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17551_T | Aurora Triumphans | Explore the abstract of this artwork, Aurora Triumphans. | Aurora Triumphans (Latin: Triumphant Aurora) is an oil-on-canvas painting by the English artist Evelyn De Morgan, featuring the Roman goddess of dawn Aurora, that breaks the shackles of night. Aurora lies naked in the lower right corner, covered with carefully draped ropes of pink roses. Taking up two-thirds of the painting, there are three red-winged angels with trumpets and gold tunics. Set in opposition to Aurora, in the lower left corner is a dark-robed Night, who swirls away a black cloak. In 1886 the painting was exhibited at the Grosvenor Gallery in London.The flowers strewn around Aurora and the pale glow of her naked body are set in opposition to the shadowy drapery of Night. Aurora's frontal, open pose reverses the anonymity of Night, who is turned away from the viewer.
The painting currently belongs to the Russell-Cotes Museum in Bournemouth. Merton Russell-Cotes' son Herbert bought it for the museum in around 1922 thinking that it was a Burne-Jones original after an unscrupulous art dealer had painted over the signature with Burne-Jones' initials to get a higher price.
According to art historian Elise Lawton Smith, Aurora's "lethargic pose ... may signify her transitional state between night/matter and light/spirit. She will move beyond torpor toward a new energy, as heralded by the three angels blowing their trumpets. Thus her power (or triumph, as suggested by the title) derives not from her mythological status, but from her role as a spiritualist metaphor." | [
"Grosvenor Gallery",
"canvas",
"Bournemouth",
"Evelyn De Morgan",
"tunic",
"Aurora",
"Russell-Cotes Museum",
"Burne-Jones"
] |
|
17551_NT | Aurora Triumphans | Explore the abstract of this artwork. | Aurora Triumphans (Latin: Triumphant Aurora) is an oil-on-canvas painting by the English artist Evelyn De Morgan, featuring the Roman goddess of dawn Aurora, that breaks the shackles of night. Aurora lies naked in the lower right corner, covered with carefully draped ropes of pink roses. Taking up two-thirds of the painting, there are three red-winged angels with trumpets and gold tunics. Set in opposition to Aurora, in the lower left corner is a dark-robed Night, who swirls away a black cloak. In 1886 the painting was exhibited at the Grosvenor Gallery in London.The flowers strewn around Aurora and the pale glow of her naked body are set in opposition to the shadowy drapery of Night. Aurora's frontal, open pose reverses the anonymity of Night, who is turned away from the viewer.
The painting currently belongs to the Russell-Cotes Museum in Bournemouth. Merton Russell-Cotes' son Herbert bought it for the museum in around 1922 thinking that it was a Burne-Jones original after an unscrupulous art dealer had painted over the signature with Burne-Jones' initials to get a higher price.
According to art historian Elise Lawton Smith, Aurora's "lethargic pose ... may signify her transitional state between night/matter and light/spirit. She will move beyond torpor toward a new energy, as heralded by the three angels blowing their trumpets. Thus her power (or triumph, as suggested by the title) derives not from her mythological status, but from her role as a spiritualist metaphor." | [
"Grosvenor Gallery",
"canvas",
"Bournemouth",
"Evelyn De Morgan",
"tunic",
"Aurora",
"Russell-Cotes Museum",
"Burne-Jones"
] |
|
17552_T | The purple noon's transparent might | Focus on The purple noon's transparent might and discuss the abstract. | The purple noon's transparent might is an 1896 oil on canvas landscape painting by Australian artist Arthur Streeton. The painting depicts the Hawkesbury River in New South Wales, looking toward the Blue Mountains. The work's title was taken from the poem Stanzas Written in Dejection, near Naples by Percy Bysshe Shelley.
Streeton painted the work in two days while sitting on a ledge above the trees in the hot summer; Streeton claimed the temperature exceeded 108 °F (42 °C) in the shade. Streeton later recalled that he painted in "a kind of artistic intoxication with thoughts of Shelley in my mind. My work may perish but I must work so as to go on".
Every touch here is sure and relevant of character. There is no painting into wet colour, no fumbling with the indefinite, yet in that precision of touch there dwells a mystery of value and light more profound than any romantic formula for the evasion of drawing ... Who but Streeton, gazing up the Hawkesbury River from the terrace across those far-stretched plains, could have imagined what he saw? To divine the possibilities of a picture, its shapes and lighting, its character and composition in that wide field, required the intuition of genius.
The painting was included in the 1898 Exhibition of Australian Art in London where a contemporary reviewer claimed it "would hold its own in any London gallery".The work was acquired by the National Gallery of Victoria in Melbourne in 1896 and remains part of its collection. | [
"Hawkesbury River",
"Percy Bysshe Shelley",
"The purple noon's transparent might",
"Exhibition of Australian Art in London",
"Melbourne",
"Arthur Streeton",
"National Gallery of Victoria",
"Blue Mountains"
] |
|
17552_NT | The purple noon's transparent might | Focus on this artwork and discuss the abstract. | The purple noon's transparent might is an 1896 oil on canvas landscape painting by Australian artist Arthur Streeton. The painting depicts the Hawkesbury River in New South Wales, looking toward the Blue Mountains. The work's title was taken from the poem Stanzas Written in Dejection, near Naples by Percy Bysshe Shelley.
Streeton painted the work in two days while sitting on a ledge above the trees in the hot summer; Streeton claimed the temperature exceeded 108 °F (42 °C) in the shade. Streeton later recalled that he painted in "a kind of artistic intoxication with thoughts of Shelley in my mind. My work may perish but I must work so as to go on".
Every touch here is sure and relevant of character. There is no painting into wet colour, no fumbling with the indefinite, yet in that precision of touch there dwells a mystery of value and light more profound than any romantic formula for the evasion of drawing ... Who but Streeton, gazing up the Hawkesbury River from the terrace across those far-stretched plains, could have imagined what he saw? To divine the possibilities of a picture, its shapes and lighting, its character and composition in that wide field, required the intuition of genius.
The painting was included in the 1898 Exhibition of Australian Art in London where a contemporary reviewer claimed it "would hold its own in any London gallery".The work was acquired by the National Gallery of Victoria in Melbourne in 1896 and remains part of its collection. | [
"Hawkesbury River",
"Percy Bysshe Shelley",
"The purple noon's transparent might",
"Exhibition of Australian Art in London",
"Melbourne",
"Arthur Streeton",
"National Gallery of Victoria",
"Blue Mountains"
] |
|
17553_T | Procession of Ants | How does Procession of Ants elucidate its abstract? | Procession of Ants is a public sculpture by American artist, David Bowen, located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture can be found in the flower bed of Taylor Hall on the north side of the building. It was accessioned in 1998 as a part of a competition to create more artwork for IUPUI. | [
"Indiana University-Purdue University Indianapolis",
"Indianapolis, Indiana",
"Indianapolis",
"David Bowen"
] |
|
17553_NT | Procession of Ants | How does this artwork elucidate its abstract? | Procession of Ants is a public sculpture by American artist, David Bowen, located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture can be found in the flower bed of Taylor Hall on the north side of the building. It was accessioned in 1998 as a part of a competition to create more artwork for IUPUI. | [
"Indiana University-Purdue University Indianapolis",
"Indianapolis, Indiana",
"Indianapolis",
"David Bowen"
] |
|
17554_T | Procession of Ants | Focus on Procession of Ants and analyze the Description. | Procession of Ants by David Bowen is a series of 15 ants made of steel. Stretching over a span of about 20 feet, the ants travel from the east to the west and up a wall. The grounds on which the sculpture is located consists of a flower bed holding trees and gravel. The back side of each ant consists of a large bent piece of steel facing open towards the east side. The centers and heads of the ants are smaller in size with oversize bent pieces of steel attached as legs. The sculpture was both created and acquired in 1998 when Bowen won the competition to create more artworks for IUPUI. | [
"David Bowen"
] |
|
17554_NT | Procession of Ants | Focus on this artwork and analyze the Description. | Procession of Ants by David Bowen is a series of 15 ants made of steel. Stretching over a span of about 20 feet, the ants travel from the east to the west and up a wall. The grounds on which the sculpture is located consists of a flower bed holding trees and gravel. The back side of each ant consists of a large bent piece of steel facing open towards the east side. The centers and heads of the ants are smaller in size with oversize bent pieces of steel attached as legs. The sculpture was both created and acquired in 1998 when Bowen won the competition to create more artworks for IUPUI. | [
"David Bowen"
] |
|
17555_T | Procession of Ants | In Procession of Ants, how is the Artist discussed? | The artist, David Bowen, works mostly with kinetic, robotic, interactive and sculptural pieces. Bowen attended Herron School of Art and Design for his undergraduate degree and he attended the University of Minnesota where he earned his MFA in 2004. He is now an assistant professor of sculpture at the University of Minnesota in Duluth. Bowen is interested in botany and the kinetic growth of organisms in relation to technology. In an interview, Bowen states that his work is based on interactive growth. In 2008, Bowen exhibited his work in New York City, NY in collaboration with Sculpture Space. | [
"Herron School of Art and Design",
"David Bowen"
] |
|
17555_NT | Procession of Ants | In this artwork, how is the Artist discussed? | The artist, David Bowen, works mostly with kinetic, robotic, interactive and sculptural pieces. Bowen attended Herron School of Art and Design for his undergraduate degree and he attended the University of Minnesota where he earned his MFA in 2004. He is now an assistant professor of sculpture at the University of Minnesota in Duluth. Bowen is interested in botany and the kinetic growth of organisms in relation to technology. In an interview, Bowen states that his work is based on interactive growth. In 2008, Bowen exhibited his work in New York City, NY in collaboration with Sculpture Space. | [
"Herron School of Art and Design",
"David Bowen"
] |
|
17556_T | Étant donnés | Focus on Étant donnés and explore the abstract. | Étant donnés (Given: 1. The Waterfall, 2. The Illuminating Gas, French: Étant donnés: 1° la chute d'eau / 2° le gaz d'éclairage) is a 1966 assemblage by Marcel Duchamp. It was his last major artwork, surprising viewers and critics who had widely believed he had given up art; he was previously pursuing competitive chess which he had been playing for almost 25 years. The artwork is a tableau, visible only through a pair of peepholes—one for each eye—in a wooden door, of a nude woman lying on her back on a hill with her face hidden, legs spread, holding a gas lamp in the air in one hand against a landscape backdrop.
Duchamp worked in secrecy on the artwork from 1946 to 1966 in his Greenwich Village studio. It is composed of an old wooden door, nails, bricks, brass, aluminium sheet, steel binder clips, velvet, leaves, twigs, a female form made of parchment, hair, glass, plastic clothespins, oil paint, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc. The Brazilian sculptor Maria Martins, Duchamp's girlfriend from 1946 to 1951, served as the model for the female figure in the piece, and his second wife, Alexina (Teeny), served as the model for the figure's arm.
Duchamp prepared a "Manual of Instructions" in a 4-ring binder explaining and illustrating how to assemble and disassemble the piece.Anne d'Harnoncourt, a young curator at the Philadelphia Museum of Art and later its director, orchestrated the acquisition and transfer of the piece to Philadelphia. According to the artist's wishes that the work be installed and viewed after his death, Duchamp's widow Alexina Duchamp and his step-son Paul Matisse installed the work and made it available to the public at the Philadelphia Museum of Art in 1969, a year after Duchamp's death. | [
"Paul Matisse",
"Alexina (Teeny)",
"assemblage",
"Philadelphia",
"Alexina Duchamp",
"Maria Martins",
"Marcel Duchamp",
"Anne d'Harnoncourt",
"Greenwich Village",
"Philadelphia Museum of Art"
] |
|
17556_NT | Étant donnés | Focus on this artwork and explore the abstract. | Étant donnés (Given: 1. The Waterfall, 2. The Illuminating Gas, French: Étant donnés: 1° la chute d'eau / 2° le gaz d'éclairage) is a 1966 assemblage by Marcel Duchamp. It was his last major artwork, surprising viewers and critics who had widely believed he had given up art; he was previously pursuing competitive chess which he had been playing for almost 25 years. The artwork is a tableau, visible only through a pair of peepholes—one for each eye—in a wooden door, of a nude woman lying on her back on a hill with her face hidden, legs spread, holding a gas lamp in the air in one hand against a landscape backdrop.
Duchamp worked in secrecy on the artwork from 1946 to 1966 in his Greenwich Village studio. It is composed of an old wooden door, nails, bricks, brass, aluminium sheet, steel binder clips, velvet, leaves, twigs, a female form made of parchment, hair, glass, plastic clothespins, oil paint, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc. The Brazilian sculptor Maria Martins, Duchamp's girlfriend from 1946 to 1951, served as the model for the female figure in the piece, and his second wife, Alexina (Teeny), served as the model for the figure's arm.
Duchamp prepared a "Manual of Instructions" in a 4-ring binder explaining and illustrating how to assemble and disassemble the piece.Anne d'Harnoncourt, a young curator at the Philadelphia Museum of Art and later its director, orchestrated the acquisition and transfer of the piece to Philadelphia. According to the artist's wishes that the work be installed and viewed after his death, Duchamp's widow Alexina Duchamp and his step-son Paul Matisse installed the work and made it available to the public at the Philadelphia Museum of Art in 1969, a year after Duchamp's death. | [
"Paul Matisse",
"Alexina (Teeny)",
"assemblage",
"Philadelphia",
"Alexina Duchamp",
"Maria Martins",
"Marcel Duchamp",
"Anne d'Harnoncourt",
"Greenwich Village",
"Philadelphia Museum of Art"
] |
|
17557_T | Étant donnés | Focus on Étant donnés and explain the References and sources. | ReferencesSourcesTomkins, Calvin. Duchamp: A Biography, Henry Holt and Company, Inc., 1996. ISBN 0-8050-5789-7
Hulten, Pontus (editor): Marcel Duchamp: Work and Life, The MIT Press, 1993. ISBN 0-262-08225-X
Peep Show, The Smart Set, October 7, 2009
Landscape of Eros, Through the Peephole, August 27, 2009,
Banz, Stefan, ed., Marcel Duchamp and the Forestay Waterfall, JRP|Ringier, Zurich. ISBN 978-3-03764-156-9 | [
"Marcel Duchamp",
"Banz, Stefan"
] |
|
17557_NT | Étant donnés | Focus on this artwork and explain the References and sources. | ReferencesSourcesTomkins, Calvin. Duchamp: A Biography, Henry Holt and Company, Inc., 1996. ISBN 0-8050-5789-7
Hulten, Pontus (editor): Marcel Duchamp: Work and Life, The MIT Press, 1993. ISBN 0-262-08225-X
Peep Show, The Smart Set, October 7, 2009
Landscape of Eros, Through the Peephole, August 27, 2009,
Banz, Stefan, ed., Marcel Duchamp and the Forestay Waterfall, JRP|Ringier, Zurich. ISBN 978-3-03764-156-9 | [
"Marcel Duchamp",
"Banz, Stefan"
] |
|
17558_T | Bartolini Salimbeni Annunciation | Explore the abstract of this artwork, Bartolini Salimbeni Annunciation. | The Bartolini Salimbeni Annunciation (Italian: Annunciazione Bartolini Salimbeni) is a tempera on panel painting by the Italian Gothic painter Lorenzo Monaco, completed just before his death (1420–1424). It is housed in the Bartolini Salimbeni Chapel of the church of Santa Trinita, Florence. | [
"Annunciation",
"Bartolini Salimbeni Chapel",
"Lorenzo Monaco",
"Santa Trinita"
] |
|
17558_NT | Bartolini Salimbeni Annunciation | Explore the abstract of this artwork. | The Bartolini Salimbeni Annunciation (Italian: Annunciazione Bartolini Salimbeni) is a tempera on panel painting by the Italian Gothic painter Lorenzo Monaco, completed just before his death (1420–1424). It is housed in the Bartolini Salimbeni Chapel of the church of Santa Trinita, Florence. | [
"Annunciation",
"Bartolini Salimbeni Chapel",
"Lorenzo Monaco",
"Santa Trinita"
] |
|
17559_T | Bartolini Salimbeni Annunciation | Focus on Bartolini Salimbeni Annunciation and discuss the History. | The panel follows the same stylistic and narrative pattern as the other frescoes in the chapel, also by Lorenzo Monaco. It shows the Annunciation and, in the predella, other episodes of the Life of the Virgin which do not feature in the frescoes.
In 1998, a restoration performed by the Opificio delle Pietre Dure showed that for the Virgin's mantle a simpler technique was used, indicating that the work was perhaps completed by one Monaco's pupils after his death. | [
"Annunciation",
"Opificio delle Pietre Dure",
"Lorenzo Monaco",
"predella"
] |
|
17559_NT | Bartolini Salimbeni Annunciation | Focus on this artwork and discuss the History. | The panel follows the same stylistic and narrative pattern as the other frescoes in the chapel, also by Lorenzo Monaco. It shows the Annunciation and, in the predella, other episodes of the Life of the Virgin which do not feature in the frescoes.
In 1998, a restoration performed by the Opificio delle Pietre Dure showed that for the Virgin's mantle a simpler technique was used, indicating that the work was perhaps completed by one Monaco's pupils after his death. | [
"Annunciation",
"Opificio delle Pietre Dure",
"Lorenzo Monaco",
"predella"
] |
|
17560_T | Bartolini Salimbeni Annunciation | How does Bartolini Salimbeni Annunciation elucidate its Description? | The panel is intermediate between a medieval polyptych and a Renaissance altarpiece. It is generally described as the first work in which the subject has a direct relationship with the surrounding architecture. Another innovation is the small side pillars with saints, later used also by Masaccio and Fra Angelico.
The central panel depicts the Annunciation in a single painted surface whose rounded top arches recall however the shape of a triptych. Above the three arches are medallions with prophets, of whom only the middle one (Isaiah) has been identified, thanks to the cartouche saying Ecce Virgo [concipiet]. Below, the scene is completed by a predella with four scenes: Visitation, Nativity, Adoration of the Magi and Flight into Egypt. These shows typical elements of the International Gothic style, such as the fine arabesques in the drapes and the delicate tonalities in contrast with the dark backgrounds. In the Adoration, the detail of the old king kneeling to kiss the Child is taken from a Ghiberti's tile, and was also used by Gentile da Fabriano in his Strozzi Altarpiece. In the Flight, the palm is taken from the Gospel of Pseudo-Matthew, which describes the tree that bent itself to allow the passage of the holy family.
Only four of the five side compartments of each pillar are painted: the 1990s restoration did not find trace of paint in the upper ones, so it is likely that they have been empty since the work's execution.
The Annunciation depicts a sitting Madonna, with an angel arriving from the left to stop her reading (a hint to the Holy Books). She looks at God, who is portrayed in the middle arch, surrounded by seraphims, and who sends her the dove of the Holy Ghost. | [
"Gospel of Pseudo-Matthew",
"Annunciation",
"Masaccio",
"Isaiah",
"Ghiberti",
"Holy Ghost",
"Fra Angelico",
"Strozzi Altarpiece",
"seraphim",
"International Gothic",
"Gentile da Fabriano",
"predella",
"Holy Books",
"polyptych",
"cartouche",
"triptych"
] |
|
17560_NT | Bartolini Salimbeni Annunciation | How does this artwork elucidate its Description? | The panel is intermediate between a medieval polyptych and a Renaissance altarpiece. It is generally described as the first work in which the subject has a direct relationship with the surrounding architecture. Another innovation is the small side pillars with saints, later used also by Masaccio and Fra Angelico.
The central panel depicts the Annunciation in a single painted surface whose rounded top arches recall however the shape of a triptych. Above the three arches are medallions with prophets, of whom only the middle one (Isaiah) has been identified, thanks to the cartouche saying Ecce Virgo [concipiet]. Below, the scene is completed by a predella with four scenes: Visitation, Nativity, Adoration of the Magi and Flight into Egypt. These shows typical elements of the International Gothic style, such as the fine arabesques in the drapes and the delicate tonalities in contrast with the dark backgrounds. In the Adoration, the detail of the old king kneeling to kiss the Child is taken from a Ghiberti's tile, and was also used by Gentile da Fabriano in his Strozzi Altarpiece. In the Flight, the palm is taken from the Gospel of Pseudo-Matthew, which describes the tree that bent itself to allow the passage of the holy family.
Only four of the five side compartments of each pillar are painted: the 1990s restoration did not find trace of paint in the upper ones, so it is likely that they have been empty since the work's execution.
The Annunciation depicts a sitting Madonna, with an angel arriving from the left to stop her reading (a hint to the Holy Books). She looks at God, who is portrayed in the middle arch, surrounded by seraphims, and who sends her the dove of the Holy Ghost. | [
"Gospel of Pseudo-Matthew",
"Annunciation",
"Masaccio",
"Isaiah",
"Ghiberti",
"Holy Ghost",
"Fra Angelico",
"Strozzi Altarpiece",
"seraphim",
"International Gothic",
"Gentile da Fabriano",
"predella",
"Holy Books",
"polyptych",
"cartouche",
"triptych"
] |
|
17561_T | Boxer at Rest | Focus on Boxer at Rest and analyze the abstract. | The Boxer at Rest, also known as the Terme Boxer, Seated Boxer, Defeated Boxer, or Boxer of the Quirinal, is a bronze sculpture, a Hellenistic Greek original, of a sitting nude boxer at rest, still wearing his himantes (Ancient Greek: ἱμάντες, romanized: himántes, plural of ἱμάς, himás, 'a leathern strap or thong'), a type of leather hand-wrap. It has been given various dates within the period of about 330 to 50 BC. It was excavated in Rome in 1885, and is now in the collection of the National Museum of Rome, normally displayed in the Palazzo Massimo alle Terme.The Boxer at Rest is one of the finest examples of bronze sculptures to have survived from the ancient world; survivals from the period are rare, as they were easily melted down and transformed into new objects. The work comes from a period in Greek art where there is a movement away from idealized heroic depictions of the body and youth, and an exploration of emotional as well as psychological themes and greater realism. These traits are typical of Hellenistic art and thoroughly displayed in this sculpture, making it a hallmark of the Hellenistic style. | [
"Rome",
"Hellenistic",
"bronze sculpture",
"Palazzo Massimo alle Terme",
"boxer",
"BC",
"National Museum of Rome",
"Quirinal",
"Hellenistic art"
] |
|
17561_NT | Boxer at Rest | Focus on this artwork and analyze the abstract. | The Boxer at Rest, also known as the Terme Boxer, Seated Boxer, Defeated Boxer, or Boxer of the Quirinal, is a bronze sculpture, a Hellenistic Greek original, of a sitting nude boxer at rest, still wearing his himantes (Ancient Greek: ἱμάντες, romanized: himántes, plural of ἱμάς, himás, 'a leathern strap or thong'), a type of leather hand-wrap. It has been given various dates within the period of about 330 to 50 BC. It was excavated in Rome in 1885, and is now in the collection of the National Museum of Rome, normally displayed in the Palazzo Massimo alle Terme.The Boxer at Rest is one of the finest examples of bronze sculptures to have survived from the ancient world; survivals from the period are rare, as they were easily melted down and transformed into new objects. The work comes from a period in Greek art where there is a movement away from idealized heroic depictions of the body and youth, and an exploration of emotional as well as psychological themes and greater realism. These traits are typical of Hellenistic art and thoroughly displayed in this sculpture, making it a hallmark of the Hellenistic style. | [
"Rome",
"Hellenistic",
"bronze sculpture",
"Palazzo Massimo alle Terme",
"boxer",
"BC",
"National Museum of Rome",
"Quirinal",
"Hellenistic art"
] |
|
17562_T | Boxer at Rest | In Boxer at Rest, how is the Description and Interpretation discussed? | The statue is a masterpiece of Hellenistic athletic professionalism, with a top-heavy over-muscled torso and scarred and bruised face, penis bound by a kynodesme, cauliflower ears, broken nose, morton's toe and a mouth suggesting broken teeth. The boxer was also depicted as bearded, which would have been a typical characteristic of ancient boxers. R.R.R. Smith believes that the statue does not show a true portrait: this is genre realism, individuality removed in favor of a generic character of "boxer". A reconstruction project executed by the Frankfurt Liebieghaus Polychromy Research Project and headed by Vinzenz Brinkmann follows the interpretation of Otto Rossbach (1898) and Phyllis L. Williams (1945) and identifies the statue as Amykos, King of the Bebryces.In 1989, both bronzes were meticulously conserved by Nikolaus Himmelmann, in preparation for their exhibition at the Akademisches Kunstmuseum in Bonn. The sculpture is soldered together from eight segments, separately cast through the lost-wax process; the joins have been filed and finished to be virtually invisible. The lips and wounds and scars about the face were originally inlaid with copper, and further copper inlays on the right shoulder, forearm, caestus and thigh represented drops and trickles of blood. The fingers and toes were worn from being rubbed by passers-by in ancient times, which has suggested that the Boxer was carefully buried to preserve its talismanic value, when the Baths were abandoned after the Goths cut the aqueducts that fed them. These baths remained mostly unused until the 6th and 7th century when pilgrims being treated nearby in the Xenodochium of Santi Nereo ed Achilleo were buried at the location of the baths.The statue was displayed in the United States for the first time from June to July 2013 at the Metropolitan Museum of Art in New York City as part of the "Year of Italian Culture in the United States". | [
"kynodesme",
"Xenodochium",
"Liebieghaus",
"Goths",
"right",
"Hellenistic",
"boxer",
"cauliflower ears",
"Amykos",
"lost-wax process",
"Akademisches Kunstmuseum",
"R.R.R. Smith",
"Vinzenz Brinkmann",
"bronzes",
"Bonn",
"Metropolitan Museum of Art",
"morton's toe"
] |
|
17562_NT | Boxer at Rest | In this artwork, how is the Description and Interpretation discussed? | The statue is a masterpiece of Hellenistic athletic professionalism, with a top-heavy over-muscled torso and scarred and bruised face, penis bound by a kynodesme, cauliflower ears, broken nose, morton's toe and a mouth suggesting broken teeth. The boxer was also depicted as bearded, which would have been a typical characteristic of ancient boxers. R.R.R. Smith believes that the statue does not show a true portrait: this is genre realism, individuality removed in favor of a generic character of "boxer". A reconstruction project executed by the Frankfurt Liebieghaus Polychromy Research Project and headed by Vinzenz Brinkmann follows the interpretation of Otto Rossbach (1898) and Phyllis L. Williams (1945) and identifies the statue as Amykos, King of the Bebryces.In 1989, both bronzes were meticulously conserved by Nikolaus Himmelmann, in preparation for their exhibition at the Akademisches Kunstmuseum in Bonn. The sculpture is soldered together from eight segments, separately cast through the lost-wax process; the joins have been filed and finished to be virtually invisible. The lips and wounds and scars about the face were originally inlaid with copper, and further copper inlays on the right shoulder, forearm, caestus and thigh represented drops and trickles of blood. The fingers and toes were worn from being rubbed by passers-by in ancient times, which has suggested that the Boxer was carefully buried to preserve its talismanic value, when the Baths were abandoned after the Goths cut the aqueducts that fed them. These baths remained mostly unused until the 6th and 7th century when pilgrims being treated nearby in the Xenodochium of Santi Nereo ed Achilleo were buried at the location of the baths.The statue was displayed in the United States for the first time from June to July 2013 at the Metropolitan Museum of Art in New York City as part of the "Year of Italian Culture in the United States". | [
"kynodesme",
"Xenodochium",
"Liebieghaus",
"Goths",
"right",
"Hellenistic",
"boxer",
"cauliflower ears",
"Amykos",
"lost-wax process",
"Akademisches Kunstmuseum",
"R.R.R. Smith",
"Vinzenz Brinkmann",
"bronzes",
"Bonn",
"Metropolitan Museum of Art",
"morton's toe"
] |
|
17563_T | Boxer at Rest | Focus on Boxer at Rest and explore the Reception. | The literary and aesthetic reception of the statue continues to be of high regard for its aesthetic virtues. In 1991, Thom Jones wrote "The Pugilist at Rest", a short story which includes the aesthetic reflection upon the statue's rare quality as seen through the eyes of a worn and weary boxer contemplating its inspiration. He suggested that the sitter may be the famed Ancient boxer, Theogenes. During the time of its display in New York during the summer of 2013 (ended 20 July), New York magazine published on 15 July 2013 a full page dedication to the special qualities and attributes of the statue.Jerry Saltz, the author of this magazine article enumerated the six distinctive features of the statue as follows: (i) The Pose, distinct for its massiveness and "elemental" form, (ii) The Face, noted for the large brow and columnar neck, (iii) The Blood, noted by its inlaid copper upon the bronze statue itself, (iv) The Scarred Genitals, distinct for being infibulated for cultural and aesthetic purposes of ancient times, (v) The Hands, noted for being astounding yet gentle at the same time, and (vi) The Foresight, referring to the sculptor's strength of vision which resembles and conjures Goya's Giant as well as comparison with "Velazquez and Rembrandt", as Saltz completes his list.The Italian poet Gabriele Tinti has written essays and some poems on sculpture and presented a series of readings in front of the statue at the J. Paul Getty Museum with the actor Robert Davi and at the National Roman Museum with the actor Franco Nero. Paul Gallico, the American boxing commentator who was himself an amateur boxer, examined the statue in 1935. On the basis of this he concluded that the Terme Boxer was a left-handed slugger who faced a fast-moving and right-handed opponent who circled him and wore him down with punches to Terme Boxer's right while avoiding his left. Thus the Terme Boxer could not land his devastating knock-out punch. Gallico's assessment was forensic, and based on the pattern of wounds which are all on the Terme Boxer's right - some blows smashed into the right side of his face and others hit his right shoulder and arm. The Terme Boxer must have tried to protect his head by raising his right arm and the wounds there are interpreted as defensive. Gallico who had called many prizefights concluded that the Terme Boxer was worn down and brought to exhaustion, as the statue shows. Gallico believed that the Terme Boxer statue depicts the boxer as having lost the contest. | [
"Thom Jones",
"Theogenes",
"Giant",
"right",
"Goya",
"Gabriele Tinti",
"boxer",
"National Roman Museum",
"Robert Davi",
"Franco Nero",
"Rembrandt",
"J. Paul Getty Museum",
"Jerry Saltz",
"left",
"infibulated",
"Velazquez"
] |
|
17563_NT | Boxer at Rest | Focus on this artwork and explore the Reception. | The literary and aesthetic reception of the statue continues to be of high regard for its aesthetic virtues. In 1991, Thom Jones wrote "The Pugilist at Rest", a short story which includes the aesthetic reflection upon the statue's rare quality as seen through the eyes of a worn and weary boxer contemplating its inspiration. He suggested that the sitter may be the famed Ancient boxer, Theogenes. During the time of its display in New York during the summer of 2013 (ended 20 July), New York magazine published on 15 July 2013 a full page dedication to the special qualities and attributes of the statue.Jerry Saltz, the author of this magazine article enumerated the six distinctive features of the statue as follows: (i) The Pose, distinct for its massiveness and "elemental" form, (ii) The Face, noted for the large brow and columnar neck, (iii) The Blood, noted by its inlaid copper upon the bronze statue itself, (iv) The Scarred Genitals, distinct for being infibulated for cultural and aesthetic purposes of ancient times, (v) The Hands, noted for being astounding yet gentle at the same time, and (vi) The Foresight, referring to the sculptor's strength of vision which resembles and conjures Goya's Giant as well as comparison with "Velazquez and Rembrandt", as Saltz completes his list.The Italian poet Gabriele Tinti has written essays and some poems on sculpture and presented a series of readings in front of the statue at the J. Paul Getty Museum with the actor Robert Davi and at the National Roman Museum with the actor Franco Nero. Paul Gallico, the American boxing commentator who was himself an amateur boxer, examined the statue in 1935. On the basis of this he concluded that the Terme Boxer was a left-handed slugger who faced a fast-moving and right-handed opponent who circled him and wore him down with punches to Terme Boxer's right while avoiding his left. Thus the Terme Boxer could not land his devastating knock-out punch. Gallico's assessment was forensic, and based on the pattern of wounds which are all on the Terme Boxer's right - some blows smashed into the right side of his face and others hit his right shoulder and arm. The Terme Boxer must have tried to protect his head by raising his right arm and the wounds there are interpreted as defensive. Gallico who had called many prizefights concluded that the Terme Boxer was worn down and brought to exhaustion, as the statue shows. Gallico believed that the Terme Boxer statue depicts the boxer as having lost the contest. | [
"Thom Jones",
"Theogenes",
"Giant",
"right",
"Goya",
"Gabriele Tinti",
"boxer",
"National Roman Museum",
"Robert Davi",
"Franco Nero",
"Rembrandt",
"J. Paul Getty Museum",
"Jerry Saltz",
"left",
"infibulated",
"Velazquez"
] |
|
17564_T | A Huguenot, on St. Bartholomew's Day | Focus on A Huguenot, on St. Bartholomew's Day and explain the abstract. | A Huguenot, on St. Bartholomew's Day, Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge (1851–52) is the full, exhibited title of a painting by John Everett Millais, and was produced at the height of his Pre-Raphaelite period. It was accompanied, at the Royal Academy of Arts in London in 1852, with a long quote reading: "When the clock of the Palais de Justice shall sound upon the great bell, at daybreak, then each good Catholic must bind a strip of white linen round his arm, and place a fair white cross in his cap.—The order of the Duke of Guise." This long title is usually abbreviated to A Huguenot or A Huguenot, on St Bartholomew's Day.It depicts a pair of young lovers and is given a dramatic twist because the woman, who is Catholic, is attempting to get her beloved, who is Protestant, to wear the white armband declaring allegiance to Catholicism. The young man firmly pulls off the armband at the same time that he gently embraces his lover, and stares into her pleading eyes. The incident refers to the St. Bartholomew's Day massacre on August 24, 1572, when around 3,000 French Protestants (Huguenots) were murdered in Paris, with around 20,000 massacred across the rest of France. A small number of Protestants escaped from the city through subterfuge by wearing white armbands.
Millais had initially planned simply to depict lovers in a less dire predicament, but supposedly had been persuaded by his Pre-Raphaelite colleague William Holman Hunt that the subject was too trite. After seeing Giacomo Meyerbeer's opera Les Huguenots of 1836 at Covent Garden, which tells the story of the massacre, Millais adapted the painting to refer to the event. In the opera, Valentine attempts unsuccessfully to get her lover Raoul to wear the armband. The choice of a pro-Protestant subject was also significant because the Pre-Raphaelites had previously been attacked for their alleged sympathies to the Oxford Movement and to Catholicism.Millais painted the majority of the background near Ewell in Surrey in the late summer and autumn of 1851, while he and Hunt were living at Worcester Park Farm. It was from a brick wall adjoining an orchard. Some of the flowers depicted in the scene may have been chosen because of the contemporary interest in the so-called language of flowers. The blue Canterbury Bells at the left, for example, can stand for faith and constancy. Returning to London after the weather turned too cold to work out-of-doors in November, he painted in the figures: the face of the man was from that of Millais's family friend Arthur Lemprière, and the woman was posed for by Anne Ryan.
The painting was exhibited with Ophelia and his portrait of Mrs. Coventry Patmore (Fitzwilliam Museum, Cambridge) at the Royal Academy of Arts in 1852, and helped to change attitudes towards the Pre-Raphaelites. Tom Taylor wrote an extremely positive review in Punch. It was produced as a reproductive print by the dealer D. White and engraved in mezzotint by Thomas Oldham Barlow in 1856. This became Millais's first major popular success in this medium, and the artist went on to produce a number of other paintings on similar subjects to serve a growing middle class market for engravings. These include The Order of Release, 1746 (Tate, London), The Proscribed Royalist, 1651 (Lord Lloyd-Webber Collection), and The Black Brunswicker (Lady Lever Art Gallery, Port Sunlight). All were successfully engraved.
There are smaller watercolor versions of the picture in The Higgins Art Gallery, Bedford, the Fogg Art Museum, Harvard University, and a reduced oil replica in the Lord Lloyd-Webber Collection, all by Millais. | [
"The Higgins Art Gallery",
"Royal Academy of Arts",
"Thomas Oldham Barlow",
"John Everett Millais",
"William Holman Hunt",
"Canterbury Bells",
"Harvard University",
"language of flowers",
"Punch",
"Tate",
"St. Bartholomew's Day massacre",
"The Black Brunswicker",
"The Order of Release, 1746",
"Fitzwilliam Museum",
"Lady Lever Art Gallery",
"Ophelia",
"Fogg Art Museum",
"The Order of Release",
"Tom Taylor",
"Huguenots",
"Oxford Movement",
"Giacomo Meyerbeer",
"Les Huguenots",
"The Proscribed Royalist, 1651",
"mezzotint",
"Pre-Raphaelite",
"Catholicism"
] |
|
17564_NT | A Huguenot, on St. Bartholomew's Day | Focus on this artwork and explain the abstract. | A Huguenot, on St. Bartholomew's Day, Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge (1851–52) is the full, exhibited title of a painting by John Everett Millais, and was produced at the height of his Pre-Raphaelite period. It was accompanied, at the Royal Academy of Arts in London in 1852, with a long quote reading: "When the clock of the Palais de Justice shall sound upon the great bell, at daybreak, then each good Catholic must bind a strip of white linen round his arm, and place a fair white cross in his cap.—The order of the Duke of Guise." This long title is usually abbreviated to A Huguenot or A Huguenot, on St Bartholomew's Day.It depicts a pair of young lovers and is given a dramatic twist because the woman, who is Catholic, is attempting to get her beloved, who is Protestant, to wear the white armband declaring allegiance to Catholicism. The young man firmly pulls off the armband at the same time that he gently embraces his lover, and stares into her pleading eyes. The incident refers to the St. Bartholomew's Day massacre on August 24, 1572, when around 3,000 French Protestants (Huguenots) were murdered in Paris, with around 20,000 massacred across the rest of France. A small number of Protestants escaped from the city through subterfuge by wearing white armbands.
Millais had initially planned simply to depict lovers in a less dire predicament, but supposedly had been persuaded by his Pre-Raphaelite colleague William Holman Hunt that the subject was too trite. After seeing Giacomo Meyerbeer's opera Les Huguenots of 1836 at Covent Garden, which tells the story of the massacre, Millais adapted the painting to refer to the event. In the opera, Valentine attempts unsuccessfully to get her lover Raoul to wear the armband. The choice of a pro-Protestant subject was also significant because the Pre-Raphaelites had previously been attacked for their alleged sympathies to the Oxford Movement and to Catholicism.Millais painted the majority of the background near Ewell in Surrey in the late summer and autumn of 1851, while he and Hunt were living at Worcester Park Farm. It was from a brick wall adjoining an orchard. Some of the flowers depicted in the scene may have been chosen because of the contemporary interest in the so-called language of flowers. The blue Canterbury Bells at the left, for example, can stand for faith and constancy. Returning to London after the weather turned too cold to work out-of-doors in November, he painted in the figures: the face of the man was from that of Millais's family friend Arthur Lemprière, and the woman was posed for by Anne Ryan.
The painting was exhibited with Ophelia and his portrait of Mrs. Coventry Patmore (Fitzwilliam Museum, Cambridge) at the Royal Academy of Arts in 1852, and helped to change attitudes towards the Pre-Raphaelites. Tom Taylor wrote an extremely positive review in Punch. It was produced as a reproductive print by the dealer D. White and engraved in mezzotint by Thomas Oldham Barlow in 1856. This became Millais's first major popular success in this medium, and the artist went on to produce a number of other paintings on similar subjects to serve a growing middle class market for engravings. These include The Order of Release, 1746 (Tate, London), The Proscribed Royalist, 1651 (Lord Lloyd-Webber Collection), and The Black Brunswicker (Lady Lever Art Gallery, Port Sunlight). All were successfully engraved.
There are smaller watercolor versions of the picture in The Higgins Art Gallery, Bedford, the Fogg Art Museum, Harvard University, and a reduced oil replica in the Lord Lloyd-Webber Collection, all by Millais. | [
"The Higgins Art Gallery",
"Royal Academy of Arts",
"Thomas Oldham Barlow",
"John Everett Millais",
"William Holman Hunt",
"Canterbury Bells",
"Harvard University",
"language of flowers",
"Punch",
"Tate",
"St. Bartholomew's Day massacre",
"The Black Brunswicker",
"The Order of Release, 1746",
"Fitzwilliam Museum",
"Lady Lever Art Gallery",
"Ophelia",
"Fogg Art Museum",
"The Order of Release",
"Tom Taylor",
"Huguenots",
"Oxford Movement",
"Giacomo Meyerbeer",
"Les Huguenots",
"The Proscribed Royalist, 1651",
"mezzotint",
"Pre-Raphaelite",
"Catholicism"
] |
|
17565_T | Ahasuerus and Haman at the Feast of Esther | Explore the abstract of this artwork, Ahasuerus and Haman at the Feast of Esther. | The painting Ahasveros and Haman at the Feast of Esther is one of the few works of Rembrandt van Rijn whose complete provenance is known. The origin of the painting can be traced back to 1662, two years after its completion. There are only three figures in the picture and the banquet is suggested sketchily. Esther lowers her arms apprehensively as she finishes her speech, the king's lips are pursed in anger, and Haman's pose reveals a sense of doom. The distance between the king and his vizier seems enormous, while the king and queen form a united pair. | [
"Haman",
"Esther",
"Rembrandt van Rijn",
"provenance",
"Rembrandt"
] |
|
17565_NT | Ahasuerus and Haman at the Feast of Esther | Explore the abstract of this artwork. | The painting Ahasveros and Haman at the Feast of Esther is one of the few works of Rembrandt van Rijn whose complete provenance is known. The origin of the painting can be traced back to 1662, two years after its completion. There are only three figures in the picture and the banquet is suggested sketchily. Esther lowers her arms apprehensively as she finishes her speech, the king's lips are pursed in anger, and Haman's pose reveals a sense of doom. The distance between the king and his vizier seems enormous, while the king and queen form a united pair. | [
"Haman",
"Esther",
"Rembrandt van Rijn",
"provenance",
"Rembrandt"
] |
|
17566_T | Ahasuerus and Haman at the Feast of Esther | Focus on Ahasuerus and Haman at the Feast of Esther and discuss the Subject. | The subject is an episode from chapters 5-7 of the Book of Esther in the Old Testament. Haman, councillor to the king Ahasuerus, proposed to hang Mordechai for not paying him respect by standing as he entered the room or by greeting him, and the entire Jewish nation as revenge for their pride. The Jews were saved by the intercession of Mordechai's cousin Esther, who was also Ahasuerus' wife. It is this rescue that is still celebrated in the Jewish festival of Purim. In that festival, Haman is portrayed as the villain, and this is reflected in Rembrandt's depiction of him.
According to the Pushkin Museum this is one of the best creations of Rembrandt's late period.The dramatic conflict between the three persons is expressed through their restrained but eloquent gestures. The scene has a tense atmosphere of suspense. The figure of Esther is radiant, her robe with a long train is gleaming as if with precious stones. Haman is immersed in the shadows. Rembrandt achieves great depth in rendering the inner life, the spiritual energy of his characters. | [
"Ahasuerus",
"Haman",
"Esther",
"Purim",
"Mordechai",
"Rembrandt",
"Book of Esther",
"Pushkin Museum",
"Old Testament"
] |
|
17566_NT | Ahasuerus and Haman at the Feast of Esther | Focus on this artwork and discuss the Subject. | The subject is an episode from chapters 5-7 of the Book of Esther in the Old Testament. Haman, councillor to the king Ahasuerus, proposed to hang Mordechai for not paying him respect by standing as he entered the room or by greeting him, and the entire Jewish nation as revenge for their pride. The Jews were saved by the intercession of Mordechai's cousin Esther, who was also Ahasuerus' wife. It is this rescue that is still celebrated in the Jewish festival of Purim. In that festival, Haman is portrayed as the villain, and this is reflected in Rembrandt's depiction of him.
According to the Pushkin Museum this is one of the best creations of Rembrandt's late period.The dramatic conflict between the three persons is expressed through their restrained but eloquent gestures. The scene has a tense atmosphere of suspense. The figure of Esther is radiant, her robe with a long train is gleaming as if with precious stones. Haman is immersed in the shadows. Rembrandt achieves great depth in rendering the inner life, the spiritual energy of his characters. | [
"Ahasuerus",
"Haman",
"Esther",
"Purim",
"Mordechai",
"Rembrandt",
"Book of Esther",
"Pushkin Museum",
"Old Testament"
] |
|
17567_T | Ahasuerus and Haman at the Feast of Esther | How does Ahasuerus and Haman at the Feast of Esther elucidate its Rembrandt? | Rembrandt was inspired by the play Hester, by Johannes Serwouters (1623-1677), when painting Ahasuerus and Haman at the Feast of Esther. The play was first performed in 1659 in the Schouwburg of Van Campen and dedicated to Leonore Huydecoper, the daughter of Joan Huydecoper van Maarsseveen. Serwouters wrote his play as a reaction to the pogroms in Eastern Europe. Her husband may have ordered the painting, in this way helping Rembrandt being in financial difficulties.
After its completion in 1660, Rembrandt sold the painting Ahasuerus and Haman at the Feast of Esther to Jan J. Hinlopen. In the year 1662 a poetry book by Jan Vos was published, in which there were a number of poems based on the paintings belonging to Jan J. Hinlopen. Jan Vos describes the painting as following:"Here one sees Haman eating with Ahasuerus and Esther.
"But it is in vain; his breast is full of regret and pain.
"He eats Esther's food; but deeper into her heart.
"The king is mad with revenge and rage.
"The wrath of a monarch..." | [
"Ahasuerus",
"Jan Vos",
"Haman",
"Jan J. Hinlopen",
"Esther",
"pogrom",
"Rembrandt",
"Schouwburg of Van Campen",
"Joan Huydecoper van Maarsseveen"
] |
|
17567_NT | Ahasuerus and Haman at the Feast of Esther | How does this artwork elucidate its Rembrandt? | Rembrandt was inspired by the play Hester, by Johannes Serwouters (1623-1677), when painting Ahasuerus and Haman at the Feast of Esther. The play was first performed in 1659 in the Schouwburg of Van Campen and dedicated to Leonore Huydecoper, the daughter of Joan Huydecoper van Maarsseveen. Serwouters wrote his play as a reaction to the pogroms in Eastern Europe. Her husband may have ordered the painting, in this way helping Rembrandt being in financial difficulties.
After its completion in 1660, Rembrandt sold the painting Ahasuerus and Haman at the Feast of Esther to Jan J. Hinlopen. In the year 1662 a poetry book by Jan Vos was published, in which there were a number of poems based on the paintings belonging to Jan J. Hinlopen. Jan Vos describes the painting as following:"Here one sees Haman eating with Ahasuerus and Esther.
"But it is in vain; his breast is full of regret and pain.
"He eats Esther's food; but deeper into her heart.
"The king is mad with revenge and rage.
"The wrath of a monarch..." | [
"Ahasuerus",
"Jan Vos",
"Haman",
"Jan J. Hinlopen",
"Esther",
"pogrom",
"Rembrandt",
"Schouwburg of Van Campen",
"Joan Huydecoper van Maarsseveen"
] |
|
17568_T | Ahasuerus and Haman at the Feast of Esther | Focus on Ahasuerus and Haman at the Feast of Esther and analyze the Provenance. | Part of Jan Hinlopen's collection passed to his two daughters, this painting was one of them.
Sara Hinlopen, the longest living of her family, died 89 years old, but without children. Most of her belongings passed to Nicolaes Geelvinck and his three sisters. Unfortunately, her will does not mention any painting, most probably to avoid inheritance taxes.
In 1760 Ahasuerus and Haman at the Feast of Esther was sold as number 45 at an auction, listed as coming from Nicolaes Geelvinck, and organized after the death of Gerard Hoet, a minor painter but important collector in The Hague.In 1764 the painting came to Catherine the Great, most probably through the German entrepreneur Johann Ernst Gotzkowsky, in financial trouble after the Seven Years' War. After receiving 320 paintings at one time from Gotzkowsky, the Russian Tsarina started the Hermitage.
Probably advised by Gustav Friedrich Waagen the painting went in 1862 to the Museum Rumyantsev in Moscow. Since 1924 Ahasuerus and Haman at the Feast of Esther can be seen in the Pushkin Museum, also in Moscow. | [
"Johann Ernst Gotzkowsky",
"Ahasuerus",
"Provenance",
"The Hague",
"Haman",
"Esther",
"Sara Hinlopen",
"Moscow",
"Hermitage",
"Seven Years' War",
"Catherine the Great",
"Tsarina",
"Pushkin Museum",
"Nicolaes Geelvinck",
"Gustav Friedrich Waagen",
"Gerard Hoet",
"Museum Rumyantsev"
] |
|
17568_NT | Ahasuerus and Haman at the Feast of Esther | Focus on this artwork and analyze the Provenance. | Part of Jan Hinlopen's collection passed to his two daughters, this painting was one of them.
Sara Hinlopen, the longest living of her family, died 89 years old, but without children. Most of her belongings passed to Nicolaes Geelvinck and his three sisters. Unfortunately, her will does not mention any painting, most probably to avoid inheritance taxes.
In 1760 Ahasuerus and Haman at the Feast of Esther was sold as number 45 at an auction, listed as coming from Nicolaes Geelvinck, and organized after the death of Gerard Hoet, a minor painter but important collector in The Hague.In 1764 the painting came to Catherine the Great, most probably through the German entrepreneur Johann Ernst Gotzkowsky, in financial trouble after the Seven Years' War. After receiving 320 paintings at one time from Gotzkowsky, the Russian Tsarina started the Hermitage.
Probably advised by Gustav Friedrich Waagen the painting went in 1862 to the Museum Rumyantsev in Moscow. Since 1924 Ahasuerus and Haman at the Feast of Esther can be seen in the Pushkin Museum, also in Moscow. | [
"Johann Ernst Gotzkowsky",
"Ahasuerus",
"Provenance",
"The Hague",
"Haman",
"Esther",
"Sara Hinlopen",
"Moscow",
"Hermitage",
"Seven Years' War",
"Catherine the Great",
"Tsarina",
"Pushkin Museum",
"Nicolaes Geelvinck",
"Gustav Friedrich Waagen",
"Gerard Hoet",
"Museum Rumyantsev"
] |
|
17569_T | Lincoln Monument (Dixon, Illinois) | In Lincoln Monument (Dixon, Illinois), how is the abstract discussed? | The Lincoln Monument is a bronze statue of Abraham Lincoln that commemorates his 1832 service in the Black Hawk War. Located in President's Park in Dixon, Illinois, the bronze statue was sculpted by Leonard Crunelle and was dedicated on September 24, 1930. The memorial is maintained by the Illinois Historic Preservation Agency as a state historic site.
The inscription reads:
(On back of base, north side under relief of John Dixon:)
JOHN DIXON
FOUNDER OF THE CITY OF DIXON
APRIL 11, 1830 - PROPRIETOR
OF THE FERRY AND TAVERN HERE
DURING THE BLACK HAWK WAR
(Under relief of Ft. Dixon:)
FORT DIXON IN 1832
(Under relief of a tavern, wagon, and boat:)
DIXON TAVERN AND FERRY 1830
(Front of base:)
LINCOLN | [
"Black Hawk War",
"Leonard Crunelle",
"Illinois Historic Preservation Agency",
"Abraham Lincoln",
"Dixon, Illinois"
] |
|
17569_NT | Lincoln Monument (Dixon, Illinois) | In this artwork, how is the abstract discussed? | The Lincoln Monument is a bronze statue of Abraham Lincoln that commemorates his 1832 service in the Black Hawk War. Located in President's Park in Dixon, Illinois, the bronze statue was sculpted by Leonard Crunelle and was dedicated on September 24, 1930. The memorial is maintained by the Illinois Historic Preservation Agency as a state historic site.
The inscription reads:
(On back of base, north side under relief of John Dixon:)
JOHN DIXON
FOUNDER OF THE CITY OF DIXON
APRIL 11, 1830 - PROPRIETOR
OF THE FERRY AND TAVERN HERE
DURING THE BLACK HAWK WAR
(Under relief of Ft. Dixon:)
FORT DIXON IN 1832
(Under relief of a tavern, wagon, and boat:)
DIXON TAVERN AND FERRY 1830
(Front of base:)
LINCOLN | [
"Black Hawk War",
"Leonard Crunelle",
"Illinois Historic Preservation Agency",
"Abraham Lincoln",
"Dixon, Illinois"
] |
|
17570_T | Pietà (Perugino) | Focus on Pietà (Perugino) and explore the abstract. | Pietà is a painting by the Italian Renaissance artist Pietro Perugino, executed around 1483-1493, and housed in the Uffizi Gallery, Florence. | [
"Florence",
"Uffizi",
"Uffizi Gallery",
"Pietro Perugino",
"Pietà",
"Perugino"
] |
|
17570_NT | Pietà (Perugino) | Focus on this artwork and explore the abstract. | Pietà is a painting by the Italian Renaissance artist Pietro Perugino, executed around 1483-1493, and housed in the Uffizi Gallery, Florence. | [
"Florence",
"Uffizi",
"Uffizi Gallery",
"Pietro Perugino",
"Pietà",
"Perugino"
] |
|
17571_T | Pietà (Perugino) | Focus on Pietà (Perugino) and explain the History. | The work was painted for the church of the convent of San Giusto alle mura together with the Agony in the Garden and a Crucifixion. Renaissance art biographer Giorgio Vasari saw them in side altars of the church of San Giovanni Battista alla Calza, after the original location had been destroyed during the Siege of Florence in 1529. It was moved to the Uffizi in the 20th century.
The dating of the work is disputed: it varies from 1482, the year of Perugino's return from Rome, to a slightly later period, although before the end of the century, when the artist started to use only line oil, which in these works is used only at an experimental level.
The painting was restored in 1998. | [
"Giorgio Vasari",
"Florence",
"Uffizi",
"Perugino",
"Siege of Florence",
"Agony in the Garden",
"Crucifixion"
] |
|
17571_NT | Pietà (Perugino) | Focus on this artwork and explain the History. | The work was painted for the church of the convent of San Giusto alle mura together with the Agony in the Garden and a Crucifixion. Renaissance art biographer Giorgio Vasari saw them in side altars of the church of San Giovanni Battista alla Calza, after the original location had been destroyed during the Siege of Florence in 1529. It was moved to the Uffizi in the 20th century.
The dating of the work is disputed: it varies from 1482, the year of Perugino's return from Rome, to a slightly later period, although before the end of the century, when the artist started to use only line oil, which in these works is used only at an experimental level.
The painting was restored in 1998. | [
"Giorgio Vasari",
"Florence",
"Uffizi",
"Perugino",
"Siege of Florence",
"Agony in the Garden",
"Crucifixion"
] |
|
17572_T | Pietà (Perugino) | Explore the Description of this artwork, Pietà (Perugino). | The scene of the Pietà was depicted by Perugino under a portico, a typical theme of his art in the 1480s and 1490s (used for example in the Albani-Torlonia Polyptych of the Madonna with Child Enthroned between Saints John the Baptist and Sebastian). The serene landscape with light trees is also common in his paintings of the period.
Such as in the German Vesperbilder, Jesus's body is horizontal and quite rigid, also held by John the Evangelist on the left and Mary Magdalene on the right. At the sides are further saints, a young one (Nicodemus) on the left, with the hands joined in his chest, and an aged one (Joseph of Arimathea) on the right, looking down.
The use of less pale tonalities for Mary Magdalene is similar to that used by Luca Signorelli at the time. | [
"Vesperbild",
"Madonna with Child Enthroned between Saints John the Baptist and Sebastian",
"Albani-Torlonia Polyptych",
"left",
"Pietà",
"Perugino",
"Luca Signorelli"
] |
|
17572_NT | Pietà (Perugino) | Explore the Description of this artwork. | The scene of the Pietà was depicted by Perugino under a portico, a typical theme of his art in the 1480s and 1490s (used for example in the Albani-Torlonia Polyptych of the Madonna with Child Enthroned between Saints John the Baptist and Sebastian). The serene landscape with light trees is also common in his paintings of the period.
Such as in the German Vesperbilder, Jesus's body is horizontal and quite rigid, also held by John the Evangelist on the left and Mary Magdalene on the right. At the sides are further saints, a young one (Nicodemus) on the left, with the hands joined in his chest, and an aged one (Joseph of Arimathea) on the right, looking down.
The use of less pale tonalities for Mary Magdalene is similar to that used by Luca Signorelli at the time. | [
"Vesperbild",
"Madonna with Child Enthroned between Saints John the Baptist and Sebastian",
"Albani-Torlonia Polyptych",
"left",
"Pietà",
"Perugino",
"Luca Signorelli"
] |
|
17573_T | Aero Memorial (Manship) | Focus on Aero Memorial (Manship) and discuss the abstract. | The Aero Memorial is a gilded bronze sculpture by Paul Manship, commissioned by the Association for Public Art (formerly the Fairmount Park Art Association). Aero Memorial is located in Philadelphia's Aviator Park, across from The Franklin Institute at 20th Street and the Benjamin Franklin Parkway. The memorial is a tribute to those aviators who died in World War I, and it was initiated by the Aero Club of Pennsylvania in 1917 with the help of the Fairmount Park Art Association. The Aero Club donated modest funds into the Fairmount Park Art Association in 1917 for the creation of the memorial, and after years of fundraising, the Art Association was finally able to contact Paul Manship for the commission 1939. The idea for a celestial sphere was approved in 1944, and the sculpture was completed in 1948. Aero Memorial was dedicated on June 1, 1950. Aero Memorial is one of 51 sculptures included in the Association for Public Art's Museum Without Walls interpretive audio program for Philadelphia's outdoor sculpture.
The inscription reads:
(Sphere is inscribed with the Latin names of constellations and planets)
(Base, front:)
AERO
MEMORIAL
WORLD WAR I
1917–1918
(Base, front:)
JULIAN BIDDLE
HOWARD FOULKE DAY
(...transcription illegible)
ON DOWNS, JR.
(...transcription illegible)
CHRISTIAN CLANZ
WILLIAM BESSE KOEN
(...transcription illegible)
TON WOODWARD
(A plaque with the insignia of the Fairmount Park Art Association appears on the base.) | [
"Paul Manship",
"gilded",
"Philadelphia",
"Association for Public Art",
"Franklin Institute",
"bronze",
"Fairmount Park Art Association",
"The Franklin Institute"
] |
|
17573_NT | Aero Memorial (Manship) | Focus on this artwork and discuss the abstract. | The Aero Memorial is a gilded bronze sculpture by Paul Manship, commissioned by the Association for Public Art (formerly the Fairmount Park Art Association). Aero Memorial is located in Philadelphia's Aviator Park, across from The Franklin Institute at 20th Street and the Benjamin Franklin Parkway. The memorial is a tribute to those aviators who died in World War I, and it was initiated by the Aero Club of Pennsylvania in 1917 with the help of the Fairmount Park Art Association. The Aero Club donated modest funds into the Fairmount Park Art Association in 1917 for the creation of the memorial, and after years of fundraising, the Art Association was finally able to contact Paul Manship for the commission 1939. The idea for a celestial sphere was approved in 1944, and the sculpture was completed in 1948. Aero Memorial was dedicated on June 1, 1950. Aero Memorial is one of 51 sculptures included in the Association for Public Art's Museum Without Walls interpretive audio program for Philadelphia's outdoor sculpture.
The inscription reads:
(Sphere is inscribed with the Latin names of constellations and planets)
(Base, front:)
AERO
MEMORIAL
WORLD WAR I
1917–1918
(Base, front:)
JULIAN BIDDLE
HOWARD FOULKE DAY
(...transcription illegible)
ON DOWNS, JR.
(...transcription illegible)
CHRISTIAN CLANZ
WILLIAM BESSE KOEN
(...transcription illegible)
TON WOODWARD
(A plaque with the insignia of the Fairmount Park Art Association appears on the base.) | [
"Paul Manship",
"gilded",
"Philadelphia",
"Association for Public Art",
"Franklin Institute",
"bronze",
"Fairmount Park Art Association",
"The Franklin Institute"
] |
|
17574_T | Portrait of a Collector | How does Portrait of a Collector elucidate its abstract? | Portrait of a Collector is a painting by the Italian Mannerist artist Parmigianino, executed around 1524. | [
"Parmigianino",
"Collector"
] |
|
17574_NT | Portrait of a Collector | How does this artwork elucidate its abstract? | Portrait of a Collector is a painting by the Italian Mannerist artist Parmigianino, executed around 1524. | [
"Parmigianino",
"Collector"
] |
|
17575_T | Portrait of a Collector | Focus on Portrait of a Collector and analyze the History. | The work, together with other four attributed to Parmigianino, was listed in the "wardrobe" of Ranuccio Farnese in 1587, as a Portrait of a Priest. A more detailed description from 1670, of the works in the Palazzo del Giardino at Parma, also identifies the subject as religious man. The painting arrived in England in the early 19th century, in the collections of Lord Radstock, and was later auctioned at Christie's as Parmigianino's self-portrait. In 1857 it became part of the collections of Lord Strafford at Wrotham Park, being acquired by the National Gallery in 1977.
It was published for the first time in an art history journal in 1940, on Emporium, which assigned it to the Roman sojourn of the painter. It was later considered earlier, to c. 1524, basing on stylistic similarities with works of that period. In particular, the bas-relief is similar to that in the fresco of Sts. Lucy and Apollonia at San Giovanni Evangelista, while the portrait scheme and technique recalls the Portrait of Galeazzo Sanvitale.
There are at least two old copies of the painting, one in the Uffizi depot (inventory 3971) and one at the Walker Art Center of Minneapolis, United States. | [
"Wrotham Park",
"Ranuccio Farnese",
"Parmigianino",
"Uffizi",
"Minneapolis",
"Christie's",
"Portrait of Galeazzo Sanvitale",
"National Gallery",
"Walker Art Center",
"San Giovanni Evangelista",
"Parma"
] |
|
17575_NT | Portrait of a Collector | Focus on this artwork and analyze the History. | The work, together with other four attributed to Parmigianino, was listed in the "wardrobe" of Ranuccio Farnese in 1587, as a Portrait of a Priest. A more detailed description from 1670, of the works in the Palazzo del Giardino at Parma, also identifies the subject as religious man. The painting arrived in England in the early 19th century, in the collections of Lord Radstock, and was later auctioned at Christie's as Parmigianino's self-portrait. In 1857 it became part of the collections of Lord Strafford at Wrotham Park, being acquired by the National Gallery in 1977.
It was published for the first time in an art history journal in 1940, on Emporium, which assigned it to the Roman sojourn of the painter. It was later considered earlier, to c. 1524, basing on stylistic similarities with works of that period. In particular, the bas-relief is similar to that in the fresco of Sts. Lucy and Apollonia at San Giovanni Evangelista, while the portrait scheme and technique recalls the Portrait of Galeazzo Sanvitale.
There are at least two old copies of the painting, one in the Uffizi depot (inventory 3971) and one at the Walker Art Center of Minneapolis, United States. | [
"Wrotham Park",
"Ranuccio Farnese",
"Parmigianino",
"Uffizi",
"Minneapolis",
"Christie's",
"Portrait of Galeazzo Sanvitale",
"National Gallery",
"Walker Art Center",
"San Giovanni Evangelista",
"Parma"
] |
|
17576_T | Portrait of a Collector | In Portrait of a Collector, how is the Description discussed? | The first art historian to clarify that the subject was not a priest was Freedberg, in 1950, identifying him as Francesco Baiardi. Today he is considered an unknown collector, who holds the Offiziolo Durazzo, a miniated breviary today housed in the Biblioteca Civica Berio at Genoa. This work had been executed some twenty years before the painting by Francesco Marmitta, a painter from Parma who has been erroneously considered Parmigianino's master. The man is the same appearing in a portrait in London, attributed by some to Dosso Dossi.The subject, who is illuminated by a frontal source, wears a wide black coat lined in fur, and a hat of the same color. His left hands holds the Offiziolo, whose decorated cover is painted in the finest details; the right hands lies on the table, and has a golden ring with a precious stone at the little finger. Near it are a bronze statuette in ancient style, perhaps a female divinity (identified by some as Ceres), three bronze medals and an ancient silver coin: these objects were added as a show of the man's cultural interests. In the left background is a marble bas-relief of Mars, Cupid and Venus, a typical theme of the Platonic Academy, while on the right is a landscape. | [
"Genoa",
"breviary",
"Parmigianino",
"Biblioteca Civica Berio",
"Platonic Academy",
"Ceres",
"London",
"Dosso Dossi",
"Parma"
] |
|
17576_NT | Portrait of a Collector | In this artwork, how is the Description discussed? | The first art historian to clarify that the subject was not a priest was Freedberg, in 1950, identifying him as Francesco Baiardi. Today he is considered an unknown collector, who holds the Offiziolo Durazzo, a miniated breviary today housed in the Biblioteca Civica Berio at Genoa. This work had been executed some twenty years before the painting by Francesco Marmitta, a painter from Parma who has been erroneously considered Parmigianino's master. The man is the same appearing in a portrait in London, attributed by some to Dosso Dossi.The subject, who is illuminated by a frontal source, wears a wide black coat lined in fur, and a hat of the same color. His left hands holds the Offiziolo, whose decorated cover is painted in the finest details; the right hands lies on the table, and has a golden ring with a precious stone at the little finger. Near it are a bronze statuette in ancient style, perhaps a female divinity (identified by some as Ceres), three bronze medals and an ancient silver coin: these objects were added as a show of the man's cultural interests. In the left background is a marble bas-relief of Mars, Cupid and Venus, a typical theme of the Platonic Academy, while on the right is a landscape. | [
"Genoa",
"breviary",
"Parmigianino",
"Biblioteca Civica Berio",
"Platonic Academy",
"Ceres",
"London",
"Dosso Dossi",
"Parma"
] |
|
17577_T | Mickey (Damien Hirst) | Focus on Mickey (Damien Hirst) and explore the abstract. | Mickey is a household gloss on canvas painting by Damien Hirst executed in 2012. Hirst was invited by Disney to create an artwork inspired by Mickey Mouse and this was his response. The work was auctioned at Christie's, London, on 13 February 2014 in aid of Kids Company, a charity Hirst has long supported, fetching £902,500.
The auction lot notes quote Hirst as commenting: The thing about Mickey is that even though he’s gone through so many shifts in form and association, he’s timeless. In a way he means the same in the 21st century as he did decades ago. I watched the cartoons as a kid, and my kids watch them too. He’s relevant because he’s remained so culturally ingrained and he still just looks so great. The way children are entertained today has obviously changed dramatically, but kids are still kids, and love the same things.It’s using simple means to capture the very essence of his form solely through the power of colour. I love that the imagery is so powerful that it only takes twelve different coloured dots to create something so instantly recognisable. | [
"household gloss",
"Christie's",
"Mickey Mouse",
"Kids Company",
"Disney",
"Damien Hirst"
] |
|
17577_NT | Mickey (Damien Hirst) | Focus on this artwork and explore the abstract. | Mickey is a household gloss on canvas painting by Damien Hirst executed in 2012. Hirst was invited by Disney to create an artwork inspired by Mickey Mouse and this was his response. The work was auctioned at Christie's, London, on 13 February 2014 in aid of Kids Company, a charity Hirst has long supported, fetching £902,500.
The auction lot notes quote Hirst as commenting: The thing about Mickey is that even though he’s gone through so many shifts in form and association, he’s timeless. In a way he means the same in the 21st century as he did decades ago. I watched the cartoons as a kid, and my kids watch them too. He’s relevant because he’s remained so culturally ingrained and he still just looks so great. The way children are entertained today has obviously changed dramatically, but kids are still kids, and love the same things.It’s using simple means to capture the very essence of his form solely through the power of colour. I love that the imagery is so powerful that it only takes twelve different coloured dots to create something so instantly recognisable. | [
"household gloss",
"Christie's",
"Mickey Mouse",
"Kids Company",
"Disney",
"Damien Hirst"
] |
|
17578_T | Tobias and the Angel (Pollaiuolo) | Focus on Tobias and the Angel (Pollaiuolo) and explain the abstract. | Tobias and the Angel is an oil painting on panel of c. 1465–1470 by the Italian artists Antonio and Piero del Pollaiuolo, in the Galleria Sabauda in Turin.
The painting was mentioned by Giorgio Vasari as hanging on a pillar in the church of Orsanmichele in Florence, though he erroneously described it as being painted on canvas. Rediscovered in the Palazzo Tolomei on via Ginori in Florence by Gaetano Milanesi, it was acquired by Baron Hector de Garriod in 1865 for its present owner. | [
"Tobias",
"Orsanmichele",
"Turin",
"Giorgio Vasari",
"Gaetano Milanesi",
"Florence",
"Piero del Pollaiuolo",
"Antonio",
"Tobias and the Angel",
"Galleria Sabauda"
] |
|
17578_NT | Tobias and the Angel (Pollaiuolo) | Focus on this artwork and explain the abstract. | Tobias and the Angel is an oil painting on panel of c. 1465–1470 by the Italian artists Antonio and Piero del Pollaiuolo, in the Galleria Sabauda in Turin.
The painting was mentioned by Giorgio Vasari as hanging on a pillar in the church of Orsanmichele in Florence, though he erroneously described it as being painted on canvas. Rediscovered in the Palazzo Tolomei on via Ginori in Florence by Gaetano Milanesi, it was acquired by Baron Hector de Garriod in 1865 for its present owner. | [
"Tobias",
"Orsanmichele",
"Turin",
"Giorgio Vasari",
"Gaetano Milanesi",
"Florence",
"Piero del Pollaiuolo",
"Antonio",
"Tobias and the Angel",
"Galleria Sabauda"
] |
|
17579_T | Walkways Through the Wall | Explore the abstract of this artwork, Walkways Through the Wall. | Walkways Through the Wall is a public artwork by American artist Vito Acconci located at the Wisconsin Center, which is near Milwaukee, Wisconsin, in the United States. | [
"Milwaukee",
"Wisconsin Center",
"American",
"Vito Acconci",
"United States",
"Wisconsin"
] |
|
17579_NT | Walkways Through the Wall | Explore the abstract of this artwork. | Walkways Through the Wall is a public artwork by American artist Vito Acconci located at the Wisconsin Center, which is near Milwaukee, Wisconsin, in the United States. | [
"Milwaukee",
"Wisconsin Center",
"American",
"Vito Acconci",
"United States",
"Wisconsin"
] |
|
17580_T | Walkways Through the Wall | Focus on Walkways Through the Wall and discuss the Description. | Walkways Through the Wall is a sculpture, made for the Wisconsin Center, that intertwines public and private space.
Created in 1998 by Vito Acconci, and a collaborating team of architects, (David Leven, Celia Imrey, Luis Vera, Jenny Schrider, and Saija Singer) Walkways Through the Wall is intended to enhance the idea of the Airlines Center as being seen as one continuous plaza. The dimensions are 14.5' X 68' X 204', and the sculpture stretches from outside the building, through its interior, and out the other side.
The materials used are: Colored Concrete, Standard Gray Concrete, Steel, and Light-box floor. The sculpture passes through the walls of the building as if they aren't there, making a continuous path from exterior to exterior. | [
"Wisconsin Center",
"Vito Acconci",
"Wisconsin"
] |
|
17580_NT | Walkways Through the Wall | Focus on this artwork and discuss the Description. | Walkways Through the Wall is a sculpture, made for the Wisconsin Center, that intertwines public and private space.
Created in 1998 by Vito Acconci, and a collaborating team of architects, (David Leven, Celia Imrey, Luis Vera, Jenny Schrider, and Saija Singer) Walkways Through the Wall is intended to enhance the idea of the Airlines Center as being seen as one continuous plaza. The dimensions are 14.5' X 68' X 204', and the sculpture stretches from outside the building, through its interior, and out the other side.
The materials used are: Colored Concrete, Standard Gray Concrete, Steel, and Light-box floor. The sculpture passes through the walls of the building as if they aren't there, making a continuous path from exterior to exterior. | [
"Wisconsin Center",
"Vito Acconci",
"Wisconsin"
] |
|
17581_T | Walkways Through the Wall | How does Walkways Through the Wall elucidate its Historical information? | Walkways Through the Wall is an example of Acconci's focus on architecture and landscape design. According to Wisconsin policy, 1% of the Midwest Airlines Center had to be spent on art. Instead of creating a piece of sculpture for the outside of the building, Acconci integrated art into the building's design. Mark A. Wallace compares the building's concrete floor to taffy that slips in and out of the building, going through windows, sidewalks and the building's facade."From the outside, Acconci extends the natural concrete as pathways through the wall and into the building, bisecting the terra-cotta concourse. Each path then heads in a different direction and ends with a unique purpose. In two cases, the path forms a bench at the street level. In another it cascades downward before ending as a sitting area on the level below. In still another, it leads to a stairway connecting the two levels. Light boxes mark the turns in the walkways where the concrete material ceases to exist, illuminating both the interior and exterior concourses." Special care had to be taken in the construction. For example, the benches had to be cast 6 inches thick, so as to be able to support their own weight and that of pedestrians.
The resulting space is playful, yet Acconci also envisioned serious objectives. The artist aimed to re-people the public space, and encourage them to think about how these spaces are shaped. He achieved this by creating a continuous plaza. "Acconci and his colleagues designed their "interactive art installation" with the hope that visitors to the Midwest Airlines Center will see materials defying physical properties and reflect on their own potential. 'I hope they would laugh and think that something is doing what it wasn't supposed to do,' explains Acconci, 'So if the material does what it is not supposed to do, maybe I, a person, can do what I am not supposed to do." | [
"Wisconsin"
] |
|
17581_NT | Walkways Through the Wall | How does this artwork elucidate its Historical information? | Walkways Through the Wall is an example of Acconci's focus on architecture and landscape design. According to Wisconsin policy, 1% of the Midwest Airlines Center had to be spent on art. Instead of creating a piece of sculpture for the outside of the building, Acconci integrated art into the building's design. Mark A. Wallace compares the building's concrete floor to taffy that slips in and out of the building, going through windows, sidewalks and the building's facade."From the outside, Acconci extends the natural concrete as pathways through the wall and into the building, bisecting the terra-cotta concourse. Each path then heads in a different direction and ends with a unique purpose. In two cases, the path forms a bench at the street level. In another it cascades downward before ending as a sitting area on the level below. In still another, it leads to a stairway connecting the two levels. Light boxes mark the turns in the walkways where the concrete material ceases to exist, illuminating both the interior and exterior concourses." Special care had to be taken in the construction. For example, the benches had to be cast 6 inches thick, so as to be able to support their own weight and that of pedestrians.
The resulting space is playful, yet Acconci also envisioned serious objectives. The artist aimed to re-people the public space, and encourage them to think about how these spaces are shaped. He achieved this by creating a continuous plaza. "Acconci and his colleagues designed their "interactive art installation" with the hope that visitors to the Midwest Airlines Center will see materials defying physical properties and reflect on their own potential. 'I hope they would laugh and think that something is doing what it wasn't supposed to do,' explains Acconci, 'So if the material does what it is not supposed to do, maybe I, a person, can do what I am not supposed to do." | [
"Wisconsin"
] |
|
17582_T | Walkways Through the Wall | Focus on Walkways Through the Wall and analyze the Location. | This sculpture has a permanent place at the Wisconsin Center. | [
"Wisconsin Center",
"Wisconsin"
] |
|
17582_NT | Walkways Through the Wall | Focus on this artwork and analyze the Location. | This sculpture has a permanent place at the Wisconsin Center. | [
"Wisconsin Center",
"Wisconsin"
] |
|
17583_T | Portrait of a Lady Known as Smeralda Brandini | In Portrait of a Lady Known as Smeralda Brandini, how is the abstract discussed? | The Portrait of Smeralda Brandini is a tempera on panel painting by the Italian Renaissance artist Sandro Botticelli of about 1475, in the Victoria and Albert Museum, London (museum no. CAI.100). | [
"Renaissance",
"Sandro Botticelli",
"Italian",
"Smeralda",
"Victoria and Albert Museum",
"London"
] |
|
17583_NT | Portrait of a Lady Known as Smeralda Brandini | In this artwork, how is the abstract discussed? | The Portrait of Smeralda Brandini is a tempera on panel painting by the Italian Renaissance artist Sandro Botticelli of about 1475, in the Victoria and Albert Museum, London (museum no. CAI.100). | [
"Renaissance",
"Sandro Botticelli",
"Italian",
"Smeralda",
"Victoria and Albert Museum",
"London"
] |
|
17584_T | Portrait of a Lady Known as Smeralda Brandini | Focus on Portrait of a Lady Known as Smeralda Brandini and explore the Sitter and author. | The identification of the sitter is based on the old, but probably not original, inscription on the windowsill at the bottom of the picture Smeralda di M.Bandinelli Moglie di VI... Bandinelli, who has been identified as the grandmother of the sculptor Baccio Bandinelli. It is likely that the inscription was added at a later date, as the sculptor only took that surname in 1530.On the evidence of the inscription, the portrait may be of Esmeralda (Smeralda) Donati Brandini, the wife of Viviano Brandini, mother of the prominent Florentine goldsmith Michelangelo de Viviano de Brandini of Gaiuole, and grandmother of the sculptor Baccio Bandinelli (the son of Michelangelo and his noble wife Catarina, a daughter of Taddeo Ugolino). From archive documents it is known that in 1469 Smeralda was 30; her husband Viviano 38; their children Michelangelo 12, Giovanbatista 2, and Lucrezia 10.It has been suggested that the portrait was painted by one of Botticelli's assistants during the 1470s. William Michael Rossetti said: "Leading critics will now have it that the portrait is not the work of Botticelli himself, but of someone for whom they have invented the name 'Amico di Sandro'". The Victoria & Albert Museum attributes the painting to Botticelli himself. It was once suspected that the portrait was one of Ignazio Hugford II's forgeries. | [
"goldsmith",
"William Michael Rossetti",
"Smeralda",
"Baccio Bandinelli",
"Ignazio Hugford II",
"Amico di Sandro"
] |
|
17584_NT | Portrait of a Lady Known as Smeralda Brandini | Focus on this artwork and explore the Sitter and author. | The identification of the sitter is based on the old, but probably not original, inscription on the windowsill at the bottom of the picture Smeralda di M.Bandinelli Moglie di VI... Bandinelli, who has been identified as the grandmother of the sculptor Baccio Bandinelli. It is likely that the inscription was added at a later date, as the sculptor only took that surname in 1530.On the evidence of the inscription, the portrait may be of Esmeralda (Smeralda) Donati Brandini, the wife of Viviano Brandini, mother of the prominent Florentine goldsmith Michelangelo de Viviano de Brandini of Gaiuole, and grandmother of the sculptor Baccio Bandinelli (the son of Michelangelo and his noble wife Catarina, a daughter of Taddeo Ugolino). From archive documents it is known that in 1469 Smeralda was 30; her husband Viviano 38; their children Michelangelo 12, Giovanbatista 2, and Lucrezia 10.It has been suggested that the portrait was painted by one of Botticelli's assistants during the 1470s. William Michael Rossetti said: "Leading critics will now have it that the portrait is not the work of Botticelli himself, but of someone for whom they have invented the name 'Amico di Sandro'". The Victoria & Albert Museum attributes the painting to Botticelli himself. It was once suspected that the portrait was one of Ignazio Hugford II's forgeries. | [
"goldsmith",
"William Michael Rossetti",
"Smeralda",
"Baccio Bandinelli",
"Ignazio Hugford II",
"Amico di Sandro"
] |
|
17585_T | Portrait of a Lady Known as Smeralda Brandini | Focus on Portrait of a Lady Known as Smeralda Brandini and explain the Composition. | Art historians point out changing conventions of portraiture in Botticelli's painting: "earlier Florentine portraits were in profile. The woman's three-quarter pose, with her hand on the window frame, was Botticelli's own invention." The portrait is thought to be the first example of a three-quarter pose in Florentine portrait painting. "By abandoning the profile pose traditionally used in depictions of Renaissance women, Botticelli brought a new sense of movement into the portrait."The painting helped art historians to identify the sheer overdress worn by the Mona Lisa, a "similar" guarnello. The sitter also wears a cotta, a light summer gown. | [
"Renaissance",
"Mona Lisa"
] |
|
17585_NT | Portrait of a Lady Known as Smeralda Brandini | Focus on this artwork and explain the Composition. | Art historians point out changing conventions of portraiture in Botticelli's painting: "earlier Florentine portraits were in profile. The woman's three-quarter pose, with her hand on the window frame, was Botticelli's own invention." The portrait is thought to be the first example of a three-quarter pose in Florentine portrait painting. "By abandoning the profile pose traditionally used in depictions of Renaissance women, Botticelli brought a new sense of movement into the portrait."The painting helped art historians to identify the sheer overdress worn by the Mona Lisa, a "similar" guarnello. The sitter also wears a cotta, a light summer gown. | [
"Renaissance",
"Mona Lisa"
] |
|
17586_T | Portrait of a Lady Known as Smeralda Brandini | Explore the Provenance of this artwork, Portrait of a Lady Known as Smeralda Brandini. | By the early 19th century (1805) the portrait was in the collection of Comte James de Pourtalès Gorgier (1776–1855) in Paris. A catalogue of public sales printed in France in 1866 records the sale of the picture by the comte de Pourtalès Gorgier for 3,400 francs in 1865. Charles Augustus Howell bought it on behalf of Dante Gabriel Rossetti in 1867 at Christie's; Rossetti boasted that he had it for £20. It was bequeathed to the V&A with the collection of his patron Constantine Alexander Ionides, who had bought it from Rossetti for £315 in the 1880s.Dante Gabriel Rossetti referred to the painting in his comments on his poem "For Spring, by Sandro Botticelli":with his reference: * The same Lady, here surrounded by the masque of Spring, is evidently the subject of a portrait by Botticelli formerly in the Pourtales collection in Paris. This portrait is inscribed "Smeralda Bandinelli". Rossetti's suggestion that the portrait depicted the model Botticelli used for his Spring now seems unlikely. | [
"Dante Gabriel Rossetti",
"Sandro Botticelli",
"francs",
"Spring",
"Christie's",
"Smeralda",
"Pourtalès",
"Charles Augustus Howell",
"Constantine Alexander Ionides"
] |
|
17586_NT | Portrait of a Lady Known as Smeralda Brandini | Explore the Provenance of this artwork. | By the early 19th century (1805) the portrait was in the collection of Comte James de Pourtalès Gorgier (1776–1855) in Paris. A catalogue of public sales printed in France in 1866 records the sale of the picture by the comte de Pourtalès Gorgier for 3,400 francs in 1865. Charles Augustus Howell bought it on behalf of Dante Gabriel Rossetti in 1867 at Christie's; Rossetti boasted that he had it for £20. It was bequeathed to the V&A with the collection of his patron Constantine Alexander Ionides, who had bought it from Rossetti for £315 in the 1880s.Dante Gabriel Rossetti referred to the painting in his comments on his poem "For Spring, by Sandro Botticelli":with his reference: * The same Lady, here surrounded by the masque of Spring, is evidently the subject of a portrait by Botticelli formerly in the Pourtales collection in Paris. This portrait is inscribed "Smeralda Bandinelli". Rossetti's suggestion that the portrait depicted the model Botticelli used for his Spring now seems unlikely. | [
"Dante Gabriel Rossetti",
"Sandro Botticelli",
"francs",
"Spring",
"Christie's",
"Smeralda",
"Pourtalès",
"Charles Augustus Howell",
"Constantine Alexander Ionides"
] |
|
17587_T | Portrait of a Lady Known as Smeralda Brandini | Focus on Portrait of a Lady Known as Smeralda Brandini and discuss the Articles. | Gail S. Weinberg. D.G. Rossetti's ownership of Botticelli's 'Smeralda Brandini' in The Burlington Magazine, January 2004 | [
"Smeralda"
] |
|
17587_NT | Portrait of a Lady Known as Smeralda Brandini | Focus on this artwork and discuss the Articles. | Gail S. Weinberg. D.G. Rossetti's ownership of Botticelli's 'Smeralda Brandini' in The Burlington Magazine, January 2004 | [
"Smeralda"
] |
|
17588_T | View of Florence from San Miniato | How does View of Florence from San Miniato elucidate its History? | It was completed in 1837 and is currently housed at Cleveland Museum of Art. | [
"Cleveland Museum of Art"
] |
|
17588_NT | View of Florence from San Miniato | How does this artwork elucidate its History? | It was completed in 1837 and is currently housed at Cleveland Museum of Art. | [
"Cleveland Museum of Art"
] |
|
17589_T | View of Florence from San Miniato | Focus on View of Florence from San Miniato and analyze the Description. | The painting is a panorama of Florence, showing a Romantic response to the Italian landscape. | [] |
|
17589_NT | View of Florence from San Miniato | Focus on this artwork and analyze the Description. | The painting is a panorama of Florence, showing a Romantic response to the Italian landscape. | [] |
|
17590_T | The Birth of Venus (Boucher) | In The Birth of Venus (Boucher), how is the abstract discussed? | The Birth of Venus is an oil-on-canvas painting by French artist François Boucher, created c. 1750-1770. It is held in the Wallace Collection, in London, England. The painting is was adapted from a 1743 oval composition by Boucher, now part of a private collection in New York. | [
"François Boucher",
"London",
"England",
"Wallace Collection"
] |
|
17590_NT | The Birth of Venus (Boucher) | In this artwork, how is the abstract discussed? | The Birth of Venus is an oil-on-canvas painting by French artist François Boucher, created c. 1750-1770. It is held in the Wallace Collection, in London, England. The painting is was adapted from a 1743 oval composition by Boucher, now part of a private collection in New York. | [
"François Boucher",
"London",
"England",
"Wallace Collection"
] |
|
17591_T | The Death of Sophonisba (Preti) | Focus on The Death of Sophonisba (Preti) and explore the abstract. | The Death of Sophonisba or Sophonisba Taking Poison is a 1670s painting by Mattia Preti depicting the suicide of Sophonisba in Ancient Carthage. It is held in the Museum of Fine Arts of Lyon. | [
"Lyon",
"Museum of Fine Arts of Lyon",
"Carthage",
"Mattia Preti",
"Sophonisba"
] |
|
17591_NT | The Death of Sophonisba (Preti) | Focus on this artwork and explore the abstract. | The Death of Sophonisba or Sophonisba Taking Poison is a 1670s painting by Mattia Preti depicting the suicide of Sophonisba in Ancient Carthage. It is held in the Museum of Fine Arts of Lyon. | [
"Lyon",
"Museum of Fine Arts of Lyon",
"Carthage",
"Mattia Preti",
"Sophonisba"
] |
|
17592_T | The Death of Sophonisba (Preti) | Focus on The Death of Sophonisba (Preti) and explain the Provenance and restoration. | In 1802, the painting was acquired by the Neapolitan government to be given to France in compensation for the paintings taken from the French deposits of the Church of Saint-Louis-des-Français in Rome. In 1804, the painting arrived in Paris. It is held at the Museum of Fine Arts of Lyon.
In 1987, the painting was restored after an examination by the LRMF (French Museums Research Laboratory) in the Versailles workshops. The examination revealed the presence of several changes, including a horizontal seam in the middle part of the painting (passing at the level of the neck of the figure receiving the cut) and the whole of the pictorial layer has been obscured by a very thick greenish-brown varnish. The edges of the painting had been cut during the previous relining (a restoration operation). The restoration consisted of reattaching the previous layer, lightening the varnish and eliminating the repaints by removing with a scalpel any astic, grime and accumulations of varnish. Then, the work was subjected to the resumption of wear and the painting of the re-harmonization glazes in watercolor on the right forearm of the man in armor. The restoration ended with a general varnishing of the work. | [
"Versailles",
"Lyon",
"Museum of Fine Arts of Lyon"
] |
|
17592_NT | The Death of Sophonisba (Preti) | Focus on this artwork and explain the Provenance and restoration. | In 1802, the painting was acquired by the Neapolitan government to be given to France in compensation for the paintings taken from the French deposits of the Church of Saint-Louis-des-Français in Rome. In 1804, the painting arrived in Paris. It is held at the Museum of Fine Arts of Lyon.
In 1987, the painting was restored after an examination by the LRMF (French Museums Research Laboratory) in the Versailles workshops. The examination revealed the presence of several changes, including a horizontal seam in the middle part of the painting (passing at the level of the neck of the figure receiving the cut) and the whole of the pictorial layer has been obscured by a very thick greenish-brown varnish. The edges of the painting had been cut during the previous relining (a restoration operation). The restoration consisted of reattaching the previous layer, lightening the varnish and eliminating the repaints by removing with a scalpel any astic, grime and accumulations of varnish. Then, the work was subjected to the resumption of wear and the painting of the re-harmonization glazes in watercolor on the right forearm of the man in armor. The restoration ended with a general varnishing of the work. | [
"Versailles",
"Lyon",
"Museum of Fine Arts of Lyon"
] |
|
17593_T | Sleeping Venus (Delvaux painting) | Explore the abstract of this artwork, Sleeping Venus (Delvaux painting). | Sleeping Venus (French: La Vénus endormie) is a 1944 painting by Paul Delvaux. It depicts a reclining Venus surrounded by anguished people at a town square with classical buildings. It was painted in Brussels while the city was bombed during World War II and Delvaux wanted to contrast the psychological drama of the moment with the calm Venus. The painting has been in the collection of Tate in London since 1957. | [
"Paul Delvaux",
"Tate",
"World War II"
] |
|
17593_NT | Sleeping Venus (Delvaux painting) | Explore the abstract of this artwork. | Sleeping Venus (French: La Vénus endormie) is a 1944 painting by Paul Delvaux. It depicts a reclining Venus surrounded by anguished people at a town square with classical buildings. It was painted in Brussels while the city was bombed during World War II and Delvaux wanted to contrast the psychological drama of the moment with the calm Venus. The painting has been in the collection of Tate in London since 1957. | [
"Paul Delvaux",
"Tate",
"World War II"
] |
|
17594_T | Sleeping Venus (Delvaux painting) | Focus on Sleeping Venus (Delvaux painting) and discuss the Analysis and reception. | This was the fourth painting titled Sleeping Venus made by Paul Delvaux; the previous were made in 1932, 1943 and earlier in 1944. The subject had engaged Delvaux since a visit in 1929 or 1930 to the Spitzner Museum, a cabinet of curiosities that was part of the Foire du Midi, which is a yearly fair in Brussels. He was fascinated by the contrast between the fair, the monstrosities of the museum, and a wax sculpture of a sleeping Venus that was part of the museum's exhibition. This wax figure became the model for all his paintings of Venus. Delvaux made the fourth Sleeping Venus in Brussels while the city was bombed during World War II. He said he wanted to express the psychological "drama and anguish" of the moment and contrast it with "the calm of Venus".The art historian Virginie Devillers says all of Delvaux's Venus paintings portray a state between sleep and wakefulness and share their contrast between calm and violence. The paintings from 1944 stand out due to their involvement of other characters, and the second of them differs from the first with its outdoors setting and more dramatic staging, expressing the tension of a particular time and place. The historian of politics Jill Locke uses the painting as a meditation on shame and politics, and says its images of the calm, shamelessly nude Venus, the upset mourners and the seemingly abandoned political buildings can be viewed as an ambivalent depiction of "threat, stasis, and possibility". | [
"Foire du Midi",
"Paul Delvaux",
"Spitzner Museum",
"World War II"
] |
|
17594_NT | Sleeping Venus (Delvaux painting) | Focus on this artwork and discuss the Analysis and reception. | This was the fourth painting titled Sleeping Venus made by Paul Delvaux; the previous were made in 1932, 1943 and earlier in 1944. The subject had engaged Delvaux since a visit in 1929 or 1930 to the Spitzner Museum, a cabinet of curiosities that was part of the Foire du Midi, which is a yearly fair in Brussels. He was fascinated by the contrast between the fair, the monstrosities of the museum, and a wax sculpture of a sleeping Venus that was part of the museum's exhibition. This wax figure became the model for all his paintings of Venus. Delvaux made the fourth Sleeping Venus in Brussels while the city was bombed during World War II. He said he wanted to express the psychological "drama and anguish" of the moment and contrast it with "the calm of Venus".The art historian Virginie Devillers says all of Delvaux's Venus paintings portray a state between sleep and wakefulness and share their contrast between calm and violence. The paintings from 1944 stand out due to their involvement of other characters, and the second of them differs from the first with its outdoors setting and more dramatic staging, expressing the tension of a particular time and place. The historian of politics Jill Locke uses the painting as a meditation on shame and politics, and says its images of the calm, shamelessly nude Venus, the upset mourners and the seemingly abandoned political buildings can be viewed as an ambivalent depiction of "threat, stasis, and possibility". | [
"Foire du Midi",
"Paul Delvaux",
"Spitzner Museum",
"World War II"
] |
|
17595_T | Sleeping Venus (Delvaux painting) | How does Sleeping Venus (Delvaux painting) elucidate its Provenance? | Carlo van den Bosch in Antwerp purchased Sleeping Venus from Delvaux in 1944. It was purchased by Baron Urvater in 1957 for presentation at Tate in London, where it has been since then. The English rock band Bauhaus used a detail as cover art for the single "Dark Entries" in 1980. | [
"Antwerp",
"Dark Entries",
"Tate"
] |
|
17595_NT | Sleeping Venus (Delvaux painting) | How does this artwork elucidate its Provenance? | Carlo van den Bosch in Antwerp purchased Sleeping Venus from Delvaux in 1944. It was purchased by Baron Urvater in 1957 for presentation at Tate in London, where it has been since then. The English rock band Bauhaus used a detail as cover art for the single "Dark Entries" in 1980. | [
"Antwerp",
"Dark Entries",
"Tate"
] |
|
17596_T | The Genius of Victory | Focus on The Genius of Victory and analyze the abstract. | The Genius of Victory is a 1532–1534 marble sculpture by Michelangelo, produced as part of a design for the tomb of Pope Julius II. It is 2.61 m high and is now in the Salone dei Cinquecento of the Palazzo Vecchio in Florence. | [
"Florence",
"Salone dei Cinquecento",
"Michelangelo",
"tomb of Pope Julius II",
"Palazzo Vecchio"
] |
|
17596_NT | The Genius of Victory | Focus on this artwork and analyze the abstract. | The Genius of Victory is a 1532–1534 marble sculpture by Michelangelo, produced as part of a design for the tomb of Pope Julius II. It is 2.61 m high and is now in the Salone dei Cinquecento of the Palazzo Vecchio in Florence. | [
"Florence",
"Salone dei Cinquecento",
"Michelangelo",
"tomb of Pope Julius II",
"Palazzo Vecchio"
] |
|
17597_T | The Genius of Victory | In The Genius of Victory, how is the History discussed? | The exact date of execution of the statue is unknown, but it is usually related to the project for the tomb of Julius II. It is thought to have been intended for one of the lower niches of one of the last projects for the tomb, perhaps that of 1532 for which the so-called Captives or "Provinces" now in the Galleria dell'Accademia of Florence may have also been made. On the other hand, the monument may have been coupled with a similar pair of fighters, a clay model in the Casa Buonarroti – the so-called Hercules-Samson.
With the famous statue unfinished, Victory forms an interesting footnote in history: left in the artist's studio after his final departure from Florence in 1534, it became the property of his nephew Leonardo Buonarroti, who first tried to sell it in 1544 without obtaining the necessary authorization from his uncle. Then, at the suggestion of Daniele da Volterra, he tried to place it on Michelangelo's tomb in Santa Croce (1564), but Giorgio Vasari, who was redesigning the church's interior, was against it being used there. At Vasari's suggestion, the statue was given to Duke Cosimo I de' Medici that year. Two early "Captives" originally intended for Julius's tomb ended up in France, while four larger figures, created much later, now in Florence's Accademia, were initially placed in Buontalenti's Grotto in the Boboli Gardens, after the artist's death. The Victory came to decorate the Salone dei Cinquecento of the Palazzo Vecchio. It was placed along the wall, among other victory groups inspired by Michelangelo's, such as the statues of the Labors of Hercules by Vincenzo de' Rossi and others.
In 1868, three years after the opening of the National Museum of the Bargello, the statue was included in the collection of Florentine sculpture gathered in the museum. It was returned to the Palazzo Vecchio on 6 November 1921 and placed in a niche in the center of the back wall of the room, where, since the time Florence had been the capital of Italy (1865), the 19th-century statue of Savonarola had stood (now in Piazza Savonarola). Only in recent years has the Victory been restored to its former position along the right wall. | [
"Giorgio Vasari",
"Florence",
"Salone dei Cinquecento",
"Bargello",
"Michelangelo",
"Vincenzo de' Rossi",
"tomb of Julius II",
"Galleria dell'Accademia",
"statue of Savonarola",
"Boboli Gardens",
"Hercules-Samson",
"Daniele da Volterra",
"Palazzo Vecchio",
"Casa Buonarroti"
] |
|
17597_NT | The Genius of Victory | In this artwork, how is the History discussed? | The exact date of execution of the statue is unknown, but it is usually related to the project for the tomb of Julius II. It is thought to have been intended for one of the lower niches of one of the last projects for the tomb, perhaps that of 1532 for which the so-called Captives or "Provinces" now in the Galleria dell'Accademia of Florence may have also been made. On the other hand, the monument may have been coupled with a similar pair of fighters, a clay model in the Casa Buonarroti – the so-called Hercules-Samson.
With the famous statue unfinished, Victory forms an interesting footnote in history: left in the artist's studio after his final departure from Florence in 1534, it became the property of his nephew Leonardo Buonarroti, who first tried to sell it in 1544 without obtaining the necessary authorization from his uncle. Then, at the suggestion of Daniele da Volterra, he tried to place it on Michelangelo's tomb in Santa Croce (1564), but Giorgio Vasari, who was redesigning the church's interior, was against it being used there. At Vasari's suggestion, the statue was given to Duke Cosimo I de' Medici that year. Two early "Captives" originally intended for Julius's tomb ended up in France, while four larger figures, created much later, now in Florence's Accademia, were initially placed in Buontalenti's Grotto in the Boboli Gardens, after the artist's death. The Victory came to decorate the Salone dei Cinquecento of the Palazzo Vecchio. It was placed along the wall, among other victory groups inspired by Michelangelo's, such as the statues of the Labors of Hercules by Vincenzo de' Rossi and others.
In 1868, three years after the opening of the National Museum of the Bargello, the statue was included in the collection of Florentine sculpture gathered in the museum. It was returned to the Palazzo Vecchio on 6 November 1921 and placed in a niche in the center of the back wall of the room, where, since the time Florence had been the capital of Italy (1865), the 19th-century statue of Savonarola had stood (now in Piazza Savonarola). Only in recent years has the Victory been restored to its former position along the right wall. | [
"Giorgio Vasari",
"Florence",
"Salone dei Cinquecento",
"Bargello",
"Michelangelo",
"Vincenzo de' Rossi",
"tomb of Julius II",
"Galleria dell'Accademia",
"statue of Savonarola",
"Boboli Gardens",
"Hercules-Samson",
"Daniele da Volterra",
"Palazzo Vecchio",
"Casa Buonarroti"
] |
|
17598_T | The Genius of Victory | Focus on The Genius of Victory and explore the Description and style. | The dating and attribution of the statue to the project of the tomb are based on stylistic elements that link the work to the Captives: the twisting of the body and the vigorous anatomy, as well as comparable proportions. In addition, the head has a crown of oak leaves that allude to the Della Rovere emblem.The sculpture does not represent a moment of fighting, but rather serves as an allegory of victoriousness. It depicts the winner who dominates the submissive loser with great agility, with one leg that blocks the body of the captive, who is folded and chained. The young man who is the victor is beautiful and elegant, while the dominated man is old and bearded, and dressed in the garb of an ancient Roman warrior. The surfaces are treated expressively to enhance the contrast between the two figures: the young polished to perfection, the old rough and incomplete, still retaining the compressed boulder-like solidity of the heavy stone from which it was made.
According to some scholars, the inspiration for the titular figure was Tommaso dei Cavalieri, a young Roman nobleman known to Michelangelo in Rome in 1532, to whom he dedicated love poems, and the older figure alludes to Michelangelo himself. | [
"Michelangelo",
"Tommaso dei Cavalieri"
] |
|
17598_NT | The Genius of Victory | Focus on this artwork and explore the Description and style. | The dating and attribution of the statue to the project of the tomb are based on stylistic elements that link the work to the Captives: the twisting of the body and the vigorous anatomy, as well as comparable proportions. In addition, the head has a crown of oak leaves that allude to the Della Rovere emblem.The sculpture does not represent a moment of fighting, but rather serves as an allegory of victoriousness. It depicts the winner who dominates the submissive loser with great agility, with one leg that blocks the body of the captive, who is folded and chained. The young man who is the victor is beautiful and elegant, while the dominated man is old and bearded, and dressed in the garb of an ancient Roman warrior. The surfaces are treated expressively to enhance the contrast between the two figures: the young polished to perfection, the old rough and incomplete, still retaining the compressed boulder-like solidity of the heavy stone from which it was made.
According to some scholars, the inspiration for the titular figure was Tommaso dei Cavalieri, a young Roman nobleman known to Michelangelo in Rome in 1532, to whom he dedicated love poems, and the older figure alludes to Michelangelo himself. | [
"Michelangelo",
"Tommaso dei Cavalieri"
] |
|
17599_T | Stalingrad (painting) | Focus on Stalingrad (painting) and explain the abstract. | Stalingrad is a 1972 oil painting by Danish artist Asger Jorn. It was first developed in 1956, and continued to be added to over the course of two decades before being finalized in 1972. It is conceptually grounded in the futility of war, abstractly depicting the Battle of Stalingrad. Critics have considered it to be one of Denmark's 20th century artistic masterpieces, and it was subsequently included in the Danish Culture Canon. The canvas, 296 cm × 492 cm (117 in × 194 in), now hangs in Museum Jorn, Silkeborg. | [
"Danish Culture Canon",
"Battle of Stalingrad",
"Museum Jorn, Silkeborg",
"Asger Jorn"
] |
|
17599_NT | Stalingrad (painting) | Focus on this artwork and explain the abstract. | Stalingrad is a 1972 oil painting by Danish artist Asger Jorn. It was first developed in 1956, and continued to be added to over the course of two decades before being finalized in 1972. It is conceptually grounded in the futility of war, abstractly depicting the Battle of Stalingrad. Critics have considered it to be one of Denmark's 20th century artistic masterpieces, and it was subsequently included in the Danish Culture Canon. The canvas, 296 cm × 492 cm (117 in × 194 in), now hangs in Museum Jorn, Silkeborg. | [
"Danish Culture Canon",
"Battle of Stalingrad",
"Museum Jorn, Silkeborg",
"Asger Jorn"
] |
|
17600_T | Stalingrad (painting) | Explore the Background of this artwork, Stalingrad (painting). | In the 1950s, after a long and difficult period in hospital suffering from tuberculosis, Jorn had embarked on figurative painting hoping to reestablish himself at the European level. He often stylistically reacted against his method as a painter, overpainting the edges or the background to create artifacts. By 1956, he had set up a studio in the small Italian town of Albisola near Genoa, where he began to compose a large painting that he initially titled La ritirata di Russia (The Retreat from Russia); the painting had been inspired by stories told by his friend Umberto Gambetta, who had fought with the Italians in the Battle of Stalingrad (1942–1943) before spending years in Russian prisoner-of-war camps from which few survived. The painting had seemed to have detailed these events to such an extent that Gambetta referred to it as "my portrait"; Jorn ensured that all such personal references were covered over so as to enhance the work's universal significance. He then renamed the painting Le fou rire (sometimes translated The Mad Laughter) and sent it off to Brussels where a collector had shown interest in the painting; it was acquired by the restaurant owner Albert Niels who allowed Jorn to work on it further. It was also seen by the Dutch museum expert Willem Sandberg who arranged for it to be sent to the Seattle World Fair in 1961. Subsequently, the final painting, eventually completed in 1972, was renamed Stalingrad. | [
"Genoa",
"Seattle World Fair",
"Albisola",
"Battle of Stalingrad",
"Willem Sandberg"
] |
|
17600_NT | Stalingrad (painting) | Explore the Background of this artwork. | In the 1950s, after a long and difficult period in hospital suffering from tuberculosis, Jorn had embarked on figurative painting hoping to reestablish himself at the European level. He often stylistically reacted against his method as a painter, overpainting the edges or the background to create artifacts. By 1956, he had set up a studio in the small Italian town of Albisola near Genoa, where he began to compose a large painting that he initially titled La ritirata di Russia (The Retreat from Russia); the painting had been inspired by stories told by his friend Umberto Gambetta, who had fought with the Italians in the Battle of Stalingrad (1942–1943) before spending years in Russian prisoner-of-war camps from which few survived. The painting had seemed to have detailed these events to such an extent that Gambetta referred to it as "my portrait"; Jorn ensured that all such personal references were covered over so as to enhance the work's universal significance. He then renamed the painting Le fou rire (sometimes translated The Mad Laughter) and sent it off to Brussels where a collector had shown interest in the painting; it was acquired by the restaurant owner Albert Niels who allowed Jorn to work on it further. It was also seen by the Dutch museum expert Willem Sandberg who arranged for it to be sent to the Seattle World Fair in 1961. Subsequently, the final painting, eventually completed in 1972, was renamed Stalingrad. | [
"Genoa",
"Seattle World Fair",
"Albisola",
"Battle of Stalingrad",
"Willem Sandberg"
] |
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