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17501_T | The Skating Minister | Focus on The Skating Minister and analyze the History. | Raeburn painted this portrait of his friend Robert Walker in about 1795, when he was already a fashionable society portraitist in Edinburgh. When Walker died in 1808, Raeburn was one the trustees of his estate. The painting was inherited by Walker's widow Jean, and when she died in 1831, it was passed down to their daughter, Magdalen, and then to her daughter, Magdalen Scougall. Finally it passed in turn to the younger Magdalen's daughter and Walker's great-granddaughter, Beatrix Scott, who lived in Boscombe, Hampshire. In March 1914, Beatrix submitted the painting for auction hoping that it would make 1,000 guineas (£1,050), but it failed to find a buyer. In 1926, Beatrix sold the painting privately for £700 to Lucy Hume of Bournemouth, who in 1949 sent it for sale at Christie's in London. In all these various changes of ownership, there is no record of the painting coming to the attention of any art historian and it is not described in any of the early books on Raeburn's work.Christie's photographed The Skating Minister for their sale catalogue, which is believed to be the first time that the painting had been reproduced. It came to the attention of Ellis Waterhouse, the director of the National Gallery of Scotland (NGS) and was acquired for the nation for £525. The work did not become famous immediately, and it was not included in a book published by the NGS in 1972, Pictures for Scotland, which showcased the most notable works in their collection. However, in 1973, it was reproduced as one of the 'British Painters' set of commemorative stamps to mark the 150th anniversary of Raeburn's death. The painting was included in a 1997 exhibition of Raeburn's work at the National Portrait Gallery, London and was chosen to appear on posters advertising the event which were put on display across the capital. It reached an even wider audience in 1998 when The Skating Minister was included in an exhibition of British paintings, Pintura británica, at the Museo del Prado in Madrid, where images of it were widely reproduced on souvenirs. | [
"commemorative stamps",
"National Gallery of Scotland",
"guinea",
"National Portrait Gallery, London",
"Bournemouth",
"Christie's",
"Edinburgh",
"Robert Walker",
"Museo del Prado",
"Boscombe",
"Ellis Waterhouse"
] |
|
17501_NT | The Skating Minister | Focus on this artwork and analyze the History. | Raeburn painted this portrait of his friend Robert Walker in about 1795, when he was already a fashionable society portraitist in Edinburgh. When Walker died in 1808, Raeburn was one the trustees of his estate. The painting was inherited by Walker's widow Jean, and when she died in 1831, it was passed down to their daughter, Magdalen, and then to her daughter, Magdalen Scougall. Finally it passed in turn to the younger Magdalen's daughter and Walker's great-granddaughter, Beatrix Scott, who lived in Boscombe, Hampshire. In March 1914, Beatrix submitted the painting for auction hoping that it would make 1,000 guineas (£1,050), but it failed to find a buyer. In 1926, Beatrix sold the painting privately for £700 to Lucy Hume of Bournemouth, who in 1949 sent it for sale at Christie's in London. In all these various changes of ownership, there is no record of the painting coming to the attention of any art historian and it is not described in any of the early books on Raeburn's work.Christie's photographed The Skating Minister for their sale catalogue, which is believed to be the first time that the painting had been reproduced. It came to the attention of Ellis Waterhouse, the director of the National Gallery of Scotland (NGS) and was acquired for the nation for £525. The work did not become famous immediately, and it was not included in a book published by the NGS in 1972, Pictures for Scotland, which showcased the most notable works in their collection. However, in 1973, it was reproduced as one of the 'British Painters' set of commemorative stamps to mark the 150th anniversary of Raeburn's death. The painting was included in a 1997 exhibition of Raeburn's work at the National Portrait Gallery, London and was chosen to appear on posters advertising the event which were put on display across the capital. It reached an even wider audience in 1998 when The Skating Minister was included in an exhibition of British paintings, Pintura británica, at the Museo del Prado in Madrid, where images of it were widely reproduced on souvenirs. | [
"commemorative stamps",
"National Gallery of Scotland",
"guinea",
"National Portrait Gallery, London",
"Bournemouth",
"Christie's",
"Edinburgh",
"Robert Walker",
"Museo del Prado",
"Boscombe",
"Ellis Waterhouse"
] |
|
17502_T | The Skating Minister | In The Skating Minister, how is the Robert Walker discussed? | The minister portrayed in this painting is the Reverend Robert Walker. He was a Church of Scotland minister who was born on 30 April 1755 in Monkton, Ayrshire. When Walker was a child, his father had been the minister of the Scots Kirk in Rotterdam, so the young Robert almost certainly learnt to skate on the frozen canals of the Netherlands. He was licensed by the Presbytery of Edinburgh in 1770 at the age of fifteen. He married Jean Fraser in 1778 and had five children. He became a member of the Royal Company of Archers in 1779 and their chaplain in 1798.
He was minister of the Canongate Kirk as well as being a member of the Edinburgh Skating Club, the first figure skating club formed anywhere in the world. The club met on Duddingston Loch as shown in the painting or on Lochend Loch about 1.4 miles (2.3 km) to the north, when these lochs were suitably frozen. | [
"Royal Company of Archers",
"Lochend Loch",
"Canongate Kirk",
"Church of Scotland",
"Edinburgh Skating Club",
"Rotterdam",
"Monkton, Ayrshire",
"Duddingston Loch",
"Presbytery of Edinburgh",
"Edinburgh",
"Robert Walker",
"Scots Kirk",
"figure skating club"
] |
|
17502_NT | The Skating Minister | In this artwork, how is the Robert Walker discussed? | The minister portrayed in this painting is the Reverend Robert Walker. He was a Church of Scotland minister who was born on 30 April 1755 in Monkton, Ayrshire. When Walker was a child, his father had been the minister of the Scots Kirk in Rotterdam, so the young Robert almost certainly learnt to skate on the frozen canals of the Netherlands. He was licensed by the Presbytery of Edinburgh in 1770 at the age of fifteen. He married Jean Fraser in 1778 and had five children. He became a member of the Royal Company of Archers in 1779 and their chaplain in 1798.
He was minister of the Canongate Kirk as well as being a member of the Edinburgh Skating Club, the first figure skating club formed anywhere in the world. The club met on Duddingston Loch as shown in the painting or on Lochend Loch about 1.4 miles (2.3 km) to the north, when these lochs were suitably frozen. | [
"Royal Company of Archers",
"Lochend Loch",
"Canongate Kirk",
"Church of Scotland",
"Edinburgh Skating Club",
"Rotterdam",
"Monkton, Ayrshire",
"Duddingston Loch",
"Presbytery of Edinburgh",
"Edinburgh",
"Robert Walker",
"Scots Kirk",
"figure skating club"
] |
|
17503_T | The Skating Minister | Focus on The Skating Minister and explore the Attribution controversy. | In March 2005, a curator from the Scottish National Portrait Gallery suggested that the painting was by French artist Henri-Pierre Danloux rather than by Henry Raeburn. Once this information had been brought to the attention of the Gallery, the label on the painting was altered to read “Recent research has suggested that the picture was actually painted [...] by Henri-Pierre Danloux.” Since this time, many people have debated this idea. It has been argued that Danloux was in Edinburgh during the 1790s, which happens to be the time period when The Skating Minister was created. Supposedly the canvas and scale of the painting appear to be those of a French painter, although Raeburn critics argue otherwise.Despite continuing controversy about its attribution, The Skating Minister was sent to New York City in 2005 to be exhibited in Christie's for Tartan Day, an important Scottish celebration. James Holloway, director of the Scottish National Portrait Gallery, told The Scotsman newspaper that his "gut reaction" was that it is by Raeburn. The newspaper reported that "it is understood that Sir Timothy Clifford, director-general of the National Galleries of Scotland, now accepts the painting is a Raeburn." | [
"Tartan Day",
"The Scotsman",
"Sir Timothy Clifford",
"Henri-Pierre Danloux",
"Christie's",
"Henry Raeburn",
"Edinburgh",
"Timothy Clifford",
"Scottish National Portrait Gallery"
] |
|
17503_NT | The Skating Minister | Focus on this artwork and explore the Attribution controversy. | In March 2005, a curator from the Scottish National Portrait Gallery suggested that the painting was by French artist Henri-Pierre Danloux rather than by Henry Raeburn. Once this information had been brought to the attention of the Gallery, the label on the painting was altered to read “Recent research has suggested that the picture was actually painted [...] by Henri-Pierre Danloux.” Since this time, many people have debated this idea. It has been argued that Danloux was in Edinburgh during the 1790s, which happens to be the time period when The Skating Minister was created. Supposedly the canvas and scale of the painting appear to be those of a French painter, although Raeburn critics argue otherwise.Despite continuing controversy about its attribution, The Skating Minister was sent to New York City in 2005 to be exhibited in Christie's for Tartan Day, an important Scottish celebration. James Holloway, director of the Scottish National Portrait Gallery, told The Scotsman newspaper that his "gut reaction" was that it is by Raeburn. The newspaper reported that "it is understood that Sir Timothy Clifford, director-general of the National Galleries of Scotland, now accepts the painting is a Raeburn." | [
"Tartan Day",
"The Scotsman",
"Sir Timothy Clifford",
"Henri-Pierre Danloux",
"Christie's",
"Henry Raeburn",
"Edinburgh",
"Timothy Clifford",
"Scottish National Portrait Gallery"
] |
|
17504_T | The Skating Minister | Focus on The Skating Minister and explain the In popular culture. | Cambridge UK based musical group Clean Bandit based a character in their music video for their song "Dust Clears" on The Skating Minister painting. The video has been posted by the band on YouTube. The skating minister is portrayed by skater Nick Martin and the skating scenes were filmed on Lake Vattern in Sweden.A copy of The Skating Minister can be seen displayed in the apartment of con-man Neal Caffrey in the USA television series White Collar.
In Alexander McCall Smith's novel The Sunday Philosophy Club, a character sends a card bearing Raeburn's picture to the protagonist, Isabel Dalhousie.Spanish architect Enric Miralles said that his west window panels at the 2004 Scottish Parliament Building invoked the form of The Skating Minister.The painting is the subject of the 2022 novel The Edinburgh Skating Club by Michelle Sloan, which focuses on the attribution controversy surrounding the work. | [
"Scottish Parliament Building",
"Edinburgh Skating Club",
"White Collar",
"Neal Caffrey",
"YouTube",
"Alexander McCall Smith",
"Clean Bandit",
"Lake Vattern",
"Michelle Sloan",
"Edinburgh",
"Dust Clears",
"Enric Miralles"
] |
|
17504_NT | The Skating Minister | Focus on this artwork and explain the In popular culture. | Cambridge UK based musical group Clean Bandit based a character in their music video for their song "Dust Clears" on The Skating Minister painting. The video has been posted by the band on YouTube. The skating minister is portrayed by skater Nick Martin and the skating scenes were filmed on Lake Vattern in Sweden.A copy of The Skating Minister can be seen displayed in the apartment of con-man Neal Caffrey in the USA television series White Collar.
In Alexander McCall Smith's novel The Sunday Philosophy Club, a character sends a card bearing Raeburn's picture to the protagonist, Isabel Dalhousie.Spanish architect Enric Miralles said that his west window panels at the 2004 Scottish Parliament Building invoked the form of The Skating Minister.The painting is the subject of the 2022 novel The Edinburgh Skating Club by Michelle Sloan, which focuses on the attribution controversy surrounding the work. | [
"Scottish Parliament Building",
"Edinburgh Skating Club",
"White Collar",
"Neal Caffrey",
"YouTube",
"Alexander McCall Smith",
"Clean Bandit",
"Lake Vattern",
"Michelle Sloan",
"Edinburgh",
"Dust Clears",
"Enric Miralles"
] |
|
17505_T | Maffet Ledger | Explore the abstract of this artwork, Maffet Ledger. | The Maffet Ledger is a late 19th-century compilation of Cheyenne artwork. The ledger was compiled by newspaper owner George Maffet, and contains 105 drawings. The ledger is in the collection of the Metropolitan Museum of Art. | [
"Cheyenne",
"Metropolitan Museum of Art"
] |
|
17505_NT | Maffet Ledger | Explore the abstract of this artwork. | The Maffet Ledger is a late 19th-century compilation of Cheyenne artwork. The ledger was compiled by newspaper owner George Maffet, and contains 105 drawings. The ledger is in the collection of the Metropolitan Museum of Art. | [
"Cheyenne",
"Metropolitan Museum of Art"
] |
|
17506_T | Maffet Ledger | Focus on Maffet Ledger and discuss the Description. | The Maffet Ledger contains 105 drawings attributed to around 22 different Cheyenne authors. Most of the drawings depict battle scenes between the Cheyenne, other plains tribes, and the United States Army. The compiler of the ledger, George West Maffet Sr., was an editor for The Cheyenne Transporter, a journal published in Oklahoma.One notable contributor to the ledger was Howling Wolf. | [
"Cheyenne",
"United States Army",
"plains tribes",
"Howling Wolf"
] |
|
17506_NT | Maffet Ledger | Focus on this artwork and discuss the Description. | The Maffet Ledger contains 105 drawings attributed to around 22 different Cheyenne authors. Most of the drawings depict battle scenes between the Cheyenne, other plains tribes, and the United States Army. The compiler of the ledger, George West Maffet Sr., was an editor for The Cheyenne Transporter, a journal published in Oklahoma.One notable contributor to the ledger was Howling Wolf. | [
"Cheyenne",
"United States Army",
"plains tribes",
"Howling Wolf"
] |
|
17507_T | Monna Vanna (Rossetti) | How does Monna Vanna (Rossetti) elucidate its Title? | Its original title was Venus Veneta (Venetian Venus), making it a response to Renaissance and classical archetypes, particular those by Titian and other 16th century painters – in a letter dated 27 September 1866, Rossetti stated his aim in painting it was to produce "a Venetian lady in a rich dress of white and gold – in short the Venetian ideal of female beauty". After its completion he renamed it Monna Vanna (vain woman) to underline the vanity of life or more likely to emphasize the subject's Italian origins.The new title derived from Monna Vanna ("Vain Woman"), a character in chapter XXIV of one of Rossetti's favourite books, La Vita Nuova (1294) by his namesake Dante Alighieri. The woman in question may refer to Giovanna, the beloved of the poet Guido Cavalcanti, who is heavily associated with images of springtime in Dante's work. The painter had translated the Vita into English in 1848 and it had intense personal significance to him, principally in its allusions to spring, referenced in this painting by the vase of flowers in the top right hand corner and the floral motifs on the woman's gold brocade robe. In 1873 Rossetti renamed it again, this time as Belcolore, since he now felt the other titles did not fully indicate the modernity of the subject, but this did not last and Monna Vanna is still the accepted title. | [
"La Vita Nuova",
"Dante Alighieri",
"Titian"
] |
|
17507_NT | Monna Vanna (Rossetti) | How does this artwork elucidate its Title? | Its original title was Venus Veneta (Venetian Venus), making it a response to Renaissance and classical archetypes, particular those by Titian and other 16th century painters – in a letter dated 27 September 1866, Rossetti stated his aim in painting it was to produce "a Venetian lady in a rich dress of white and gold – in short the Venetian ideal of female beauty". After its completion he renamed it Monna Vanna (vain woman) to underline the vanity of life or more likely to emphasize the subject's Italian origins.The new title derived from Monna Vanna ("Vain Woman"), a character in chapter XXIV of one of Rossetti's favourite books, La Vita Nuova (1294) by his namesake Dante Alighieri. The woman in question may refer to Giovanna, the beloved of the poet Guido Cavalcanti, who is heavily associated with images of springtime in Dante's work. The painter had translated the Vita into English in 1848 and it had intense personal significance to him, principally in its allusions to spring, referenced in this painting by the vase of flowers in the top right hand corner and the floral motifs on the woman's gold brocade robe. In 1873 Rossetti renamed it again, this time as Belcolore, since he now felt the other titles did not fully indicate the modernity of the subject, but this did not last and Monna Vanna is still the accepted title. | [
"La Vita Nuova",
"Dante Alighieri",
"Titian"
] |
|
17508_T | Storytellers (statue) | Focus on Storytellers (statue) and analyze the abstract. | Storytellers is a bronze statue depicting Walt Disney standing next to his most famous creation, Mickey Mouse, which serves as a counterpart to the iconic Partners statue at Disneyland. The statue was commissioned for the overhauled and expanded Disney California Adventure theme park in Anaheim, California, where it stands in front of a recreation of the Carthay Circle Theatre on Buena Vista Street. Subsequent recreations of the statue are found at the entrance of Tokyo DisneySea in Tokyo, Japan and at the end of Mickey Avenue at Shanghai Disneyland in Pudong, Shanghai, China.
Unlike Partners, which depicts a more mature and successful Walt Disney, Storytellers depicts a younger Walt as he might have looked when he arrived in Los Angeles in 1923. Mickey, despite not having existed yet in 1923, is seen in his earlier design from the early 1930s, standing on top of a large suitcase next to Walt. Also unlike Partners, which is elevated, fenced off and surrounded by a bed of flowers, Storytellers is placed on a street corner at ground level and is accessible to park guests.Two plaques are placed on either side of the statue. The one to the right quotes Walt Disney as saying, "We are just getting started". The plaque to the left uses another, longer quote: "It was July 1923. I packed all of my worldly goods — a pair of trousers, a checkered coat, a lot of drawing materials and the last of the fairy tale reels we had made — in a kind of frayed cardboard suitcase. And with that wonderful audacity of youth, I went to Hollywood, arriving there with just forty dollars. It was a big day the day I got on that Santa Fe California Limited. I was just free and happy!" | [
"bronze statue",
"Disneyland",
"Walt Disney",
"Shanghai",
"Tokyo DisneySea",
"Shanghai Disneyland",
"Japan",
"Partners",
"Pudong",
"Mickey Mouse",
"Los Angeles",
"Anaheim, California",
"Pudong, Shanghai",
"Disney California Adventure",
"California Limited",
"Tokyo",
"China",
"Buena Vista Street",
"Carthay Circle Theatre"
] |
|
17508_NT | Storytellers (statue) | Focus on this artwork and analyze the abstract. | Storytellers is a bronze statue depicting Walt Disney standing next to his most famous creation, Mickey Mouse, which serves as a counterpart to the iconic Partners statue at Disneyland. The statue was commissioned for the overhauled and expanded Disney California Adventure theme park in Anaheim, California, where it stands in front of a recreation of the Carthay Circle Theatre on Buena Vista Street. Subsequent recreations of the statue are found at the entrance of Tokyo DisneySea in Tokyo, Japan and at the end of Mickey Avenue at Shanghai Disneyland in Pudong, Shanghai, China.
Unlike Partners, which depicts a more mature and successful Walt Disney, Storytellers depicts a younger Walt as he might have looked when he arrived in Los Angeles in 1923. Mickey, despite not having existed yet in 1923, is seen in his earlier design from the early 1930s, standing on top of a large suitcase next to Walt. Also unlike Partners, which is elevated, fenced off and surrounded by a bed of flowers, Storytellers is placed on a street corner at ground level and is accessible to park guests.Two plaques are placed on either side of the statue. The one to the right quotes Walt Disney as saying, "We are just getting started". The plaque to the left uses another, longer quote: "It was July 1923. I packed all of my worldly goods — a pair of trousers, a checkered coat, a lot of drawing materials and the last of the fairy tale reels we had made — in a kind of frayed cardboard suitcase. And with that wonderful audacity of youth, I went to Hollywood, arriving there with just forty dollars. It was a big day the day I got on that Santa Fe California Limited. I was just free and happy!" | [
"bronze statue",
"Disneyland",
"Walt Disney",
"Shanghai",
"Tokyo DisneySea",
"Shanghai Disneyland",
"Japan",
"Partners",
"Pudong",
"Mickey Mouse",
"Los Angeles",
"Anaheim, California",
"Pudong, Shanghai",
"Disney California Adventure",
"California Limited",
"Tokyo",
"China",
"Buena Vista Street",
"Carthay Circle Theatre"
] |
|
17509_T | Bust of Louis XIV (Bernini) | Focus on Bust of Louis XIV (Bernini) and explore the abstract. | The Bust of Louis XIV is a marble portrait by the Italian artist Gian Lorenzo Bernini. It was created in the year 1665 during Bernini's visit to Paris. This sculptural portrait of Louis XIV of France has been called the "grandest piece of portraiture of the Baroque age". The bust is on display at the Versailles Palace, in the Salon de Diane in the King's Grand Apartment. | [
"Louis XIV of France",
"King's Grand Apartment",
"Louis XIV",
"Versailles",
"Versailles Palace",
"Gian Lorenzo Bernini",
"Paris"
] |
|
17509_NT | Bust of Louis XIV (Bernini) | Focus on this artwork and explore the abstract. | The Bust of Louis XIV is a marble portrait by the Italian artist Gian Lorenzo Bernini. It was created in the year 1665 during Bernini's visit to Paris. This sculptural portrait of Louis XIV of France has been called the "grandest piece of portraiture of the Baroque age". The bust is on display at the Versailles Palace, in the Salon de Diane in the King's Grand Apartment. | [
"Louis XIV of France",
"King's Grand Apartment",
"Louis XIV",
"Versailles",
"Versailles Palace",
"Gian Lorenzo Bernini",
"Paris"
] |
|
17510_T | Bust of Louis XIV (Bernini) | Focus on Bust of Louis XIV (Bernini) and explain the Commissioning. | Bernini had been invited to Paris as part of a larger diplomatic exchange between the Papacy and France. The ostensible reason for the visit was to create new designs for the Louvre Palace, but the young king Louis XIV had declared he also desired a portrait bust. Bernini’s designs for the Louvre did not go down well and were not acted upon; indeed their failure to be accepted was a reflection of the general antagonism between the Italian Bernini and certain members within the French court. However, the portrait bust, which depended upon a more personal relationship between the king and the artist, was completed and largely considered a great success. | [
"Louvre Palace",
"Louis XIV",
"Papacy",
"Paris"
] |
|
17510_NT | Bust of Louis XIV (Bernini) | Focus on this artwork and explain the Commissioning. | Bernini had been invited to Paris as part of a larger diplomatic exchange between the Papacy and France. The ostensible reason for the visit was to create new designs for the Louvre Palace, but the young king Louis XIV had declared he also desired a portrait bust. Bernini’s designs for the Louvre did not go down well and were not acted upon; indeed their failure to be accepted was a reflection of the general antagonism between the Italian Bernini and certain members within the French court. However, the portrait bust, which depended upon a more personal relationship between the king and the artist, was completed and largely considered a great success. | [
"Louvre Palace",
"Louis XIV",
"Papacy",
"Paris"
] |
|
17511_T | Bust of Louis XIV (Bernini) | Explore the Creation of this artwork, Bust of Louis XIV (Bernini). | The creation of the bust is incredibly well documented, thanks to efforts of the French diarist Paul Fréart de Chantelou, a steward at the court of Louis XIV, who befriended Bernini during his time in Paris.The bust took just over three months to carve. According to Chantelou's diary the process of selecting suitable marble blocks took several days to accomplish. While searching for a suitable block of marble to create the bust there was some discussion with members of the court about whether or not Bernini would make a full body statue or a bust. Once potential blocks of marble had been selected, Bernini began by taking drawings (none of which survive) and small clay models of the king. However, it seems that once he had done this initial work, Bernini chose to work only during sittings with the king. His pupil, Giulio Cartari, began work on carving down the chosen block of marble (and would later do much of the drapery work), and then Bernini took over, taking forty days to complete the work. He had hoped to have twenty sittings with the king during the final carving process, but in fact there were thirteen of around one hour each. The bust is modeled heavily after an earlier bust that Bernini made almost a decade prior of Francesco d'Este, the duke of Modena, and other than the fact that Louis' cloak was slightly longer horizontally a person would not be able to tell that one was of higher nobility.Bernini's son and biographer, Domenico Bernini, noted the artistic arguments of his father as to why the King agreed to sit for such a length of time, explaining that the artist preferred to work from Truth (i.e. real life) rather than rely on the unnecessary imaginative extras that would creep into working from sketches. Equally, Bernini wanted to see the king, as he did many of this other sitters, not remaining immobile, but sitting and talking in such as way that Bernini could capture all his characteristics. Such an approach, with Bernini wishing to capture the figure in physical and psychological motion, was a common element of Bernini’s work: “mere resemblance is inadequate. One must express what goes on in the heads of heroes,” Bernini is recorded as saying. Bernini also observed the king in other locations - playing tennis, resting after lunch, or simply walking around court.Filippo Baldinucci (biographer of artists/art historian) records numerous events that advertise Bernini’s supposed influence on French culture, including one incident where Bernini’s rearranged the King’s hair to give greater exposure to the King’s brow - the new style was apparently followed by all at the French court, and became known as the Bernini modification. Contemporary art historians are sceptical of this however; Jeanne Zarucchi claims that the alteration was deliberate, altering the shape of the King's head in an unflattering manner. | [
"Paul Fréart de Chantelou",
"Louis XIV",
"Filippo Baldinucci",
"Paris",
"Domenico Bernini"
] |
|
17511_NT | Bust of Louis XIV (Bernini) | Explore the Creation of this artwork. | The creation of the bust is incredibly well documented, thanks to efforts of the French diarist Paul Fréart de Chantelou, a steward at the court of Louis XIV, who befriended Bernini during his time in Paris.The bust took just over three months to carve. According to Chantelou's diary the process of selecting suitable marble blocks took several days to accomplish. While searching for a suitable block of marble to create the bust there was some discussion with members of the court about whether or not Bernini would make a full body statue or a bust. Once potential blocks of marble had been selected, Bernini began by taking drawings (none of which survive) and small clay models of the king. However, it seems that once he had done this initial work, Bernini chose to work only during sittings with the king. His pupil, Giulio Cartari, began work on carving down the chosen block of marble (and would later do much of the drapery work), and then Bernini took over, taking forty days to complete the work. He had hoped to have twenty sittings with the king during the final carving process, but in fact there were thirteen of around one hour each. The bust is modeled heavily after an earlier bust that Bernini made almost a decade prior of Francesco d'Este, the duke of Modena, and other than the fact that Louis' cloak was slightly longer horizontally a person would not be able to tell that one was of higher nobility.Bernini's son and biographer, Domenico Bernini, noted the artistic arguments of his father as to why the King agreed to sit for such a length of time, explaining that the artist preferred to work from Truth (i.e. real life) rather than rely on the unnecessary imaginative extras that would creep into working from sketches. Equally, Bernini wanted to see the king, as he did many of this other sitters, not remaining immobile, but sitting and talking in such as way that Bernini could capture all his characteristics. Such an approach, with Bernini wishing to capture the figure in physical and psychological motion, was a common element of Bernini’s work: “mere resemblance is inadequate. One must express what goes on in the heads of heroes,” Bernini is recorded as saying. Bernini also observed the king in other locations - playing tennis, resting after lunch, or simply walking around court.Filippo Baldinucci (biographer of artists/art historian) records numerous events that advertise Bernini’s supposed influence on French culture, including one incident where Bernini’s rearranged the King’s hair to give greater exposure to the King’s brow - the new style was apparently followed by all at the French court, and became known as the Bernini modification. Contemporary art historians are sceptical of this however; Jeanne Zarucchi claims that the alteration was deliberate, altering the shape of the King's head in an unflattering manner. | [
"Paul Fréart de Chantelou",
"Louis XIV",
"Filippo Baldinucci",
"Paris",
"Domenico Bernini"
] |
|
17512_T | Bust of Louis XIV (Bernini) | Focus on Bust of Louis XIV (Bernini) and discuss the Conception. | Sculpted late in his career, the bust’s grand nature, with its dramatic drapery and regal nature can be seen as a continuation of the bust Bernini executed for Francesco I D’Este.
Despite not being an actual military commander, Bernini conceived of Louis in armour, drawing on notions of heroic kings such as Alexander the Great. Though a small man, Louis is figured as a stately character, fusing grandeur with a rich elegance of spirit. The drapery suggests the movement of wind, but also demonstrates the ability of the king to overcome such earthly distractions - he stares in to the distance, perhaps as if giving a military commands, turning his face against the direction the wind is blowing. Bernini may also have explored concept of Louis as the Sun King in the portrait, relating the king’s hair to sunbeams and the drapery as passing clouds.Yet the idealisation of the king as a great emperor was also grounded in reality. It was a feature of Bernini’s sculpture that he could combine abstract notions such as grandeur and nobility with precise individual characteristics of the sitter. Bernini paid careful attention to and played with the hair, eyes, nose forehead, and the clothing of Louis making subtle adjustments that allowed Bernini to give the appearance of the individual sitter, being without it being a slavish copy or a lifeless abstraction.To strengthen the military grandeur of the bust, Bernini designed a large globe to act as a pedestal for the bust, thus giving the appearance that the entire world was a platform for Louis’s majesty. Bernini also intended such a pedestal to raise the overall height of the artwork, so that the artwork would sit above and be out of touch of the spectator. However, this was never completed and the bust was moved from its position in the Louvre palace to the Palace of Versailles in 1680s, where it still remains now. | [
"Palace of Versailles",
"Versailles"
] |
|
17512_NT | Bust of Louis XIV (Bernini) | Focus on this artwork and discuss the Conception. | Sculpted late in his career, the bust’s grand nature, with its dramatic drapery and regal nature can be seen as a continuation of the bust Bernini executed for Francesco I D’Este.
Despite not being an actual military commander, Bernini conceived of Louis in armour, drawing on notions of heroic kings such as Alexander the Great. Though a small man, Louis is figured as a stately character, fusing grandeur with a rich elegance of spirit. The drapery suggests the movement of wind, but also demonstrates the ability of the king to overcome such earthly distractions - he stares in to the distance, perhaps as if giving a military commands, turning his face against the direction the wind is blowing. Bernini may also have explored concept of Louis as the Sun King in the portrait, relating the king’s hair to sunbeams and the drapery as passing clouds.Yet the idealisation of the king as a great emperor was also grounded in reality. It was a feature of Bernini’s sculpture that he could combine abstract notions such as grandeur and nobility with precise individual characteristics of the sitter. Bernini paid careful attention to and played with the hair, eyes, nose forehead, and the clothing of Louis making subtle adjustments that allowed Bernini to give the appearance of the individual sitter, being without it being a slavish copy or a lifeless abstraction.To strengthen the military grandeur of the bust, Bernini designed a large globe to act as a pedestal for the bust, thus giving the appearance that the entire world was a platform for Louis’s majesty. Bernini also intended such a pedestal to raise the overall height of the artwork, so that the artwork would sit above and be out of touch of the spectator. However, this was never completed and the bust was moved from its position in the Louvre palace to the Palace of Versailles in 1680s, where it still remains now. | [
"Palace of Versailles",
"Versailles"
] |
|
17513_T | Bust of Louis XIV (Bernini) | How does Bust of Louis XIV (Bernini) elucidate its Immediate Reception? | Despite the carping of French critics at the court of Louis XIV, the bust was immediately considered a success, as the number of reproductions testifies. A mould of the bust was made in 1666; by 1669 at least seven plaster casts had been created. An early bronze version was taken to Quebec, Canada but is now lost. The only other early copy in bronze is in the National Gallery of Art in Washington. | [
"Louis XIV"
] |
|
17513_NT | Bust of Louis XIV (Bernini) | How does this artwork elucidate its Immediate Reception? | Despite the carping of French critics at the court of Louis XIV, the bust was immediately considered a success, as the number of reproductions testifies. A mould of the bust was made in 1666; by 1669 at least seven plaster casts had been created. An early bronze version was taken to Quebec, Canada but is now lost. The only other early copy in bronze is in the National Gallery of Art in Washington. | [
"Louis XIV"
] |
|
17514_T | Polish Hamlet. Portrait of Aleksander Wielopolski | Focus on Polish Hamlet. Portrait of Aleksander Wielopolski and analyze the abstract. | Polish Hamlet. Portrait of Alexander Wielopolski is an oil painting by Jacek Malczewski from 1903, presenting the allegorical grandson Aleksander Wielopolski and two different visions of the fate of the Polish nation. | [
"Aleksander Wielopolski",
"Jacek Malczewski",
"Hamlet"
] |
|
17514_NT | Polish Hamlet. Portrait of Aleksander Wielopolski | Focus on this artwork and analyze the abstract. | Polish Hamlet. Portrait of Alexander Wielopolski is an oil painting by Jacek Malczewski from 1903, presenting the allegorical grandson Aleksander Wielopolski and two different visions of the fate of the Polish nation. | [
"Aleksander Wielopolski",
"Jacek Malczewski",
"Hamlet"
] |
|
17515_T | Polish Hamlet. Portrait of Aleksander Wielopolski | In Polish Hamlet. Portrait of Aleksander Wielopolski, how is the Description discussed? | It is in the collection of the National Museum, Warsaw.
It was painted in 1903, and is one of the most famous works of Malczewski. It presents the grandson of Aleksander Wielopolski – Polish politician, a member of the Polish Kingdom government in the early 1860s, who tried to maneuver between the interests of the invaders and the Polish population – in the act of considering his grandfather's legacy. The figure is located in the center of the composition, between two women. He is dressed in yellow-green dress and belted pouch, in which instead of bullets are tubes of paint, and he thoughtfully pulls on the petals of chamomile. | [
"Aleksander Wielopolski",
"National Museum, Warsaw"
] |
|
17515_NT | Polish Hamlet. Portrait of Aleksander Wielopolski | In this artwork, how is the Description discussed? | It is in the collection of the National Museum, Warsaw.
It was painted in 1903, and is one of the most famous works of Malczewski. It presents the grandson of Aleksander Wielopolski – Polish politician, a member of the Polish Kingdom government in the early 1860s, who tried to maneuver between the interests of the invaders and the Polish population – in the act of considering his grandfather's legacy. The figure is located in the center of the composition, between two women. He is dressed in yellow-green dress and belted pouch, in which instead of bullets are tubes of paint, and he thoughtfully pulls on the petals of chamomile. | [
"Aleksander Wielopolski",
"National Museum, Warsaw"
] |
|
17516_T | Polish Hamlet. Portrait of Aleksander Wielopolski | Focus on Polish Hamlet. Portrait of Aleksander Wielopolski and explore the Analysis. | The painting is symbolic and patriotic, it can be read in several ways. The women placed on both sides of the picture are an allegory of two different visions of the fate of their homeland. Located to the right is an elderly woman with white hair, dressed in dark robes, her hands cuffed by shackles, and her face takes on an expression of sadness, despair and awareness of their situation. She embodies Poland enslaved, experienced by fate, remaining under the yoke of others, and who can not be liberated. On the left side there is a young girl, half-naked, shown at the time of breaking the shackles. She is full of energy, and her face is very expressive. It symbolizes the "young Poland" - capable of action and being able to release from the long-term captivity.
The image can be interpreted as a question of choosing the right way and the future fate of the homeland, entering a new century. This dilemma clearly refers to the title character of Hamlet, William Shakespeare's drama and his life choice, as highlighted in the title of the work. Aleksander Wielopolski is an example of the person making the difficult decision, and carrying the consequences of that choice, resulting from the need to accept or reject the attitude towards life of his grandfather. The artist does not favor either solution. The figure of a man is pensive, lost in melancholy, and his indecision is highlighted even more by the flower in his hand and a belt on the body. The work is an expression of his concern for the future of the Polish nation. | [
"Aleksander Wielopolski",
"Hamlet",
"William Shakespeare"
] |
|
17516_NT | Polish Hamlet. Portrait of Aleksander Wielopolski | Focus on this artwork and explore the Analysis. | The painting is symbolic and patriotic, it can be read in several ways. The women placed on both sides of the picture are an allegory of two different visions of the fate of their homeland. Located to the right is an elderly woman with white hair, dressed in dark robes, her hands cuffed by shackles, and her face takes on an expression of sadness, despair and awareness of their situation. She embodies Poland enslaved, experienced by fate, remaining under the yoke of others, and who can not be liberated. On the left side there is a young girl, half-naked, shown at the time of breaking the shackles. She is full of energy, and her face is very expressive. It symbolizes the "young Poland" - capable of action and being able to release from the long-term captivity.
The image can be interpreted as a question of choosing the right way and the future fate of the homeland, entering a new century. This dilemma clearly refers to the title character of Hamlet, William Shakespeare's drama and his life choice, as highlighted in the title of the work. Aleksander Wielopolski is an example of the person making the difficult decision, and carrying the consequences of that choice, resulting from the need to accept or reject the attitude towards life of his grandfather. The artist does not favor either solution. The figure of a man is pensive, lost in melancholy, and his indecision is highlighted even more by the flower in his hand and a belt on the body. The work is an expression of his concern for the future of the Polish nation. | [
"Aleksander Wielopolski",
"Hamlet",
"William Shakespeare"
] |
|
17517_T | Polish Hamlet. Portrait of Aleksander Wielopolski | Focus on Polish Hamlet. Portrait of Aleksander Wielopolski and explain the Mistaken identity. | In the literature, due to the fact that the name of portrayed Aleksander Wielopolski (grandson) was the same as his grandfather's, there is often the wrong suggestion that the image presented his grandfather. In fact, Jacek Malczewski could not portray his grandfather, because he died in 1877 and the picture was painted in 1903. In addition, the portrayed person does not resemble Alexander Wielopolski. | [
"Aleksander Wielopolski",
"Jacek Malczewski"
] |
|
17517_NT | Polish Hamlet. Portrait of Aleksander Wielopolski | Focus on this artwork and explain the Mistaken identity. | In the literature, due to the fact that the name of portrayed Aleksander Wielopolski (grandson) was the same as his grandfather's, there is often the wrong suggestion that the image presented his grandfather. In fact, Jacek Malczewski could not portray his grandfather, because he died in 1877 and the picture was painted in 1903. In addition, the portrayed person does not resemble Alexander Wielopolski. | [
"Aleksander Wielopolski",
"Jacek Malczewski"
] |
|
17518_T | The Nostalgia of the Infinite | Explore the abstract of this artwork, The Nostalgia of the Infinite. | The Nostalgia of the Infinite (Italian: La nostalgia dell'infinito) is a painting by Italian metaphysical painter Giorgio de Chirico, painted in the early 1910s.
The subject of the painting is a large tower. The scene is struck by low, angular evening light. In the foreground below the tower are two small shadowy figures resembling those in future works by Salvador Dalí. This painting is the most famous example of the tower theme which appears in several of Chirico's works.
Although the painting is dated 1911, this date is generally held in question. It has been speculated by the Museum of Modern Art in New York City that it was created from 1912 to 1913, while the Annenberg School for Communication suggests 1913–14. According to art historian Robert Hughes, the painting draws inspiration from the Mole Antonelliana in Torino, Italy. | [
"Giorgio de Chirico",
"Annenberg School for Communication",
"Torino",
"metaphysical painter",
"Salvador Dalí",
"Mole Antonelliana",
"Museum of Modern Art",
"Robert Hughes"
] |
|
17518_NT | The Nostalgia of the Infinite | Explore the abstract of this artwork. | The Nostalgia of the Infinite (Italian: La nostalgia dell'infinito) is a painting by Italian metaphysical painter Giorgio de Chirico, painted in the early 1910s.
The subject of the painting is a large tower. The scene is struck by low, angular evening light. In the foreground below the tower are two small shadowy figures resembling those in future works by Salvador Dalí. This painting is the most famous example of the tower theme which appears in several of Chirico's works.
Although the painting is dated 1911, this date is generally held in question. It has been speculated by the Museum of Modern Art in New York City that it was created from 1912 to 1913, while the Annenberg School for Communication suggests 1913–14. According to art historian Robert Hughes, the painting draws inspiration from the Mole Antonelliana in Torino, Italy. | [
"Giorgio de Chirico",
"Annenberg School for Communication",
"Torino",
"metaphysical painter",
"Salvador Dalí",
"Mole Antonelliana",
"Museum of Modern Art",
"Robert Hughes"
] |
|
17519_T | The Nostalgia of the Infinite | Focus on The Nostalgia of the Infinite and discuss the Legacy. | This painting, amongst other works by Giorgio de Chirico, influenced the painting by Fumito Ueda used for the front cover of the Japanese and European versions of the video game Ico. | [
"Giorgio de Chirico",
"Ico",
"video game",
"Fumito Ueda"
] |
|
17519_NT | The Nostalgia of the Infinite | Focus on this artwork and discuss the Legacy. | This painting, amongst other works by Giorgio de Chirico, influenced the painting by Fumito Ueda used for the front cover of the Japanese and European versions of the video game Ico. | [
"Giorgio de Chirico",
"Ico",
"video game",
"Fumito Ueda"
] |
|
17520_T | Saint Peter and Saint Paul (El Greco, Barcelona) | How does Saint Peter and Saint Paul (El Greco, Barcelona) elucidate its abstract? | Saint Peter and Saint Paul is a painting by the Cretan-Spanish artist El Greco. The work was completed between 1590 and 1600. It is currently on display at the Museu Nacional d'Art de Catalunya, who purchased the work in 1932. | [
"Paul",
"El Greco",
"Spanish",
"Peter",
"Saint Peter",
"Museu Nacional d'Art de Catalunya"
] |
|
17520_NT | Saint Peter and Saint Paul (El Greco, Barcelona) | How does this artwork elucidate its abstract? | Saint Peter and Saint Paul is a painting by the Cretan-Spanish artist El Greco. The work was completed between 1590 and 1600. It is currently on display at the Museu Nacional d'Art de Catalunya, who purchased the work in 1932. | [
"Paul",
"El Greco",
"Spanish",
"Peter",
"Saint Peter",
"Museu Nacional d'Art de Catalunya"
] |
|
17521_T | Saint Peter and Saint Paul (El Greco, Barcelona) | Focus on Saint Peter and Saint Paul (El Greco, Barcelona) and analyze the Description. | El Greco completed Saint Peter and Saint Paul between 1590 and 1600, while living in Toledo, Spain. Returning to a theme he had previously painted in a work now in the Hermitage, the painting depicts saints Peter and Paul, two of the Apostles of Jesus. According to the guide of the Museu Nacional d’Art de Catalunya, the painting is “enriched by modern use of colour, the fruit of the lessons the artist had learned in Venice.” El Greco created a sense of a halo around the heads of the saints by providing an intense blue opening in the background clouds. The placement of the hands of the saint, crossed without actually touching, symbolizes a possible disagreement between the two. The older Peter, on left, is gesturing towards Paul, suggesting a sign of surrender in the disagreement. | [
"Paul",
"El Greco",
"Jesus",
"left",
"Apostles",
"Toledo, Spain",
"Peter",
"Venice",
"Spain",
"Saint Peter",
"a work now in the Hermitage",
"Toledo"
] |
|
17521_NT | Saint Peter and Saint Paul (El Greco, Barcelona) | Focus on this artwork and analyze the Description. | El Greco completed Saint Peter and Saint Paul between 1590 and 1600, while living in Toledo, Spain. Returning to a theme he had previously painted in a work now in the Hermitage, the painting depicts saints Peter and Paul, two of the Apostles of Jesus. According to the guide of the Museu Nacional d’Art de Catalunya, the painting is “enriched by modern use of colour, the fruit of the lessons the artist had learned in Venice.” El Greco created a sense of a halo around the heads of the saints by providing an intense blue opening in the background clouds. The placement of the hands of the saint, crossed without actually touching, symbolizes a possible disagreement between the two. The older Peter, on left, is gesturing towards Paul, suggesting a sign of surrender in the disagreement. | [
"Paul",
"El Greco",
"Jesus",
"left",
"Apostles",
"Toledo, Spain",
"Peter",
"Venice",
"Spain",
"Saint Peter",
"a work now in the Hermitage",
"Toledo"
] |
|
17522_T | Saint Peter and Saint Paul (El Greco, Barcelona) | In Saint Peter and Saint Paul (El Greco, Barcelona), how is the El Greco discussed? | Doménikos Theotokópoulos was born around 1541 in what is modern day Heraklion, Crete. The nickname El Greco is Italian and means “The Greek”, reflecting his citizenship and the time he spent in Italy. In the 1560s, El Greco moved to Venice, where he studied painting under Titian and learned the techniques of Renaissance painting. El Greco moved in 1577 to Toledo, Spain, where he completed many of the masterpieces attributed to him. El Greco died in Toledo in April 1614. Today, El Greco is seen as a major influence for Cubism and Expressionism, as well as artists such as Picasso and Cézanne. | [
"Crete",
"El Greco",
"Expressionism",
"Cubism",
"Heraklion",
"Picasso",
"Titian",
"Renaissance painting",
"Toledo, Spain",
"Venice",
"Spain",
"Cézanne",
"Toledo"
] |
|
17522_NT | Saint Peter and Saint Paul (El Greco, Barcelona) | In this artwork, how is the El Greco discussed? | Doménikos Theotokópoulos was born around 1541 in what is modern day Heraklion, Crete. The nickname El Greco is Italian and means “The Greek”, reflecting his citizenship and the time he spent in Italy. In the 1560s, El Greco moved to Venice, where he studied painting under Titian and learned the techniques of Renaissance painting. El Greco moved in 1577 to Toledo, Spain, where he completed many of the masterpieces attributed to him. El Greco died in Toledo in April 1614. Today, El Greco is seen as a major influence for Cubism and Expressionism, as well as artists such as Picasso and Cézanne. | [
"Crete",
"El Greco",
"Expressionism",
"Cubism",
"Heraklion",
"Picasso",
"Titian",
"Renaissance painting",
"Toledo, Spain",
"Venice",
"Spain",
"Cézanne",
"Toledo"
] |
|
17523_T | Saint Peter and Saint Paul (El Greco, Barcelona) | In the context of Saint Peter and Saint Paul (El Greco, Barcelona), explain the Saint Peter of the Subject. | The figure on the left in El Greco's Saint Peter and Saint Paul can be identified as Saint Peter. In the Bible, Peter is one of the first disciples that Jesus calls upon. In the Book of Matthew, Jesus said to Peter, “And I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it. I will give you the keys of the kingdom of heaven; whatever you bind on earth will be bound in heaven, and whatever you loose on earth will be loosed in heaven." El Greco included the keys of heaven in this painting, as seen in the left hand of Peter. | [
"Bible",
"Paul",
"El Greco",
"Jesus",
"Book of Matthew",
"left",
"keys of heaven",
"Peter",
"Saint Peter"
] |
|
17523_NT | Saint Peter and Saint Paul (El Greco, Barcelona) | In the context of this artwork, explain the Saint Peter of the Subject. | The figure on the left in El Greco's Saint Peter and Saint Paul can be identified as Saint Peter. In the Bible, Peter is one of the first disciples that Jesus calls upon. In the Book of Matthew, Jesus said to Peter, “And I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it. I will give you the keys of the kingdom of heaven; whatever you bind on earth will be bound in heaven, and whatever you loose on earth will be loosed in heaven." El Greco included the keys of heaven in this painting, as seen in the left hand of Peter. | [
"Bible",
"Paul",
"El Greco",
"Jesus",
"Book of Matthew",
"left",
"keys of heaven",
"Peter",
"Saint Peter"
] |
|
17524_T | Saint Peter and Saint Paul (El Greco, Barcelona) | Explore the Saint Paul about the Subject of this artwork, Saint Peter and Saint Paul (El Greco, Barcelona). | On the right of the painting is Saint Paul. Paul was one of the major contributors to the Bible, as well the founder of many Christian churches. Paul was born Jewish and lived under these beliefs until he was visited, on the street, by the resurrected Jesus, causing his conversion to Christianity. In El Greco's painting, Paul is depicted holding a sword, a symbol of his martyrdom for his Christian beliefs. | [
"Bible",
"Paul",
"El Greco",
"Jesus",
"martyr",
"Jewish",
"Christianity",
"Christian"
] |
|
17524_NT | Saint Peter and Saint Paul (El Greco, Barcelona) | Explore the Saint Paul about the Subject of this artwork. | On the right of the painting is Saint Paul. Paul was one of the major contributors to the Bible, as well the founder of many Christian churches. Paul was born Jewish and lived under these beliefs until he was visited, on the street, by the resurrected Jesus, causing his conversion to Christianity. In El Greco's painting, Paul is depicted holding a sword, a symbol of his martyrdom for his Christian beliefs. | [
"Bible",
"Paul",
"El Greco",
"Jesus",
"martyr",
"Jewish",
"Christianity",
"Christian"
] |
|
17525_T | Saint Peter and Saint Paul (El Greco, Barcelona) | Focus on Saint Peter and Saint Paul (El Greco, Barcelona) and discuss the Museu Nacional d'Art de Catalunya. | The Museu Nacional d’Art de Catalunya purchased El Greco's Saint Paul and Saint Paul in 1932. The painting was part of a large collection the museum purchased from Lluis Plandiura, a Catalan politician. The art collection of Plandiura was one of the most important in Spain at the time and contain almost 2000 works, including paintings, sculpture, and archaeological pieces. | [
"Paul",
"El Greco",
"Spain",
"Museu Nacional d'Art de Catalunya",
"Catalan"
] |
|
17525_NT | Saint Peter and Saint Paul (El Greco, Barcelona) | Focus on this artwork and discuss the Museu Nacional d'Art de Catalunya. | The Museu Nacional d’Art de Catalunya purchased El Greco's Saint Paul and Saint Paul in 1932. The painting was part of a large collection the museum purchased from Lluis Plandiura, a Catalan politician. The art collection of Plandiura was one of the most important in Spain at the time and contain almost 2000 works, including paintings, sculpture, and archaeological pieces. | [
"Paul",
"El Greco",
"Spain",
"Museu Nacional d'Art de Catalunya",
"Catalan"
] |
|
17526_T | Portrait of Federico II Gonzaga | How does Portrait of Federico II Gonzaga elucidate its abstract? | Portrait of Federico II Gonzaga (c. 1529) is a painting by Titian, who signed it Ticianus f.. Today in the Museo del Prado, Madrid, it portrays Federico II, Duke of Mantua who married in 1529; the portrait may have been commissioned for the occasion. The dog, a Maltese, is a symbol of faithfulness.The work is mentioned in a 1666 inventory of the Royal Alcázar of Madrid, coming from the collection of the Marquess of Leganés. Previous owners included Charles I of England, who purchased many paintings from the Gonzaga collection. | [
"Royal Alcázar of Madrid",
"Maltese",
"Gonzaga",
"Titian",
"Marquess of Leganés",
"Museo del Prado",
"Federico II Gonzaga",
"Charles I of England",
"Federico II, Duke of Mantua"
] |
|
17526_NT | Portrait of Federico II Gonzaga | How does this artwork elucidate its abstract? | Portrait of Federico II Gonzaga (c. 1529) is a painting by Titian, who signed it Ticianus f.. Today in the Museo del Prado, Madrid, it portrays Federico II, Duke of Mantua who married in 1529; the portrait may have been commissioned for the occasion. The dog, a Maltese, is a symbol of faithfulness.The work is mentioned in a 1666 inventory of the Royal Alcázar of Madrid, coming from the collection of the Marquess of Leganés. Previous owners included Charles I of England, who purchased many paintings from the Gonzaga collection. | [
"Royal Alcázar of Madrid",
"Maltese",
"Gonzaga",
"Titian",
"Marquess of Leganés",
"Museo del Prado",
"Federico II Gonzaga",
"Charles I of England",
"Federico II, Duke of Mantua"
] |
|
17527_T | Rue Saint-Honoré, dans l'après-midi. Effet de pluie | Focus on Rue Saint-Honoré, dans l'après-midi. Effet de pluie and analyze the Provenance. | The painting was bought from Pissarro by the German businessman Julius Cassirer in 1897, and it was inherited by his son Fritz Cassirer and then by Fritz's wife Lilly. She remarried, but in 1939, as a German Jew, she was forced to sell the painting to Jakob Scheidwimmer, an official of the Reichskammer der bildenden Künste, for the low price of 900 ℛ︁ℳ︁ to secure an exit visa, shortly before the outbreak of the Second World War. The painting was sold at an auction in Berlin in 1943 for 95,000 ℛ︁ℳ︁ and disappeared from public view. In 1958, a German court awarded Lilly Cassirer Neubauer compensation of DM 120,000, the fair market value for the work.
In 2005, Lilly's grandson Claude Cassirer and other heirs filed a claim to recover the painting. In January 2011 the Spanish government denied a request by the US ambassador to return the painting, and in 2015 a Spanish court ruled that the painting belonged to the museum. In April 2019 the United States District Court for the Central District of California ruled that the painting belongs to Fundación Colección Thyssen-Bornemisza, on the basis that the baron and then the museum did not know it was looted art when they bought it. While that decision was affirmed by the United States Court of Appeals for the Ninth Circuit in 2020, in September 2021, the U.S. Supreme Court accepted certiorari to review the Ninth Circuit's decision. The case was heard on January 18, 2022 and on April 21, 2022, the Supreme Court, disagreeing with the decision of the Ninth Circuit's decision, vacated the judgement. Following the Supreme Court's decision, the case was then returned to the United States Court of Appeals for the Ninth Circuit and re-tried. On January 9, 2024, the court ruled in favor of the foundation - stating that ownership of the painting should be decided under Spanish laws, rather than California laws. | [
"United States District Court for the Central District of California",
"Fritz Cassirer",
"DM",
"exit visa",
"Julius Cassirer",
"Jakob Scheidwimmer",
"Reichskammer der bildenden Künste",
"looted art",
"United States Court of Appeals for the Ninth Circuit"
] |
|
17527_NT | Rue Saint-Honoré, dans l'après-midi. Effet de pluie | Focus on this artwork and analyze the Provenance. | The painting was bought from Pissarro by the German businessman Julius Cassirer in 1897, and it was inherited by his son Fritz Cassirer and then by Fritz's wife Lilly. She remarried, but in 1939, as a German Jew, she was forced to sell the painting to Jakob Scheidwimmer, an official of the Reichskammer der bildenden Künste, for the low price of 900 ℛ︁ℳ︁ to secure an exit visa, shortly before the outbreak of the Second World War. The painting was sold at an auction in Berlin in 1943 for 95,000 ℛ︁ℳ︁ and disappeared from public view. In 1958, a German court awarded Lilly Cassirer Neubauer compensation of DM 120,000, the fair market value for the work.
In 2005, Lilly's grandson Claude Cassirer and other heirs filed a claim to recover the painting. In January 2011 the Spanish government denied a request by the US ambassador to return the painting, and in 2015 a Spanish court ruled that the painting belonged to the museum. In April 2019 the United States District Court for the Central District of California ruled that the painting belongs to Fundación Colección Thyssen-Bornemisza, on the basis that the baron and then the museum did not know it was looted art when they bought it. While that decision was affirmed by the United States Court of Appeals for the Ninth Circuit in 2020, in September 2021, the U.S. Supreme Court accepted certiorari to review the Ninth Circuit's decision. The case was heard on January 18, 2022 and on April 21, 2022, the Supreme Court, disagreeing with the decision of the Ninth Circuit's decision, vacated the judgement. Following the Supreme Court's decision, the case was then returned to the United States Court of Appeals for the Ninth Circuit and re-tried. On January 9, 2024, the court ruled in favor of the foundation - stating that ownership of the painting should be decided under Spanish laws, rather than California laws. | [
"United States District Court for the Central District of California",
"Fritz Cassirer",
"DM",
"exit visa",
"Julius Cassirer",
"Jakob Scheidwimmer",
"Reichskammer der bildenden Künste",
"looted art",
"United States Court of Appeals for the Ninth Circuit"
] |
|
17528_T | The Peasants Returning From The Fields | In The Peasants Returning From The Fields, how is the abstract discussed? | The Peasants' Return From The Fields is a c. 1640 painting by Peter Paul Rubens. It arrived in Florence in 1765 and is now in the Galleria Palatina in Florence. | [
"Florence",
"Peter Paul Rubens",
"Galleria Palatina"
] |
|
17528_NT | The Peasants Returning From The Fields | In this artwork, how is the abstract discussed? | The Peasants' Return From The Fields is a c. 1640 painting by Peter Paul Rubens. It arrived in Florence in 1765 and is now in the Galleria Palatina in Florence. | [
"Florence",
"Peter Paul Rubens",
"Galleria Palatina"
] |
|
17529_T | The Peasants Returning From The Fields | Focus on The Peasants Returning From The Fields and explore the Description and style. | The protagonist of the painting is the landscape, with the bucolic scene appearing as a simple pretext for the representation. The composition looks out from a high point onto the vista, on a countryside punctuated by trees and a horizon that falls, more or less, at the middle of the painting. Various people, in small scale, specify the moment of representation in the style of genre paintings by Pieter Brueghel the Elder. There are a series of peasants returning after work in the fields and a wagon with a man riding a horse that seems to stop for a flock of sheep along the road. Between the two women carrying hay and the rams, an artist pentimento is visible.
It is likely a landscape of Malines, interpreted as a serene vision of nature bathed in golden light. The sky is furrowed by bare canvas, which echoes the diagonal lines visible in the painting's lower half. | [
"Pieter Brueghel the Elder",
"pentimento",
"Malines"
] |
|
17529_NT | The Peasants Returning From The Fields | Focus on this artwork and explore the Description and style. | The protagonist of the painting is the landscape, with the bucolic scene appearing as a simple pretext for the representation. The composition looks out from a high point onto the vista, on a countryside punctuated by trees and a horizon that falls, more or less, at the middle of the painting. Various people, in small scale, specify the moment of representation in the style of genre paintings by Pieter Brueghel the Elder. There are a series of peasants returning after work in the fields and a wagon with a man riding a horse that seems to stop for a flock of sheep along the road. Between the two women carrying hay and the rams, an artist pentimento is visible.
It is likely a landscape of Malines, interpreted as a serene vision of nature bathed in golden light. The sky is furrowed by bare canvas, which echoes the diagonal lines visible in the painting's lower half. | [
"Pieter Brueghel the Elder",
"pentimento",
"Malines"
] |
|
17530_T | The Concert (Gaspare Traversi) | Focus on The Concert (Gaspare Traversi) and explain the abstract. | The Concert is a circa 1760 painting by the Italian late-Baroque painter Gaspare Traversi. This artist, active in Naples Italy, is best known for his humorous and intricate genre works like this one. | [
"Naples",
"Gaspare Traversi"
] |
|
17530_NT | The Concert (Gaspare Traversi) | Focus on this artwork and explain the abstract. | The Concert is a circa 1760 painting by the Italian late-Baroque painter Gaspare Traversi. This artist, active in Naples Italy, is best known for his humorous and intricate genre works like this one. | [
"Naples",
"Gaspare Traversi"
] |
|
17531_T | The Concert (Gaspare Traversi) | Explore the Description of this artwork, The Concert (Gaspare Traversi). | The painting depicts a small crowded room hosting a concert involving either a fortepiano or harpsichord, cello, and flute. The central figure, the bonneted young women dressed in an elegant blue and yellow gown and playing the piano, gazes toward the spectator. To her right and surrounding the piano are fashionably dressed older men. Two hold canes, and two hold private conversations. Two fixate, perhaps leer, at the young woman. One gentleman holds perhaps a small wind instrument in his hand. Near the woman's right foot, is a cat, facing away from us. The scene, somewhat unsettling, appears to convey some cryptic allegory.
An alternative explanation is that the structure, if not subject, of the painting may be derived from a similar Concerto picture, attributed to Traversi, and on display at the Casa-Museu Pinacoteca Braamcamp Freire in Santarém, Portugal. The subject of the painting is putatively that of Maria Barbara of Portugal playing the harpsichord, being tutored by a white-haired Domenico Scarlatti raising his hand, and watched over by a red-coated Ferdinand VI of Spain. In this painting, the pianist is focused on her playing and the king is dapper and young. | [
"fortepiano",
"Casa-Museu Pinacoteca Braamcamp Freire",
"Santarém, Portugal",
"harpsichord",
"Ferdinand VI of Spain",
"right",
"Domenico Scarlatti",
"Ferdinand VI"
] |
|
17531_NT | The Concert (Gaspare Traversi) | Explore the Description of this artwork. | The painting depicts a small crowded room hosting a concert involving either a fortepiano or harpsichord, cello, and flute. The central figure, the bonneted young women dressed in an elegant blue and yellow gown and playing the piano, gazes toward the spectator. To her right and surrounding the piano are fashionably dressed older men. Two hold canes, and two hold private conversations. Two fixate, perhaps leer, at the young woman. One gentleman holds perhaps a small wind instrument in his hand. Near the woman's right foot, is a cat, facing away from us. The scene, somewhat unsettling, appears to convey some cryptic allegory.
An alternative explanation is that the structure, if not subject, of the painting may be derived from a similar Concerto picture, attributed to Traversi, and on display at the Casa-Museu Pinacoteca Braamcamp Freire in Santarém, Portugal. The subject of the painting is putatively that of Maria Barbara of Portugal playing the harpsichord, being tutored by a white-haired Domenico Scarlatti raising his hand, and watched over by a red-coated Ferdinand VI of Spain. In this painting, the pianist is focused on her playing and the king is dapper and young. | [
"fortepiano",
"Casa-Museu Pinacoteca Braamcamp Freire",
"Santarém, Portugal",
"harpsichord",
"Ferdinand VI of Spain",
"right",
"Domenico Scarlatti",
"Ferdinand VI"
] |
|
17532_T | La Laguna Estigia | Focus on La Laguna Estigia and discuss the abstract. | La Laguna Estigia (The River Styx or The Styx), also known simply as Laguna Estigia, is an 1887 Greco-Roman painting by Filipino painter Félix Resurrección Hidalgo. It is a companion-piece for Hidalgo's other painting entitled La barca de Aqueronte. Like the La barca de Aqueronte, the La Laguna Estigia is based on Dante's Inferno, the painter pursuing the theme leading towards a “darker” and “more somber interpretation” of it.The painting was a silver medalist during the 1887 Exposicion General de las Islas Filipinas in Madrid, Spain. | [
"Styx",
"Félix Resurrección Hidalgo",
"Filipino",
"River Styx",
"Spain",
"La barca de Aqueronte",
"Madrid"
] |
|
17532_NT | La Laguna Estigia | Focus on this artwork and discuss the abstract. | La Laguna Estigia (The River Styx or The Styx), also known simply as Laguna Estigia, is an 1887 Greco-Roman painting by Filipino painter Félix Resurrección Hidalgo. It is a companion-piece for Hidalgo's other painting entitled La barca de Aqueronte. Like the La barca de Aqueronte, the La Laguna Estigia is based on Dante's Inferno, the painter pursuing the theme leading towards a “darker” and “more somber interpretation” of it.The painting was a silver medalist during the 1887 Exposicion General de las Islas Filipinas in Madrid, Spain. | [
"Styx",
"Félix Resurrección Hidalgo",
"Filipino",
"River Styx",
"Spain",
"La barca de Aqueronte",
"Madrid"
] |
|
17533_T | Picture for Women | How does Picture for Women elucidate its abstract? | Picture for Women is a photographic work by Canadian artist Jeff Wall. Produced in 1979, Picture for Women is a key early work in Wall's career and exemplifies a number of conceptual, material and visual concerns found in his art throughout the 1980s and 1990s. An influential photographic work, Picture for Women is a response to Édouard Manet's Un bar aux Folies Bergère and is a key photograph in the shift from small-scale black and white photographs to large-scale colour that took place in the 1980s in art photography and museum exhibitions. It is the subject of a monographic book written by David Campany and published as part of Afterall Books' One Work series. | [
"Jeff Wall",
"Afterall Books'",
"monograph",
"Un bar aux Folies Bergère",
"David Campany",
"Afterall",
"Édouard Manet",
"One Work"
] |
|
17533_NT | Picture for Women | How does this artwork elucidate its abstract? | Picture for Women is a photographic work by Canadian artist Jeff Wall. Produced in 1979, Picture for Women is a key early work in Wall's career and exemplifies a number of conceptual, material and visual concerns found in his art throughout the 1980s and 1990s. An influential photographic work, Picture for Women is a response to Édouard Manet's Un bar aux Folies Bergère and is a key photograph in the shift from small-scale black and white photographs to large-scale colour that took place in the 1980s in art photography and museum exhibitions. It is the subject of a monographic book written by David Campany and published as part of Afterall Books' One Work series. | [
"Jeff Wall",
"Afterall Books'",
"monograph",
"Un bar aux Folies Bergère",
"David Campany",
"Afterall",
"Édouard Manet",
"One Work"
] |
|
17534_T | Picture for Women | Focus on Picture for Women and analyze the Background. | Jeff Wall, born September 29, 1946, in Vancouver, is a Canadian artist best known for his large-scale back-lit cibachrome photographs and art history writing. Wall has been a key figure in Vancouver's art scene since the early 1970s. Early in his career, he helped define the Vancouver School and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum and Ian Wallace. His photographic tableaux often take Vancouver's mixture of natural beauty, urban decay and postmodern and industrial featurelessness as their backdrop.Wall experimented with conceptual art while an undergraduate student at the University of British Columbia. Wall then made no art until 1977, when he produced his first backlit phototransparencies. Many of these pictures are staged and refer to the history of art and philosophical problems of representation. The photographs' compositions often allude to historical artists like Diego Velázquez, Hokusai, and Édouard Manet, or to writers such as Franz Kafka, Yukio Mishima, and Ralph Ellison. | [
"Vancouver",
"Vancouver School",
"cibachrome",
"Hokusai",
"Jeff Wall",
"Yukio Mishima",
"University of British Columbia",
"Rodney Graham",
"Ralph Ellison",
"Ian Wallace",
"Franz Kafka",
"Diego Velázquez",
"Édouard Manet",
"Ken Lum"
] |
|
17534_NT | Picture for Women | Focus on this artwork and analyze the Background. | Jeff Wall, born September 29, 1946, in Vancouver, is a Canadian artist best known for his large-scale back-lit cibachrome photographs and art history writing. Wall has been a key figure in Vancouver's art scene since the early 1970s. Early in his career, he helped define the Vancouver School and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum and Ian Wallace. His photographic tableaux often take Vancouver's mixture of natural beauty, urban decay and postmodern and industrial featurelessness as their backdrop.Wall experimented with conceptual art while an undergraduate student at the University of British Columbia. Wall then made no art until 1977, when he produced his first backlit phototransparencies. Many of these pictures are staged and refer to the history of art and philosophical problems of representation. The photographs' compositions often allude to historical artists like Diego Velázquez, Hokusai, and Édouard Manet, or to writers such as Franz Kafka, Yukio Mishima, and Ralph Ellison. | [
"Vancouver",
"Vancouver School",
"cibachrome",
"Hokusai",
"Jeff Wall",
"Yukio Mishima",
"University of British Columbia",
"Rodney Graham",
"Ralph Ellison",
"Ian Wallace",
"Franz Kafka",
"Diego Velázquez",
"Édouard Manet",
"Ken Lum"
] |
|
17535_T | Picture for Women | In Picture for Women, how is the Description discussed? | Picture for Women is a 142.5 by 204.5 cm cibachrome transparency mounted on a lightbox. Along with The Destroyed Room (1978), Wall considers Picture for Women to be his first success in challenging photographic tradition. According to Tate Modern, this success allows Wall to reference "both popular culture (the illuminated signs of cinema and advertising hoardings) and the sense of scale he admires in classical painting. As three-dimensional objects, the lightboxes take on a sculptural presence, impacting on the viewer's physical sense of orientation in relationship to the work."There are two figures in the scene, Wall himself, and a woman looking into the camera. In a profile of Wall in The New Republic, art critic Jed Perl describes Picture for Women as Wall's signature piece, "since it doubles as a portrait of the late-twentieth-century artist in his studio." Art historian David Campany calls Picture for Women an important early work for Wall as it establishes central themes and motifs found in much of his later work.
A response to Manet's Un bar aux Folies Bergère, the Tate Modern wall text for Picture of Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.
Wall produced one edition of Picture for Women which is in the collection of Centre Georges Pompidou in Paris. There is an artist's proof as well, which is in Wall's personal collection. It was photographed in a borrowed studio in Vancouver in winter 1979 and printed on two separate pieces of film which are joined using clear tape, with the transparency layers overlapping, creating a thin dark seam. The seam passes through the centre of the lens of the depicted camera. The Tate Modern wall text elaborates with a quote from Wall: "The fact that it serves as a reminder of the artifice of picture making is something that Wall has come to appreciate: 'The join between the two pictures brings your eye up to the surface again and creates a dialectic that I always enjoyed and learned from painting ... a dialectic between depth and flatness. Sometimes I hide it, sometimes I don't'." | [
"Vancouver",
"cibachrome",
"Jeff Wall",
"Centre Georges Pompidou",
"Tate Modern",
"The Destroyed Room",
"Un bar aux Folies Bergère",
"David Campany",
"The New Republic",
"Paris"
] |
|
17535_NT | Picture for Women | In this artwork, how is the Description discussed? | Picture for Women is a 142.5 by 204.5 cm cibachrome transparency mounted on a lightbox. Along with The Destroyed Room (1978), Wall considers Picture for Women to be his first success in challenging photographic tradition. According to Tate Modern, this success allows Wall to reference "both popular culture (the illuminated signs of cinema and advertising hoardings) and the sense of scale he admires in classical painting. As three-dimensional objects, the lightboxes take on a sculptural presence, impacting on the viewer's physical sense of orientation in relationship to the work."There are two figures in the scene, Wall himself, and a woman looking into the camera. In a profile of Wall in The New Republic, art critic Jed Perl describes Picture for Women as Wall's signature piece, "since it doubles as a portrait of the late-twentieth-century artist in his studio." Art historian David Campany calls Picture for Women an important early work for Wall as it establishes central themes and motifs found in much of his later work.
A response to Manet's Un bar aux Folies Bergère, the Tate Modern wall text for Picture of Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.
Wall produced one edition of Picture for Women which is in the collection of Centre Georges Pompidou in Paris. There is an artist's proof as well, which is in Wall's personal collection. It was photographed in a borrowed studio in Vancouver in winter 1979 and printed on two separate pieces of film which are joined using clear tape, with the transparency layers overlapping, creating a thin dark seam. The seam passes through the centre of the lens of the depicted camera. The Tate Modern wall text elaborates with a quote from Wall: "The fact that it serves as a reminder of the artifice of picture making is something that Wall has come to appreciate: 'The join between the two pictures brings your eye up to the surface again and creates a dialectic that I always enjoyed and learned from painting ... a dialectic between depth and flatness. Sometimes I hide it, sometimes I don't'." | [
"Vancouver",
"cibachrome",
"Jeff Wall",
"Centre Georges Pompidou",
"Tate Modern",
"The Destroyed Room",
"Un bar aux Folies Bergère",
"David Campany",
"The New Republic",
"Paris"
] |
|
17536_T | Picture for Women | Focus on Picture for Women and explore the Reception. | Considered a key work in Wall's oeuvre, Picture for Women has attracted much critical attention. In 2011, Picture for Women was the subject of a monographic book by art history David Campany and published as part of Afterall Books' One Work series and has been the subject of critical writing by Donald Kuspit, Catherine David, Asheleigh Moorhouse, Rainer Rochlitz, Thierry de Duve and Stefan Gronert. | [
"Rainer Rochlitz",
"Afterall Books'",
"monograph",
"David Campany",
"Afterall",
"Donald Kuspit",
"Thierry de Duve",
"Catherine David",
"One Work"
] |
|
17536_NT | Picture for Women | Focus on this artwork and explore the Reception. | Considered a key work in Wall's oeuvre, Picture for Women has attracted much critical attention. In 2011, Picture for Women was the subject of a monographic book by art history David Campany and published as part of Afterall Books' One Work series and has been the subject of critical writing by Donald Kuspit, Catherine David, Asheleigh Moorhouse, Rainer Rochlitz, Thierry de Duve and Stefan Gronert. | [
"Rainer Rochlitz",
"Afterall Books'",
"monograph",
"David Campany",
"Afterall",
"Donald Kuspit",
"Thierry de Duve",
"Catherine David",
"One Work"
] |
|
17537_T | Picture for Women | Focus on Picture for Women and explain the Exhibition history. | Picture for Women has been exhibited internationally. First shown at Art Gallery of Greater Victoria, Victoria, British Columbia in 1979 in a solo exhibition, other solo exhibitions featuring the work include Hirshhorn Museum and Sculpture Garden, Washington, Museum of Contemporary Art, Los Angeles and Art Tower Mito Japan in 1997, Schaulager, Münchenstein/Basel and Tate Modern, London in 2005. Group exhibitions exhibiting Picture for Women include New York and Ottawa in 1980, Hirshhorn Museum and Sculpture Garden, Washington and Sarah Campbell Blaffer Gallery, University of Houston, Houston in 1981, New Museum of Contemporary Art, New York, Renaissance Society, Chicago and Institute of Contemporary Arts, London in 1984, Musée National d'Art Moderne-Centre Georges Pompidou, Paris in 1987 and 1995. | [
"Blaffer Gallery",
"Hirshhorn Museum and Sculpture Garden",
"Museum of Contemporary Art, Los Angeles",
"New Museum",
"Centre Georges Pompidou",
"Tate Modern",
"Sarah Campbell Blaffer Gallery",
"Institute of Contemporary Arts",
"Art Gallery of Greater Victoria",
"Art Tower Mito",
"Musée National d'Art Moderne",
"Renaissance Society",
"Paris",
"Schaulager",
"New Museum of Contemporary Art, New York"
] |
|
17537_NT | Picture for Women | Focus on this artwork and explain the Exhibition history. | Picture for Women has been exhibited internationally. First shown at Art Gallery of Greater Victoria, Victoria, British Columbia in 1979 in a solo exhibition, other solo exhibitions featuring the work include Hirshhorn Museum and Sculpture Garden, Washington, Museum of Contemporary Art, Los Angeles and Art Tower Mito Japan in 1997, Schaulager, Münchenstein/Basel and Tate Modern, London in 2005. Group exhibitions exhibiting Picture for Women include New York and Ottawa in 1980, Hirshhorn Museum and Sculpture Garden, Washington and Sarah Campbell Blaffer Gallery, University of Houston, Houston in 1981, New Museum of Contemporary Art, New York, Renaissance Society, Chicago and Institute of Contemporary Arts, London in 1984, Musée National d'Art Moderne-Centre Georges Pompidou, Paris in 1987 and 1995. | [
"Blaffer Gallery",
"Hirshhorn Museum and Sculpture Garden",
"Museum of Contemporary Art, Los Angeles",
"New Museum",
"Centre Georges Pompidou",
"Tate Modern",
"Sarah Campbell Blaffer Gallery",
"Institute of Contemporary Arts",
"Art Gallery of Greater Victoria",
"Art Tower Mito",
"Musée National d'Art Moderne",
"Renaissance Society",
"Paris",
"Schaulager",
"New Museum of Contemporary Art, New York"
] |
|
17538_T | The Head of St John the Baptist (Bellini) | Explore the abstract of this artwork, The Head of St John the Baptist (Bellini). | The head of St. John the Baptist is a tondo painting by the Italian Renaissance master Giovanni Bellini. It is now housed in the Civic Museum of Pesaro.
The painting depicts the head of the St. John the Baptist just after his decapitation, with blood still dripping from the neck. The perspective from below show the influence of the treatises about perspective representation of the human figure which were being published at the time, such as Piero della Francesca's De prospectiva pingendi.
Stylistically, the brilliant colors and the dramatic painting are similar to those of St. Vincent Ferrer Polyptych, the first mature work by Bellini, dated to after 1464. | [
"Giovanni Bellini",
"St. John the Baptist",
"Piero della Francesca",
"De prospectiva pingendi",
"John the Baptist",
"Pesaro",
"St. Vincent Ferrer Polyptych",
"tondo"
] |
|
17538_NT | The Head of St John the Baptist (Bellini) | Explore the abstract of this artwork. | The head of St. John the Baptist is a tondo painting by the Italian Renaissance master Giovanni Bellini. It is now housed in the Civic Museum of Pesaro.
The painting depicts the head of the St. John the Baptist just after his decapitation, with blood still dripping from the neck. The perspective from below show the influence of the treatises about perspective representation of the human figure which were being published at the time, such as Piero della Francesca's De prospectiva pingendi.
Stylistically, the brilliant colors and the dramatic painting are similar to those of St. Vincent Ferrer Polyptych, the first mature work by Bellini, dated to after 1464. | [
"Giovanni Bellini",
"St. John the Baptist",
"Piero della Francesca",
"De prospectiva pingendi",
"John the Baptist",
"Pesaro",
"St. Vincent Ferrer Polyptych",
"tondo"
] |
|
17539_T | Portrait of Dr. Gachet | Focus on Portrait of Dr. Gachet and discuss the abstract. | Portrait of Dr. Gachet is one of the most revered paintings by the Dutch artist Vincent van Gogh. It depicts Dr. Paul Gachet, a homeopathic doctor and artist with whom van Gogh resided following a spell in an asylum at Saint-Rémy-de-Provence. Gachet took care of Van Gogh during the final months of his life. There are two authenticated versions of the portrait, both painted in June 1890 at Auvers-sur-Oise. Both show Gachet sitting at a table and leaning his head on his right arm, but they are easily differentiated in color and style. There is also an etching.
The first version was acquired by the Städel in Frankfurt in 1911 and subsequently confiscated and sold by Hermann Göring. In May 1990, it was sold at auction for $82.5 million ($184.8 million today) to Ryoei Saito, making it the world's most expensive painting at that time. It then disappeared from public view and the Städel was unable to locate it in 2019. The second version was owned by Gachet and was bequeathed to France by his heirs. Despite arguments over its authenticity, it now hangs in the Musée d'Orsay, in Paris. | [
"Frankfurt",
"France",
"Saint-Rémy-de-Provence",
"Städel",
"homeopathic doctor",
"Ryoei Saito",
"an asylum",
"Musée d'Orsay",
"Gachet",
"Hermann Göring",
"Paris",
"Vincent van Gogh",
"Paul Gachet",
"Auvers-sur-Oise",
"most expensive painting"
] |
|
17539_NT | Portrait of Dr. Gachet | Focus on this artwork and discuss the abstract. | Portrait of Dr. Gachet is one of the most revered paintings by the Dutch artist Vincent van Gogh. It depicts Dr. Paul Gachet, a homeopathic doctor and artist with whom van Gogh resided following a spell in an asylum at Saint-Rémy-de-Provence. Gachet took care of Van Gogh during the final months of his life. There are two authenticated versions of the portrait, both painted in June 1890 at Auvers-sur-Oise. Both show Gachet sitting at a table and leaning his head on his right arm, but they are easily differentiated in color and style. There is also an etching.
The first version was acquired by the Städel in Frankfurt in 1911 and subsequently confiscated and sold by Hermann Göring. In May 1990, it was sold at auction for $82.5 million ($184.8 million today) to Ryoei Saito, making it the world's most expensive painting at that time. It then disappeared from public view and the Städel was unable to locate it in 2019. The second version was owned by Gachet and was bequeathed to France by his heirs. Despite arguments over its authenticity, it now hangs in the Musée d'Orsay, in Paris. | [
"Frankfurt",
"France",
"Saint-Rémy-de-Provence",
"Städel",
"homeopathic doctor",
"Ryoei Saito",
"an asylum",
"Musée d'Orsay",
"Gachet",
"Hermann Göring",
"Paris",
"Vincent van Gogh",
"Paul Gachet",
"Auvers-sur-Oise",
"most expensive painting"
] |
|
17540_T | Portrait of Dr. Gachet | How does Portrait of Dr. Gachet elucidate its Background? | In late 1888, Van Gogh began to experience a mental breakdown, cutting off part of his ear. He stayed in hospital for a month, but was not fully healed and in April 1889 he checked himself into an asylum at Saint-Rémy-de-Provence, where he remained for a year. Released in 1890, Van Gogh's brother Theo searched for a home for the artist. Upon the recommendation of Camille Pissarro, a former patient of the doctor who told Theo of Gachet's interests in working with artists, Theo sent Vincent to Gachet's second home in Auvers.Vincent van Gogh's first impression of Gachet was unfavorable. Writing to Theo he remarked: "I think that we must not count on Dr. Gachet at all. First of all, he is sicker than I am, I think, or shall we say just as much, so that's that. Now when one blind man leads another blind man, don't they both fall into the ditch?" However, in a letter dated two days later to their sister Wilhelmina, he relayed, "I have found a true friend in Dr. Gachet, something like another brother, so much do we resemble each other physically and also mentally."Van Gogh had a very prolific spell during his stay with Gachet, producing more than seventy paintings, including the portraits of Gachet.Van Gogh's thoughts returned several times to the painting by Eugène Delacroix of Torquato Tasso in the madhouse. After a visit with Paul Gauguin to Montpellier to see Alfred Bruyas's collection in the Musée Fabre, Van Gogh wrote to Theo, asking if he could find a copy of the lithograph after the painting. Three and a half months earlier, he had been thinking of the painting as an example of the sort of portraits he wanted to paint: "But it would be more in harmony with what Eugène Delacroix attempted and brought off in his Tasso in Prison, and many other pictures, representing a real man. Ah! portraiture, portraiture with the thought, the soul of the model in it, that is what I think must come."Van Gogh wrote to his sister in 1890 about the painting:I've done the portrait of M. Gachet with a melancholy expression, which might well seem like a grimace to those who see it... Sad but gentle, yet clear and intelligent, that is how many portraits ought to be done... There are modern heads that may be looked at for a long time, and that may perhaps be looked back on with longing a hundred years later.
The portraits of Dr. Gachet were completed just six weeks before Van Gogh shot himself and died from his wounds. | [
"Saint-Rémy-de-Provence",
"Theo",
"Alfred Bruyas",
"an asylum",
"Montpellier",
"Camille Pissarro",
"modern",
"Gachet",
"Paul Gauguin",
"Wilhelmina",
"melancholy",
"Musée Fabre",
"mental breakdown",
"Vincent van Gogh",
"Torquato Tasso",
"Eugène Delacroix"
] |
|
17540_NT | Portrait of Dr. Gachet | How does this artwork elucidate its Background? | In late 1888, Van Gogh began to experience a mental breakdown, cutting off part of his ear. He stayed in hospital for a month, but was not fully healed and in April 1889 he checked himself into an asylum at Saint-Rémy-de-Provence, where he remained for a year. Released in 1890, Van Gogh's brother Theo searched for a home for the artist. Upon the recommendation of Camille Pissarro, a former patient of the doctor who told Theo of Gachet's interests in working with artists, Theo sent Vincent to Gachet's second home in Auvers.Vincent van Gogh's first impression of Gachet was unfavorable. Writing to Theo he remarked: "I think that we must not count on Dr. Gachet at all. First of all, he is sicker than I am, I think, or shall we say just as much, so that's that. Now when one blind man leads another blind man, don't they both fall into the ditch?" However, in a letter dated two days later to their sister Wilhelmina, he relayed, "I have found a true friend in Dr. Gachet, something like another brother, so much do we resemble each other physically and also mentally."Van Gogh had a very prolific spell during his stay with Gachet, producing more than seventy paintings, including the portraits of Gachet.Van Gogh's thoughts returned several times to the painting by Eugène Delacroix of Torquato Tasso in the madhouse. After a visit with Paul Gauguin to Montpellier to see Alfred Bruyas's collection in the Musée Fabre, Van Gogh wrote to Theo, asking if he could find a copy of the lithograph after the painting. Three and a half months earlier, he had been thinking of the painting as an example of the sort of portraits he wanted to paint: "But it would be more in harmony with what Eugène Delacroix attempted and brought off in his Tasso in Prison, and many other pictures, representing a real man. Ah! portraiture, portraiture with the thought, the soul of the model in it, that is what I think must come."Van Gogh wrote to his sister in 1890 about the painting:I've done the portrait of M. Gachet with a melancholy expression, which might well seem like a grimace to those who see it... Sad but gentle, yet clear and intelligent, that is how many portraits ought to be done... There are modern heads that may be looked at for a long time, and that may perhaps be looked back on with longing a hundred years later.
The portraits of Dr. Gachet were completed just six weeks before Van Gogh shot himself and died from his wounds. | [
"Saint-Rémy-de-Provence",
"Theo",
"Alfred Bruyas",
"an asylum",
"Montpellier",
"Camille Pissarro",
"modern",
"Gachet",
"Paul Gauguin",
"Wilhelmina",
"melancholy",
"Musée Fabre",
"mental breakdown",
"Vincent van Gogh",
"Torquato Tasso",
"Eugène Delacroix"
] |
|
17541_T | Portrait of Dr. Gachet | Focus on Portrait of Dr. Gachet and analyze the Composition. | Van Gogh painted Gachet resting his right elbow on a red table, head in hand. Two yellow books as well as the purple medicinal herb foxglove are displayed on the table. The foxglove in the painting is a plant from which digitalis is extracted for the treatment of certain heart complaints, perhaps an attribute of Gachet as a physician.The doctor's "sensitive face", which Van Gogh wrote to Paul Gauguin carried "the heartbroken expression of our time", is described by Robert Wallace as the portrait's focus. Wallace described the ultramarine blue coat of Gachet, set against a background of hills painted a lighter blue, as highlighting the "tired, pale features and transparent blue eyes that reflect the compassion and melancholy of the man." Van Gogh himself said this expression of melancholy "would seem to look like a grimace to many who saw the canvas".With the Portrait of Dr. Gachet, Van Gogh sought to create a "modern portrait", which he wrote to his sister "impassions me most—much, much more than all the rest of my métier." Elaborating on this quote, Van Gogh scholar Jan Hulsker noted "... much later generations experience it not only as psychologically striking, but also as a very unconventional and 'modern' portrait." He also wrote, "My self-portrait is done in nearly the same way but the blue is the fine blue of the Midi, and the clothes are a light lilac," which would refer to one of his final self-portraits painted in September the year previous.Van Gogh also wrote to Wilhelmina regarding the Portraits of Madame Ginoux he painted first in Arles in 1888 and again in February 1890 while at the hospital in Saint-Rémy. The second set were styled after the portrait of the same figure by Gauguin, and Van Gogh described Gachet's enthusiasm upon viewing the version painted earlier that year, which the artist had carried with him to the home in Auvers. Van Gogh subsequently carried compositional elements from this portrait to that of Dr. Gachet, including the table-top with two books and pose of the figure with head leaning on one hand. | [
"Jan Hulsker",
"digitalis",
"Arles",
"Portraits of Madame Ginoux",
"modern",
"self-portraits",
"Gachet",
"Paul Gauguin",
"Wilhelmina",
"melancholy",
"foxglove"
] |
|
17541_NT | Portrait of Dr. Gachet | Focus on this artwork and analyze the Composition. | Van Gogh painted Gachet resting his right elbow on a red table, head in hand. Two yellow books as well as the purple medicinal herb foxglove are displayed on the table. The foxglove in the painting is a plant from which digitalis is extracted for the treatment of certain heart complaints, perhaps an attribute of Gachet as a physician.The doctor's "sensitive face", which Van Gogh wrote to Paul Gauguin carried "the heartbroken expression of our time", is described by Robert Wallace as the portrait's focus. Wallace described the ultramarine blue coat of Gachet, set against a background of hills painted a lighter blue, as highlighting the "tired, pale features and transparent blue eyes that reflect the compassion and melancholy of the man." Van Gogh himself said this expression of melancholy "would seem to look like a grimace to many who saw the canvas".With the Portrait of Dr. Gachet, Van Gogh sought to create a "modern portrait", which he wrote to his sister "impassions me most—much, much more than all the rest of my métier." Elaborating on this quote, Van Gogh scholar Jan Hulsker noted "... much later generations experience it not only as psychologically striking, but also as a very unconventional and 'modern' portrait." He also wrote, "My self-portrait is done in nearly the same way but the blue is the fine blue of the Midi, and the clothes are a light lilac," which would refer to one of his final self-portraits painted in September the year previous.Van Gogh also wrote to Wilhelmina regarding the Portraits of Madame Ginoux he painted first in Arles in 1888 and again in February 1890 while at the hospital in Saint-Rémy. The second set were styled after the portrait of the same figure by Gauguin, and Van Gogh described Gachet's enthusiasm upon viewing the version painted earlier that year, which the artist had carried with him to the home in Auvers. Van Gogh subsequently carried compositional elements from this portrait to that of Dr. Gachet, including the table-top with two books and pose of the figure with head leaning on one hand. | [
"Jan Hulsker",
"digitalis",
"Arles",
"Portraits of Madame Ginoux",
"modern",
"self-portraits",
"Gachet",
"Paul Gauguin",
"Wilhelmina",
"melancholy",
"foxglove"
] |
|
17542_T | Portrait of Dr. Gachet | In the context of Portrait of Dr. Gachet, explore the Original version of the Exhibition. | First sold in 1897 by Van Gogh's sister-in-law Johanna van Gogh-Bonger for 300 francs, the painting was subsequently bought by Paul Cassirer (1904), Kessler (1904), and Druet (1910). In 1911, the painting was acquired by the Städel (Städtische Galerie) in Frankfurt, Germany and hung there until 1933, when the painting was put in a hidden room. The Reich Ministry of Public Enlightenment and Propaganda confiscated the work in 1937 as part of its campaign to rid Germany of so-called degenerate art. Hermann Göring, through his agent Sepp Angerer, sold it to Franz Koenigs in Paris, together with The Quarry of Bibemus by Cézanne and Daubigny's Garden, also by van Gogh. In August 1939, Koenigs transported the paintings from Paris to Knoedler's in New York. Siegfried Kramarsky fled to Lisbon in November 1939 and arrived January 1940 in New York. The paintings ended up in Kramarsky's custody, where the work was often lent to the Metropolitan Museum of Art.Kramarsky's family put the painting up for auction at Christie's New York on May 15, 1990, where it became famous for Ryoei Saito, honorary chairman of Daishowa Paper Manufacturing Co., paying US$82.5 million for it ($75 million, plus a 10 percent buyer's commission), making it then the world's most expensive painting. Two days later Saito bought Renoir's Bal du moulin de la Galette for nearly as much: $78.1 million at Sotheby's. The 75-year-old Japanese businessman commented that he would have the Van Gogh painting cremated with him after his death. Though he later said he would consider giving the painting to the Japanese government or a museum, no information has been made public about the exact location and ownership of the portrait since his death in 1996. Reports in 2007 said the painting was sold a decade earlier to the Austrian-born investment fund manager Wolfgang Flöttl. Flöttl, in turn, had reportedly been forced by financial reversals to sell the painting to parties as yet unknown. The Städel hired a private investigator to locate the painting, hoping to show it in an exhibition in 2019. It could not be found and instead the original frame still owned by the museum was put on display empty. | [
"Frankfurt",
"Knoedler",
"Reich Ministry of Public Enlightenment and Propaganda",
"Städel",
"Christie's",
"Siegfried Kramarsky",
"Daishowa Paper Manufacturing",
"Sepp Angerer",
"Ryoei Saito",
"Wolfgang Flöttl",
"Paul Cassirer",
"Renoir",
"Cézanne",
"Franz Koenigs",
"Daubigny's Garden",
"Hermann Göring",
"Sotheby's",
"Bal du moulin de la Galette",
"Paris",
"degenerate art",
"Ministry of Public Enlightenment and Propaganda",
"Johanna van Gogh-Bonger",
"most expensive painting",
"Metropolitan Museum of Art"
] |
|
17542_NT | Portrait of Dr. Gachet | In the context of this artwork, explore the Original version of the Exhibition. | First sold in 1897 by Van Gogh's sister-in-law Johanna van Gogh-Bonger for 300 francs, the painting was subsequently bought by Paul Cassirer (1904), Kessler (1904), and Druet (1910). In 1911, the painting was acquired by the Städel (Städtische Galerie) in Frankfurt, Germany and hung there until 1933, when the painting was put in a hidden room. The Reich Ministry of Public Enlightenment and Propaganda confiscated the work in 1937 as part of its campaign to rid Germany of so-called degenerate art. Hermann Göring, through his agent Sepp Angerer, sold it to Franz Koenigs in Paris, together with The Quarry of Bibemus by Cézanne and Daubigny's Garden, also by van Gogh. In August 1939, Koenigs transported the paintings from Paris to Knoedler's in New York. Siegfried Kramarsky fled to Lisbon in November 1939 and arrived January 1940 in New York. The paintings ended up in Kramarsky's custody, where the work was often lent to the Metropolitan Museum of Art.Kramarsky's family put the painting up for auction at Christie's New York on May 15, 1990, where it became famous for Ryoei Saito, honorary chairman of Daishowa Paper Manufacturing Co., paying US$82.5 million for it ($75 million, plus a 10 percent buyer's commission), making it then the world's most expensive painting. Two days later Saito bought Renoir's Bal du moulin de la Galette for nearly as much: $78.1 million at Sotheby's. The 75-year-old Japanese businessman commented that he would have the Van Gogh painting cremated with him after his death. Though he later said he would consider giving the painting to the Japanese government or a museum, no information has been made public about the exact location and ownership of the portrait since his death in 1996. Reports in 2007 said the painting was sold a decade earlier to the Austrian-born investment fund manager Wolfgang Flöttl. Flöttl, in turn, had reportedly been forced by financial reversals to sell the painting to parties as yet unknown. The Städel hired a private investigator to locate the painting, hoping to show it in an exhibition in 2019. It could not be found and instead the original frame still owned by the museum was put on display empty. | [
"Frankfurt",
"Knoedler",
"Reich Ministry of Public Enlightenment and Propaganda",
"Städel",
"Christie's",
"Siegfried Kramarsky",
"Daishowa Paper Manufacturing",
"Sepp Angerer",
"Ryoei Saito",
"Wolfgang Flöttl",
"Paul Cassirer",
"Renoir",
"Cézanne",
"Franz Koenigs",
"Daubigny's Garden",
"Hermann Göring",
"Sotheby's",
"Bal du moulin de la Galette",
"Paris",
"degenerate art",
"Ministry of Public Enlightenment and Propaganda",
"Johanna van Gogh-Bonger",
"most expensive painting",
"Metropolitan Museum of Art"
] |
|
17543_T | Portrait of Dr. Gachet | In the context of Portrait of Dr. Gachet, explain the Second version of the Exhibition. | There is a second version of the portrait which was owned by Gachet himself. In the early 1950s, along with the remainder of his personal collection of Post-Impressionist paintings, it was bequeathed to the Republic of France by his heirs.The authenticity of the second version has often come under scrutiny due to a number of factors. In a letter dated 3 June 1890 to Theo, Vincent mentions his work on the portrait, which includes "... a yellow book and a foxglove plant with purple flowers." The subsequent letter sent to Wilhelmina also mentions "yellow novels and a foxglove flower." As the yellow novels are absent from the second version of the painting, the letters clearly reference only the original version. Dr. Gachet, as well as his son, also named Paul, were amateur artists themselves. Along with original works, they often made copies of the Post-Impressionist paintings in the elder Gachet's collection, which included not only works by Van Gogh, but Cézanne, Monet, Renoir and others. These copies were self-declared, and signed under the pseudonyms Paul and Louis Van Ryssel, yet the practice has thrown the entire Gachet collection into question, including the doctor's portrait. Additionally, some critics have noted the sheer number of works to emerge from Van Gogh's stay in Auvers, roughly eighty in seventy days, and questioned whether he painted them all himself.Partly in response to these accusations, the Musée d'Orsay, which holds the second version of the Gachet portrait as well as the other works originally owned by the doctor, held an exhibit in 1999 of his former collection. In addition to the paintings by Van Gogh and the other Post-Impressionist masters, the exhibition was accompanied by works of the elder and younger Gachet. Prior to the exhibition, the museum commissioned infrared, ultraviolet and chemical analysis of eight works each by Van Gogh, Cézanne, and the Gachets for comparison. The studies showed pigments on the Van Gogh paintings faded differently from the Gachet copies. It also emerged that the Gachet paintings were drawn with outlines and filled with paint, whereas the Van Gogh and Cézanne works were painted directly to canvas. Van Gogh also used the same rough canvas for all his paintings at Auvers, with the exception of The Church at Auvers (whose authenticity has never been questioned).
In addition to scientific evidence, defenders say that while the second version of the Portrait of Dr. Gachet is often considered to be of lesser quality than many of Van Gogh's works in Arles, it is superior in technique to anything painted by either the elder or younger Gachet.Dutch scholar J. B. de la Faille, who compiled the first exhaustive catalog of Van Gogh works in 1928, noted in his manuscript, "We consider this painting a very weak replica of the preceding one, missing the piercing look" of the original. Editors of the posthumous 1970 edition of Faille's book disagreed with his assessment, stating they considered both works to be of high quality. | [
"France",
"Theo",
"Monet",
"The Church at Auvers",
"Arles",
"Renoir",
"Cézanne",
"chemical analysis",
"ultraviolet",
"Musée d'Orsay",
"Gachet",
"infrared",
"Wilhelmina",
"foxglove",
"Post-Impressionist",
"J. B. de la Faille",
"Republic of France"
] |
|
17543_NT | Portrait of Dr. Gachet | In the context of this artwork, explain the Second version of the Exhibition. | There is a second version of the portrait which was owned by Gachet himself. In the early 1950s, along with the remainder of his personal collection of Post-Impressionist paintings, it was bequeathed to the Republic of France by his heirs.The authenticity of the second version has often come under scrutiny due to a number of factors. In a letter dated 3 June 1890 to Theo, Vincent mentions his work on the portrait, which includes "... a yellow book and a foxglove plant with purple flowers." The subsequent letter sent to Wilhelmina also mentions "yellow novels and a foxglove flower." As the yellow novels are absent from the second version of the painting, the letters clearly reference only the original version. Dr. Gachet, as well as his son, also named Paul, were amateur artists themselves. Along with original works, they often made copies of the Post-Impressionist paintings in the elder Gachet's collection, which included not only works by Van Gogh, but Cézanne, Monet, Renoir and others. These copies were self-declared, and signed under the pseudonyms Paul and Louis Van Ryssel, yet the practice has thrown the entire Gachet collection into question, including the doctor's portrait. Additionally, some critics have noted the sheer number of works to emerge from Van Gogh's stay in Auvers, roughly eighty in seventy days, and questioned whether he painted them all himself.Partly in response to these accusations, the Musée d'Orsay, which holds the second version of the Gachet portrait as well as the other works originally owned by the doctor, held an exhibit in 1999 of his former collection. In addition to the paintings by Van Gogh and the other Post-Impressionist masters, the exhibition was accompanied by works of the elder and younger Gachet. Prior to the exhibition, the museum commissioned infrared, ultraviolet and chemical analysis of eight works each by Van Gogh, Cézanne, and the Gachets for comparison. The studies showed pigments on the Van Gogh paintings faded differently from the Gachet copies. It also emerged that the Gachet paintings were drawn with outlines and filled with paint, whereas the Van Gogh and Cézanne works were painted directly to canvas. Van Gogh also used the same rough canvas for all his paintings at Auvers, with the exception of The Church at Auvers (whose authenticity has never been questioned).
In addition to scientific evidence, defenders say that while the second version of the Portrait of Dr. Gachet is often considered to be of lesser quality than many of Van Gogh's works in Arles, it is superior in technique to anything painted by either the elder or younger Gachet.Dutch scholar J. B. de la Faille, who compiled the first exhaustive catalog of Van Gogh works in 1928, noted in his manuscript, "We consider this painting a very weak replica of the preceding one, missing the piercing look" of the original. Editors of the posthumous 1970 edition of Faille's book disagreed with his assessment, stating they considered both works to be of high quality. | [
"France",
"Theo",
"Monet",
"The Church at Auvers",
"Arles",
"Renoir",
"Cézanne",
"chemical analysis",
"ultraviolet",
"Musée d'Orsay",
"Gachet",
"infrared",
"Wilhelmina",
"foxglove",
"Post-Impressionist",
"J. B. de la Faille",
"Republic of France"
] |
|
17544_T | Portrait of Dr. Gachet | Explore the Etching about the Exhibition of this artwork, Portrait of Dr. Gachet. | Van Gogh, introduced to etching by Gachet, made the etching Portrait of Doctor Gachet in 1890. Gachet and Van Gogh discussed creating a series of southern France themes but that never happened. This was the one and only etching, also known as L'homme à la pipe (Man with a pipe), that Van Gogh ever made. Van Gogh's brother, Theo, who received an impression of the etching, called it "a true painter's etching. No refinement in the execution, but a drawing on metal." It is a different pose than that in Van Gogh's Portrait of Dr. Gachet, owned by Musée d'Orsay. The National Gallery of Canada finds that "The undulating flow of the line is typical of the expressive quality of Van Gogh's late style." The impression owned by the National Gallery is from one of the 60 printings following Van Gogh's death by Dr. Gachet's son, Paul Gachet Jr. Gachet's collector's stamp appears on the bottom edge of the print. | [
"France",
"Theo",
"southern France",
"National Gallery of Canada",
"Musée d'Orsay",
"Gachet",
"Etching",
"Paul Gachet"
] |
|
17544_NT | Portrait of Dr. Gachet | Explore the Etching about the Exhibition of this artwork. | Van Gogh, introduced to etching by Gachet, made the etching Portrait of Doctor Gachet in 1890. Gachet and Van Gogh discussed creating a series of southern France themes but that never happened. This was the one and only etching, also known as L'homme à la pipe (Man with a pipe), that Van Gogh ever made. Van Gogh's brother, Theo, who received an impression of the etching, called it "a true painter's etching. No refinement in the execution, but a drawing on metal." It is a different pose than that in Van Gogh's Portrait of Dr. Gachet, owned by Musée d'Orsay. The National Gallery of Canada finds that "The undulating flow of the line is typical of the expressive quality of Van Gogh's late style." The impression owned by the National Gallery is from one of the 60 printings following Van Gogh's death by Dr. Gachet's son, Paul Gachet Jr. Gachet's collector's stamp appears on the bottom edge of the print. | [
"France",
"Theo",
"southern France",
"National Gallery of Canada",
"Musée d'Orsay",
"Gachet",
"Etching",
"Paul Gachet"
] |
|
17545_T | Portrait of Madame Moitessier | Focus on Portrait of Madame Moitessier and discuss the abstract. | Madame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier (née de Foucauld) begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, is now in the collection of the National Gallery in London, which acquired it in 1936.Madame Moitessier is also the title of a second portrait by Ingres, which depicts her standing; it was painted in 1851 and is now in the collection of the National Gallery of Art, Washington, D.C. | [
"Jean-Auguste-Dominique Ingres",
"National Gallery of Art",
"Washington, D.C.",
"National Gallery",
"London"
] |
|
17545_NT | Portrait of Madame Moitessier | Focus on this artwork and discuss the abstract. | Madame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier (née de Foucauld) begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, is now in the collection of the National Gallery in London, which acquired it in 1936.Madame Moitessier is also the title of a second portrait by Ingres, which depicts her standing; it was painted in 1851 and is now in the collection of the National Gallery of Art, Washington, D.C. | [
"Jean-Auguste-Dominique Ingres",
"National Gallery of Art",
"Washington, D.C.",
"National Gallery",
"London"
] |
|
17546_T | Portrait of Madame Moitessier | How does Portrait of Madame Moitessier elucidate its Subject? | Marie-Clotilde-Inès de Foucauld (1821–1897) was the daughter of a French civil servant in the department of forests and waterways. In 1842 she married a widower twice her age, the rich banker and lace merchant Sigisbert Moitessier, thus becoming Madame Moitessier. In 1844 Ingres was approached by his longtime friend and former painting subject Charles Marcotte, who was one of Sigisbert Moitessier's colleagues, with the idea of painting Madame Moitessier's portrait.Reluctant at this stage in his career to accept portrait commissions—he considered portraiture to be a lower form of art than history painting—he initially refused Marcotte's request. However, when Ingres met Madame Moitessier, he was struck by her beauty and agreed to produce a portrait. Art critic Théophile Gautier, who watched during some of the painting sessions, agreed with Ingres, describing her beauty as the most regal, magnificent, stately and Junoesque that he had ever seen drawn. | [
"history painting",
"Charles Marcotte",
"Juno",
"Théophile Gautier"
] |
|
17546_NT | Portrait of Madame Moitessier | How does this artwork elucidate its Subject? | Marie-Clotilde-Inès de Foucauld (1821–1897) was the daughter of a French civil servant in the department of forests and waterways. In 1842 she married a widower twice her age, the rich banker and lace merchant Sigisbert Moitessier, thus becoming Madame Moitessier. In 1844 Ingres was approached by his longtime friend and former painting subject Charles Marcotte, who was one of Sigisbert Moitessier's colleagues, with the idea of painting Madame Moitessier's portrait.Reluctant at this stage in his career to accept portrait commissions—he considered portraiture to be a lower form of art than history painting—he initially refused Marcotte's request. However, when Ingres met Madame Moitessier, he was struck by her beauty and agreed to produce a portrait. Art critic Théophile Gautier, who watched during some of the painting sessions, agreed with Ingres, describing her beauty as the most regal, magnificent, stately and Junoesque that he had ever seen drawn. | [
"history painting",
"Charles Marcotte",
"Juno",
"Théophile Gautier"
] |
|
17547_T | Portrait of Madame Moitessier | Focus on Portrait of Madame Moitessier and analyze the Two portraits. | He began work on the seated version, depicting the subject in a floral dress. Work on the commission proceeded slowly. The painting was originally to include the Moitessiers' daughter, Catherine; Ingres, finding little Catherine "impossible", eliminated her from the composition sometime around 1847. Work on the painting was suspended in 1849, when the death in June of Ingres' wife left him unable to work for several months, and Madame Moitessier was distracted by her second pregnancy and the death of her father. In June 1851, having been reminded by the woman he called "la belle et bonne" ("the beautiful and good") that her portrait had still not been completed, Ingres began afresh, painting the standing portrait of her in a dark dress, which he finished in December 1851. He then returned to the seated portrait, which he completed in 1856, twelve years after he started it.Characteristically, Ingres found inspiration in the art of the past when painting Madame Moitessier. The pose with a hand touching the cheek was taken from a fresco of Hercules and Telephus from Herculaneum that he may have seen in Naples in 1814, and which was familiar to him through engravings. According to the National Gallery, Titian's La Schiavona, also in the gallery, may have inspired the second profile view in the mirror. She is wearing a dress of fashionable and expensive Lyon silk printed with a floral pattern, which is echoed by the flowers and leaves of the gilt frame. A similar frame was used for Ingres's 1853 portrait of The Princesse de Broglie.
Numerous drawn studies for both portraits exist. A study on canvas for the seated portrait, in which the figure has been drawn by Ingres and the background painted by an assistant, is in the Musée Ingres in Montauban. | [
"Montauban",
"Lyon silk",
"Titian",
"Musée Ingres",
"Herculaneum",
"engraving",
"La Schiavona",
"National Gallery",
"The Princesse de Broglie",
"Hercules",
"Telephus"
] |
|
17547_NT | Portrait of Madame Moitessier | Focus on this artwork and analyze the Two portraits. | He began work on the seated version, depicting the subject in a floral dress. Work on the commission proceeded slowly. The painting was originally to include the Moitessiers' daughter, Catherine; Ingres, finding little Catherine "impossible", eliminated her from the composition sometime around 1847. Work on the painting was suspended in 1849, when the death in June of Ingres' wife left him unable to work for several months, and Madame Moitessier was distracted by her second pregnancy and the death of her father. In June 1851, having been reminded by the woman he called "la belle et bonne" ("the beautiful and good") that her portrait had still not been completed, Ingres began afresh, painting the standing portrait of her in a dark dress, which he finished in December 1851. He then returned to the seated portrait, which he completed in 1856, twelve years after he started it.Characteristically, Ingres found inspiration in the art of the past when painting Madame Moitessier. The pose with a hand touching the cheek was taken from a fresco of Hercules and Telephus from Herculaneum that he may have seen in Naples in 1814, and which was familiar to him through engravings. According to the National Gallery, Titian's La Schiavona, also in the gallery, may have inspired the second profile view in the mirror. She is wearing a dress of fashionable and expensive Lyon silk printed with a floral pattern, which is echoed by the flowers and leaves of the gilt frame. A similar frame was used for Ingres's 1853 portrait of The Princesse de Broglie.
Numerous drawn studies for both portraits exist. A study on canvas for the seated portrait, in which the figure has been drawn by Ingres and the background painted by an assistant, is in the Musée Ingres in Montauban. | [
"Montauban",
"Lyon silk",
"Titian",
"Musée Ingres",
"Herculaneum",
"engraving",
"La Schiavona",
"National Gallery",
"The Princesse de Broglie",
"Hercules",
"Telephus"
] |
|
17548_T | Portrait of Madame Moitessier | In Portrait of Madame Moitessier, how is the Legacy discussed? | Pablo Picasso first encountered the painting at an exhibition in Paris, in 1921. Over the next decade, he repeatedly referenced Ingres in his art, particularly in his homage in the painting Woman with a Book. The model for Woman with a Book, Picasso's then young mistress, Marie-Thérèse Walter, mimics Madame Moitessier’s pose. The painting was completed in August of 1932. The painting is currently held by the Norton Simon Museum, in Pasadena, California, United States.The two paintings were exhibited together for the first time at a temporary exhibition organised in partnership with the Norton Simon Museum, held at the National Gallery in London, United Kingdom in 2022. | [
"California",
"Marie-Thérèse Walter",
"United States",
"Pasadena, California",
"National Gallery",
"Norton Simon Museum",
"United Kingdom",
"London",
"Paris",
"Pasadena",
"Pablo Picasso"
] |
|
17548_NT | Portrait of Madame Moitessier | In this artwork, how is the Legacy discussed? | Pablo Picasso first encountered the painting at an exhibition in Paris, in 1921. Over the next decade, he repeatedly referenced Ingres in his art, particularly in his homage in the painting Woman with a Book. The model for Woman with a Book, Picasso's then young mistress, Marie-Thérèse Walter, mimics Madame Moitessier’s pose. The painting was completed in August of 1932. The painting is currently held by the Norton Simon Museum, in Pasadena, California, United States.The two paintings were exhibited together for the first time at a temporary exhibition organised in partnership with the Norton Simon Museum, held at the National Gallery in London, United Kingdom in 2022. | [
"California",
"Marie-Thérèse Walter",
"United States",
"Pasadena, California",
"National Gallery",
"Norton Simon Museum",
"United Kingdom",
"London",
"Paris",
"Pasadena",
"Pablo Picasso"
] |
|
17549_T | The Four Seasons (Sozzi) | Focus on The Four Seasons (Sozzi) and explore the abstract. | The Four Seasons (Le Quattro Stagioni it) is a cycle of four frescoes by Francesco Sozzi in the Palazzo Isnello, Palermo, Italy. | [
"Palazzo Isnello",
"it",
"Italy",
"Palermo",
"Francesco Sozzi"
] |
|
17549_NT | The Four Seasons (Sozzi) | Focus on this artwork and explore the abstract. | The Four Seasons (Le Quattro Stagioni it) is a cycle of four frescoes by Francesco Sozzi in the Palazzo Isnello, Palermo, Italy. | [
"Palazzo Isnello",
"it",
"Italy",
"Palermo",
"Francesco Sozzi"
] |
|
17550_T | The Four Seasons (Sozzi) | Focus on The Four Seasons (Sozzi) and explain the Description and history. | The cycle, completed in 1760, was painted on the Four Seasons Hall vault of the Counts of Isnello palazzo's. It is a graceful example of Palermitan Rococo, that is, late-Sicilian Baroque, fresco cycles. The four paintings are framed in butterfly wing shape, decorative solution adopted at Palazzo Isnello. Among the gilded stucco decoration of the vault there is the artist signature, dated 1760 in golden characters.
In the four allegorical paintings each of the seasons is represented by the image of a deity: Venus represents spring, Ceres, summer; Bacchus, autumn; and finally Aeolus represents winter. | [
"palazzo",
"Rococo",
"Palazzo Isnello",
"Aeolus",
"Palermitan",
"Ceres",
"Sicilian Baroque",
"it",
"allegorical",
"Bacchus",
"Venus",
"stucco",
"spring",
"Count"
] |
|
17550_NT | The Four Seasons (Sozzi) | Focus on this artwork and explain the Description and history. | The cycle, completed in 1760, was painted on the Four Seasons Hall vault of the Counts of Isnello palazzo's. It is a graceful example of Palermitan Rococo, that is, late-Sicilian Baroque, fresco cycles. The four paintings are framed in butterfly wing shape, decorative solution adopted at Palazzo Isnello. Among the gilded stucco decoration of the vault there is the artist signature, dated 1760 in golden characters.
In the four allegorical paintings each of the seasons is represented by the image of a deity: Venus represents spring, Ceres, summer; Bacchus, autumn; and finally Aeolus represents winter. | [
"palazzo",
"Rococo",
"Palazzo Isnello",
"Aeolus",
"Palermitan",
"Ceres",
"Sicilian Baroque",
"it",
"allegorical",
"Bacchus",
"Venus",
"stucco",
"spring",
"Count"
] |
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