two of the magi are wearing jewelry and earrings.The entire painting is saturated with figures participating in the nativity scene. Animals adorn the landscape camels, horses, and cows. A unique donkey sits right behind the Virgin Mary. The kings are dressed in silk robes elaborate striations suggest folds of fabric. The magi kneeling before the young king is dressed in an elaborate robe with intricate decorations and colors. The king in red may have been Damaschino at a younger age. The painter may have added himself to the scene. The clothing and weapons suggest 16th century Venice. One of the soldiers to the right of the mountain holds a flag representing the king's kingdom.The tempera painting offers intricate geometric complexity. The picture can be broken down into triangular components. There is a cluster of figures to our right. Damaschino is using the Italian Renaissance cangiante technique. There is a brilliant array of colors all over the painting. He clearly illustrates the foreground and the background. He blends Italian Venetian painting with traditional Greek mannerisms creating a spectacular proportion of symmetry. The gilded background does not interfere with the painter's ability to establish his unique new style. The new style was the prototype for the next two hundred years of Greek painting.
The painting was recently restored. Regrettably, with every restoration, some parts of the painting become lost. In the restoration of the Sistine Chapel frescoes some of the eyes were lost to the cleaning techniques employed. In the restoration of the Adoration of the Kings, parts of the gilded background were lost namely the pink halo around the angel. The rays from the sun were also lost or severely distorted and not restorable. That was the only visible damage done to the priceless artifact. | [
"cangiante",
"restoration of the Sistine Chapel frescoes",
"tempera",
"Damaschino",
"Venetian painting",
"Venice"
] |
|
17473_NT | Adoration of the Kings (Damaskinos) | Focus on this artwork and analyze the Description. | The work is egg tempera and gold leaf on wood with dimensions 43.3 in (109.9 cm) x 33.4 in (84.8 cm). It was created towards the end of the 16th century. The central figure is the king. The painter wants to emphasize the importance of the visitors of the newborn king. According to Damaschino's logic, the king is embraced by kings. The viewer's eye has to search for the Virgin and Child. The scene is saturated with important figures namely the three magi. Two of the magi are crowned. After establishing the royal hierarchical structure one of the hi ranking nobles kneels before baby Jesus transferring power to the infant. A young boy is also bringing the young king a crown. The magi are offering gifts of gold, frankincense, and myrrh. Two of the magi are wearing jewelry and earrings.The entire painting is saturated with figures participating in the nativity scene. Animals adorn the landscape camels, horses, and cows. A unique donkey sits right behind the Virgin Mary. The kings are dressed in silk robes elaborate striations suggest folds of fabric. The magi kneeling before the young king is dressed in an elaborate robe with intricate decorations and colors. The king in red may have been Damaschino at a younger age. The painter may have added himself to the scene. The clothing and weapons suggest 16th century Venice. One of the soldiers to the right of the mountain holds a flag representing the king's kingdom.The tempera painting offers intricate geometric complexity. The picture can be broken down into triangular components. There is a cluster of figures to our right. Damaschino is using the Italian Renaissance cangiante technique. There is a brilliant array of colors all over the painting. He clearly illustrates the foreground and the background. He blends Italian Venetian painting with traditional Greek mannerisms creating a spectacular proportion of symmetry. The gilded background does not interfere with the painter's ability to establish his unique new style. The new style was the prototype for the next two hundred years of Greek painting.
The painting was recently restored. Regrettably, with every restoration, some parts of the painting become lost. In the restoration of the Sistine Chapel frescoes some of the eyes were lost to the cleaning techniques employed. In the restoration of the Adoration of the Kings, parts of the gilded background were lost namely the pink halo around the angel. The rays from the sun were also lost or severely distorted and not restorable. That was the only visible damage done to the priceless artifact. | [
"cangiante",
"restoration of the Sistine Chapel frescoes",
"tempera",
"Damaschino",
"Venetian painting",
"Venice"
] |
|
17474_T | Le Bateau | In Le Bateau, how is the abstract discussed? | Le Bateau ("The Boat") is a paper-cut from 1953 by Henri Matisse. The picture is composed from pieces of paper cut out of sheets painted with gouache, and was created during the last years of Matisse's life. | [
"Henri Matisse",
"gouache",
"paper-cut"
] |
|
17474_NT | Le Bateau | In this artwork, how is the abstract discussed? | Le Bateau ("The Boat") is a paper-cut from 1953 by Henri Matisse. The picture is composed from pieces of paper cut out of sheets painted with gouache, and was created during the last years of Matisse's life. | [
"Henri Matisse",
"gouache",
"paper-cut"
] |
|
17475_T | Le Bateau | Focus on Le Bateau and explore the History. | Le Bateau caused a minor stir when the Museum of Modern Art, New York, which housed it, hung the work upside-down for 47 days in 1961 until Genevieve Habert, a stockbroker, noticed the mistake and notified a guard. Habert later informed The New York Times, which in turn notified Monroe Wheeler, the museum's art director. As a result, the artwork was rehung properly. An assistant curator blamed the confusion on a label on the verso posted the wrong way, as well as screw holes which implied it had been hung upside down before. | [
"Monroe Wheeler",
"Museum of Modern Art, New York",
"The New York Times",
"hung the work upside-down",
"Museum of Modern Art"
] |
|
17475_NT | Le Bateau | Focus on this artwork and explore the History. | Le Bateau caused a minor stir when the Museum of Modern Art, New York, which housed it, hung the work upside-down for 47 days in 1961 until Genevieve Habert, a stockbroker, noticed the mistake and notified a guard. Habert later informed The New York Times, which in turn notified Monroe Wheeler, the museum's art director. As a result, the artwork was rehung properly. An assistant curator blamed the confusion on a label on the verso posted the wrong way, as well as screw holes which implied it had been hung upside down before. | [
"Monroe Wheeler",
"Museum of Modern Art, New York",
"The New York Times",
"hung the work upside-down",
"Museum of Modern Art"
] |
|
17476_T | Portrait of Queen Christina of Denmark | Focus on Portrait of Queen Christina of Denmark and explain the abstract. | Portrait of Queen Christina of Denmark is an oil on canvas painting attributed to the Italian Renaissance painter Jacopo Tintoretto, painted in c. 1555–56 and now housed in the National Museum of Serbia in Belgrade. It depicts Christina of Denmark. This painting, formerly attributed to Titian, was part of collection of Mary of Hungary (1505–1558) already in 1556. Before the World War II was part of Contini Bonacossi Collection. | [
"Belgrade",
"Tintoretto",
"Christina of Denmark",
"National Museum of Serbia",
"Jacopo Tintoretto",
"Mary of Hungary",
"World War II"
] |
|
17476_NT | Portrait of Queen Christina of Denmark | Focus on this artwork and explain the abstract. | Portrait of Queen Christina of Denmark is an oil on canvas painting attributed to the Italian Renaissance painter Jacopo Tintoretto, painted in c. 1555–56 and now housed in the National Museum of Serbia in Belgrade. It depicts Christina of Denmark. This painting, formerly attributed to Titian, was part of collection of Mary of Hungary (1505–1558) already in 1556. Before the World War II was part of Contini Bonacossi Collection. | [
"Belgrade",
"Tintoretto",
"Christina of Denmark",
"National Museum of Serbia",
"Jacopo Tintoretto",
"Mary of Hungary",
"World War II"
] |
|
17477_T | Allegory of Gluttony and Lust | Explore the abstract of this artwork, Allegory of Gluttony and Lust. | Allegory of Intemperance is an oil on wood painting by Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel, and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.
The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel. Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness. | [
"right",
"New Haven, Connecticut",
"Hieronymus Bosch",
"The Ship of Fools",
"The Wayfarer",
"Yale University Art Gallery",
"New Haven",
"Death and the Miser",
"Connecticut"
] |
|
17477_NT | Allegory of Gluttony and Lust | Explore the abstract of this artwork. | Allegory of Intemperance is an oil on wood painting by Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel, and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.
The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel. Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness. | [
"right",
"New Haven, Connecticut",
"Hieronymus Bosch",
"The Ship of Fools",
"The Wayfarer",
"Yale University Art Gallery",
"New Haven",
"Death and the Miser",
"Connecticut"
] |
|
17478_T | Ten Women of Stralsund | Focus on Ten Women of Stralsund and discuss the abstract. | Ten women from Stralsund (in contemporary dress) is a pencil drawing in brown ink by Melchior Lorck from about 1571. | [
"Melchior Lorck"
] |
|
17478_NT | Ten Women of Stralsund | Focus on this artwork and discuss the abstract. | Ten women from Stralsund (in contemporary dress) is a pencil drawing in brown ink by Melchior Lorck from about 1571. | [
"Melchior Lorck"
] |
|
17479_T | Ten Women of Stralsund | How does Ten Women of Stralsund elucidate its Description? | The dimensions are 22.2 x 31.3 cm.
The artwork is part of a series of drawings, which is believed to have served as sketches for woodcuts to illustrate a planned book on the history of clothing. It shows ten women, who are lined up and show off outfits from the 16th century. The women take different poses, and this allows Melchior Lorck to display their clothing from different angles. | [
"Melchior Lorck"
] |
|
17479_NT | Ten Women of Stralsund | How does this artwork elucidate its Description? | The dimensions are 22.2 x 31.3 cm.
The artwork is part of a series of drawings, which is believed to have served as sketches for woodcuts to illustrate a planned book on the history of clothing. It shows ten women, who are lined up and show off outfits from the 16th century. The women take different poses, and this allows Melchior Lorck to display their clothing from different angles. | [
"Melchior Lorck"
] |
|
17480_T | Ten Women of Stralsund | Focus on Ten Women of Stralsund and analyze the Provenance. | The drawing was purchased with funds from the Konsul George Jorck and Wife Emma Jorck's Foundation from the Evelyn collection at auction at Sotheby's in March 1966. It is available now at National Gallery of Denmark in Copenhagen. | [
"Copenhagen",
"Evelyn collection",
"National Gallery of Denmark",
"Sotheby's"
] |
|
17480_NT | Ten Women of Stralsund | Focus on this artwork and analyze the Provenance. | The drawing was purchased with funds from the Konsul George Jorck and Wife Emma Jorck's Foundation from the Evelyn collection at auction at Sotheby's in March 1966. It is available now at National Gallery of Denmark in Copenhagen. | [
"Copenhagen",
"Evelyn collection",
"National Gallery of Denmark",
"Sotheby's"
] |
|
17481_T | The Wrestlers (Luks) | In The Wrestlers (Luks), how is the abstract discussed? | The Wrestlers is a 1905 oil painting by George Luks held at the Museum of Fine Arts, Boston in Massachusetts, United States. The Wrestlers is Luks' best-known work. The painting depicts two nude men wrestling. He painted it in order to shock members of the Pennsylvania Academy of the Fine Arts whom he called "pink-and-white idiots". The Wrestlers was displayed at the 1908 Ashcan School exhibition. A 1910 article in New York World about the Exhibition of Independent Artists included an image of Luks' The Wrestlers despite the fact that the painting did not appear in that exhibition. In a 1908 diary entry, painter John French Sloan writes that The Wrestlers is among the best paintings he ever encountered. In 1992, art critic Carol Clark identified The Wrestlers as one of Luks' best works, calling it "raw, roughly painted" and reflective of Luks' experiences in New York. In 1996, Allen Guttmann compared Luks' The Wrestlers to Thomas Eakins' Wrestlers and Max Slevogt's Wrestling School, writing that all three paintings depict pairs of nude wrestling men lying on the ground in grappling holds. In the 2009 Dictionary of Modern and Contemporary Art, Ian Chilvers and John Glaves-Smith write that The Wrestlers emulates the "bravura painterly technique of artists such as Manet". | [
"Ashcan School",
"Thomas Eakins",
"Pennsylvania Academy of the Fine Arts",
"New York World",
"wrestling",
"nude",
"Max Slevogt",
"Wrestlers",
"George Luks",
"Boston",
"grappling hold",
"oil painting",
"John French Sloan",
"Museum of Fine Arts",
"Wrestling",
"Museum of Fine Arts, Boston"
] |
|
17481_NT | The Wrestlers (Luks) | In this artwork, how is the abstract discussed? | The Wrestlers is a 1905 oil painting by George Luks held at the Museum of Fine Arts, Boston in Massachusetts, United States. The Wrestlers is Luks' best-known work. The painting depicts two nude men wrestling. He painted it in order to shock members of the Pennsylvania Academy of the Fine Arts whom he called "pink-and-white idiots". The Wrestlers was displayed at the 1908 Ashcan School exhibition. A 1910 article in New York World about the Exhibition of Independent Artists included an image of Luks' The Wrestlers despite the fact that the painting did not appear in that exhibition. In a 1908 diary entry, painter John French Sloan writes that The Wrestlers is among the best paintings he ever encountered. In 1992, art critic Carol Clark identified The Wrestlers as one of Luks' best works, calling it "raw, roughly painted" and reflective of Luks' experiences in New York. In 1996, Allen Guttmann compared Luks' The Wrestlers to Thomas Eakins' Wrestlers and Max Slevogt's Wrestling School, writing that all three paintings depict pairs of nude wrestling men lying on the ground in grappling holds. In the 2009 Dictionary of Modern and Contemporary Art, Ian Chilvers and John Glaves-Smith write that The Wrestlers emulates the "bravura painterly technique of artists such as Manet". | [
"Ashcan School",
"Thomas Eakins",
"Pennsylvania Academy of the Fine Arts",
"New York World",
"wrestling",
"nude",
"Max Slevogt",
"Wrestlers",
"George Luks",
"Boston",
"grappling hold",
"oil painting",
"John French Sloan",
"Museum of Fine Arts",
"Wrestling",
"Museum of Fine Arts, Boston"
] |
|
17482_T | Neubrandenburg Burning | Focus on Neubrandenburg Burning and explore the abstract. | Neubrandenburg Burning (German - Das brennende Neubrandenburg), dated around 1834, is an oil on canvas painting by Caspar David Friedrich, now in the Hamburg Kunsthalle.It is also known as Sunrise at Neubrandenburg (Sonnenaufgang bei Neubrandenburg) or Sunset at Neubrandenburg (Sonnenuntergang bei Neubrandenburg). The artist's parents were both born in Neubrandenburg and he often painted it - another example is Neubrandenburg. | [
"Neubrandenburg",
"Caspar David Friedrich",
"Hamburg Kunsthalle"
] |
|
17482_NT | Neubrandenburg Burning | Focus on this artwork and explore the abstract. | Neubrandenburg Burning (German - Das brennende Neubrandenburg), dated around 1834, is an oil on canvas painting by Caspar David Friedrich, now in the Hamburg Kunsthalle.It is also known as Sunrise at Neubrandenburg (Sonnenaufgang bei Neubrandenburg) or Sunset at Neubrandenburg (Sonnenuntergang bei Neubrandenburg). The artist's parents were both born in Neubrandenburg and he often painted it - another example is Neubrandenburg. | [
"Neubrandenburg",
"Caspar David Friedrich",
"Hamburg Kunsthalle"
] |
|
17483_T | The Inspiration of Saint Matthew | Focus on The Inspiration of Saint Matthew and explain the abstract. | The Inspiration of Saint Matthew (1602) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. Commissioned by the French Cardinal Matteo Contarelli, the canvas hangs in Contarelli chapel altar in the church of the French congregation San Luigi dei Francesi in Rome, Italy.
It is one of three Caravaggio canvases in the chapel: hanging between the larger earlier canvases of The Martyrdom of Saint Matthew, and The Calling of Saint Matthew. This was not an easy commission for Caravaggio, and at least two of the three paintings had to be either replaced or repainted to satisfy his patron, the Cardinal Del Monte. | [
"Michelangelo Merisi da Caravaggio",
"The Martyrdom of Saint Matthew",
"Baroque",
"Rome",
"Caravaggio",
"Italy",
"Italian",
"San Luigi dei Francesi",
"Cardinal Del Monte",
"Rome, Italy",
"The Calling of Saint Matthew"
] |
|
17483_NT | The Inspiration of Saint Matthew | Focus on this artwork and explain the abstract. | The Inspiration of Saint Matthew (1602) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. Commissioned by the French Cardinal Matteo Contarelli, the canvas hangs in Contarelli chapel altar in the church of the French congregation San Luigi dei Francesi in Rome, Italy.
It is one of three Caravaggio canvases in the chapel: hanging between the larger earlier canvases of The Martyrdom of Saint Matthew, and The Calling of Saint Matthew. This was not an easy commission for Caravaggio, and at least two of the three paintings had to be either replaced or repainted to satisfy his patron, the Cardinal Del Monte. | [
"Michelangelo Merisi da Caravaggio",
"The Martyrdom of Saint Matthew",
"Baroque",
"Rome",
"Caravaggio",
"Italy",
"Italian",
"San Luigi dei Francesi",
"Cardinal Del Monte",
"Rome, Italy",
"The Calling of Saint Matthew"
] |
|
17484_T | The Inspiration of Saint Matthew | Explore the Creation of this artwork, The Inspiration of Saint Matthew. | In February 1602, following the installation of his first two pieces in the chapel, Caravaggio was contracted to create an altarpiece, to be delivered by Pentecost of that year. The first painting he created, Saint Matthew and the Angel, was rejected and later destroyed in World War II.The Inspiration of Saint Matthew was finished rather quickly, with Caravaggio receiving payment by September 1602. | [
"Saint Matthew and the Angel",
"Caravaggio",
"Pentecost",
"World War II"
] |
|
17484_NT | The Inspiration of Saint Matthew | Explore the Creation of this artwork. | In February 1602, following the installation of his first two pieces in the chapel, Caravaggio was contracted to create an altarpiece, to be delivered by Pentecost of that year. The first painting he created, Saint Matthew and the Angel, was rejected and later destroyed in World War II.The Inspiration of Saint Matthew was finished rather quickly, with Caravaggio receiving payment by September 1602. | [
"Saint Matthew and the Angel",
"Caravaggio",
"Pentecost",
"World War II"
] |
|
17485_T | The Inspiration of Saint Matthew | Focus on The Inspiration of Saint Matthew and discuss the Description. | In the work featured on the altar, the angel belongs to an aerial and sublime dimension, enveloped in an encircling rippled sheet. The restless Matthew leans to work, as the angel enumerates for him the work to come. All is darkness but for the two large figures. Matthew appears to have rushed to his desk, his stool teetering into our space. His expression is sober. | [] |
|
17485_NT | The Inspiration of Saint Matthew | Focus on this artwork and discuss the Description. | In the work featured on the altar, the angel belongs to an aerial and sublime dimension, enveloped in an encircling rippled sheet. The restless Matthew leans to work, as the angel enumerates for him the work to come. All is darkness but for the two large figures. Matthew appears to have rushed to his desk, his stool teetering into our space. His expression is sober. | [] |
|
17486_T | Votive Panel of Jan Očko of Vlašim | How does Votive Panel of Jan Očko of Vlašim elucidate its abstract? | The Votive Panel of Jan Očko of Vlašim is a Gothic panel painting now in the National Gallery in Prague, Czech Republic. It is one of the most important artworks made in medieval Bohemia. The panel was painted for the Prague archbishop Jan Očko of Vlašim who is depicted kneeling before St. Adalbert of Prague in the lower part of the picture (donor portrait). The author(s) of the painting is (are) not known. The style of the painting stands between the works of Theodoric of Prague and the Master of the Třeboň Altarpiece (who represents the so-called Beautiful style, Central European form of International Gothic). | [
"Adalbert of Prague",
"Central Europe",
"St. Adalbert",
"Prague archbishop",
"Master of the Třeboň Altarpiece",
"donor portrait",
"panel painting",
"Bohemia",
"Czech Republic",
"International Gothic",
"National Gallery",
"Theodoric of Prague",
"National Gallery in Prague",
"Gothic",
"Jan Očko of Vlašim",
"Prague",
"St. Adalbert of Prague"
] |
|
17486_NT | Votive Panel of Jan Očko of Vlašim | How does this artwork elucidate its abstract? | The Votive Panel of Jan Očko of Vlašim is a Gothic panel painting now in the National Gallery in Prague, Czech Republic. It is one of the most important artworks made in medieval Bohemia. The panel was painted for the Prague archbishop Jan Očko of Vlašim who is depicted kneeling before St. Adalbert of Prague in the lower part of the picture (donor portrait). The author(s) of the painting is (are) not known. The style of the painting stands between the works of Theodoric of Prague and the Master of the Třeboň Altarpiece (who represents the so-called Beautiful style, Central European form of International Gothic). | [
"Adalbert of Prague",
"Central Europe",
"St. Adalbert",
"Prague archbishop",
"Master of the Třeboň Altarpiece",
"donor portrait",
"panel painting",
"Bohemia",
"Czech Republic",
"International Gothic",
"National Gallery",
"Theodoric of Prague",
"National Gallery in Prague",
"Gothic",
"Jan Očko of Vlašim",
"Prague",
"St. Adalbert of Prague"
] |
|
17487_T | Votive Panel of Jan Očko of Vlašim | Focus on Votive Panel of Jan Očko of Vlašim and analyze the History. | The panel was originally placed in the chapel of Roudnice Castle, which belonged to the bishops and archbishops of Prague who used it as their residence. In 1371 the chapel was consecrated in honor of the Virgin Mary and patron saints of Bohemia, and this is probably the date when the picture was finished. | [
"Bohemia",
"Roudnice",
"Prague"
] |
|
17487_NT | Votive Panel of Jan Očko of Vlašim | Focus on this artwork and analyze the History. | The panel was originally placed in the chapel of Roudnice Castle, which belonged to the bishops and archbishops of Prague who used it as their residence. In 1371 the chapel was consecrated in honor of the Virgin Mary and patron saints of Bohemia, and this is probably the date when the picture was finished. | [
"Bohemia",
"Roudnice",
"Prague"
] |
|
17488_T | Tornado over Kansas | In Tornado over Kansas, how is the abstract discussed? | Tornado over Kansas, or simply The Tornado, is a 1929 oil-on-canvas painting by the American Regionalist painter John Steuart Curry. It depicts a dramatic scene in which a family races for shelter as a tornado approaches their farm, and has compositional connections to Curry's earlier 1928 painting Baptism in Kansas. The artist is believed to have been influenced by Baroque art and photographs of tornadoes. He developed a fear of natural disasters and a reverence towards God during his childhood, both of which are apparent in the painting.
Following its 1930 debut, Tornado over Kansas was considered a notable Regionalist work, but native Kansans disliked the choice of subject matter. Although the painting won awards and was lauded by some, others criticized Curry's amateur style of painting. Curry's work attracted criticism from contemporary painters Stuart Davis and Thomas Hart Benton, and logical inconsistencies and technical errors in the composition have been noted.
Tornado over Kansas is among several of Curry's works depicting natural disasters in Kansas, including the 1930 painting After the Tornado and the 1932 lithographs The Tornado. It has been widely reproduced in publications including Time and Life magazines, and is now among Curry's best-known works. Since 1935, the painting has remained in the Muskegon Museum of Art. | [
"Regionalist",
"tornado",
"oil-on-canvas",
"Muskegon Museum of Art",
"lithograph",
"Baroque",
"Kansans",
"John Steuart Curry",
"American Regionalist",
"Thomas Hart Benton",
"Life",
"Stuart Davis",
"Time",
"Baroque art",
"Baptism in Kansas",
"Kansas",
"Tornado"
] |
|
17488_NT | Tornado over Kansas | In this artwork, how is the abstract discussed? | Tornado over Kansas, or simply The Tornado, is a 1929 oil-on-canvas painting by the American Regionalist painter John Steuart Curry. It depicts a dramatic scene in which a family races for shelter as a tornado approaches their farm, and has compositional connections to Curry's earlier 1928 painting Baptism in Kansas. The artist is believed to have been influenced by Baroque art and photographs of tornadoes. He developed a fear of natural disasters and a reverence towards God during his childhood, both of which are apparent in the painting.
Following its 1930 debut, Tornado over Kansas was considered a notable Regionalist work, but native Kansans disliked the choice of subject matter. Although the painting won awards and was lauded by some, others criticized Curry's amateur style of painting. Curry's work attracted criticism from contemporary painters Stuart Davis and Thomas Hart Benton, and logical inconsistencies and technical errors in the composition have been noted.
Tornado over Kansas is among several of Curry's works depicting natural disasters in Kansas, including the 1930 painting After the Tornado and the 1932 lithographs The Tornado. It has been widely reproduced in publications including Time and Life magazines, and is now among Curry's best-known works. Since 1935, the painting has remained in the Muskegon Museum of Art. | [
"Regionalist",
"tornado",
"oil-on-canvas",
"Muskegon Museum of Art",
"lithograph",
"Baroque",
"Kansans",
"John Steuart Curry",
"American Regionalist",
"Thomas Hart Benton",
"Life",
"Stuart Davis",
"Time",
"Baroque art",
"Baptism in Kansas",
"Kansas",
"Tornado"
] |
|
17489_T | Tornado over Kansas | Focus on Tornado over Kansas and explore the Composition. | In Tornado over Kansas, sometimes referred to as just The Tornado, an incoming tornado towers in the background as part of a dark storm. A distressed Kansan farm family in the foreground hurries to enter their storm cellar. Nearest the entry is a green-faced mother cradling her infant. Close by, a red-headed father hurries his daughter and yells at his sons. The two sons are distracted with rescuing pets: one holds onto a struggling black cat and another brings a litter of puppies, watched closely by their canine mother. Panicked horses can be seen beyond the farm's buildings. In the midst of the chaos, a complacent chicken refuses to move.The painting's tornado is regarded for its physical accuracy, an accomplishment that was possibly aided by first-hand descriptions and photographs. The art historian Lauren Kroiz, however, noted multiple "compositional perplexities". The placement of the son with the cat behind the porch steps suggests that the family ran along the path covered in wooden boards, but a chained wooden gate blocks that path. The filled metal tub beside the porch indicates recent rainfall, yet no other parts of the scene appear wet. Finally, all of the painting's figures cast shadows except, inexplicably, for the mother.Tornado over Kansas is described as an example of Regionalist painting: by the mid-1930s, art critics were identifying any depictions of daily life in the rural Midwest as "regionalist". The work illustrates a "direct representation" of the artist's own land in favor of the "introspective abstractions" of contemporary European painting, which—according to a 1934 Time article on the contemporary U.S. art scene—were qualities characteristic of Regionalism. | [
"Regionalist",
"tornado",
"storm cellar",
"Midwest",
"litter",
"Time",
"Kansas",
"Tornado"
] |
|
17489_NT | Tornado over Kansas | Focus on this artwork and explore the Composition. | In Tornado over Kansas, sometimes referred to as just The Tornado, an incoming tornado towers in the background as part of a dark storm. A distressed Kansan farm family in the foreground hurries to enter their storm cellar. Nearest the entry is a green-faced mother cradling her infant. Close by, a red-headed father hurries his daughter and yells at his sons. The two sons are distracted with rescuing pets: one holds onto a struggling black cat and another brings a litter of puppies, watched closely by their canine mother. Panicked horses can be seen beyond the farm's buildings. In the midst of the chaos, a complacent chicken refuses to move.The painting's tornado is regarded for its physical accuracy, an accomplishment that was possibly aided by first-hand descriptions and photographs. The art historian Lauren Kroiz, however, noted multiple "compositional perplexities". The placement of the son with the cat behind the porch steps suggests that the family ran along the path covered in wooden boards, but a chained wooden gate blocks that path. The filled metal tub beside the porch indicates recent rainfall, yet no other parts of the scene appear wet. Finally, all of the painting's figures cast shadows except, inexplicably, for the mother.Tornado over Kansas is described as an example of Regionalist painting: by the mid-1930s, art critics were identifying any depictions of daily life in the rural Midwest as "regionalist". The work illustrates a "direct representation" of the artist's own land in favor of the "introspective abstractions" of contemporary European painting, which—according to a 1934 Time article on the contemporary U.S. art scene—were qualities characteristic of Regionalism. | [
"Regionalist",
"tornado",
"storm cellar",
"Midwest",
"litter",
"Time",
"Kansas",
"Tornado"
] |
|
17490_T | Tornado over Kansas | Focus on Tornado over Kansas and explain the Context. | John Steuart Curry was born in Dunavant, Kansas, in 1897. He left in 1918 to attend Geneva College in Pennsylvania, where he worked as an illustrator for several years. He established a reputation as a painter with his critically acclaimed 1928 work Baptism in Kansas. Curry did not return to Kansas until 1929, when he traveled from his home in Westport, Connecticut, to visit his family's farm in Dunavant for six weeks. During this stay, the extreme weather and storms of the prairies inspired Curry to paint Tornado over Kansas, which he finished by fall of 1929. Curry's widow stated he had never witnessed a tornado in person, but he was likely familiar with accounts of tornadoes' destructive power. Photographs of a June 2, 1929, tornado passing through Hardtner, Kansas, were among the first to clearly capture a tornado's shape, and the art curator Henry Adams proposed that they may have served as visual guidance for Curry's tornado in Tornado over Kansas. The funnel shape seen in one photograph closely resembles that of the painting's tornado, and another photograph of the tornado approaching a barn is believed to have inspired the painting's compositional layout.Storms and tornadoes were not new to Curry; such natural disasters had frightened him ever since he was a child. He said that Tornado over Kansas was based on early life experiences when his family "used to beat it for the cellar before the storm hit." The art historian Irma Jaffe posited that Curry's Christian religious upbringing led to his construing natural disasters as signs of God's punishment. Thus, Jaffe saw Tornado over Kansas as one of Curry's attempts at controlling his fears through artistic expression.Natural disasters are a common motif in Curry's art. He sketched the ruins of Winchester, Kansas, following a May 1930 tornado, and made watercolors of horses panicked by lightning, a dust storm in Oklahoma, and the aftermath of floods along the Kansas River during the summers of 1929 and 1930. Curry's 1929 painting Storm over Lake Otsego was painted shortly after Tornado over Kansas, and has figures comparable to those of its predecessor. His 1930 work After the Tornado depicts an unharmed and smiling doll seated in a chair amid the wreck of a house recently destroyed by a tornado. In 1932, Curry produced a series of lithographs known as The Tornado, which show a family taking shelter from a coming storm. One impression from the set was sold for $13,750 in 2020, while others are held by museums including the Metropolitan Museum of Art, the National Gallery of Art, and the Whitney Museum of American Art. Curry's 1934 landscape Line Storm contains a cloud system similar to that in Tornado over Kansas. Furthermore, a tornado appears behind the abolitionist John Brown in the painter's 1937–1942 mural Tragic Prelude. | [
"Geneva College",
"National Gallery of Art",
"Whitney Museum",
"Tragic Prelude",
"tornado",
"prairie",
"landscape",
"Dunavant, Kansas",
"Whitney Museum of American Art",
"lithograph",
"Winchester, Kansas",
"Westport, Connecticut",
"Christian",
"Pennsylvania",
"Oklahoma",
"John Steuart Curry",
"Lake Otsego",
"Hardtner, Kansas",
"watercolor",
"dust storm",
"American Art",
"Baptism in Kansas",
"Kansas River",
"Kansas",
"Tornado",
"Metropolitan Museum of Art",
"John Brown"
] |
|
17490_NT | Tornado over Kansas | Focus on this artwork and explain the Context. | John Steuart Curry was born in Dunavant, Kansas, in 1897. He left in 1918 to attend Geneva College in Pennsylvania, where he worked as an illustrator for several years. He established a reputation as a painter with his critically acclaimed 1928 work Baptism in Kansas. Curry did not return to Kansas until 1929, when he traveled from his home in Westport, Connecticut, to visit his family's farm in Dunavant for six weeks. During this stay, the extreme weather and storms of the prairies inspired Curry to paint Tornado over Kansas, which he finished by fall of 1929. Curry's widow stated he had never witnessed a tornado in person, but he was likely familiar with accounts of tornadoes' destructive power. Photographs of a June 2, 1929, tornado passing through Hardtner, Kansas, were among the first to clearly capture a tornado's shape, and the art curator Henry Adams proposed that they may have served as visual guidance for Curry's tornado in Tornado over Kansas. The funnel shape seen in one photograph closely resembles that of the painting's tornado, and another photograph of the tornado approaching a barn is believed to have inspired the painting's compositional layout.Storms and tornadoes were not new to Curry; such natural disasters had frightened him ever since he was a child. He said that Tornado over Kansas was based on early life experiences when his family "used to beat it for the cellar before the storm hit." The art historian Irma Jaffe posited that Curry's Christian religious upbringing led to his construing natural disasters as signs of God's punishment. Thus, Jaffe saw Tornado over Kansas as one of Curry's attempts at controlling his fears through artistic expression.Natural disasters are a common motif in Curry's art. He sketched the ruins of Winchester, Kansas, following a May 1930 tornado, and made watercolors of horses panicked by lightning, a dust storm in Oklahoma, and the aftermath of floods along the Kansas River during the summers of 1929 and 1930. Curry's 1929 painting Storm over Lake Otsego was painted shortly after Tornado over Kansas, and has figures comparable to those of its predecessor. His 1930 work After the Tornado depicts an unharmed and smiling doll seated in a chair amid the wreck of a house recently destroyed by a tornado. In 1932, Curry produced a series of lithographs known as The Tornado, which show a family taking shelter from a coming storm. One impression from the set was sold for $13,750 in 2020, while others are held by museums including the Metropolitan Museum of Art, the National Gallery of Art, and the Whitney Museum of American Art. Curry's 1934 landscape Line Storm contains a cloud system similar to that in Tornado over Kansas. Furthermore, a tornado appears behind the abolitionist John Brown in the painter's 1937–1942 mural Tragic Prelude. | [
"Geneva College",
"National Gallery of Art",
"Whitney Museum",
"Tragic Prelude",
"tornado",
"prairie",
"landscape",
"Dunavant, Kansas",
"Whitney Museum of American Art",
"lithograph",
"Winchester, Kansas",
"Westport, Connecticut",
"Christian",
"Pennsylvania",
"Oklahoma",
"John Steuart Curry",
"Lake Otsego",
"Hardtner, Kansas",
"watercolor",
"dust storm",
"American Art",
"Baptism in Kansas",
"Kansas River",
"Kansas",
"Tornado",
"Metropolitan Museum of Art",
"John Brown"
] |
|
17491_T | Tornado over Kansas | Explore the Commentary and influence of this artwork, Tornado over Kansas. | According to Kroiz, the composition is "almost theatrically staged". Adams interpreted the barn on the left and the outbuilding to the right as the coulisses, or scenery flats, of a stage set. The painting's sense of drama is heightened by giving some of the figures others to rescue. The principal figures are painted as character stereotypes: the father is broad-shouldered and strong, while the mother and the daughter seem fearful and helpless as they look towards the father; despite the imminent danger, the two sons prioritize grabbing their pets. Adams considered the scene to be either a celebration or dismemberment of traditional American family values. Less ambiguous is the art historian J. Gray Sweeney's interpretation that Tornado over Kansas is an achievement of Curry's goal to "depict the American farmer's incessant struggle against the forces of nature."The central figures are reminiscent of paintings by Baroque artists like Peter Paul Rubens, whom Curry studied. Adams wrote that the turning father resembled Adonis in Rubens's 1635 painting Venus and Adonis, while the art historian Karal Ann Marling described the father as "Michelangelesque"; Marling also likened the mother and infant to a Madonna and Child.
Adams said no American painter before Curry depicted a tornado in such a frightening manner. One artistic precedent is the waterspout in the background of Winslow Homer's 1899 The Gulf Stream, but Adams found this "far less frightening" than Curry's tornado because the waterspout plays a secondary role to the sharks that dominate the foreground. Adams noted another "direct precedent": the tornado in L. Frank Baum's 1900 novel The Wonderful Wizard of Oz, which also strikes a Kansas farmstead.Tornado over Kansas is viewed as a sequel to Curry's 1928 Baptism in Kansas, though the former is considered visually and psychologically more dramatic than the latter. The two works share similar settings, and in both, crowded groups of figures in the foregrounds create a sense of claustrophobia (which Curry suffered from) while the near empty backgrounds evoke agoraphobia. Further similarities can be found in their fundamental shape patterns: inverting the water tank and windmill in Baptism in Kansas results in a "spiraling form" that resembles the tornado in Tornado over Kansas. | [
"Peter Paul Rubens",
"tornado",
"claustrophobia",
"Adonis",
"waterspout",
"Michelangelesque",
"Madonna and Child",
"Venus and Adonis",
"Baroque",
"agoraphobia",
"Winslow Homer",
"coulisse",
"Karal Ann Marling",
"L. Frank Baum",
"The Gulf Stream",
"The Wonderful Wizard of Oz",
"Baroque art",
"Baptism in Kansas",
"Kansas",
"Tornado"
] |
|
17491_NT | Tornado over Kansas | Explore the Commentary and influence of this artwork. | According to Kroiz, the composition is "almost theatrically staged". Adams interpreted the barn on the left and the outbuilding to the right as the coulisses, or scenery flats, of a stage set. The painting's sense of drama is heightened by giving some of the figures others to rescue. The principal figures are painted as character stereotypes: the father is broad-shouldered and strong, while the mother and the daughter seem fearful and helpless as they look towards the father; despite the imminent danger, the two sons prioritize grabbing their pets. Adams considered the scene to be either a celebration or dismemberment of traditional American family values. Less ambiguous is the art historian J. Gray Sweeney's interpretation that Tornado over Kansas is an achievement of Curry's goal to "depict the American farmer's incessant struggle against the forces of nature."The central figures are reminiscent of paintings by Baroque artists like Peter Paul Rubens, whom Curry studied. Adams wrote that the turning father resembled Adonis in Rubens's 1635 painting Venus and Adonis, while the art historian Karal Ann Marling described the father as "Michelangelesque"; Marling also likened the mother and infant to a Madonna and Child.
Adams said no American painter before Curry depicted a tornado in such a frightening manner. One artistic precedent is the waterspout in the background of Winslow Homer's 1899 The Gulf Stream, but Adams found this "far less frightening" than Curry's tornado because the waterspout plays a secondary role to the sharks that dominate the foreground. Adams noted another "direct precedent": the tornado in L. Frank Baum's 1900 novel The Wonderful Wizard of Oz, which also strikes a Kansas farmstead.Tornado over Kansas is viewed as a sequel to Curry's 1928 Baptism in Kansas, though the former is considered visually and psychologically more dramatic than the latter. The two works share similar settings, and in both, crowded groups of figures in the foregrounds create a sense of claustrophobia (which Curry suffered from) while the near empty backgrounds evoke agoraphobia. Further similarities can be found in their fundamental shape patterns: inverting the water tank and windmill in Baptism in Kansas results in a "spiraling form" that resembles the tornado in Tornado over Kansas. | [
"Peter Paul Rubens",
"tornado",
"claustrophobia",
"Adonis",
"waterspout",
"Michelangelesque",
"Madonna and Child",
"Venus and Adonis",
"Baroque",
"agoraphobia",
"Winslow Homer",
"coulisse",
"Karal Ann Marling",
"L. Frank Baum",
"The Gulf Stream",
"The Wonderful Wizard of Oz",
"Baroque art",
"Baptism in Kansas",
"Kansas",
"Tornado"
] |
|
17492_T | Tornado over Kansas | Focus on Tornado over Kansas and discuss the Reception and provenance. | The painting was met with universal critical acclaim when first exhibited in 1930 at the Whitney Studio Club where it won a second-place award. It received another second-place prize at the 1933 Carnegie International exhibition in Pittsburgh. A 1931 exhibition at a show of Curry's work in Wichita, Kansas, was less successful. Two years later, a Time article on the exhibition described Curry's tornado as a "giant cornucopia" and wrote that Kansans found the painting "uncivic". Marling explained this negative reaction, writing that locals did not want to see "[their state exposed] to opprobrium on account of a twister or two", especially by an artist native to the state. For example, Elsie Nuzman Allen—the art-collecting wife of former Kansas governor Henry Justin Allen—complained that Curry painted cyclones and other "freakish subjects" instead of "the glories of his home State".In 1934, Time magazine featured a color reproduction of the painting as part of an article on the contemporary U.S. art scene. It described Curry as "the greatest painter of Kansas" and Tornado over Kansas as one of his most famous works. The article did note that many Kansans were irritated by his paintings, as they believed that the subject matter "[was] best left untouched". Due to the magazine's readership of 485,000 during the 1930s, Time helped give Regionalist works a national audience while also eliciting resentment among some over the art movement's sudden popularity. For example, the American modernist painter Stuart Davis objected to Time's portrayal of Tornado over Kansas and other Regionalist paintings. In 1935, Davis even accused Curry of behaving "as though painting were a jolly lark for amateurs, to be exhibited in county fairs." Those who agreed with Davis included critics, historians, and even some of Curry's own friends who considered his paintings to be "labored", "conventional", or "embarrassing".The amateurish draftsmanship was noted by scholars including Kroiz, who wrote that Curry's use of color created "a riot of tertiary hues that confuse the viewer's eye". She described the work's green-blue shadows as "strange", and believed that the lighter halo-like region around the father's head was due to a mistake made while Curry was painting in the sky. Thus, Kroiz found that the painting is in stark contrast to more technically proficient works by the contemporary Regionalist painter Thomas Hart Benton. Benton even lamented that Curry's work sometimes had "a touch of vulgarity and cheapness". Curry himself admitted to both Tornado over Kansas's compositional shortcomings and his then lack of technical expertise, revealing what scholars interpreted as possible signs of the artist's depression, stress, and self-doubt. Nonetheless, Curry's openness instructed the public, and Kroiz believed it helped make painting more approachable for amateurs and common people. Sweeney was less critical than Kroiz in his assessment of the painting, describing Curry as "the least polemical and chauvinistic" of the Regionalists and writing that Curry's color and methods were "extremely sophisticated" in Tornado over Kansas.In 1931, real estate broker H. Tracy Kneeland offered to purchase Tornado over Kansas. In a letter to Curry, Kneeland explained his attraction to the work:
I find ... a certain native quality which interests me because I was born and brought up in Michigan and while I have never seen a tornado of this kind I can well remember school being let out and running for dear life for home, with the branches torn off the trees ... the whole picture seems to strike a home chord in me.
Nevertheless, Tornado over Kansas was acquired in 1935 by the Hackley Art Gallery (now the Muskegon Museum of Art) from Ferargil Galleries, a venue for exhibitions of Curry's work during the early 1930s.Laurence Schmeckebier wrote in his 1943 biography of Curry that Tornado over Kansas was its artist's "best known and in many ways his greatest painting." The work was widely reproduced in surveys of American art published in the 1930s and 1940s. It has appeared in over 150 publications, including the 1936 first issue of Life magazine, and the 1996 film Twister. Because of its artistic and cultural significance, Tornado over Kansas was described by the Muskegon Museum of Art as a "national treasure" and a defining work of Curry's career and the Regionalist movement. | [
"Regionalist",
"American modernist",
"Henry Justin Allen",
"tornado",
"Wichita, Kansas",
"Muskegon Museum of Art",
"Pittsburgh",
"Kansans",
"Thomas Hart Benton",
"Life",
"Stuart Davis",
"Time",
"Twister",
"Carnegie International",
"Kansas",
"Tornado"
] |
|
17492_NT | Tornado over Kansas | Focus on this artwork and discuss the Reception and provenance. | The painting was met with universal critical acclaim when first exhibited in 1930 at the Whitney Studio Club where it won a second-place award. It received another second-place prize at the 1933 Carnegie International exhibition in Pittsburgh. A 1931 exhibition at a show of Curry's work in Wichita, Kansas, was less successful. Two years later, a Time article on the exhibition described Curry's tornado as a "giant cornucopia" and wrote that Kansans found the painting "uncivic". Marling explained this negative reaction, writing that locals did not want to see "[their state exposed] to opprobrium on account of a twister or two", especially by an artist native to the state. For example, Elsie Nuzman Allen—the art-collecting wife of former Kansas governor Henry Justin Allen—complained that Curry painted cyclones and other "freakish subjects" instead of "the glories of his home State".In 1934, Time magazine featured a color reproduction of the painting as part of an article on the contemporary U.S. art scene. It described Curry as "the greatest painter of Kansas" and Tornado over Kansas as one of his most famous works. The article did note that many Kansans were irritated by his paintings, as they believed that the subject matter "[was] best left untouched". Due to the magazine's readership of 485,000 during the 1930s, Time helped give Regionalist works a national audience while also eliciting resentment among some over the art movement's sudden popularity. For example, the American modernist painter Stuart Davis objected to Time's portrayal of Tornado over Kansas and other Regionalist paintings. In 1935, Davis even accused Curry of behaving "as though painting were a jolly lark for amateurs, to be exhibited in county fairs." Those who agreed with Davis included critics, historians, and even some of Curry's own friends who considered his paintings to be "labored", "conventional", or "embarrassing".The amateurish draftsmanship was noted by scholars including Kroiz, who wrote that Curry's use of color created "a riot of tertiary hues that confuse the viewer's eye". She described the work's green-blue shadows as "strange", and believed that the lighter halo-like region around the father's head was due to a mistake made while Curry was painting in the sky. Thus, Kroiz found that the painting is in stark contrast to more technically proficient works by the contemporary Regionalist painter Thomas Hart Benton. Benton even lamented that Curry's work sometimes had "a touch of vulgarity and cheapness". Curry himself admitted to both Tornado over Kansas's compositional shortcomings and his then lack of technical expertise, revealing what scholars interpreted as possible signs of the artist's depression, stress, and self-doubt. Nonetheless, Curry's openness instructed the public, and Kroiz believed it helped make painting more approachable for amateurs and common people. Sweeney was less critical than Kroiz in his assessment of the painting, describing Curry as "the least polemical and chauvinistic" of the Regionalists and writing that Curry's color and methods were "extremely sophisticated" in Tornado over Kansas.In 1931, real estate broker H. Tracy Kneeland offered to purchase Tornado over Kansas. In a letter to Curry, Kneeland explained his attraction to the work:
I find ... a certain native quality which interests me because I was born and brought up in Michigan and while I have never seen a tornado of this kind I can well remember school being let out and running for dear life for home, with the branches torn off the trees ... the whole picture seems to strike a home chord in me.
Nevertheless, Tornado over Kansas was acquired in 1935 by the Hackley Art Gallery (now the Muskegon Museum of Art) from Ferargil Galleries, a venue for exhibitions of Curry's work during the early 1930s.Laurence Schmeckebier wrote in his 1943 biography of Curry that Tornado over Kansas was its artist's "best known and in many ways his greatest painting." The work was widely reproduced in surveys of American art published in the 1930s and 1940s. It has appeared in over 150 publications, including the 1936 first issue of Life magazine, and the 1996 film Twister. Because of its artistic and cultural significance, Tornado over Kansas was described by the Muskegon Museum of Art as a "national treasure" and a defining work of Curry's career and the Regionalist movement. | [
"Regionalist",
"American modernist",
"Henry Justin Allen",
"tornado",
"Wichita, Kansas",
"Muskegon Museum of Art",
"Pittsburgh",
"Kansans",
"Thomas Hart Benton",
"Life",
"Stuart Davis",
"Time",
"Twister",
"Carnegie International",
"Kansas",
"Tornado"
] |
|
17493_T | Phrasikleia Kore | How does Phrasikleia Kore elucidate its abstract? | The Phrasikleia Kore is an Archaic Greek funerary statue by the artist Aristion of Paros, created between 550 and 540 BCE. It was found carefully buried in the ancient city of Myrrhinous (modern Merenta) in Attica and excavated in 1972. The exceptional preservation of the statue and the intact nature of the polychromy elements makes the Phrasikleia Kore one of the most important works of Archaic art. | [
"Attica",
"polychromy",
"Paros",
"Myrrhinous"
] |
|
17493_NT | Phrasikleia Kore | How does this artwork elucidate its abstract? | The Phrasikleia Kore is an Archaic Greek funerary statue by the artist Aristion of Paros, created between 550 and 540 BCE. It was found carefully buried in the ancient city of Myrrhinous (modern Merenta) in Attica and excavated in 1972. The exceptional preservation of the statue and the intact nature of the polychromy elements makes the Phrasikleia Kore one of the most important works of Archaic art. | [
"Attica",
"polychromy",
"Paros",
"Myrrhinous"
] |
|
17494_T | Phrasikleia Kore | Focus on Phrasikleia Kore and analyze the History. | The Phrasikleia and the Attic korai are the most well-preserved statues in existence from the 6th century BCE. They represent a type of Archaic female statue intended specifically for funerary use. The Phrasikleia Kore is a Parian marble statue that features prominent polychromy as seen in the hair and the dress. It is thought that the skin of the Phrasikleia Kore was covered with a type of gum arabic to give it a realistic appearance. This practice is also seen during the same period, used on the sarcophagi of Egyptian mummies.The preservation of the Phrasikleia Kore was so successful because it was buried in a "custom-designed pit." It is thought that the circumstances of the burial of the Phrasikleia Kore was due to the return of the tyrant Peisistratos. As he was consolidating political power over Athens, upon his return to the city he and his followers sought to expel any family from Athens who disagreed with his authority. Scholars believe that the Alcmaeonid family of Athens was responsible for commissioning the sculpture, and for the subsequent the burial of the Phrasikleia Kore. The freshness of the statue indicates that this powerful family may have still been grieving the young woman when Peisistratos returned to Athens. This is supported by distinct absence of mutilation to the Kore. Additionally, the ancient Greek orator Isocrates recorded that the followers of Peisistratos "not only demolished the houses of the Alcmaeonids but they even opened their graves." | [
"polychromy",
"Isocrates",
"gum arabic",
"Alcmaeonid",
"Parian marble",
"Athens",
"Peisistratos"
] |
|
17494_NT | Phrasikleia Kore | Focus on this artwork and analyze the History. | The Phrasikleia and the Attic korai are the most well-preserved statues in existence from the 6th century BCE. They represent a type of Archaic female statue intended specifically for funerary use. The Phrasikleia Kore is a Parian marble statue that features prominent polychromy as seen in the hair and the dress. It is thought that the skin of the Phrasikleia Kore was covered with a type of gum arabic to give it a realistic appearance. This practice is also seen during the same period, used on the sarcophagi of Egyptian mummies.The preservation of the Phrasikleia Kore was so successful because it was buried in a "custom-designed pit." It is thought that the circumstances of the burial of the Phrasikleia Kore was due to the return of the tyrant Peisistratos. As he was consolidating political power over Athens, upon his return to the city he and his followers sought to expel any family from Athens who disagreed with his authority. Scholars believe that the Alcmaeonid family of Athens was responsible for commissioning the sculpture, and for the subsequent the burial of the Phrasikleia Kore. The freshness of the statue indicates that this powerful family may have still been grieving the young woman when Peisistratos returned to Athens. This is supported by distinct absence of mutilation to the Kore. Additionally, the ancient Greek orator Isocrates recorded that the followers of Peisistratos "not only demolished the houses of the Alcmaeonids but they even opened their graves." | [
"polychromy",
"Isocrates",
"gum arabic",
"Alcmaeonid",
"Parian marble",
"Athens",
"Peisistratos"
] |
|
17495_T | Phrasikleia Kore | In Phrasikleia Kore, how is the Etymology discussed? | The name Phrasikleia is derived from the archaic Greek word kléos meaning 'fame'. The word was important to archaic Greek culture, and had significant meaning to the Alcmaeonid family. Evidently, part of an Alcmaeonid family tradition was to bestow given names derived from kléos. This is repeated from generation to generation, including the names Megaklês meaning 'great fame', Kleisthénēs meaning 'fame-strong', and Periklês meaning 'wide fame'. | [
"Alcmaeonid"
] |
|
17495_NT | Phrasikleia Kore | In this artwork, how is the Etymology discussed? | The name Phrasikleia is derived from the archaic Greek word kléos meaning 'fame'. The word was important to archaic Greek culture, and had significant meaning to the Alcmaeonid family. Evidently, part of an Alcmaeonid family tradition was to bestow given names derived from kléos. This is repeated from generation to generation, including the names Megaklês meaning 'great fame', Kleisthénēs meaning 'fame-strong', and Periklês meaning 'wide fame'. | [
"Alcmaeonid"
] |
|
17496_T | Phrasikleia Kore | Focus on Phrasikleia Kore and explore the Description. | The statue is made of Parian marble, and stands 179 centimeters (6.92 ft) high; it rises on a pedestal that gives a total height of 211 centimeters (7 ft) high. As the inscription suggests, it depicts a young woman who died unmarried and therefore must be known forever as a maiden.
She is standing erect and wearing a long chiton, decorated with flowers and meanders. Around her waist she wears a girdle. The foreparts of her feet and sandals are visible. Her right arm hangs down and firmly holds onto her peplos. Her left arm is bent in front of her body and holds a still-unopened lotus flower. On her head she wears a garland of flowers, round about her neck a necklace, and on each arm a bracelet. | [
"meanders",
"left",
"Parian marble",
"chiton"
] |
|
17496_NT | Phrasikleia Kore | Focus on this artwork and explore the Description. | The statue is made of Parian marble, and stands 179 centimeters (6.92 ft) high; it rises on a pedestal that gives a total height of 211 centimeters (7 ft) high. As the inscription suggests, it depicts a young woman who died unmarried and therefore must be known forever as a maiden.
She is standing erect and wearing a long chiton, decorated with flowers and meanders. Around her waist she wears a girdle. The foreparts of her feet and sandals are visible. Her right arm hangs down and firmly holds onto her peplos. Her left arm is bent in front of her body and holds a still-unopened lotus flower. On her head she wears a garland of flowers, round about her neck a necklace, and on each arm a bracelet. | [
"meanders",
"left",
"Parian marble",
"chiton"
] |
|
17497_T | Phrasikleia Kore | Focus on Phrasikleia Kore and explain the Symbolism. | According to Svenbro, the Phrasikleia Kore may be modeled after the Goddess Hestia. As defined in the Homeric Hymn to Aphrodite, Hestia is explicitly referred to as koúrē, who swears to remain a virgin forever. The hymn claims that Hestia was called upon by Zeus to be honored as a god, rather than to remain on earth to be married. Evidence may be seen when compared to the epigram on the Phrasikleia Kore; "Kore (maiden) I must be called evermore; instead of marriage, by the Gods this name became my fate."
The lotus, which is repeated on the crown of the Phrasikleia Kore and held in her left hand, is an Egyptian funerary symbol used by the Greeks. It would have been customary to adorn the dead with a floral crown, like the one seen on the Phrasikleia Kore. The crown of lotuses worn by the statue may carry a double meaning: the round shape, with the spear-like lotus buds that make up the crown, may reference the gates of the underworld. The lotus is not only used on the crown, but also held in the hand of the kore; it is thought to represent Phrasikleia: "plucked before it could bloom," representing her status as a virgin and unmarried woman at the time of her death. | [
"left"
] |
|
17497_NT | Phrasikleia Kore | Focus on this artwork and explain the Symbolism. | According to Svenbro, the Phrasikleia Kore may be modeled after the Goddess Hestia. As defined in the Homeric Hymn to Aphrodite, Hestia is explicitly referred to as koúrē, who swears to remain a virgin forever. The hymn claims that Hestia was called upon by Zeus to be honored as a god, rather than to remain on earth to be married. Evidence may be seen when compared to the epigram on the Phrasikleia Kore; "Kore (maiden) I must be called evermore; instead of marriage, by the Gods this name became my fate."
The lotus, which is repeated on the crown of the Phrasikleia Kore and held in her left hand, is an Egyptian funerary symbol used by the Greeks. It would have been customary to adorn the dead with a floral crown, like the one seen on the Phrasikleia Kore. The crown of lotuses worn by the statue may carry a double meaning: the round shape, with the spear-like lotus buds that make up the crown, may reference the gates of the underworld. The lotus is not only used on the crown, but also held in the hand of the kore; it is thought to represent Phrasikleia: "plucked before it could bloom," representing her status as a virgin and unmarried woman at the time of her death. | [
"left"
] |
|
17498_T | Phrasikleia Kore | Explore the Function of this artwork, Phrasikleia Kore. | The primary function of the Phrasikleia Kore was as a funerary statue or votive offering. In this case, Phrasikleia marked the grave of a girl who died unmarried. This is confirmed by the inscription on her pedestal, in addition to the symbolism of the jewelry, peplos, and the lotus flower used on the statue. | [] |
|
17498_NT | Phrasikleia Kore | Explore the Function of this artwork. | The primary function of the Phrasikleia Kore was as a funerary statue or votive offering. In this case, Phrasikleia marked the grave of a girl who died unmarried. This is confirmed by the inscription on her pedestal, in addition to the symbolism of the jewelry, peplos, and the lotus flower used on the statue. | [] |
|
17499_T | Phrasikleia Kore | Focus on Phrasikleia Kore and discuss the Polychromy. | One reconstruction of the polychromy on Phrasikleia Kore displays an impressive use of eleven different reds, yellows, black, and white pigments. The color of her skin alone uses a mixture of white lead, red ochre, and light brown umber to achieve a mimetic quality. In addition, the statue is embellished with gold and lead foil appliqués.A possible recreation of the statue has been made via the Brinkmann reconstruction reflecting the existing visible pigment remaining on the statue and with the assistance of technology such as ultraviolet-visual absorption spectrometry and X-ray fluorescence analysis to detect traces of color, engravings and painted patterns, to recreate what the Phrasikleia Kore might have looked like before her burial in the 6th century BCE, according to one recreation. This recreation of the statue may be seen at the Gods in Color exhibit, which travels to major museums around the world. | [
"polychromy",
"Gods in Color"
] |
|
17499_NT | Phrasikleia Kore | Focus on this artwork and discuss the Polychromy. | One reconstruction of the polychromy on Phrasikleia Kore displays an impressive use of eleven different reds, yellows, black, and white pigments. The color of her skin alone uses a mixture of white lead, red ochre, and light brown umber to achieve a mimetic quality. In addition, the statue is embellished with gold and lead foil appliqués.A possible recreation of the statue has been made via the Brinkmann reconstruction reflecting the existing visible pigment remaining on the statue and with the assistance of technology such as ultraviolet-visual absorption spectrometry and X-ray fluorescence analysis to detect traces of color, engravings and painted patterns, to recreate what the Phrasikleia Kore might have looked like before her burial in the 6th century BCE, according to one recreation. This recreation of the statue may be seen at the Gods in Color exhibit, which travels to major museums around the world. | [
"polychromy",
"Gods in Color"
] |
|
17500_T | The Skating Minister | How does The Skating Minister elucidate its abstract? | The Reverend Robert Walker Skating on Duddingston Loch, better known by its shorter title The Skating Minister, is a late 18th-century oil painting attributed to Henry Raeburn, now in the Scottish National Gallery in Edinburgh. Because the painting was passed down through the subject's family, it was practically unknown until 1949, but has since become one of Scotland's best-known paintings. It is considered an icon of Scottish culture, painted during the Scottish Enlightenment. | [
"Scottish National Gallery",
"Duddingston Loch",
"Scottish Enlightenment",
"Scottish culture",
"Henry Raeburn",
"Edinburgh",
"oil painting",
"Robert Walker"
] |
|
17500_NT | The Skating Minister | How does this artwork elucidate its abstract? | The Reverend Robert Walker Skating on Duddingston Loch, better known by its shorter title The Skating Minister, is a late 18th-century oil painting attributed to Henry Raeburn, now in the Scottish National Gallery in Edinburgh. Because the painting was passed down through the subject's family, it was practically unknown until 1949, but has since become one of Scotland's best-known paintings. It is considered an icon of Scottish culture, painted during the Scottish Enlightenment. | [
"Scottish National Gallery",
"Duddingston Loch",
"Scottish Enlightenment",
"Scottish culture",
"Henry Raeburn",
"Edinburgh",
"oil painting",
"Robert Walker"
] |
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