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17601_T | Stalingrad (painting) | Focus on Stalingrad (painting) and discuss the Description. | Like Picasso's painting Guernica, the painting addresses the horrors of war, in this case depicting the Battle of Stalingrad, one of the most notable events of the Second World War. Jorn's impression of warfare is conveyed above all in the process behind the painting. Indeed, his thick coating of colour is more of a process in its own right than a representation, revealing war as a phenomenon beyond man's understanding. Stalingrad could be seen as an enormous battlefield where all traces of mankind and civilisation were buried under layers of snow. An outline of a body or the suggestion of a face can perhaps be discerned but under the surface, the destruction and upheaval are already fading from memory. Jorn sees war as a tragedy of madness, completely devoid of heroism. Created at a time when mankind lived under the threat of nuclear war, the painting can be seen as the artist's personal expression of a world lamenting its own end. | [
"Second World War",
"Picasso",
"Battle of Stalingrad",
"Guernica"
] |
|
17601_NT | Stalingrad (painting) | Focus on this artwork and discuss the Description. | Like Picasso's painting Guernica, the painting addresses the horrors of war, in this case depicting the Battle of Stalingrad, one of the most notable events of the Second World War. Jorn's impression of warfare is conveyed above all in the process behind the painting. Indeed, his thick coating of colour is more of a process in its own right than a representation, revealing war as a phenomenon beyond man's understanding. Stalingrad could be seen as an enormous battlefield where all traces of mankind and civilisation were buried under layers of snow. An outline of a body or the suggestion of a face can perhaps be discerned but under the surface, the destruction and upheaval are already fading from memory. Jorn sees war as a tragedy of madness, completely devoid of heroism. Created at a time when mankind lived under the threat of nuclear war, the painting can be seen as the artist's personal expression of a world lamenting its own end. | [
"Second World War",
"Picasso",
"Battle of Stalingrad",
"Guernica"
] |
|
17602_T | Stalingrad (painting) | How does Stalingrad (painting) elucidate its Finalization? | Jorn referred to Stalingrad as a work that he could continue to add to throughout his life; in the mid-1960s, he presented a version with additions to the Silkeborg Museum in 1966, and it was exhibited in Paris and Cuba before being hung in a local museum. Jorn worked on final adjustments on-location, adding a few black dots representing houses in December 1972 shortly before he died. | [] |
|
17602_NT | Stalingrad (painting) | How does this artwork elucidate its Finalization? | Jorn referred to Stalingrad as a work that he could continue to add to throughout his life; in the mid-1960s, he presented a version with additions to the Silkeborg Museum in 1966, and it was exhibited in Paris and Cuba before being hung in a local museum. Jorn worked on final adjustments on-location, adding a few black dots representing houses in December 1972 shortly before he died. | [] |
|
17603_T | The Road in Front of Saint-Simeon Farm in Winter | Focus on The Road in Front of Saint-Simeon Farm in Winter and analyze the abstract. | The Road in Front of Saint-Simeon Farm in Winter is an 1867 oil-on-canvas snowscape painted by French impressionist Claude Monet. It depicts a snow-covered road in front of a barn, with tracks of a horse cart and various footsteps in the snow. The painting is one of four related works from the winter of 1867, and represents Monet’s earliest series. They include this work, followed by Road to the Farm, Saint-Siméon, Honfleur, Road in Front of Saint-Siméon Farm in Winter, and Cart on a Snowy Road at Honfleur. | [
"impressionist",
"Cart on a Snowy Road at Honfleur",
"Claude Monet",
"French",
"Road in Front of Saint-Siméon Farm in Winter"
] |
|
17603_NT | The Road in Front of Saint-Simeon Farm in Winter | Focus on this artwork and analyze the abstract. | The Road in Front of Saint-Simeon Farm in Winter is an 1867 oil-on-canvas snowscape painted by French impressionist Claude Monet. It depicts a snow-covered road in front of a barn, with tracks of a horse cart and various footsteps in the snow. The painting is one of four related works from the winter of 1867, and represents Monet’s earliest series. They include this work, followed by Road to the Farm, Saint-Siméon, Honfleur, Road in Front of Saint-Siméon Farm in Winter, and Cart on a Snowy Road at Honfleur. | [
"impressionist",
"Cart on a Snowy Road at Honfleur",
"Claude Monet",
"French",
"Road in Front of Saint-Siméon Farm in Winter"
] |
|
17604_T | El Jaleo | Focus on El Jaleo and explore the abstract. | El Jaleo is a large painting by John Singer Sargent, depicting a Spanish Romani dancer performing to the accompaniment of musicians. Painted in 1882, it currently hangs in the Isabella Stewart Gardner Museum, in Boston. | [
"John Singer Sargent",
"Isabella Stewart Gardner Museum",
"Boston",
"Isabella Stewart Gardner"
] |
|
17604_NT | El Jaleo | Focus on this artwork and explore the abstract. | El Jaleo is a large painting by John Singer Sargent, depicting a Spanish Romani dancer performing to the accompaniment of musicians. Painted in 1882, it currently hangs in the Isabella Stewart Gardner Museum, in Boston. | [
"John Singer Sargent",
"Isabella Stewart Gardner Museum",
"Boston",
"Isabella Stewart Gardner"
] |
|
17605_T | El Jaleo | Focus on El Jaleo and explain the Background. | The painting was inspired by a five-month trip Sargent made through Spain and North Africa in 1879, which also yielded a smaller oil painting, The Spanish Dance (Hispanic Society of America). Chronologically and thematically, the painting is related to a series of works Sargent painted during a subsequent stay in Venice; these, too, include dramatic light effects, exotic models, and restrained coloring. Impressed by the costumes and theatrical manner of Romani dance, the artist returned to Paris and began work on a large canvas whose scale suggested a performing stage. The name El Jaleo refers to both the broad meaning of jaleo, a ruckus, as well as the specific dance known as jaleo de jerez.
Sargent planned the composition of El Jaleo for at least a year. The painting was preceded by a series of preliminary studies, focusing particularly on the dancer's stylized posture. The result of thorough preparation, El Jaleo is characterized by an assured and rapid handling, and may have been completed in no more than a few days. | [
"Hispanic Society of America"
] |
|
17605_NT | El Jaleo | Focus on this artwork and explain the Background. | The painting was inspired by a five-month trip Sargent made through Spain and North Africa in 1879, which also yielded a smaller oil painting, The Spanish Dance (Hispanic Society of America). Chronologically and thematically, the painting is related to a series of works Sargent painted during a subsequent stay in Venice; these, too, include dramatic light effects, exotic models, and restrained coloring. Impressed by the costumes and theatrical manner of Romani dance, the artist returned to Paris and began work on a large canvas whose scale suggested a performing stage. The name El Jaleo refers to both the broad meaning of jaleo, a ruckus, as well as the specific dance known as jaleo de jerez.
Sargent planned the composition of El Jaleo for at least a year. The painting was preceded by a series of preliminary studies, focusing particularly on the dancer's stylized posture. The result of thorough preparation, El Jaleo is characterized by an assured and rapid handling, and may have been completed in no more than a few days. | [
"Hispanic Society of America"
] |
|
17606_T | El Jaleo | Explore the Description of this artwork, El Jaleo. | Almost 12 feet (3.7 m) wide, El Jaleo is broadly painted in a nearly monochromatic palette, but for spots of red at the right and an orange at left, which is reminiscent of the lemons Édouard Manet inserted into several of his large paintings. At odds with the academic practice of carefully modulated tones, Sargent dramatized the contrast between rich blacks and the shining white skirt of the dancer, caught in the strong footlights and painted briskly so as to suggest movement. The lighting also creates long and eerie shadows on the rear wall that comprises nearly half the painting.
The female dancer, leaning asymmetrically, is placed to imply forward motion, from left to right across the canvas. She is wearing a large, embroidered shawl wrapped around her shoulders, illustrating common flamenco costuming. The dancer's pose, with the outstretched left arm, is a depiction of standard flamenco dance technique and style.El Jaleo is the most theatrical of Sargent's early major works. The lack of a barrier between the viewer and dancer helps create the illusion that we are present at the actual event; the manipulation of space and lighting communicates the energetic rhythms of the dance, its sound and movement.El Jaleo is an example of Hispanism, the phenomenon of widespread fascination with Spanish culture throughout Europe and America in the nineteenth and early twentieth century.The painting has been called both an example of John Singer Sargent's Impressionism and also his early affinity with the Realist movement.A brief shot in the 1960 movie The Alamo re-creates the scene portrayed in El Jaleo, in fulfillment of a promise to do so that actor John Wayne, who directed it, had given movie executive Spyros Skouras. | [
"Impressionism",
"Realist",
"John Wayne",
"John Singer Sargent",
"left",
"flamenco",
"Spyros Skouras",
"The Alamo",
"Édouard Manet"
] |
|
17606_NT | El Jaleo | Explore the Description of this artwork. | Almost 12 feet (3.7 m) wide, El Jaleo is broadly painted in a nearly monochromatic palette, but for spots of red at the right and an orange at left, which is reminiscent of the lemons Édouard Manet inserted into several of his large paintings. At odds with the academic practice of carefully modulated tones, Sargent dramatized the contrast between rich blacks and the shining white skirt of the dancer, caught in the strong footlights and painted briskly so as to suggest movement. The lighting also creates long and eerie shadows on the rear wall that comprises nearly half the painting.
The female dancer, leaning asymmetrically, is placed to imply forward motion, from left to right across the canvas. She is wearing a large, embroidered shawl wrapped around her shoulders, illustrating common flamenco costuming. The dancer's pose, with the outstretched left arm, is a depiction of standard flamenco dance technique and style.El Jaleo is the most theatrical of Sargent's early major works. The lack of a barrier between the viewer and dancer helps create the illusion that we are present at the actual event; the manipulation of space and lighting communicates the energetic rhythms of the dance, its sound and movement.El Jaleo is an example of Hispanism, the phenomenon of widespread fascination with Spanish culture throughout Europe and America in the nineteenth and early twentieth century.The painting has been called both an example of John Singer Sargent's Impressionism and also his early affinity with the Realist movement.A brief shot in the 1960 movie The Alamo re-creates the scene portrayed in El Jaleo, in fulfillment of a promise to do so that actor John Wayne, who directed it, had given movie executive Spyros Skouras. | [
"Impressionism",
"Realist",
"John Wayne",
"John Singer Sargent",
"left",
"flamenco",
"Spyros Skouras",
"The Alamo",
"Édouard Manet"
] |
|
17607_T | El Jaleo | Focus on El Jaleo and discuss the Critical reception. | After the initial exhibition of El Jaleo in 1882 at the French Salon, John Singer Sargent became, as one writer put it, "the most talked-about painter in Paris." Some critics in 1882 said that the painting caused Sargent to join the ranks of the French Impressionists. A critic for Le Figaro called the painting "one of the most original and strongest works of the present Salon." Some writers hailed the painting as clever, while others dismissed it as a vagary of the artist. | [
"John Singer Sargent"
] |
|
17607_NT | El Jaleo | Focus on this artwork and discuss the Critical reception. | After the initial exhibition of El Jaleo in 1882 at the French Salon, John Singer Sargent became, as one writer put it, "the most talked-about painter in Paris." Some critics in 1882 said that the painting caused Sargent to join the ranks of the French Impressionists. A critic for Le Figaro called the painting "one of the most original and strongest works of the present Salon." Some writers hailed the painting as clever, while others dismissed it as a vagary of the artist. | [
"John Singer Sargent"
] |
|
17608_T | Equestrian statue of José María Morelos | How does Equestrian statue of José María Morelos elucidate its abstract? | An equestrian statue of José María Morelos, officially named Monumento a Morelos, is installed in Guadalajara, in the Mexican state of Jalisco. It was designed by Miguel Miramontes and it was unveiled in September 1965. It is installed along Parque Morelos, previously named Paseo de la Alameda. The bronze statue is placed in front of a quarry obelisk. Above the main statue, there is a bronze eagle that represents one of the former coats of arms of the country. | [
"Miguel Miramontes",
"bronze statue",
"quarry",
"Jalisco",
"José María Morelos",
"coats of arms of the country",
"equestrian statue",
"Parque Morelos",
"Guadalajara",
"obelisk"
] |
|
17608_NT | Equestrian statue of José María Morelos | How does this artwork elucidate its abstract? | An equestrian statue of José María Morelos, officially named Monumento a Morelos, is installed in Guadalajara, in the Mexican state of Jalisco. It was designed by Miguel Miramontes and it was unveiled in September 1965. It is installed along Parque Morelos, previously named Paseo de la Alameda. The bronze statue is placed in front of a quarry obelisk. Above the main statue, there is a bronze eagle that represents one of the former coats of arms of the country. | [
"Miguel Miramontes",
"bronze statue",
"quarry",
"Jalisco",
"José María Morelos",
"coats of arms of the country",
"equestrian statue",
"Parque Morelos",
"Guadalajara",
"obelisk"
] |
|
17609_T | Still Life - Balsam Apples and Vegetables | Focus on Still Life - Balsam Apples and Vegetables and analyze the abstract. | Still Life: Balsam Apple and Vegetables is an early 19th century oil painting by American painter James Peale. Done in oil on canvas, the painting depicts a number of vegetables set on a table. The work is currently on display at the Metropolitan Museum of Art. It is considered Peale's finest still life. | [
"still life",
"oil painting",
"James Peale",
"Metropolitan Museum of Art"
] |
|
17609_NT | Still Life - Balsam Apples and Vegetables | Focus on this artwork and analyze the abstract. | Still Life: Balsam Apple and Vegetables is an early 19th century oil painting by American painter James Peale. Done in oil on canvas, the painting depicts a number of vegetables set on a table. The work is currently on display at the Metropolitan Museum of Art. It is considered Peale's finest still life. | [
"still life",
"oil painting",
"James Peale",
"Metropolitan Museum of Art"
] |
|
17610_T | Still Life - Balsam Apples and Vegetables | In Still Life - Balsam Apples and Vegetables, how is the Description discussed? | The painting is a still life, created to allow for an accurate representation of a physical object on a painted canvas. According to the Metropolitan Museum of Art's description of the work, the painting is possibly an "experimental exercise" created during the peak of Peale's career. The painting is noted as being similar to the Spanish School of still life painting due to its focus on vegetables. | [
"still life",
"Metropolitan Museum of Art"
] |
|
17610_NT | Still Life - Balsam Apples and Vegetables | In this artwork, how is the Description discussed? | The painting is a still life, created to allow for an accurate representation of a physical object on a painted canvas. According to the Metropolitan Museum of Art's description of the work, the painting is possibly an "experimental exercise" created during the peak of Peale's career. The painting is noted as being similar to the Spanish School of still life painting due to its focus on vegetables. | [
"still life",
"Metropolitan Museum of Art"
] |
|
17611_T | Still Life - Balsam Apples and Vegetables | In the context of Still Life - Balsam Apples and Vegetables, explore the Vegetables depicted of the Description. | From left to right, the vegetables depicted in the painting are as follows,Far left - Okra (Abelmoschus esculentus)
2nd from left - Blue-green cabbage (Brassica oleracea var. capitata)
3rd from left - Savoy cabbage (Brassica oleracea var. sabauda)
4th from left - Hubbard squash (Cucurbita maxima)
5th from left - Eggplant (Solanum melongena)
6th from left - Balsam apple (Momordica charantia)
7th from left - Tomato (Solanum lycopersicum)
8th from left (farthest right) - Purple-red cabbage (Brassica oleracea var. capitata f. rubra) | [
"Cucurbita maxima",
"Tomato",
"Okra",
"Balsam apple",
"Eggplant",
"Savoy cabbage",
"Blue-green cabbage",
"Hubbard squash",
"Purple-red cabbage"
] |
|
17611_NT | Still Life - Balsam Apples and Vegetables | In the context of this artwork, explore the Vegetables depicted of the Description. | From left to right, the vegetables depicted in the painting are as follows,Far left - Okra (Abelmoschus esculentus)
2nd from left - Blue-green cabbage (Brassica oleracea var. capitata)
3rd from left - Savoy cabbage (Brassica oleracea var. sabauda)
4th from left - Hubbard squash (Cucurbita maxima)
5th from left - Eggplant (Solanum melongena)
6th from left - Balsam apple (Momordica charantia)
7th from left - Tomato (Solanum lycopersicum)
8th from left (farthest right) - Purple-red cabbage (Brassica oleracea var. capitata f. rubra) | [
"Cucurbita maxima",
"Tomato",
"Okra",
"Balsam apple",
"Eggplant",
"Savoy cabbage",
"Blue-green cabbage",
"Hubbard squash",
"Purple-red cabbage"
] |
|
17612_T | Wendell Willkie (relief) | Focus on Wendell Willkie (relief) and explain the abstract. | Wendell Willkie plaque is a public sculpture at the Indiana Statehouse in Indianapolis, Indiana, and was designed by American sculptor and educator Paul Fjelde. This bronze plaque honors Wendell L. Willkie (1892–1944) who was the Republican Party nominee for the U.S. presidency in 1940. The plaque was placed in the Statehouse rotunda on February 18, 1950. The inscription on the bottom of the plaque was taken from Willkie's book "One World" which calls for unified world order. | [
"bronze",
"Indianapolis",
"Indiana Statehouse",
"Paul Fjelde",
"Indianapolis, Indiana",
"plaque",
"rotunda",
"Wendell Willkie",
"Wendell L. Willkie"
] |
|
17612_NT | Wendell Willkie (relief) | Focus on this artwork and explain the abstract. | Wendell Willkie plaque is a public sculpture at the Indiana Statehouse in Indianapolis, Indiana, and was designed by American sculptor and educator Paul Fjelde. This bronze plaque honors Wendell L. Willkie (1892–1944) who was the Republican Party nominee for the U.S. presidency in 1940. The plaque was placed in the Statehouse rotunda on February 18, 1950. The inscription on the bottom of the plaque was taken from Willkie's book "One World" which calls for unified world order. | [
"bronze",
"Indianapolis",
"Indiana Statehouse",
"Paul Fjelde",
"Indianapolis, Indiana",
"plaque",
"rotunda",
"Wendell Willkie",
"Wendell L. Willkie"
] |
|
17613_T | Wendell Willkie (relief) | Explore the Description of this artwork, Wendell Willkie (relief). | At the top of the plaque is Willkie's name and the dates of his birth and death, February 18, 1892 – October 8, 1944. A silhouetted image of Willkie is facing proper left and is located in the center of the plaque. In this image Willkie is clean shaven and wearing a suit and tie. Inscriptions beneath the image describe Willkie as a "Distinguished citizen of our state and our country", a lawyer and an industrialist, the author of "One World," and the nominee of the Republican party for President of the United States in 1940. Under the description in an eagle and beneath it is an inscription from Willkie's book "One World" that reads:I believe in America
Because in it we are free—free to choose our government
and speak our minds to observe our different religions
because we hate no people and covet no peoples land
because we have great dreams and because we have theopportunity to make those dreams come true.
The plaque measures 50.75 inches × 33.25 inches × 1 inch. The artist's signature is located on the front, proper right, bottom of the plaque. It reads, "Paul Fjelde•sc." On May 15, 2006, the Indiana State Museum listed this plaque as in excellent condition. | [
"Paul Fjelde",
"United States",
"plaque"
] |
|
17613_NT | Wendell Willkie (relief) | Explore the Description of this artwork. | At the top of the plaque is Willkie's name and the dates of his birth and death, February 18, 1892 – October 8, 1944. A silhouetted image of Willkie is facing proper left and is located in the center of the plaque. In this image Willkie is clean shaven and wearing a suit and tie. Inscriptions beneath the image describe Willkie as a "Distinguished citizen of our state and our country", a lawyer and an industrialist, the author of "One World," and the nominee of the Republican party for President of the United States in 1940. Under the description in an eagle and beneath it is an inscription from Willkie's book "One World" that reads:I believe in America
Because in it we are free—free to choose our government
and speak our minds to observe our different religions
because we hate no people and covet no peoples land
because we have great dreams and because we have theopportunity to make those dreams come true.
The plaque measures 50.75 inches × 33.25 inches × 1 inch. The artist's signature is located on the front, proper right, bottom of the plaque. It reads, "Paul Fjelde•sc." On May 15, 2006, the Indiana State Museum listed this plaque as in excellent condition. | [
"Paul Fjelde",
"United States",
"plaque"
] |
|
17614_T | Wendell Willkie (relief) | Focus on Wendell Willkie (relief) and discuss the Historical information. | The Wendell Willkie plaque was placed in the Indiana Statehouse rotunda on February 18, 1950, which was the 58th anniversary of Willkie's birth. Approximately 500 people were in attendance to witness the dedication of the bronze plaque and to salute Willkie. Members of Willkie's family were also in attendance, including his widow, son, and brother: Mrs. Edith Willkie, Philip Willkie, and H. Frederick Willkie. The plaque was placed on the main floor of the Indiana Statehouse rotunda in the southwest pier facing a bronze plaque bearing "The American's Creed". Indiana Governor Henry F. Schricker accepted the plaque on behalf of the people of Indiana. An Indianapolis youth, Jack Scott, had the honor of pulling the veil from the plaque.During the dedication ceremony a Statehouse employee, William Holmes, fell from a ladder and broke his arm while checking the veil hung over the plaque.Willkie was born and raised in Elwood, Indiana, where both of his parents were lawyers. He attended Elwood High School and later graduated from Indiana University. While at the university he became a member the Beta Theta Pi fraternity.The idea for the plaque was conceived by Mrs. Ed Toner of Anderson, Indiana. Her son, William Toner, was a close friend of Willkie and the publisher of the Anderson Herald. Mrs. Toner wanted the plaque to be from the common man of Madison County, whom Willkie loved. But they were not able to operate a fund-raising campaign on their own, so the assistance of the Junior Chamber of Commerce in Elwood, Anderson, and Alexandria was accepted in order to raise the $2,500 needed for the memorial. Donations were collected both large and small, some in the form of pennies and nickels. School children contributed approximately ten percent of the funds raised.The creator of this Wendell Willkie plaque was Paul Fjelde (August 12, 1892 – May 3, 1984) of New York City, born in Minneapolis, Minnesota. Fjelde is also the creator of two other Wendell Willkie plaques, one located in the Summit County Courthouse in Akron, Ohio, and the other in New York City. To create the plaque, Fjelde first carved Willkie's likeness into clay using a picture as a reference. From this clay carving the bronze plaque was cast using the lost-wax casting technique. | [
"Anderson, Indiana",
"New York City",
"bronze",
"Indianapolis",
"Indiana University",
"Indiana Statehouse",
"Paul Fjelde",
"Minneapolis",
"lost-wax casting",
"Anderson Herald",
"Akron, Ohio",
"Henry F. Schricker",
"Minneapolis, Minnesota",
"Madison County",
"plaque",
"rotunda",
"Wendell Willkie",
"Elwood, Indiana",
"Beta Theta Pi",
"Summit County Courthouse"
] |
|
17614_NT | Wendell Willkie (relief) | Focus on this artwork and discuss the Historical information. | The Wendell Willkie plaque was placed in the Indiana Statehouse rotunda on February 18, 1950, which was the 58th anniversary of Willkie's birth. Approximately 500 people were in attendance to witness the dedication of the bronze plaque and to salute Willkie. Members of Willkie's family were also in attendance, including his widow, son, and brother: Mrs. Edith Willkie, Philip Willkie, and H. Frederick Willkie. The plaque was placed on the main floor of the Indiana Statehouse rotunda in the southwest pier facing a bronze plaque bearing "The American's Creed". Indiana Governor Henry F. Schricker accepted the plaque on behalf of the people of Indiana. An Indianapolis youth, Jack Scott, had the honor of pulling the veil from the plaque.During the dedication ceremony a Statehouse employee, William Holmes, fell from a ladder and broke his arm while checking the veil hung over the plaque.Willkie was born and raised in Elwood, Indiana, where both of his parents were lawyers. He attended Elwood High School and later graduated from Indiana University. While at the university he became a member the Beta Theta Pi fraternity.The idea for the plaque was conceived by Mrs. Ed Toner of Anderson, Indiana. Her son, William Toner, was a close friend of Willkie and the publisher of the Anderson Herald. Mrs. Toner wanted the plaque to be from the common man of Madison County, whom Willkie loved. But they were not able to operate a fund-raising campaign on their own, so the assistance of the Junior Chamber of Commerce in Elwood, Anderson, and Alexandria was accepted in order to raise the $2,500 needed for the memorial. Donations were collected both large and small, some in the form of pennies and nickels. School children contributed approximately ten percent of the funds raised.The creator of this Wendell Willkie plaque was Paul Fjelde (August 12, 1892 – May 3, 1984) of New York City, born in Minneapolis, Minnesota. Fjelde is also the creator of two other Wendell Willkie plaques, one located in the Summit County Courthouse in Akron, Ohio, and the other in New York City. To create the plaque, Fjelde first carved Willkie's likeness into clay using a picture as a reference. From this clay carving the bronze plaque was cast using the lost-wax casting technique. | [
"Anderson, Indiana",
"New York City",
"bronze",
"Indianapolis",
"Indiana University",
"Indiana Statehouse",
"Paul Fjelde",
"Minneapolis",
"lost-wax casting",
"Anderson Herald",
"Akron, Ohio",
"Henry F. Schricker",
"Minneapolis, Minnesota",
"Madison County",
"plaque",
"rotunda",
"Wendell Willkie",
"Elwood, Indiana",
"Beta Theta Pi",
"Summit County Courthouse"
] |
|
17615_T | Searchlight on Harbor Entrance, Santiago de Cuba | How does Searchlight on Harbor Entrance, Santiago de Cuba elucidate its abstract? | Searchlight on Harbor Entrance, Santiago de Cuba is an early 20th century painting by American artist Winslow Homer. It is currently (2018) in the collection of the Metropolitan Museum of Art.Executed in oil on canvas from sketches made by Homer in 1895, the painting depicts two cannon atop Castillo de San Pedro de la Roca, also known as Morro castle, a Spanish built fortress on the island of Cuba. The fort played a role in the decisive Battle of Santiago de Cuba in 1898, in which the United States Navy destroyed a Spanish fleet sheltering there. The image was painted after the event received much publicity in 1901 as a court of enquiry strove to apportion credit to the American commanders involved.
The work is on view at the Metropolitan in Gallery 767. | [
"Battle of Santiago de Cuba",
"Castillo de San Pedro de la Roca",
"Winslow Homer",
"Metropolitan Museum of Art"
] |
|
17615_NT | Searchlight on Harbor Entrance, Santiago de Cuba | How does this artwork elucidate its abstract? | Searchlight on Harbor Entrance, Santiago de Cuba is an early 20th century painting by American artist Winslow Homer. It is currently (2018) in the collection of the Metropolitan Museum of Art.Executed in oil on canvas from sketches made by Homer in 1895, the painting depicts two cannon atop Castillo de San Pedro de la Roca, also known as Morro castle, a Spanish built fortress on the island of Cuba. The fort played a role in the decisive Battle of Santiago de Cuba in 1898, in which the United States Navy destroyed a Spanish fleet sheltering there. The image was painted after the event received much publicity in 1901 as a court of enquiry strove to apportion credit to the American commanders involved.
The work is on view at the Metropolitan in Gallery 767. | [
"Battle of Santiago de Cuba",
"Castillo de San Pedro de la Roca",
"Winslow Homer",
"Metropolitan Museum of Art"
] |
|
17616_T | Adam and Eve (Cranach) | Focus on Adam and Eve (Cranach) and analyze the abstract. | Adam and Eve is a pair of paintings by German Renaissance master Lucas Cranach the Elder, dating from 1528, housed in the Uffizi, Florence, Italy.
There are other paintings by the same artist with the same title, depicting the subjects either together in a double portrait or separately in a pair of portraits, for instance at the Kunsthistorisches Museum in Vienna, the Courtauld Gallery in London, the Museum der bildenden Künste in Leipzig, and the Art Institute of Chicago.
The two biblical ancestors are portrayed, in two different panels, on a dark background, standing on a barely visible ground. Both hold two small branches which cover their sexual organs. Eve holds the traditional apple, with the serpent coming to her from above from the tree of the knowledge of good and evil. Adam is shown scratching the right crown part of his scalp. | [
"Cranach",
"Florence",
"Art Institute of Chicago",
"Adam and Eve",
"Uffizi",
"tree of the knowledge of good and evil",
"Adam",
"Kunsthistorisches Museum",
"Lucas Cranach the Elder",
"Leipzig",
"Courtauld Gallery",
"Vienna",
"Eve",
"Museum der bildenden Künste",
"serpent"
] |
|
17616_NT | Adam and Eve (Cranach) | Focus on this artwork and analyze the abstract. | Adam and Eve is a pair of paintings by German Renaissance master Lucas Cranach the Elder, dating from 1528, housed in the Uffizi, Florence, Italy.
There are other paintings by the same artist with the same title, depicting the subjects either together in a double portrait or separately in a pair of portraits, for instance at the Kunsthistorisches Museum in Vienna, the Courtauld Gallery in London, the Museum der bildenden Künste in Leipzig, and the Art Institute of Chicago.
The two biblical ancestors are portrayed, in two different panels, on a dark background, standing on a barely visible ground. Both hold two small branches which cover their sexual organs. Eve holds the traditional apple, with the serpent coming to her from above from the tree of the knowledge of good and evil. Adam is shown scratching the right crown part of his scalp. | [
"Cranach",
"Florence",
"Art Institute of Chicago",
"Adam and Eve",
"Uffizi",
"tree of the knowledge of good and evil",
"Adam",
"Kunsthistorisches Museum",
"Lucas Cranach the Elder",
"Leipzig",
"Courtauld Gallery",
"Vienna",
"Eve",
"Museum der bildenden Künste",
"serpent"
] |
|
17617_T | Adam and Eve (Cranach) | In Adam and Eve (Cranach), how is the History discussed? | The work was part of the Tuscan Grand Dukes' collections since as early as 1688, and has been included in the Uffizi since the beginning of the 18th century. Filippo Baldinucci attributed it to Albrecht Dürer, until the inventory of 1784 assigned it to Cranach.
The subject continues Dürer's anatomy studies, which had culminated in his large Adam and Eve panels now in the Museo del Prado. These were the first full-size nudes painted by a German artist. During his stay in Vienna, Cranach had frequented some groups of humanists who were close to Dürer, and from there he was inspired to do a first, smaller version of the theme of Adam and Eve in 1510, currently housed at the National Museum in Warsaw. | [
"Cranach",
"Adam and Eve",
"Uffizi",
"Adam",
"Tuscan Grand Dukes'",
"National Museum in Warsaw",
"Filippo Baldinucci",
"Museo del Prado",
"Vienna",
"Eve",
"Albrecht Dürer"
] |
|
17617_NT | Adam and Eve (Cranach) | In this artwork, how is the History discussed? | The work was part of the Tuscan Grand Dukes' collections since as early as 1688, and has been included in the Uffizi since the beginning of the 18th century. Filippo Baldinucci attributed it to Albrecht Dürer, until the inventory of 1784 assigned it to Cranach.
The subject continues Dürer's anatomy studies, which had culminated in his large Adam and Eve panels now in the Museo del Prado. These were the first full-size nudes painted by a German artist. During his stay in Vienna, Cranach had frequented some groups of humanists who were close to Dürer, and from there he was inspired to do a first, smaller version of the theme of Adam and Eve in 1510, currently housed at the National Museum in Warsaw. | [
"Cranach",
"Adam and Eve",
"Uffizi",
"Adam",
"Tuscan Grand Dukes'",
"National Museum in Warsaw",
"Filippo Baldinucci",
"Museo del Prado",
"Vienna",
"Eve",
"Albrecht Dürer"
] |
|
17618_T | Adam and Eve (Cranach) | Focus on Adam and Eve (Cranach) and explore the In popular culture. | The pair of Adam and Eve paintings from the Kunsthistorisches Museum were featured in the German television series Dark, where they are displayed in the headquarters of the cult Erit Lux. | [
"Adam and Eve",
"Adam",
"Kunsthistorisches Museum",
"Dark",
"Eve"
] |
|
17618_NT | Adam and Eve (Cranach) | Focus on this artwork and explore the In popular culture. | The pair of Adam and Eve paintings from the Kunsthistorisches Museum were featured in the German television series Dark, where they are displayed in the headquarters of the cult Erit Lux. | [
"Adam and Eve",
"Adam",
"Kunsthistorisches Museum",
"Dark",
"Eve"
] |
|
17619_T | Deposition of Christ (Bronzino) | Focus on Deposition of Christ (Bronzino) and explain the History. | The painting was originally commissioned to be the altarpiece for the chapel of Eleonora of Toledo in the Palazzo Vecchio, Florence. Shortly after it was completed in 1545, Eleonora's husband, Grand Duke Cosimo I de' Medici, shipped the picture to Nicolas Perrenot de Granvelle, a chief counselor of the Holy Roman Emperor Charles V, as a diplomatic gift. Granvelle installed it in his private chapel in Besançon. In 1549, Granvelle commissioned the construction of a grander funerary chapel on his Besançon estate. A year later, he died. The new chapel, with Bronzino's altarpiece installed, was consecrated in 1551. Subsequently, there is no record of the work from the seventeenth century until the French Revolution. To preserve it after Granvelle's chapel was partially destroyed, the picture was housed in the Besançon city hall from 1793 until it became a part of the collection of the Musée des Beaux-Arts when the museum opened in 1834.After sending the original to Granvelle in 1545, Cosimo requested a copy for Eleonora's chapel that Bronzino painted eight years later in 1553. The second version is the one found in the Palazzo Vecchio today.
To accompany the original altarpiece, Bronzino painted side panels depicting John the Baptist (the patron saint of Florence) on the left and Saint Cosmas (a patron saint of the Medici family and Cosimo's name-saint) on the right. Their inclusion in Eleonora's chapel was as much a political statement as a religious one and these panels may have been portraits of Giovanni dalle Bande Nere (Cosimo's father) as John the Baptist and Cosimo as Saint Cosmas. At some point between 1545 and 1553, Eleonora requested that Bronzino replace the side panels of the saints with more pious panels depicting the Annunciation. This must have been a low priority because the new altar wings were not completed until 1564, two years after Eleonora's death. The Annunciation panels can be viewed in Eleonora's chapel today.
By 1553, the side panels of the saints were in storage. They were last recorded as being in the Medici inventory in 1609 and both were considered lost until the John the Baptist panel resurfaced in 1951. It is now housed in the Getty Center. A fragment purportedly of the Saint Cosmas panel has recently been rediscovered, but it is suspected to be a forgery associated with art dealer Giulano Ruffini. | [
"Musée des Beaux-Arts",
"Giovanni dalle Bande Nere",
"Charles V",
"Palazzo Vecchio",
"Annunciation",
"Florence",
"Nicolas Perrenot de Granvelle",
"Eleonora of Toledo",
"Giulano Ruffini",
"John the Baptist",
"Bronzino",
"altarpiece",
"Holy Roman Emperor",
"Besançon",
"Cosimo I de' Medici",
"Getty Center",
"left",
"Saint Cosmas",
"French Revolution"
] |
|
17619_NT | Deposition of Christ (Bronzino) | Focus on this artwork and explain the History. | The painting was originally commissioned to be the altarpiece for the chapel of Eleonora of Toledo in the Palazzo Vecchio, Florence. Shortly after it was completed in 1545, Eleonora's husband, Grand Duke Cosimo I de' Medici, shipped the picture to Nicolas Perrenot de Granvelle, a chief counselor of the Holy Roman Emperor Charles V, as a diplomatic gift. Granvelle installed it in his private chapel in Besançon. In 1549, Granvelle commissioned the construction of a grander funerary chapel on his Besançon estate. A year later, he died. The new chapel, with Bronzino's altarpiece installed, was consecrated in 1551. Subsequently, there is no record of the work from the seventeenth century until the French Revolution. To preserve it after Granvelle's chapel was partially destroyed, the picture was housed in the Besançon city hall from 1793 until it became a part of the collection of the Musée des Beaux-Arts when the museum opened in 1834.After sending the original to Granvelle in 1545, Cosimo requested a copy for Eleonora's chapel that Bronzino painted eight years later in 1553. The second version is the one found in the Palazzo Vecchio today.
To accompany the original altarpiece, Bronzino painted side panels depicting John the Baptist (the patron saint of Florence) on the left and Saint Cosmas (a patron saint of the Medici family and Cosimo's name-saint) on the right. Their inclusion in Eleonora's chapel was as much a political statement as a religious one and these panels may have been portraits of Giovanni dalle Bande Nere (Cosimo's father) as John the Baptist and Cosimo as Saint Cosmas. At some point between 1545 and 1553, Eleonora requested that Bronzino replace the side panels of the saints with more pious panels depicting the Annunciation. This must have been a low priority because the new altar wings were not completed until 1564, two years after Eleonora's death. The Annunciation panels can be viewed in Eleonora's chapel today.
By 1553, the side panels of the saints were in storage. They were last recorded as being in the Medici inventory in 1609 and both were considered lost until the John the Baptist panel resurfaced in 1951. It is now housed in the Getty Center. A fragment purportedly of the Saint Cosmas panel has recently been rediscovered, but it is suspected to be a forgery associated with art dealer Giulano Ruffini. | [
"Musée des Beaux-Arts",
"Giovanni dalle Bande Nere",
"Charles V",
"Palazzo Vecchio",
"Annunciation",
"Florence",
"Nicolas Perrenot de Granvelle",
"Eleonora of Toledo",
"Giulano Ruffini",
"John the Baptist",
"Bronzino",
"altarpiece",
"Holy Roman Emperor",
"Besançon",
"Cosimo I de' Medici",
"Getty Center",
"left",
"Saint Cosmas",
"French Revolution"
] |
|
17620_T | Deposition of Christ (Bronzino) | Explore the Portraiture of this artwork, Deposition of Christ (Bronzino). | In addition to embedding donor portraits and likenesses of themselves in their works, sixteenth-century Florentine artists were known to portray other artisans and associates in their paintings and sculptures. Since neither Bronzino nor his Medici employers documented the existence of embedded portraits in this work, art historians have postulated a number possibilities based on comparisons with other known portraits. Janet Cox-Rearick suggested that the central figure of Mary of Clopas was an idealized portrait of Eleonora herself and that the Virgin Mother was a representation of Cosimo's mother, Maria Salviati. She also proposed that Nicodemus, the unnamed companion, and Joseph of Arimathea were, respectively, portraits of Bronzino (the artist), Pontormo (his teacher), and Baccio Bandinelli (a rival artist who had submitted a modello for the altarpiece). Elizabeth Pilliod has an alternative suggestion: the three companions from left to right are portraits of Giovambattista del Tasso (the architect who created Eleonora's chapel), Francesco di Ser Jacopo (a financial administrator for Cosimo), and Niccolò Tribolo (another artist in the service of the Medici). | [
"France",
"Janet Cox-Rearick",
"Joseph of Arimathea",
"Mary of Clopas",
"Niccolò Tribolo",
"modello",
"Baccio Bandinelli",
"Bronzino",
"altarpiece",
"Maria Salviati",
"Nicodemus",
"donor portrait",
"Pontormo",
"left",
"Giovambattista del Tasso"
] |
|
17620_NT | Deposition of Christ (Bronzino) | Explore the Portraiture of this artwork. | In addition to embedding donor portraits and likenesses of themselves in their works, sixteenth-century Florentine artists were known to portray other artisans and associates in their paintings and sculptures. Since neither Bronzino nor his Medici employers documented the existence of embedded portraits in this work, art historians have postulated a number possibilities based on comparisons with other known portraits. Janet Cox-Rearick suggested that the central figure of Mary of Clopas was an idealized portrait of Eleonora herself and that the Virgin Mother was a representation of Cosimo's mother, Maria Salviati. She also proposed that Nicodemus, the unnamed companion, and Joseph of Arimathea were, respectively, portraits of Bronzino (the artist), Pontormo (his teacher), and Baccio Bandinelli (a rival artist who had submitted a modello for the altarpiece). Elizabeth Pilliod has an alternative suggestion: the three companions from left to right are portraits of Giovambattista del Tasso (the architect who created Eleonora's chapel), Francesco di Ser Jacopo (a financial administrator for Cosimo), and Niccolò Tribolo (another artist in the service of the Medici). | [
"France",
"Janet Cox-Rearick",
"Joseph of Arimathea",
"Mary of Clopas",
"Niccolò Tribolo",
"modello",
"Baccio Bandinelli",
"Bronzino",
"altarpiece",
"Maria Salviati",
"Nicodemus",
"donor portrait",
"Pontormo",
"left",
"Giovambattista del Tasso"
] |
|
17621_T | The Last Communion of Saint Jerome (Domenichino) | Focus on The Last Communion of Saint Jerome (Domenichino) and discuss the abstract. | The Last Communion of St. Jerome is a 1614 oil-on-canvas painting by the Italian artist Domenichino. It was commissioned for the church of San Girolamo della Carità in Rome in 1612 and is now in the Pinacoteca Vaticana. The composition is very similar to a painting of the same subject by Agostino Carracci. Domenichino's rival, Giovanni Lanfranco, accused Domenichino of plagiarism due to the similarities. | [
"Domenichino",
"San Girolamo della Carità",
"St. Jerome",
"Agostino Carracci",
"Rome",
"Jerome",
"composition",
"Pinacoteca Vaticana",
"Giovanni Lanfranco"
] |
|
17621_NT | The Last Communion of Saint Jerome (Domenichino) | Focus on this artwork and discuss the abstract. | The Last Communion of St. Jerome is a 1614 oil-on-canvas painting by the Italian artist Domenichino. It was commissioned for the church of San Girolamo della Carità in Rome in 1612 and is now in the Pinacoteca Vaticana. The composition is very similar to a painting of the same subject by Agostino Carracci. Domenichino's rival, Giovanni Lanfranco, accused Domenichino of plagiarism due to the similarities. | [
"Domenichino",
"San Girolamo della Carità",
"St. Jerome",
"Agostino Carracci",
"Rome",
"Jerome",
"composition",
"Pinacoteca Vaticana",
"Giovanni Lanfranco"
] |
|
17622_T | The Last Communion of Saint Jerome (Domenichino) | How does The Last Communion of Saint Jerome (Domenichino) elucidate its Subject matter? | The main subject of this painting is St. Jerome, who is the thin central figure depicted kneeling with the red cloth. St. Jerome (c. 347–420) is a Christian Latin scholar, translator, and priest. He was considered a doctor of the church, a saint whose doctrinal writings had special authority. One of his accomplishments is translating the Bible into Latin. From 382 to 385, he was a secretary for Pope Damasus I in Rome.Domenichino's painting shares its subject with an earlier painting by Sandro Botticelli, in which Botticelli depicted a scene from the pseudepigraphical letter of Eusebius to Damasus.: 303–304 | [
"Domenichino",
"Bible",
"St. Jerome",
"Pope Damasus I",
"doctor of the church",
"Sandro Botticelli",
"Latin",
"Rome",
"saint",
"Jerome",
"earlier painting",
"Christian",
"priest"
] |
|
17622_NT | The Last Communion of Saint Jerome (Domenichino) | How does this artwork elucidate its Subject matter? | The main subject of this painting is St. Jerome, who is the thin central figure depicted kneeling with the red cloth. St. Jerome (c. 347–420) is a Christian Latin scholar, translator, and priest. He was considered a doctor of the church, a saint whose doctrinal writings had special authority. One of his accomplishments is translating the Bible into Latin. From 382 to 385, he was a secretary for Pope Damasus I in Rome.Domenichino's painting shares its subject with an earlier painting by Sandro Botticelli, in which Botticelli depicted a scene from the pseudepigraphical letter of Eusebius to Damasus.: 303–304 | [
"Domenichino",
"Bible",
"St. Jerome",
"Pope Damasus I",
"doctor of the church",
"Sandro Botticelli",
"Latin",
"Rome",
"saint",
"Jerome",
"earlier painting",
"Christian",
"priest"
] |
|
17623_T | The Last Communion of Saint Jerome (Domenichino) | Focus on The Last Communion of Saint Jerome (Domenichino) and analyze the Reception. | Domenichino considered The Last Communion of St. Jerome to be his masterpiece. Other artists at this time, such as Andrea Sacchi and Nicolas Poussin, even considered it to be equal to Raphael's Transfiguration. However, after the appropriation scandal and accusations by Lanfranco, Domenichino began to be viewed by others in a negative light. After the public debates over the issues of infringement for the Last Communion of Saint Jerome, this sparked a bigger debate that challenged the traditional values of imitation.There were a few scholars and artists who supported Domenichino. The Italian scholar Carlo Cesare Malvasia (1616–1693) responded to Domenichino's notoriety and artists in general by writing, "What painter does not steal in some way? Either from prints, or reliefs, or nature herself, or from the works of others, turning the poses in the opposite sense, twisting an arm more, showing a leg, changing the face, adding a drapery, and, in short, judiciously hiding the theft?" | [
"Domenichino",
"Nicolas Poussin",
"Raphael",
"St. Jerome",
"Carlo Cesare Malvasia",
"Jerome",
"Saint",
"Transfiguration",
"Andrea Sacchi"
] |
|
17623_NT | The Last Communion of Saint Jerome (Domenichino) | Focus on this artwork and analyze the Reception. | Domenichino considered The Last Communion of St. Jerome to be his masterpiece. Other artists at this time, such as Andrea Sacchi and Nicolas Poussin, even considered it to be equal to Raphael's Transfiguration. However, after the appropriation scandal and accusations by Lanfranco, Domenichino began to be viewed by others in a negative light. After the public debates over the issues of infringement for the Last Communion of Saint Jerome, this sparked a bigger debate that challenged the traditional values of imitation.There were a few scholars and artists who supported Domenichino. The Italian scholar Carlo Cesare Malvasia (1616–1693) responded to Domenichino's notoriety and artists in general by writing, "What painter does not steal in some way? Either from prints, or reliefs, or nature herself, or from the works of others, turning the poses in the opposite sense, twisting an arm more, showing a leg, changing the face, adding a drapery, and, in short, judiciously hiding the theft?" | [
"Domenichino",
"Nicolas Poussin",
"Raphael",
"St. Jerome",
"Carlo Cesare Malvasia",
"Jerome",
"Saint",
"Transfiguration",
"Andrea Sacchi"
] |
|
17624_T | Statue of Junípero Serra (Carmel-by-the-Sea, California) | In Statue of Junípero Serra (Carmel-by-the-Sea, California), how is the abstract discussed? | A statue of Junípero Serra, also known as the Serra Shrine, was installed in the community of Carmel Woods in Carmel-by-the-Sea, California, United States. Artist Joseph "Jo" Mora (1876-1947), designed and carved the wood statue of Father Serra for real estate developer Samuel F.B. Morse's new subdivision. | [
"Carmel-by-the-Sea, California",
"Carmel Woods",
"Junípero Serra",
"Samuel F.B. Morse's",
" Joseph \"Jo\" Mora"
] |
|
17624_NT | Statue of Junípero Serra (Carmel-by-the-Sea, California) | In this artwork, how is the abstract discussed? | A statue of Junípero Serra, also known as the Serra Shrine, was installed in the community of Carmel Woods in Carmel-by-the-Sea, California, United States. Artist Joseph "Jo" Mora (1876-1947), designed and carved the wood statue of Father Serra for real estate developer Samuel F.B. Morse's new subdivision. | [
"Carmel-by-the-Sea, California",
"Carmel Woods",
"Junípero Serra",
"Samuel F.B. Morse's",
" Joseph \"Jo\" Mora"
] |
|
17625_T | Self-Portrait. Between the Clock and the Bed. | Focus on Self-Portrait. Between the Clock and the Bed. and explore the abstract. | Self-Portrait. Between the Clock and the Bed. is a 1940–1943 self-portrait painting by Edvard Munch which is one of his last major works. Munch depicts himself as an unhappy, aging man who appears frozen and flattened. Behind him is a bright room full of light and past paintings, but he has placed his current self between a clock and a bed, symbolising the inevitable passing of time and where he will eventually lie down for the final time. | [
"self-portrait",
"Edvard Munch"
] |
|
17625_NT | Self-Portrait. Between the Clock and the Bed. | Focus on this artwork and explore the abstract. | Self-Portrait. Between the Clock and the Bed. is a 1940–1943 self-portrait painting by Edvard Munch which is one of his last major works. Munch depicts himself as an unhappy, aging man who appears frozen and flattened. Behind him is a bright room full of light and past paintings, but he has placed his current self between a clock and a bed, symbolising the inevitable passing of time and where he will eventually lie down for the final time. | [
"self-portrait",
"Edvard Munch"
] |
|
17626_T | Remember To Rise | Focus on Remember To Rise and explain the abstract. | Remember To Rise (Arabic: كن يقضا أحلام سوداء) subtitled Black's Dream is a derivative work of the Iyasile Naa, a massive art collaboration. Observing innovation in developing countries, technologist of Ijebu descent Ade Abayomi Olufeko, known for his collective signature created the work as a cultural bequest for the African continent.Described as a polymath by Vanguard for his international work, Olufeko teamed up with the African business club at the London Business School, during its summit which held at the Landmark hotel, he introduced the digital painting parallel to his attendance and guest moderation of a social cultural panel that featured high-profile personalities. | [
"London Business School",
"Ijebu",
"polymath",
"Iyasile Naa",
"bequest",
"Olufeko",
"derivative",
"Landmark hotel",
"Ade Abayomi Olufeko",
"developing countries"
] |
|
17626_NT | Remember To Rise | Focus on this artwork and explain the abstract. | Remember To Rise (Arabic: كن يقضا أحلام سوداء) subtitled Black's Dream is a derivative work of the Iyasile Naa, a massive art collaboration. Observing innovation in developing countries, technologist of Ijebu descent Ade Abayomi Olufeko, known for his collective signature created the work as a cultural bequest for the African continent.Described as a polymath by Vanguard for his international work, Olufeko teamed up with the African business club at the London Business School, during its summit which held at the Landmark hotel, he introduced the digital painting parallel to his attendance and guest moderation of a social cultural panel that featured high-profile personalities. | [
"London Business School",
"Ijebu",
"polymath",
"Iyasile Naa",
"bequest",
"Olufeko",
"derivative",
"Landmark hotel",
"Ade Abayomi Olufeko",
"developing countries"
] |
|
17627_T | Remember To Rise | Explore the Artwork, title and construction of this artwork, Remember To Rise. | In context of economic cause and effect, observing the activities of several industries on the Intra-trade in Africa, the title of Remembering To Rise; Black's Dream came to fruition. The artwork is an abstract painting that shows researched data guided by geometric shapes, and displays arabic calligraphy excerpts by the famous poet Rumi. It also displays permanent markers, scattered citrine clusters with acrylic powder glitter on heavy-coated paper, making the classification of the artwork mixed media.
Showcasing the breath of African culture, the framing of the artwork in Zellige motifs is accompanied with Amazigh and berber languages. Adding to the practice of inclusion across the sub-Sahara, the final assembling was done in the Ojuelegba community. The abstract aspects of Remember To Rise is inspired by astronomical star Eta Carinae. | [
"geometric",
"Amazigh",
"berber",
"Zellige",
"Intra-trade",
"Eta Carinae",
"Ojuelegba",
"Rumi",
"citrine",
"cause and effect",
"berber languages",
"arabic calligraphy"
] |
|
17627_NT | Remember To Rise | Explore the Artwork, title and construction of this artwork. | In context of economic cause and effect, observing the activities of several industries on the Intra-trade in Africa, the title of Remembering To Rise; Black's Dream came to fruition. The artwork is an abstract painting that shows researched data guided by geometric shapes, and displays arabic calligraphy excerpts by the famous poet Rumi. It also displays permanent markers, scattered citrine clusters with acrylic powder glitter on heavy-coated paper, making the classification of the artwork mixed media.
Showcasing the breath of African culture, the framing of the artwork in Zellige motifs is accompanied with Amazigh and berber languages. Adding to the practice of inclusion across the sub-Sahara, the final assembling was done in the Ojuelegba community. The abstract aspects of Remember To Rise is inspired by astronomical star Eta Carinae. | [
"geometric",
"Amazigh",
"berber",
"Zellige",
"Intra-trade",
"Eta Carinae",
"Ojuelegba",
"Rumi",
"citrine",
"cause and effect",
"berber languages",
"arabic calligraphy"
] |
|
17628_T | Remember To Rise | Focus on Remember To Rise and discuss the Notable signatures. | The following is a list of persons at and outside the summit who signed the artwork as of 2018. | [] |
|
17628_NT | Remember To Rise | Focus on this artwork and discuss the Notable signatures. | The following is a list of persons at and outside the summit who signed the artwork as of 2018. | [] |
|
17629_T | Remember To Rise | How does Remember To Rise elucidate its Personnel? | Various persons part of the Remember To Rise project. | [] |
|
17629_NT | Remember To Rise | How does this artwork elucidate its Personnel? | Various persons part of the Remember To Rise project. | [] |
|
17630_T | Remember To Rise | In the context of Remember To Rise, analyze the London Business School of the Personnel. | Soji Solanke - 2018 African Club Co-President
Amine Bendriss - 2018 African Club Co-President
Elena Zhukova - 2018 African Club Conference Chair | [
"London Business School"
] |
|
17630_NT | Remember To Rise | In the context of this artwork, analyze the London Business School of the Personnel. | Soji Solanke - 2018 African Club Co-President
Amine Bendriss - 2018 African Club Co-President
Elena Zhukova - 2018 African Club Conference Chair | [
"London Business School"
] |
|
17631_T | Remember To Rise | Describe the characteristics of the Production in Remember To Rise's Personnel. | R. Sibaoueih - Artist team
Wonu Talabi - Artist assisting team (Conference)
Abdellatif Abdul - Amazigh, Arabic and berber linguist | [
"Amazigh",
"berber"
] |
|
17631_NT | Remember To Rise | Describe the characteristics of the Production in this artwork's Personnel. | R. Sibaoueih - Artist team
Wonu Talabi - Artist assisting team (Conference)
Abdellatif Abdul - Amazigh, Arabic and berber linguist | [
"Amazigh",
"berber"
] |
|
17632_T | Woman VI | Focus on Woman VI and explore the abstract. | Woman VI is a 1953 abstract work of art painted by Willem de Kooning and first displayed at the Sidney Janis Gallery in Manhattan. Since the 1955 Carnegie International Exhibition, Woman VI has been on view at the Carnegie Museum of Art as part of the Postwar Abstraction collection. The Woman paintings of the early 1950s are widely considered to be de Kooning’s most important works for their significance to postwar American cultural history and social events, such as the mid-century Feminist Movements. Many of the paintings are speculated to be abstracted portraits of Marilyn Monroe. Woman VI is notable within the series for its brighter palette of green and red paint employed in larger fields of color.
As decolonization spread throughout the globe, the Cold War powers offered competing models for economic and political modernization, as well as models for the art world. The reasons why abstract expressionism took place in the 1950s are still a matter of debate. However, the political limitation was one of the definite reasons. After World War II, the political climate did not tolerate the social pretests of these painters anymore. The McCarthy era after World War II was a time of artistic censorship in the United States, but, if the subject matter were totally abstract, then it would be seen as apolitical, and, therefore, safe. The wartime shifted the artists’ perspectives of the art world from representational, single-style painting to an abstract, combination of multiple styles painting. For example, Thomas B. Hess, the longtime executive editor of ARTnews, pointed out about de Kooning’s works that"…Similar themes of Pompeian color - blue, pink, ochre, alluding to the Boscoreale frescoes in the Metropolitan as well as to the Broadway neon - similar hooking forms and flickering contours, tie the works so closely together that the whole idea of a ‘breakthrough’ seems a bit juvenile - like an advertising agency’s gimmick to sell History."Boscoreale frescoes used to be an important painting technique in Roman art. Hess is explaining that Abstract Expressionism is a "breakthrough" because it is a style that combines both European art colors and American abstract forms. Considering De Kooning’s Dutch background, his paintings actually combined more than three styles. De Kooning is an important artist to the museum because he brought his craft a rigorous European academic training and close familiarity with the past art of past that set him apart from many of his American contemporaries. | [
"Sidney Janis Gallery",
"modernization",
"Willem de Kooning",
"Cold War",
"Thomas B. Hess",
"decolonization",
"Sidney Janis",
"Marilyn Monroe",
"McCarthy era",
"ARTnews",
"Carnegie International",
"Carnegie Museum of Art",
"Carnegie International Exhibition",
"World War II"
] |
|
17632_NT | Woman VI | Focus on this artwork and explore the abstract. | Woman VI is a 1953 abstract work of art painted by Willem de Kooning and first displayed at the Sidney Janis Gallery in Manhattan. Since the 1955 Carnegie International Exhibition, Woman VI has been on view at the Carnegie Museum of Art as part of the Postwar Abstraction collection. The Woman paintings of the early 1950s are widely considered to be de Kooning’s most important works for their significance to postwar American cultural history and social events, such as the mid-century Feminist Movements. Many of the paintings are speculated to be abstracted portraits of Marilyn Monroe. Woman VI is notable within the series for its brighter palette of green and red paint employed in larger fields of color.
As decolonization spread throughout the globe, the Cold War powers offered competing models for economic and political modernization, as well as models for the art world. The reasons why abstract expressionism took place in the 1950s are still a matter of debate. However, the political limitation was one of the definite reasons. After World War II, the political climate did not tolerate the social pretests of these painters anymore. The McCarthy era after World War II was a time of artistic censorship in the United States, but, if the subject matter were totally abstract, then it would be seen as apolitical, and, therefore, safe. The wartime shifted the artists’ perspectives of the art world from representational, single-style painting to an abstract, combination of multiple styles painting. For example, Thomas B. Hess, the longtime executive editor of ARTnews, pointed out about de Kooning’s works that"…Similar themes of Pompeian color - blue, pink, ochre, alluding to the Boscoreale frescoes in the Metropolitan as well as to the Broadway neon - similar hooking forms and flickering contours, tie the works so closely together that the whole idea of a ‘breakthrough’ seems a bit juvenile - like an advertising agency’s gimmick to sell History."Boscoreale frescoes used to be an important painting technique in Roman art. Hess is explaining that Abstract Expressionism is a "breakthrough" because it is a style that combines both European art colors and American abstract forms. Considering De Kooning’s Dutch background, his paintings actually combined more than three styles. De Kooning is an important artist to the museum because he brought his craft a rigorous European academic training and close familiarity with the past art of past that set him apart from many of his American contemporaries. | [
"Sidney Janis Gallery",
"modernization",
"Willem de Kooning",
"Cold War",
"Thomas B. Hess",
"decolonization",
"Sidney Janis",
"Marilyn Monroe",
"McCarthy era",
"ARTnews",
"Carnegie International",
"Carnegie Museum of Art",
"Carnegie International Exhibition",
"World War II"
] |
|
17633_T | Woman VI | Focus on Woman VI and explain the Artist. | De Kooning (1904 – 1997) was a Dutch-born American painter. His exceptional talent was discovered by Jaap Gidding; he decided to enroll de Kooning as a night student at the Rotterdam Academy of Fine Arts and Techniques, where he remained for eight years. The Dutch system of integrating fine and applied arts imbued in de Kooning a respect for tradition and craft that remained fundamental for his work. De Kooning’s painting contains enormous details, which allowed the viewers take time to absorb.
De Kooning as painter who knows the value of history, sought to understand the recent history of paintings thoroughly. In post-World War II era, de Kooning painted in an Abstract Expressionist style, also known as Action painting, whose painterly gesturalism transcended the conventional definitions of figuration and abstraction, and he substantially influenced art after World War II, becoming one of a group of artists that came to be known as the New York School. Jackson Pollock, Franz Kline, as well as Arshile Gorky are also regard as members of the New York avant-garde, with de Kooning championed as the leader of the movement. | [
"Action painting",
"New York School",
"Jaap Gidding",
"Jackson Pollock",
"Franz Kline",
"Arshile Gorky",
"Abstract Expressionist",
"World War II"
] |
|
17633_NT | Woman VI | Focus on this artwork and explain the Artist. | De Kooning (1904 – 1997) was a Dutch-born American painter. His exceptional talent was discovered by Jaap Gidding; he decided to enroll de Kooning as a night student at the Rotterdam Academy of Fine Arts and Techniques, where he remained for eight years. The Dutch system of integrating fine and applied arts imbued in de Kooning a respect for tradition and craft that remained fundamental for his work. De Kooning’s painting contains enormous details, which allowed the viewers take time to absorb.
De Kooning as painter who knows the value of history, sought to understand the recent history of paintings thoroughly. In post-World War II era, de Kooning painted in an Abstract Expressionist style, also known as Action painting, whose painterly gesturalism transcended the conventional definitions of figuration and abstraction, and he substantially influenced art after World War II, becoming one of a group of artists that came to be known as the New York School. Jackson Pollock, Franz Kline, as well as Arshile Gorky are also regard as members of the New York avant-garde, with de Kooning championed as the leader of the movement. | [
"Action painting",
"New York School",
"Jaap Gidding",
"Jackson Pollock",
"Franz Kline",
"Arshile Gorky",
"Abstract Expressionist",
"World War II"
] |
|
17634_T | Woman VI | Explore the Visual analysis of this artwork, Woman VI. | Woman VI is a life-sized painting. A woman figure stands in the center of the painting, the proportion of the figure on the painting is two thirds. There are many Abstract Expressionist elements in the painting, such as the composition, space, line, and color.
By combining simple, large shapes with violent, slashing brushwork, De Kooning has created a bold and dramatic composition. The female figure is built using an odd geometry. Two circle eyes peer comically out of a smeared face. The irregular shape of the chest, the broken arms, and the absence hands or feet gives the figure a sense of disintegration. This fracturing is heightened by a background composed of similar geometric shapes that flatten the picture plane; there is no delineation of space between the figure and ground. Though the painting demonstrates a palpable pictorial tension and frenetic energy, the composition also produces a unique sense of balance and harmony.
When observing the painting, one experiences a viewpoint from below because the head stands high. It is not a symmetrical composition, but either side looks quite balanced. This is because the main figure is on the vertical axis, and the horizontal axis goes through her abdomen. It is a two-dimensional painting, for there is no illusion of depth and the canvas is all surface. Each part of the composition conveys a sense of unity. The emphasis of motif, which is woman, was achieved through the position and large scale. | [
"Abstract Expressionist"
] |
|
17634_NT | Woman VI | Explore the Visual analysis of this artwork. | Woman VI is a life-sized painting. A woman figure stands in the center of the painting, the proportion of the figure on the painting is two thirds. There are many Abstract Expressionist elements in the painting, such as the composition, space, line, and color.
By combining simple, large shapes with violent, slashing brushwork, De Kooning has created a bold and dramatic composition. The female figure is built using an odd geometry. Two circle eyes peer comically out of a smeared face. The irregular shape of the chest, the broken arms, and the absence hands or feet gives the figure a sense of disintegration. This fracturing is heightened by a background composed of similar geometric shapes that flatten the picture plane; there is no delineation of space between the figure and ground. Though the painting demonstrates a palpable pictorial tension and frenetic energy, the composition also produces a unique sense of balance and harmony.
When observing the painting, one experiences a viewpoint from below because the head stands high. It is not a symmetrical composition, but either side looks quite balanced. This is because the main figure is on the vertical axis, and the horizontal axis goes through her abdomen. It is a two-dimensional painting, for there is no illusion of depth and the canvas is all surface. Each part of the composition conveys a sense of unity. The emphasis of motif, which is woman, was achieved through the position and large scale. | [
"Abstract Expressionist"
] |
|
17635_T | Woman VI | Focus on Woman VI and discuss the Gender. | Woman VI was originally displayed with the other five Woman paintings, Woman I to Woman V. The reason why de Kooning placed these six paintings together as an exhibition is because he wanted to give the audience a sense of women’s changing through all the ages, and to liberate the character of women from a restraining social environment. Because Woman VI is the last one in the Woman series, and it looks more abstract as well as less human. The abstract form of the female figure gained some negative critiques for de Kooning. For example, Clement Greenberg, thought de Kooning had taken a wrong turn with the Woman series, and woman figure should not be painted larger than human size. Much to de Kooning’s surprise, however, the show was a success, not just among many artists but among a public increasingly eager to embrace American painting. According to Irving Sandler, an art historian who has chronicled the development of postwar American art, it was de Kooning who “was able to continue the grand tradition of Western painting and to deflect it in a new direction, creating an avant-garde style that spoke to our time.” De Kooning represented a new era of the art world in 1950s, and the subject, which is woman, he depicted could also have a new time. To those critics against his Woman series, de Kooning simply responded, “it is all about freedom.”
Mona Lisa probably the best-known painting in the history of art, due to it mystery forms and figure. Only her gaze is fixed on the observer and seems to welcome them to this silent communication. The renaissance book warned women that they should never look directly at a man.
The motif freedom is one of the reasons that the Carnegie Museum of Art should keep this painting in its possession. Woman VI highlights the gender problem in 1950s America, just before American Feminist Movement of the 1960s and 1970s. | [
"Woman I",
"Carnegie Museum of Art"
] |
|
17635_NT | Woman VI | Focus on this artwork and discuss the Gender. | Woman VI was originally displayed with the other five Woman paintings, Woman I to Woman V. The reason why de Kooning placed these six paintings together as an exhibition is because he wanted to give the audience a sense of women’s changing through all the ages, and to liberate the character of women from a restraining social environment. Because Woman VI is the last one in the Woman series, and it looks more abstract as well as less human. The abstract form of the female figure gained some negative critiques for de Kooning. For example, Clement Greenberg, thought de Kooning had taken a wrong turn with the Woman series, and woman figure should not be painted larger than human size. Much to de Kooning’s surprise, however, the show was a success, not just among many artists but among a public increasingly eager to embrace American painting. According to Irving Sandler, an art historian who has chronicled the development of postwar American art, it was de Kooning who “was able to continue the grand tradition of Western painting and to deflect it in a new direction, creating an avant-garde style that spoke to our time.” De Kooning represented a new era of the art world in 1950s, and the subject, which is woman, he depicted could also have a new time. To those critics against his Woman series, de Kooning simply responded, “it is all about freedom.”
Mona Lisa probably the best-known painting in the history of art, due to it mystery forms and figure. Only her gaze is fixed on the observer and seems to welcome them to this silent communication. The renaissance book warned women that they should never look directly at a man.
The motif freedom is one of the reasons that the Carnegie Museum of Art should keep this painting in its possession. Woman VI highlights the gender problem in 1950s America, just before American Feminist Movement of the 1960s and 1970s. | [
"Woman I",
"Carnegie Museum of Art"
] |
|
17636_T | Woman VI | How does Woman VI elucidate its Abstract expressionism? | Woman VI is placing in the Postwar Abstraction collection in the Carnegie Museum of Art. This painting along with the collection are considering an important part of American art history. The history of Abstract Expressionism is tied closely to the history of post–World War II because it was an art movement that began in the 1940s. During and after World War II, as the center of international power moved to America, expressing itself most directly in New York city, a new art was born. In 1946, Robert Coates, the critic for the New Yorker, applied the term "Abstract Expressionism" to the work of certain of these New York-based painters, like de Kooning. | [
"Abstract expressionism",
"Carnegie Museum of Art",
"World War II"
] |
|
17636_NT | Woman VI | How does this artwork elucidate its Abstract expressionism? | Woman VI is placing in the Postwar Abstraction collection in the Carnegie Museum of Art. This painting along with the collection are considering an important part of American art history. The history of Abstract Expressionism is tied closely to the history of post–World War II because it was an art movement that began in the 1940s. During and after World War II, as the center of international power moved to America, expressing itself most directly in New York city, a new art was born. In 1946, Robert Coates, the critic for the New Yorker, applied the term "Abstract Expressionism" to the work of certain of these New York-based painters, like de Kooning. | [
"Abstract expressionism",
"Carnegie Museum of Art",
"World War II"
] |
|
17637_T | Woman VI | Focus on Woman VI and analyze the Technique. | The medium and facture is part of the painting as well, and they also support the Woman VI to distinguish from other paintings. "In the large ‘Woman’ painting, de Kooning carries his concern with detail and shifting focus to an extreme point. He has always allowed details to absorb him, and often worked with notes, much as an author would, saving a phrase here to there for proper occasion."De Kooning is not only an artist, but also a writer. His painting process marked him unique from the other artists. Unquestionably, Woman VI is remarkable for its emphatic surface texture, in large part a result of the materials that de Kooning chose "A type of brushwork conspicuous in Woman that de Kooning was to make decidedly his own, a technique in which paint has been slapped on and scraped leaving streaks of different colors…"The innovation of the brushwork made by de Kooning distinguished Woman VI from the other paintings in the gallery. The effect of the materials, which is oil on canvas, shows the long-time making process. Woman VI is a large-scale painting, and the oil allows artists to have more time to finish it because of its slow drying time. The oil can also be left to dry for long periods of time, and, in fact, the painting needs to be exposed to the air for several weeks for drying. This characteristic made it possible for de Kooning to work on this painting over several sessions without fear of the paint drying up too early, and it is easy to make changes to the finished part. In de Kooning’s book, he wrote, "painting, any kind of painting is a way of living today, a style of living so to speak. That is where the form of it lies." De Kooning was more focused on paintings during his career because he believed that only paintings could speak for him. | [] |
|
17637_NT | Woman VI | Focus on this artwork and analyze the Technique. | The medium and facture is part of the painting as well, and they also support the Woman VI to distinguish from other paintings. "In the large ‘Woman’ painting, de Kooning carries his concern with detail and shifting focus to an extreme point. He has always allowed details to absorb him, and often worked with notes, much as an author would, saving a phrase here to there for proper occasion."De Kooning is not only an artist, but also a writer. His painting process marked him unique from the other artists. Unquestionably, Woman VI is remarkable for its emphatic surface texture, in large part a result of the materials that de Kooning chose "A type of brushwork conspicuous in Woman that de Kooning was to make decidedly his own, a technique in which paint has been slapped on and scraped leaving streaks of different colors…"The innovation of the brushwork made by de Kooning distinguished Woman VI from the other paintings in the gallery. The effect of the materials, which is oil on canvas, shows the long-time making process. Woman VI is a large-scale painting, and the oil allows artists to have more time to finish it because of its slow drying time. The oil can also be left to dry for long periods of time, and, in fact, the painting needs to be exposed to the air for several weeks for drying. This characteristic made it possible for de Kooning to work on this painting over several sessions without fear of the paint drying up too early, and it is easy to make changes to the finished part. In de Kooning’s book, he wrote, "painting, any kind of painting is a way of living today, a style of living so to speak. That is where the form of it lies." De Kooning was more focused on paintings during his career because he believed that only paintings could speak for him. | [] |
|
17638_T | The Holy Towel (Tzanes) | In The Holy Towel (Tzanes), how is the abstract discussed? | The Holy Towel is a tempera painting completed in 1659 by Emmanuel Tzanes. He was a representative of the Late Cretan School and the Heptanese School. His brothers were the painter and poet Marinos Tzanes and the painter Konstantinos Tzanes. One hundred thirty works of art are attributed to Emmanuel. He is one of the most important Greek painters of the 17th century along with Theodoros Poulakis. He was from Rethymno Crete. He was active from 1625 to 1690. He was the priest of San Giorgio dei Greci in Venice for thirty years.Many different objects related to the story of Jesus's life were sought after by adherents of the faith. The Holy Grail, Spear of Destiny and the Holy Shroud are some of the important relics. Painters began to adopt the different objects into their works. Many Greek-Italian Byzantine works of art featured the Shroud of Turin (Holy Towel) or Veil of Veronica. El Greco completed several versions. The subject was very common in the Cretan School. Angelos Pitzamanos and Theophanes the Cretan also incorporated the subject matter into their works. A notable version was completed by Tzanes.The Holy Towel was painted in Venice and finished in 1659. One year after the work was finished he became the priest of San Giorgio dei Greci. The painting is part of the collection of the Benaki Museum in Athens, Greece. | [
"Heptanese School",
"Crete",
"Konstantinos Tzanes",
"Theodoros Poulakis",
"El Greco",
"Emmanuel Tzanes",
"Shroud of Turin",
"Marinos Tzanes",
"Holy Grail",
"Cretan School",
"Emmanuel",
"Spear of Destiny",
"Theophanes the Cretan",
"Holy Shroud",
"San Giorgio dei Greci",
"Venice",
"Veil of Veronica",
"Benaki Museum",
"Angelos Pitzamanos"
] |
|
17638_NT | The Holy Towel (Tzanes) | In this artwork, how is the abstract discussed? | The Holy Towel is a tempera painting completed in 1659 by Emmanuel Tzanes. He was a representative of the Late Cretan School and the Heptanese School. His brothers were the painter and poet Marinos Tzanes and the painter Konstantinos Tzanes. One hundred thirty works of art are attributed to Emmanuel. He is one of the most important Greek painters of the 17th century along with Theodoros Poulakis. He was from Rethymno Crete. He was active from 1625 to 1690. He was the priest of San Giorgio dei Greci in Venice for thirty years.Many different objects related to the story of Jesus's life were sought after by adherents of the faith. The Holy Grail, Spear of Destiny and the Holy Shroud are some of the important relics. Painters began to adopt the different objects into their works. Many Greek-Italian Byzantine works of art featured the Shroud of Turin (Holy Towel) or Veil of Veronica. El Greco completed several versions. The subject was very common in the Cretan School. Angelos Pitzamanos and Theophanes the Cretan also incorporated the subject matter into their works. A notable version was completed by Tzanes.The Holy Towel was painted in Venice and finished in 1659. One year after the work was finished he became the priest of San Giorgio dei Greci. The painting is part of the collection of the Benaki Museum in Athens, Greece. | [
"Heptanese School",
"Crete",
"Konstantinos Tzanes",
"Theodoros Poulakis",
"El Greco",
"Emmanuel Tzanes",
"Shroud of Turin",
"Marinos Tzanes",
"Holy Grail",
"Cretan School",
"Emmanuel",
"Spear of Destiny",
"Theophanes the Cretan",
"Holy Shroud",
"San Giorgio dei Greci",
"Venice",
"Veil of Veronica",
"Benaki Museum",
"Angelos Pitzamanos"
] |
|
17639_T | The Holy Towel (Tzanes) | Focus on The Holy Towel (Tzanes) and explore the Description. | The work of art was created using wood panel, tempera paint, and gold leaf. The height is 47.5 cm (18.7 in) and the width is 46 cm (18.1 in). The artist signed and dated the work in the left-hand corner. | [] |
|
17639_NT | The Holy Towel (Tzanes) | Focus on this artwork and explore the Description. | The work of art was created using wood panel, tempera paint, and gold leaf. The height is 47.5 cm (18.7 in) and the width is 46 cm (18.1 in). The artist signed and dated the work in the left-hand corner. | [] |
|
17640_T | Young Knight in a Landscape | Focus on Young Knight in a Landscape and explain the Composition. | The painting shows a young knight, surrounded by a rather crowded series of symbols. The heron caught in the sky by a hawk might hint at this knight's death in battle, also alluded to by his posture, which recalls that of a funerary statue; an alternative theory is that this is a memorial portrait of a person already dead. The other knight with a lance might then be the same person during his life. Alternatively, the figure on horseback might be his page; the page of a knight occasionally appears in portraits wearing his master's helmet and having his gauntlets on his person, ready to supply both when called upon, which seems to have been an actual practice. Two later examples are Titian's portrait of Alfonso d'Avalos, and a portrait by Paris Bordone of a man in armour with two pages (now Metropolitan Museum of Art, New York). In the left lower corner is a white ermine and a scroll stating "I prefer to die rather than to incur dishonour" (malo mori quam foedari). The symbolism of these and the other animals and plants have been much discussed by art historians. | [
"ermine",
"hawk",
"heron",
"Paris Bordone",
"Titian",
"Alfonso d'Avalos",
"portrait",
"Metropolitan Museum of Art",
"art historian"
] |
|
17640_NT | Young Knight in a Landscape | Focus on this artwork and explain the Composition. | The painting shows a young knight, surrounded by a rather crowded series of symbols. The heron caught in the sky by a hawk might hint at this knight's death in battle, also alluded to by his posture, which recalls that of a funerary statue; an alternative theory is that this is a memorial portrait of a person already dead. The other knight with a lance might then be the same person during his life. Alternatively, the figure on horseback might be his page; the page of a knight occasionally appears in portraits wearing his master's helmet and having his gauntlets on his person, ready to supply both when called upon, which seems to have been an actual practice. Two later examples are Titian's portrait of Alfonso d'Avalos, and a portrait by Paris Bordone of a man in armour with two pages (now Metropolitan Museum of Art, New York). In the left lower corner is a white ermine and a scroll stating "I prefer to die rather than to incur dishonour" (malo mori quam foedari). The symbolism of these and the other animals and plants have been much discussed by art historians. | [
"ermine",
"hawk",
"heron",
"Paris Bordone",
"Titian",
"Alfonso d'Avalos",
"portrait",
"Metropolitan Museum of Art",
"art historian"
] |
|
17641_T | Young Knight in a Landscape | Explore the Subject identity of this artwork, Young Knight in a Landscape. | For centuries the identity of the knight has been a subject of discussion among the most renowned art historians, including Bernard Berenson and Lionello Venturi. The portrait is now considered most likely to show Francesco Maria I della Rovere, the Duke of Urbino and nephew of Pope Julius II, during whose reign it was painted. Nevertheless, a more recent interpretation identifies the knight as the Venetian patrician Marco Gabriel, who was rector of the fortress of Methoni, in Greece, during the Ottoman siege of 1500. His family would have commissioned the painting as a tribute to his memory, as, being the only Venetian survivor of the siege, he had been accused of cowardice. Taken by the Ottomans to Constantinople, he was beheaded there on 4 November 1501. | [
"Francesco Maria I della Rovere",
"fortress",
"Methoni",
"Marco Gabriel",
"Pope Julius II",
"Constantinople",
"Bernard Berenson",
"Duke of Urbino",
"portrait",
"Ottoman",
"art historian",
"Lionello Venturi"
] |
|
17641_NT | Young Knight in a Landscape | Explore the Subject identity of this artwork. | For centuries the identity of the knight has been a subject of discussion among the most renowned art historians, including Bernard Berenson and Lionello Venturi. The portrait is now considered most likely to show Francesco Maria I della Rovere, the Duke of Urbino and nephew of Pope Julius II, during whose reign it was painted. Nevertheless, a more recent interpretation identifies the knight as the Venetian patrician Marco Gabriel, who was rector of the fortress of Methoni, in Greece, during the Ottoman siege of 1500. His family would have commissioned the painting as a tribute to his memory, as, being the only Venetian survivor of the siege, he had been accused of cowardice. Taken by the Ottomans to Constantinople, he was beheaded there on 4 November 1501. | [
"Francesco Maria I della Rovere",
"fortress",
"Methoni",
"Marco Gabriel",
"Pope Julius II",
"Constantinople",
"Bernard Berenson",
"Duke of Urbino",
"portrait",
"Ottoman",
"art historian",
"Lionello Venturi"
] |
|
17642_T | Young Knight in a Landscape | Focus on Young Knight in a Landscape and discuss the Owners. | The painting was sold by the heirs of the American collector Otto Kahn after his death and bought by Heinrich Thyssen in 1935. | [
"Heinrich Thyssen",
"Otto Kahn"
] |
|
17642_NT | Young Knight in a Landscape | Focus on this artwork and discuss the Owners. | The painting was sold by the heirs of the American collector Otto Kahn after his death and bought by Heinrich Thyssen in 1935. | [
"Heinrich Thyssen",
"Otto Kahn"
] |
|
17643_T | Statue of J. Marion Sims | Focus on Statue of J. Marion Sims and analyze the abstract. | J. Marion Sims is a bronze sculpture depicting the American physician of the same name by Ferdinand Freiherr von Miller. | [
"American physician of the same name",
"bronze sculpture",
"J. Marion Sims",
"Ferdinand Freiherr von Miller"
] |
|
17643_NT | Statue of J. Marion Sims | Focus on this artwork and analyze the abstract. | J. Marion Sims is a bronze sculpture depicting the American physician of the same name by Ferdinand Freiherr von Miller. | [
"American physician of the same name",
"bronze sculpture",
"J. Marion Sims",
"Ferdinand Freiherr von Miller"
] |
|
17644_T | Statue of J. Marion Sims | In Statue of J. Marion Sims, how is the Description discussed? | The sculpture consists of a nearly 9-foot-tall image of a standing Sims upon a plinth resting on a pedestal, and supporting piers on either side with roundels containing descriptions. The figure of Sims is cast in bronze, and the other elements of the sculpture are granite from North Jay, Maine. | [
"North Jay, Maine",
"roundel"
] |
|
17644_NT | Statue of J. Marion Sims | In this artwork, how is the Description discussed? | The sculpture consists of a nearly 9-foot-tall image of a standing Sims upon a plinth resting on a pedestal, and supporting piers on either side with roundels containing descriptions. The figure of Sims is cast in bronze, and the other elements of the sculpture are granite from North Jay, Maine. | [
"North Jay, Maine",
"roundel"
] |
|
17645_T | Statue of J. Marion Sims | Focus on Statue of J. Marion Sims and explore the History. | The statue was cast in Munich, Germany, in 1892 and was dedicated on October 20, 1894. Originally erected in Bryant Park in 1894, it was taken down in the 1920s amid subway construction, and moved to the northeastern corner of Central Park, at 103rd Street, in 1934, opposite the New York Academy of Medicine.This statue became a cause of controversy in 2017 due to Sims' experimental operations on enslaved black women. In August of that year, the statue was vandalized, with someone writing the word "racist" on it in spray paint. Activists' push to remove the statue intensified following the publication of the book Medical Apartheid. In April 2018, the New York City Public Design Commission voted unanimously to have the statue removed from Central Park and installed in Green-Wood Cemetery, near where Sims is buried. The following day, the statue was moved to Green-Wood, where it was temporarily placed in storage. The pedestal or supporting piers remain at Central Park. The cemetery plans to place the statue near Sims' gravesite once a historical display on Sims' life is created. | [
"Bryant Park",
"Medical Apartheid",
"New York City",
"subway",
"New York Academy of Medicine",
"New York City Public Design Commission",
"Green-Wood Cemetery",
"Munich",
"Munich, Germany",
"Central Park"
] |
|
17645_NT | Statue of J. Marion Sims | Focus on this artwork and explore the History. | The statue was cast in Munich, Germany, in 1892 and was dedicated on October 20, 1894. Originally erected in Bryant Park in 1894, it was taken down in the 1920s amid subway construction, and moved to the northeastern corner of Central Park, at 103rd Street, in 1934, opposite the New York Academy of Medicine.This statue became a cause of controversy in 2017 due to Sims' experimental operations on enslaved black women. In August of that year, the statue was vandalized, with someone writing the word "racist" on it in spray paint. Activists' push to remove the statue intensified following the publication of the book Medical Apartheid. In April 2018, the New York City Public Design Commission voted unanimously to have the statue removed from Central Park and installed in Green-Wood Cemetery, near where Sims is buried. The following day, the statue was moved to Green-Wood, where it was temporarily placed in storage. The pedestal or supporting piers remain at Central Park. The cemetery plans to place the statue near Sims' gravesite once a historical display on Sims' life is created. | [
"Bryant Park",
"Medical Apartheid",
"New York City",
"subway",
"New York Academy of Medicine",
"New York City Public Design Commission",
"Green-Wood Cemetery",
"Munich",
"Munich, Germany",
"Central Park"
] |
|
17646_T | A-maze-ing Laughter | Focus on A-maze-ing Laughter and explain the abstract. | A-maze-ing Laughter is a 2009 bronze sculpture by Yue Minjun, located in Morton Park in Vancouver, British Columbia, Canada. | [
"Vancouver",
"bronze sculpture",
"Yue Minjun",
"British Columbia"
] |
|
17646_NT | A-maze-ing Laughter | Focus on this artwork and explain the abstract. | A-maze-ing Laughter is a 2009 bronze sculpture by Yue Minjun, located in Morton Park in Vancouver, British Columbia, Canada. | [
"Vancouver",
"bronze sculpture",
"Yue Minjun",
"British Columbia"
] |
|
17647_T | A-maze-ing Laughter | Explore the Reception of this artwork, A-maze-ing Laughter. | A-maze-ing Laughter was nominated in the Great Places in Canada Contest 2013 and was the only work of public art to receive a nomination. | [] |
|
17647_NT | A-maze-ing Laughter | Explore the Reception of this artwork. | A-maze-ing Laughter was nominated in the Great Places in Canada Contest 2013 and was the only work of public art to receive a nomination. | [] |
|
17648_T | Christ and the Woman of Samaria (Gentileschi) | Focus on Christ and the Woman of Samaria (Gentileschi) and discuss the abstract. | Christ and the Woman of Samaria is a 1637 oil painting on canvas by the Italian artist Artemisia Gentileschi, depicting a story from the New Testament. It was part of a private collection in Palermo, and is now in the public Palazzo Blu in Pisa. | [
"Artemisia Gentileschi",
"Palazzo Blu",
"Pisa",
"New Testament",
"Palermo"
] |
|
17648_NT | Christ and the Woman of Samaria (Gentileschi) | Focus on this artwork and discuss the abstract. | Christ and the Woman of Samaria is a 1637 oil painting on canvas by the Italian artist Artemisia Gentileschi, depicting a story from the New Testament. It was part of a private collection in Palermo, and is now in the public Palazzo Blu in Pisa. | [
"Artemisia Gentileschi",
"Palazzo Blu",
"Pisa",
"New Testament",
"Palermo"
] |
|
17649_T | Christ and the Woman of Samaria (Gentileschi) | How does Christ and the Woman of Samaria (Gentileschi) elucidate its Subject matter? | The story of the Samaritan woman is told in the Gospel of John. A woman leans eagerly forward in conversation with Jesus, in contrast to the typical portrayal of the time which showed the woman sitting passively listening to a monologue. It is one of the few works by Gentileschi with a full landscape. The disciples of Jesus can be seen in the background, walking out of the walled city. The vibrant colors of the figures' clothes and the detailed landscape became associated with the work she produced during this period in Naples. | [
"Gospel of John",
"Samaritan woman"
] |
|
17649_NT | Christ and the Woman of Samaria (Gentileschi) | How does this artwork elucidate its Subject matter? | The story of the Samaritan woman is told in the Gospel of John. A woman leans eagerly forward in conversation with Jesus, in contrast to the typical portrayal of the time which showed the woman sitting passively listening to a monologue. It is one of the few works by Gentileschi with a full landscape. The disciples of Jesus can be seen in the background, walking out of the walled city. The vibrant colors of the figures' clothes and the detailed landscape became associated with the work she produced during this period in Naples. | [
"Gospel of John",
"Samaritan woman"
] |
|
17650_T | Christ and the Woman of Samaria (Gentileschi) | Focus on Christ and the Woman of Samaria (Gentileschi) and analyze the Provenance. | Correspondence from Gentileschi indicates that she was trying to sell two paintings to Cardinal Francesco Barberini in 1637, one of which was a Woman of Samaria. This work was recently discovered in a private collection and identified at that painting. The work apparently never reached Barberini and its history is otherwise undocumented. It was acquired by the Palazzo Blu museum in Pisa in November 2022. | [
"Palazzo Blu",
"Pisa",
"Cardinal Francesco Barberini"
] |
|
17650_NT | Christ and the Woman of Samaria (Gentileschi) | Focus on this artwork and analyze the Provenance. | Correspondence from Gentileschi indicates that she was trying to sell two paintings to Cardinal Francesco Barberini in 1637, one of which was a Woman of Samaria. This work was recently discovered in a private collection and identified at that painting. The work apparently never reached Barberini and its history is otherwise undocumented. It was acquired by the Palazzo Blu museum in Pisa in November 2022. | [
"Palazzo Blu",
"Pisa",
"Cardinal Francesco Barberini"
] |
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