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17651_T | Bathing Woman with Raised Arms | In Bathing Woman with Raised Arms, how is the abstract discussed? | Bathing Woman with Raised Arms (French: La Baigneuse aux bras levés) is a 1921 bronze sculpture by Aristide Maillol. Since 1964 it has been exhibited in the Jardin du Carrousel next to the Tuileries Garden. | [
"Aristide Maillol",
"Tuileries Garden",
"Jardin du Carrousel",
"bronze"
] |
|
17651_NT | Bathing Woman with Raised Arms | In this artwork, how is the abstract discussed? | Bathing Woman with Raised Arms (French: La Baigneuse aux bras levés) is a 1921 bronze sculpture by Aristide Maillol. Since 1964 it has been exhibited in the Jardin du Carrousel next to the Tuileries Garden. | [
"Aristide Maillol",
"Tuileries Garden",
"Jardin du Carrousel",
"bronze"
] |
|
17652_T | Le Parterre | Focus on Le Parterre and explore the abstract. | Le Parterre, originally called Place de l'Adresse-Symphonique, is a public square in the Quartier des spectacles district in Montreal, Quebec, Canada. This space in front of the Maison symphonique de Montréal is intended as a performance space for different musical ensembles, as well as a setting for highlighting the architecture of the symphony house. | [
"Quartier des spectacles",
"Maison symphonique de Montréal",
"Quebec",
"Montreal"
] |
|
17652_NT | Le Parterre | Focus on this artwork and explore the abstract. | Le Parterre, originally called Place de l'Adresse-Symphonique, is a public square in the Quartier des spectacles district in Montreal, Quebec, Canada. This space in front of the Maison symphonique de Montréal is intended as a performance space for different musical ensembles, as well as a setting for highlighting the architecture of the symphony house. | [
"Quartier des spectacles",
"Maison symphonique de Montréal",
"Quebec",
"Montreal"
] |
|
17653_T | Le Parterre | Focus on Le Parterre and explain the History. | The construction of the square began in the spring of 2009, and was finalized in 2010 during the reconfiguration of De Maisonneuve Boulevard between Saint Laurent Boulevard and Saint Urbain Street.
The reconfiguration of the Boulevard accompanied the replacement of the two then triangular green spaces (Places Fred-Barry and Albert-Duquesne ). This modified public space fills out the square, with mineral and green surfaces. After this change, the name
was changed from Place de l'Adresse-Symphonique to Le Parterre. | [
"De Maisonneuve Boulevard",
"Saint Urbain Street",
"Saint Laurent Boulevard"
] |
|
17653_NT | Le Parterre | Focus on this artwork and explain the History. | The construction of the square began in the spring of 2009, and was finalized in 2010 during the reconfiguration of De Maisonneuve Boulevard between Saint Laurent Boulevard and Saint Urbain Street.
The reconfiguration of the Boulevard accompanied the replacement of the two then triangular green spaces (Places Fred-Barry and Albert-Duquesne ). This modified public space fills out the square, with mineral and green surfaces. After this change, the name
was changed from Place de l'Adresse-Symphonique to Le Parterre. | [
"De Maisonneuve Boulevard",
"Saint Urbain Street",
"Saint Laurent Boulevard"
] |
|
17654_T | Le Parterre | In the context of Le Parterre, discuss the After Babel, A Civic Square of the Art. | After Babel, A Civic Square, created by Marlene Hilton-Moore and Jean McEwen, is a sculpture in the square composed of two columns and a silhouette of a dog. At the top of the bronze column and the steel column are, respectively, a mask with an ear toward the ground and another dog silhouette.
The sculpture was a gift from the city of Toronto for Montréal's 350th anniversary and the event Toronto fête Montréal. It was chosen following a competition by invitation and installed in 1993. | [
"Jean McEwen",
"Toronto"
] |
|
17654_NT | Le Parterre | In the context of this artwork, discuss the After Babel, A Civic Square of the Art. | After Babel, A Civic Square, created by Marlene Hilton-Moore and Jean McEwen, is a sculpture in the square composed of two columns and a silhouette of a dog. At the top of the bronze column and the steel column are, respectively, a mask with an ear toward the ground and another dog silhouette.
The sculpture was a gift from the city of Toronto for Montréal's 350th anniversary and the event Toronto fête Montréal. It was chosen following a competition by invitation and installed in 1993. | [
"Jean McEwen",
"Toronto"
] |
|
17655_T | Their Spirits Circle the Earth | How does Their Spirits Circle the Earth elucidate its abstract? | Their Spirits Circle the Earth, also known as Challenger Memorial, is an outdoor memorial and sculpture commemorating victims of the Space Shuttle Challenger disaster by Jim Mason, installed in Columbus, Ohio's Battelle Riverfront Park, in the United States. | [
"Battelle Riverfront Park",
"Space Shuttle Challenger disaster",
"Columbus, Ohio"
] |
|
17655_NT | Their Spirits Circle the Earth | How does this artwork elucidate its abstract? | Their Spirits Circle the Earth, also known as Challenger Memorial, is an outdoor memorial and sculpture commemorating victims of the Space Shuttle Challenger disaster by Jim Mason, installed in Columbus, Ohio's Battelle Riverfront Park, in the United States. | [
"Battelle Riverfront Park",
"Space Shuttle Challenger disaster",
"Columbus, Ohio"
] |
|
17656_T | Their Spirits Circle the Earth | Focus on Their Spirits Circle the Earth and analyze the Description and history. | The artwork features a brass ball with a 13.5-inch (34 cm) diameter on a granite slab, measuring approximately 3 ft. 6 in. x 1 ft. 1.5 in. x 3 ft. 6 in. The sculpture rests on a concrete base measuring approximately 4 in. x 1 ft. 4 in. x 4 ft. 2 in. An inscription on one side reads: THEIR SPIRITS / CIRCLE / THE EARTH" / Sponsored by / The Burger King Corporation / and Their / Columbus, Ohio franchises / January 28, 1987". An inscription on a plaque reads: "Francis R. Scobee, Flight Commander / Michael J. Smith / Ronald E. McNair / Ellison S. Onizuka / Judith A. Resnik / Gregory B. Jarvis / Sharon Christa McAuliffe / They Accepted the Challenge / In memory of the courage and pioneering spirit of / the seven astronauts who perished aboard the / challenger on Jan. 28, 1986 / Designed and dedicated by the children of Columbus / Mayor Dana G. Rinehart / Jan. 28, 1987"
The memorial was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1992. | [
"Christa McAuliffe",
"Michael J. Smith",
"Sharon Christa McAuliffe",
"Judith A. Resnik",
"Gregory B. Jarvis",
"Ellison S. Onizuka",
"Ronald E. McNair",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Burger King",
"Columbus, Ohio",
"Francis R. Scobee"
] |
|
17656_NT | Their Spirits Circle the Earth | Focus on this artwork and analyze the Description and history. | The artwork features a brass ball with a 13.5-inch (34 cm) diameter on a granite slab, measuring approximately 3 ft. 6 in. x 1 ft. 1.5 in. x 3 ft. 6 in. The sculpture rests on a concrete base measuring approximately 4 in. x 1 ft. 4 in. x 4 ft. 2 in. An inscription on one side reads: THEIR SPIRITS / CIRCLE / THE EARTH" / Sponsored by / The Burger King Corporation / and Their / Columbus, Ohio franchises / January 28, 1987". An inscription on a plaque reads: "Francis R. Scobee, Flight Commander / Michael J. Smith / Ronald E. McNair / Ellison S. Onizuka / Judith A. Resnik / Gregory B. Jarvis / Sharon Christa McAuliffe / They Accepted the Challenge / In memory of the courage and pioneering spirit of / the seven astronauts who perished aboard the / challenger on Jan. 28, 1986 / Designed and dedicated by the children of Columbus / Mayor Dana G. Rinehart / Jan. 28, 1987"
The memorial was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1992. | [
"Christa McAuliffe",
"Michael J. Smith",
"Sharon Christa McAuliffe",
"Judith A. Resnik",
"Gregory B. Jarvis",
"Ellison S. Onizuka",
"Ronald E. McNair",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Burger King",
"Columbus, Ohio",
"Francis R. Scobee"
] |
|
17657_T | Portrait of a Gonfaloniere | In Portrait of a Gonfaloniere, how is the Description discussed? | An armor-clad man is shown in full-length view, with his left hand on the hilt of his sword and his right resting on a table covered in red velvet. He is further adorned with an elaborate white ruff and cuffs, as well as a green sash draped over his left shoulder. The insignia on his breastplate may indicate membership in the Order of Saints Maurice and Lazarus, an organization sworn to defend the papacy, even in battle. A papal banner hangs behind the figure, a symbol of his processional role. The coat of arms on the table cover has yet to be identified. It is signed and dated on the reverse, but scholars are not in agreement on the authenticity of the inscription. The painting was restored in 1964 and is noted as being in excellent condition. | [
"ruff",
"Order of Saints Maurice and Lazarus",
"insignia"
] |
|
17657_NT | Portrait of a Gonfaloniere | In this artwork, how is the Description discussed? | An armor-clad man is shown in full-length view, with his left hand on the hilt of his sword and his right resting on a table covered in red velvet. He is further adorned with an elaborate white ruff and cuffs, as well as a green sash draped over his left shoulder. The insignia on his breastplate may indicate membership in the Order of Saints Maurice and Lazarus, an organization sworn to defend the papacy, even in battle. A papal banner hangs behind the figure, a symbol of his processional role. The coat of arms on the table cover has yet to be identified. It is signed and dated on the reverse, but scholars are not in agreement on the authenticity of the inscription. The painting was restored in 1964 and is noted as being in excellent condition. | [
"ruff",
"Order of Saints Maurice and Lazarus",
"insignia"
] |
|
17658_T | Portrait of a Gonfaloniere | Focus on Portrait of a Gonfaloniere and explore the Provenance. | The painting is first recorded as being in the collection of Agostino Pepoli, a member of an aristocratic family in Bologna. Upon his death in 1910, his heirs gave it to the Pinacoteca Nazionale, Bologna. It entered the collection of Palazzo d'Accursio in 1934. | [
"Bologna",
"Agostino Pepoli",
"Pinacoteca Nazionale, Bologna",
"Palazzo d'Accursio"
] |
|
17658_NT | Portrait of a Gonfaloniere | Focus on this artwork and explore the Provenance. | The painting is first recorded as being in the collection of Agostino Pepoli, a member of an aristocratic family in Bologna. Upon his death in 1910, his heirs gave it to the Pinacoteca Nazionale, Bologna. It entered the collection of Palazzo d'Accursio in 1934. | [
"Bologna",
"Agostino Pepoli",
"Pinacoteca Nazionale, Bologna",
"Palazzo d'Accursio"
] |
|
17659_T | Lamentation over the Dead Christ (Bellini, Florence) | Focus on Lamentation over the Dead Christ (Bellini, Florence) and explain the abstract. | Lamentation over the Dead Christ is a c. 1500 tempera-on-panel painting by the Italian Renaissance master Giovanni Bellini kept at the Uffizi Gallery in Florence. | [
"Giovanni Bellini",
"Florence",
"Uffizi",
"Uffizi Gallery",
"1500",
"tempera-on-panel"
] |
|
17659_NT | Lamentation over the Dead Christ (Bellini, Florence) | Focus on this artwork and explain the abstract. | Lamentation over the Dead Christ is a c. 1500 tempera-on-panel painting by the Italian Renaissance master Giovanni Bellini kept at the Uffizi Gallery in Florence. | [
"Giovanni Bellini",
"Florence",
"Uffizi",
"Uffizi Gallery",
"1500",
"tempera-on-panel"
] |
|
17660_T | Lamentation over the Dead Christ (Bellini, Florence) | Explore the History of this artwork, Lamentation over the Dead Christ (Bellini, Florence). | The incomplete painting may have been intended as a reference image for Bellini's workshop or an underdrawing for a full painting. It was given to Ferdinand III, Grand Duke of Tuscany by doge Alvise Giovanni Mocenigo in return for a pietra dura snuffbox, decorated with gold and gems. Later, the Grand Duke gave tempera painting to the Uffizi Gallery on 22 October 1798, where it is still on display.
Critics have generally agreed that the painting was executed around the peak of Bellini's career, around the turn of the 16th century. | [
"Uffizi",
"Uffizi Gallery",
"pietra dura",
"Ferdinand III, Grand Duke of Tuscany",
"Alvise Giovanni Mocenigo"
] |
|
17660_NT | Lamentation over the Dead Christ (Bellini, Florence) | Explore the History of this artwork. | The incomplete painting may have been intended as a reference image for Bellini's workshop or an underdrawing for a full painting. It was given to Ferdinand III, Grand Duke of Tuscany by doge Alvise Giovanni Mocenigo in return for a pietra dura snuffbox, decorated with gold and gems. Later, the Grand Duke gave tempera painting to the Uffizi Gallery on 22 October 1798, where it is still on display.
Critics have generally agreed that the painting was executed around the peak of Bellini's career, around the turn of the 16th century. | [
"Uffizi",
"Uffizi Gallery",
"pietra dura",
"Ferdinand III, Grand Duke of Tuscany",
"Alvise Giovanni Mocenigo"
] |
|
17661_T | Lamentation over the Dead Christ (Bellini, Florence) | Focus on Lamentation over the Dead Christ (Bellini, Florence) and discuss the Description and style. | The Lamentation is painted in chiaroscuro. The painting exhibits a graphic visual style upon wooden support. Although it looks like a monochromatic sketch, the painting displays a high degree of intention. The ground is not prepared but actually forms a layer of the painting.Compared to other Pietà compositions by Bellini, the Lamentation is more crowded. The dead Christ is at the center of the painting in a seated position. He is supported on the side by an expressive Madonna and Saint John the Baptist. On the left, Mary Magdalene and Joseph of Arimthea are both recognizable. Above, three figures are painted more faintly: a girl, a bald, bearded man, and Nicodemus, the elderly monk with the long beard. There is a study for the figure of Nicodemus in the Uffizi's drawing collection, the Gabinetto dei disegni e delle stampe.
The protruding knees of Christ, foreshortened, break the illusion of the painting's separation from its viewer. | [
"Uffizi",
"Gabinetto dei disegni e delle stampe",
"John the Baptist",
"Saint John the Baptist",
"chiaroscuro",
"Nicodemus"
] |
|
17661_NT | Lamentation over the Dead Christ (Bellini, Florence) | Focus on this artwork and discuss the Description and style. | The Lamentation is painted in chiaroscuro. The painting exhibits a graphic visual style upon wooden support. Although it looks like a monochromatic sketch, the painting displays a high degree of intention. The ground is not prepared but actually forms a layer of the painting.Compared to other Pietà compositions by Bellini, the Lamentation is more crowded. The dead Christ is at the center of the painting in a seated position. He is supported on the side by an expressive Madonna and Saint John the Baptist. On the left, Mary Magdalene and Joseph of Arimthea are both recognizable. Above, three figures are painted more faintly: a girl, a bald, bearded man, and Nicodemus, the elderly monk with the long beard. There is a study for the figure of Nicodemus in the Uffizi's drawing collection, the Gabinetto dei disegni e delle stampe.
The protruding knees of Christ, foreshortened, break the illusion of the painting's separation from its viewer. | [
"Uffizi",
"Gabinetto dei disegni e delle stampe",
"John the Baptist",
"Saint John the Baptist",
"chiaroscuro",
"Nicodemus"
] |
|
17662_T | Uroboros (sculpture) | How does Uroboros (sculpture) elucidate its abstract? | Uroboros is an outdoor 1979 sculpture by Charles Kibby, located at Westmoreland Park in the Sellwood neighborhood of southeast Portland, Oregon. It is a modern depiction of the uroboros, an ancient Egyptian and Greek symbol depicting a serpent or dragon eating its own tail. | [
"eating its own tail",
"Portland, Oregon",
"Westmoreland Park",
"uroboros",
"Charles Kibby",
"Uroboros",
"Sellwood"
] |
|
17662_NT | Uroboros (sculpture) | How does this artwork elucidate its abstract? | Uroboros is an outdoor 1979 sculpture by Charles Kibby, located at Westmoreland Park in the Sellwood neighborhood of southeast Portland, Oregon. It is a modern depiction of the uroboros, an ancient Egyptian and Greek symbol depicting a serpent or dragon eating its own tail. | [
"eating its own tail",
"Portland, Oregon",
"Westmoreland Park",
"uroboros",
"Charles Kibby",
"Uroboros",
"Sellwood"
] |
|
17663_T | Uroboros (sculpture) | Focus on Uroboros (sculpture) and analyze the Description and history. | According to the Regional Arts & Culture Council, which administers the work, the cast concrete sculpture measures 48 inches (120 cm) x 14 inches (36 cm) x 72 inches (180 cm) and rests on a base that measures 24 inches (61 cm) x 20 inches (51 cm) x 20 inches (51 cm). The organization lists "MAC 1979–80" as the funding source. However, the Smithsonian Institution lists the sculpture's measurements as 45 inches (110 cm) x 45 inches (110 cm) x 16 inches (41 cm), on a base that measures approximately 21 inches (53 cm) x 20 inches (51 cm) x 16 inches (41 cm). The Smithsonian categorizes Uroboros as abstract ("geometric") and notes that it was commissioned by the Comprehensive Employment and Training Act (CETA) before being donated to the park.The sculpture is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. | [
"Regional Arts & Culture Council",
"Smithsonian Institution",
"Uroboros",
"Comprehensive Employment and Training Act",
"abstract"
] |
|
17663_NT | Uroboros (sculpture) | Focus on this artwork and analyze the Description and history. | According to the Regional Arts & Culture Council, which administers the work, the cast concrete sculpture measures 48 inches (120 cm) x 14 inches (36 cm) x 72 inches (180 cm) and rests on a base that measures 24 inches (61 cm) x 20 inches (51 cm) x 20 inches (51 cm). The organization lists "MAC 1979–80" as the funding source. However, the Smithsonian Institution lists the sculpture's measurements as 45 inches (110 cm) x 45 inches (110 cm) x 16 inches (41 cm), on a base that measures approximately 21 inches (53 cm) x 20 inches (51 cm) x 16 inches (41 cm). The Smithsonian categorizes Uroboros as abstract ("geometric") and notes that it was commissioned by the Comprehensive Employment and Training Act (CETA) before being donated to the park.The sculpture is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. | [
"Regional Arts & Culture Council",
"Smithsonian Institution",
"Uroboros",
"Comprehensive Employment and Training Act",
"abstract"
] |
|
17664_T | The Sonnet (Lambert) | In The Sonnet (Lambert), how is the abstract discussed? | The Sonnet is a 1907 oil-on-canvas painting by Australian artist George Washington Lambert. The work depicts man reading a sonnet to a female companion with both seemingly unaware of a nude woman sitting between them. The open-air idyll draws on other well-known works such as Manet's Le Déjeuner sur l'herbe 1863.Lambert painted the work while in London. Fellow expatriates Arthur Streeton and Thea Proctor were the models for the clothed persons and Kitty Powell was the model for the nude.
One day when I saw these three people together … it seemed to me a modernized version of Giorgione's [possibly Titian’s] Fete Champetre
The painting won a silver medal at the Exposicion Internacional de Arte in Barcelona in 1911. | [
"Le Déjeuner sur l'herbe",
"Thea Proctor",
"Titian",
"1907",
"Arthur Streeton",
"George Washington Lambert",
"Giorgione",
"idyll",
"Fete Champetre",
"Manet",
"oil-on-canvas"
] |
|
17664_NT | The Sonnet (Lambert) | In this artwork, how is the abstract discussed? | The Sonnet is a 1907 oil-on-canvas painting by Australian artist George Washington Lambert. The work depicts man reading a sonnet to a female companion with both seemingly unaware of a nude woman sitting between them. The open-air idyll draws on other well-known works such as Manet's Le Déjeuner sur l'herbe 1863.Lambert painted the work while in London. Fellow expatriates Arthur Streeton and Thea Proctor were the models for the clothed persons and Kitty Powell was the model for the nude.
One day when I saw these three people together … it seemed to me a modernized version of Giorgione's [possibly Titian’s] Fete Champetre
The painting won a silver medal at the Exposicion Internacional de Arte in Barcelona in 1911. | [
"Le Déjeuner sur l'herbe",
"Thea Proctor",
"Titian",
"1907",
"Arthur Streeton",
"George Washington Lambert",
"Giorgione",
"idyll",
"Fete Champetre",
"Manet",
"oil-on-canvas"
] |
|
17665_T | Masked Ball at the Opera House | Focus on Masked Ball at the Opera House and explore the abstract. | Masked Ball at the Opera House (French - Bal masqué à l'opéra) is a painting by Édouard Manet, produced in spring 1873. It is now in the National Gallery of Art, in Washington, D.C., to which it was offered by Mrs. H. Havemayer in 1982.The artist made his preparatory sketches for it from life at an opera house at 12 rue Le Peletier in the 9th arrondissement of Paris - this building was reduced to rubble by a fire later that year. He then produced the painting in his studio on rue d'Amsterdam, to which he had moved shortly before. Its subject is reminiscent of the same artist's Music in the Tuileries (1863) - several of his friends posed for both works in his studio, notably the art collector Hecht and the composer Emmanuel Chabrier for Ball.
Stéphane Mallarmé commented "In the picture, the masks are no more than a break from the several tons of fresh bouquets, the possible monotony of the background of black clothes". It was adjudged to be too naturalist and so was refused by the 1874 Paris Salon. It later belonged to the famous opera singer Jean-Baptiste Faure, a major collector of Manet's works. He owned it until he was 67. | [
"Washington, D.C.",
"Paris Salon",
"Music in the Tuileries",
"Édouard Manet",
"9th arrondissement of Paris",
"National Gallery of Art",
"Stéphane Mallarmé",
"Jean-Baptiste Faure",
"Emmanuel Chabrier"
] |
|
17665_NT | Masked Ball at the Opera House | Focus on this artwork and explore the abstract. | Masked Ball at the Opera House (French - Bal masqué à l'opéra) is a painting by Édouard Manet, produced in spring 1873. It is now in the National Gallery of Art, in Washington, D.C., to which it was offered by Mrs. H. Havemayer in 1982.The artist made his preparatory sketches for it from life at an opera house at 12 rue Le Peletier in the 9th arrondissement of Paris - this building was reduced to rubble by a fire later that year. He then produced the painting in his studio on rue d'Amsterdam, to which he had moved shortly before. Its subject is reminiscent of the same artist's Music in the Tuileries (1863) - several of his friends posed for both works in his studio, notably the art collector Hecht and the composer Emmanuel Chabrier for Ball.
Stéphane Mallarmé commented "In the picture, the masks are no more than a break from the several tons of fresh bouquets, the possible monotony of the background of black clothes". It was adjudged to be too naturalist and so was refused by the 1874 Paris Salon. It later belonged to the famous opera singer Jean-Baptiste Faure, a major collector of Manet's works. He owned it until he was 67. | [
"Washington, D.C.",
"Paris Salon",
"Music in the Tuileries",
"Édouard Manet",
"9th arrondissement of Paris",
"National Gallery of Art",
"Stéphane Mallarmé",
"Jean-Baptiste Faure",
"Emmanuel Chabrier"
] |
|
17666_T | The Humane Nurse | Focus on The Humane Nurse and explain the abstract. | The Humane Nurse (Danish: Den Humane Sygeplejerske) is a monument to Danish nurses standing in front of Bispebjerg Hospital, facing its old main entrance and with Lersø Park as a backdrop, in the Bispebjerg district of Copenhagen, Denmark. It was unveiled in 1941 and depicts a uniformed nurse holding a somewhat obstinate infant in her arms. | [
"Copenhagen",
"Denmark",
"Bispebjerg",
"Bispebjerg Hospital",
"Lersø Park",
"Danish"
] |
|
17666_NT | The Humane Nurse | Focus on this artwork and explain the abstract. | The Humane Nurse (Danish: Den Humane Sygeplejerske) is a monument to Danish nurses standing in front of Bispebjerg Hospital, facing its old main entrance and with Lersø Park as a backdrop, in the Bispebjerg district of Copenhagen, Denmark. It was unveiled in 1941 and depicts a uniformed nurse holding a somewhat obstinate infant in her arms. | [
"Copenhagen",
"Denmark",
"Bispebjerg",
"Bispebjerg Hospital",
"Lersø Park",
"Danish"
] |
|
17667_T | The Humane Nurse | Explore the Description of this artwork, The Humane Nurse. | The monument is located on the south side of the street Bispebjerg Bakke with the Lersø Park as a backdrop and facing the old main entrance of Bispebjerg Hospital on the other side of the street. It consists of a bronze statue of a nurse placed on a Bornholmian granite pedestal. The monument measures C. 331 x 125 x 95 centimetres. The statue is 220 centimetres tall.The statue depicts a young nurse holding an infant in her arms. She wears a nurses' uniform consisting of a short-sleeved dress, apron, cap and closed, long-necked shoes. Nurses' caps were first worn by Danish nurses at the Garrison Hospital in the beginning of the nineteenth century and were introduced at Bispebjerg Hospital in 1913. | [
"nurses' uniform",
"apron",
"Bornholm",
"cap",
"Bispebjerg",
"Garrison Hospital",
"Bispebjerg Hospital",
"Lersø Park",
"Danish"
] |
|
17667_NT | The Humane Nurse | Explore the Description of this artwork. | The monument is located on the south side of the street Bispebjerg Bakke with the Lersø Park as a backdrop and facing the old main entrance of Bispebjerg Hospital on the other side of the street. It consists of a bronze statue of a nurse placed on a Bornholmian granite pedestal. The monument measures C. 331 x 125 x 95 centimetres. The statue is 220 centimetres tall.The statue depicts a young nurse holding an infant in her arms. She wears a nurses' uniform consisting of a short-sleeved dress, apron, cap and closed, long-necked shoes. Nurses' caps were first worn by Danish nurses at the Garrison Hospital in the beginning of the nineteenth century and were introduced at Bispebjerg Hospital in 1913. | [
"nurses' uniform",
"apron",
"Bornholm",
"cap",
"Bispebjerg",
"Garrison Hospital",
"Bispebjerg Hospital",
"Lersø Park",
"Danish"
] |
|
17668_T | The Humane Nurse | Focus on The Humane Nurse and discuss the History. | Bispebjerg Hospital opened in 1913. The monument was a donation from the Foundation for the Advancement of Artistic Purposes (Fonden til kunstneriske Formaals Fremme) with funding from the Goldschmidt Grant for the Embellishment of Copenhagen (Fhv. Grosserer og Farver B. Goldschmidts Legat til Københavns Forskønnelse). It was designed by Jens Jacob Bregnø. He found the model for the statue by studying the group photographs of graduating nurses from Copenhagen Municipal Hospital in 1938 and selected Pia Kappel, née Togeby (1910-2004) for her "sculptural appearance".
The statue was unveiled on 1 September 1941, the 65th anniversary of the introduction of the first professional training programme for nurses in Denmark. The way the nurse holds the infant was met with criticism for her failure to provide head support. Bregnø explained that he had intentionally chosen the design with an obstinate child to avoid an overly twee expression. | [
"Copenhagen",
"Jens Jacob Bregnø",
"Denmark",
"Bispebjerg",
"Foundation for the Advancement of Artistic Purposes",
"Copenhagen Municipal Hospital",
"Bispebjerg Hospital"
] |
|
17668_NT | The Humane Nurse | Focus on this artwork and discuss the History. | Bispebjerg Hospital opened in 1913. The monument was a donation from the Foundation for the Advancement of Artistic Purposes (Fonden til kunstneriske Formaals Fremme) with funding from the Goldschmidt Grant for the Embellishment of Copenhagen (Fhv. Grosserer og Farver B. Goldschmidts Legat til Københavns Forskønnelse). It was designed by Jens Jacob Bregnø. He found the model for the statue by studying the group photographs of graduating nurses from Copenhagen Municipal Hospital in 1938 and selected Pia Kappel, née Togeby (1910-2004) for her "sculptural appearance".
The statue was unveiled on 1 September 1941, the 65th anniversary of the introduction of the first professional training programme for nurses in Denmark. The way the nurse holds the infant was met with criticism for her failure to provide head support. Bregnø explained that he had intentionally chosen the design with an obstinate child to avoid an overly twee expression. | [
"Copenhagen",
"Jens Jacob Bregnø",
"Denmark",
"Bispebjerg",
"Foundation for the Advancement of Artistic Purposes",
"Copenhagen Municipal Hospital",
"Bispebjerg Hospital"
] |
|
17669_T | Polish Woman | How does Polish Woman elucidate its abstract? | Polish Woman is an oil on panel painting in the National Museum, Warsaw, historically attributed to the French Rococo artist Jean-Antoine Watteau. | [
"National Museum, Warsaw",
"Antoine Watteau",
"Rococo",
"panel painting",
"Warsaw",
"National Museum",
"oil on panel",
"French Rococo",
"Jean-Antoine Watteau"
] |
|
17669_NT | Polish Woman | How does this artwork elucidate its abstract? | Polish Woman is an oil on panel painting in the National Museum, Warsaw, historically attributed to the French Rococo artist Jean-Antoine Watteau. | [
"National Museum, Warsaw",
"Antoine Watteau",
"Rococo",
"panel painting",
"Warsaw",
"National Museum",
"oil on panel",
"French Rococo",
"Jean-Antoine Watteau"
] |
|
17670_T | Polish Woman | Focus on Polish Woman and analyze the Attribution and dating. | The painting correlates to a presumably lost drawing by Watteau that is now known via François Boucher's etching published in 1726 as part of the Recueil Jullienne. Given that the painting is not signed, its attribution and dating remains uncertain; various authors either accept or reject the painting as a Watteau, dating it from the early 1710s to the early 1730s. | [
"François Boucher",
"Recueil Jullienne"
] |
|
17670_NT | Polish Woman | Focus on this artwork and analyze the Attribution and dating. | The painting correlates to a presumably lost drawing by Watteau that is now known via François Boucher's etching published in 1726 as part of the Recueil Jullienne. Given that the painting is not signed, its attribution and dating remains uncertain; various authors either accept or reject the painting as a Watteau, dating it from the early 1710s to the early 1730s. | [
"François Boucher",
"Recueil Jullienne"
] |
|
17671_T | Polish Woman | In Polish Woman, how is the Description discussed? | Polish Woman forms a single-figure, full-length composition that depicts a young woman standing amid a landscape, dressed in somewhat an exotic attire, consisting of long red gown with fur garment and white bonnet; it is a recurring subject that is also present in numerous paintings and drawings by Watteau such as The Coquettes and The Dreamer. Numerous authors thought the attire to be related to the so-called "Polish" fashion that was said to be present in France during Watteau's lifetime, hence the traditional naming is derived; there were also attempts to identify the sitter of the painting, who was notably thought to be Watteau's contemporary, the Comédie-Française actress Charlotte Desmares. | [
"Charlotte Desmares",
"Comédie-Française",
"The Dreamer"
] |
|
17671_NT | Polish Woman | In this artwork, how is the Description discussed? | Polish Woman forms a single-figure, full-length composition that depicts a young woman standing amid a landscape, dressed in somewhat an exotic attire, consisting of long red gown with fur garment and white bonnet; it is a recurring subject that is also present in numerous paintings and drawings by Watteau such as The Coquettes and The Dreamer. Numerous authors thought the attire to be related to the so-called "Polish" fashion that was said to be present in France during Watteau's lifetime, hence the traditional naming is derived; there were also attempts to identify the sitter of the painting, who was notably thought to be Watteau's contemporary, the Comédie-Française actress Charlotte Desmares. | [
"Charlotte Desmares",
"Comédie-Française",
"The Dreamer"
] |
|
17672_T | Polish Woman | Focus on Polish Woman and explore the Ownership. | By the mid-18th century, Polish Woman was owned by Louis Antoine Crozat, Baron de Thiers, nephew of the Parisian merchant and art collector Pierre Crozat; for one and a half century following the 1772 acquisition of the Crozat collection for Empress Catherine the Great, Polish Woman was among Russian imperial collections in the Hermitage in Saint Petersburg, and later in the Catherine Palace in Tsarskoye Selo, before entering the Hermitage again in 1910; after the Polish–Soviet War of 1920, the picture was ceded to Poland in 1923 under the regulations of the Peace of Riga. During World War II, the painting was seized into the collection of the prominent Nazi politician Hermann Göring, before being restored into Polish property upon the war's conclusion. | [
"Tsarskoye Selo",
"Nazi politician",
"was seized",
"Pierre Crozat",
"Hermann Göring",
"Catherine the Great",
"Catherine Palace",
"Polish–Soviet War",
"Peace of Riga",
"World War II",
"Louis Antoine Crozat"
] |
|
17672_NT | Polish Woman | Focus on this artwork and explore the Ownership. | By the mid-18th century, Polish Woman was owned by Louis Antoine Crozat, Baron de Thiers, nephew of the Parisian merchant and art collector Pierre Crozat; for one and a half century following the 1772 acquisition of the Crozat collection for Empress Catherine the Great, Polish Woman was among Russian imperial collections in the Hermitage in Saint Petersburg, and later in the Catherine Palace in Tsarskoye Selo, before entering the Hermitage again in 1910; after the Polish–Soviet War of 1920, the picture was ceded to Poland in 1923 under the regulations of the Peace of Riga. During World War II, the painting was seized into the collection of the prominent Nazi politician Hermann Göring, before being restored into Polish property upon the war's conclusion. | [
"Tsarskoye Selo",
"Nazi politician",
"was seized",
"Pierre Crozat",
"Hermann Göring",
"Catherine the Great",
"Catherine Palace",
"Polish–Soviet War",
"Peace of Riga",
"World War II",
"Louis Antoine Crozat"
] |
|
17673_T | Saint Anthony Abbot (Preti) | Focus on Saint Anthony Abbot (Preti) and explain the Description. | The oval painting depicts a half-bust of the eremitic early Christian monk St Anthony Abbot. He is reading a book, and on his shoulder leans his staff with a bell. The elderly man is dressed in a sober dark cloak with hood, setting apart his white beard. The painting has also been described as possibly depicting St Francis of Paola. The dark chiaroscuro betrays the influence of Caravaggio and his followers. | [
"St Anthony Abbot",
"Caravaggio"
] |
|
17673_NT | Saint Anthony Abbot (Preti) | Focus on this artwork and explain the Description. | The oval painting depicts a half-bust of the eremitic early Christian monk St Anthony Abbot. He is reading a book, and on his shoulder leans his staff with a bell. The elderly man is dressed in a sober dark cloak with hood, setting apart his white beard. The painting has also been described as possibly depicting St Francis of Paola. The dark chiaroscuro betrays the influence of Caravaggio and his followers. | [
"St Anthony Abbot",
"Caravaggio"
] |
|
17674_T | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim | Explore the abstract of this artwork, The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim. | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and the World Presidents of the International College of Surgeons in Chicago, or, The Wise in Examination of the Torn Contemporary State is a painting by British artist Henry Ward depicting transplant surgeon Nadey Hakim demonstrating the removal of a living donor kidney. It is on display at Başkent University, Ankara, Turkey.
The painting uses Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp (1632) as a reference, showing Hakim surrounded by the modern presidents and members of the International College of Surgeons in Chicago. It took one year to complete and was unveiled in 2010.
It was chosen to be included in the exhibition for the 2010 BP Portrait Awards and in Sandy Nairne's book 500 Portraits: 25 Years of The BP Portrait Award (2012). | [
"Ankara",
"Henry Ward",
"Nadey Hakim",
"transplant surgeon",
"Sandy Nairne's",
"Rembrandt",
"Sandy Nairne",
"BP Portrait Awards",
"Başkent University",
"International College of Surgeons",
"BP Portrait Award",
"Nephrectomy",
"The Anatomy Lesson of Dr. Nicolaes Tulp"
] |
|
17674_NT | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim | Explore the abstract of this artwork. | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and the World Presidents of the International College of Surgeons in Chicago, or, The Wise in Examination of the Torn Contemporary State is a painting by British artist Henry Ward depicting transplant surgeon Nadey Hakim demonstrating the removal of a living donor kidney. It is on display at Başkent University, Ankara, Turkey.
The painting uses Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp (1632) as a reference, showing Hakim surrounded by the modern presidents and members of the International College of Surgeons in Chicago. It took one year to complete and was unveiled in 2010.
It was chosen to be included in the exhibition for the 2010 BP Portrait Awards and in Sandy Nairne's book 500 Portraits: 25 Years of The BP Portrait Award (2012). | [
"Ankara",
"Henry Ward",
"Nadey Hakim",
"transplant surgeon",
"Sandy Nairne's",
"Rembrandt",
"Sandy Nairne",
"BP Portrait Awards",
"Başkent University",
"International College of Surgeons",
"BP Portrait Award",
"Nephrectomy",
"The Anatomy Lesson of Dr. Nicolaes Tulp"
] |
|
17675_T | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim | Focus on The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and discuss the Background. | Henry Ward had always wanted to recreate Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp. With the co-operation of Nadey Hakim, he planned to recreate the painting using the modern presidents and key members of the International College of Surgeons in order to highlight the global requirement for live, legal, organ donors. Hakim, who Ward had met when they were both members of the British Red Cross's International Fundraising Committee in 2004, already knew of the painting and had used it on the cover of one of his medical papers. | [
"organ donors",
"Henry Ward",
"Nadey Hakim",
"British Red Cross",
"Rembrandt",
"International College of Surgeons",
"The Anatomy Lesson of Dr. Nicolaes Tulp"
] |
|
17675_NT | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim | Focus on this artwork and discuss the Background. | Henry Ward had always wanted to recreate Rembrandt's The Anatomy Lesson of Dr. Nicolaes Tulp. With the co-operation of Nadey Hakim, he planned to recreate the painting using the modern presidents and key members of the International College of Surgeons in order to highlight the global requirement for live, legal, organ donors. Hakim, who Ward had met when they were both members of the British Red Cross's International Fundraising Committee in 2004, already knew of the painting and had used it on the cover of one of his medical papers. | [
"organ donors",
"Henry Ward",
"Nadey Hakim",
"British Red Cross",
"Rembrandt",
"International College of Surgeons",
"The Anatomy Lesson of Dr. Nicolaes Tulp"
] |
|
17676_T | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim | How does The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim elucidate its Composition? | With the help of Hakim, Ward was able to take photographs and make preliminary drawings of the surgeons prior to beginning to create the painting in oil over the course of one year. As part of his research, in 2009 he attended the removal of a kidney using the finger-assisted method at the Hammersmith Hospital, and being seated next to the patient was able to sketch the procedure.The painting shows Nadey Hakim demonstrating his procedure for kidney removal from a donor, an operation that involves a small incision between the tenth and eleventh ribs and results in improved operative safety over other methods of removal. The surgeons shown are, from left to right, Said Dee, Arno Roscher, Earl Owen, Rocco Maruotti, Christopher Chen, Nadey Hakim, John Fournier, George Fayad, Adel Ramzy, Biagio Ravo and Refaat Kamel.Ward decided to paint the surgeons in business suits to follow the example of Rembrandt whose subjects are in contemporary dress, and because if he had used surgical scrubs there would have been little to distinguish them. Formal wear also allowed him to depict their ties, so adding some additional colour and design to the work. His aim was to give each surgeon equal prominence which he achieved through the creation of three tiers of figures along a horizontal plane and the careful manipulation of light. The pyramidal structure of the figures is as used by the old masters. | [
"Christopher Chen",
"Adel Ramzy",
"Hammersmith Hospital",
"Nadey Hakim",
"surgical scrubs",
"Rembrandt",
"Rocco Maruotti",
"removal of a kidney",
"Arno Roscher",
"Earl Owen",
"George Fayad",
"Refaat Kamel"
] |
|
17676_NT | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim | How does this artwork elucidate its Composition? | With the help of Hakim, Ward was able to take photographs and make preliminary drawings of the surgeons prior to beginning to create the painting in oil over the course of one year. As part of his research, in 2009 he attended the removal of a kidney using the finger-assisted method at the Hammersmith Hospital, and being seated next to the patient was able to sketch the procedure.The painting shows Nadey Hakim demonstrating his procedure for kidney removal from a donor, an operation that involves a small incision between the tenth and eleventh ribs and results in improved operative safety over other methods of removal. The surgeons shown are, from left to right, Said Dee, Arno Roscher, Earl Owen, Rocco Maruotti, Christopher Chen, Nadey Hakim, John Fournier, George Fayad, Adel Ramzy, Biagio Ravo and Refaat Kamel.Ward decided to paint the surgeons in business suits to follow the example of Rembrandt whose subjects are in contemporary dress, and because if he had used surgical scrubs there would have been little to distinguish them. Formal wear also allowed him to depict their ties, so adding some additional colour and design to the work. His aim was to give each surgeon equal prominence which he achieved through the creation of three tiers of figures along a horizontal plane and the careful manipulation of light. The pyramidal structure of the figures is as used by the old masters. | [
"Christopher Chen",
"Adel Ramzy",
"Hammersmith Hospital",
"Nadey Hakim",
"surgical scrubs",
"Rembrandt",
"Rocco Maruotti",
"removal of a kidney",
"Arno Roscher",
"Earl Owen",
"George Fayad",
"Refaat Kamel"
] |
|
17677_T | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim | Focus on The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim and analyze the Unveiling and reception. | The painting was unveiled in the Lord Speaker's private chamber of the House of Lords, by Baroness Finlay of Llandaff in 2010. Frank Delmonico, president-elect of The Transplantation Society, spoke on human organ transplantation and organ donation.The painting was subsequently chosen to be included in the display of the BP Portrait Award 2010 at the National Portrait Gallery, the largest work ever to be included, following which it toured with the intention of ultimately being placed on display at the International Museum of Surgical Science in Chicago. Sandy Nairne, director of the National Portrait Gallery, included the painting in his book 500 Portraits: 25 Years of The BP Portrait Award in 2012.Hakim later offered the painting to Mehmet Haberal at Başkent University, Ankara, Turkey, where it is on display. | [
"Ankara",
"organ donation",
"National Portrait Gallery",
"Baroness Finlay of Llandaff",
"Sandy Nairne",
"International Museum of Surgical Science",
"Başkent University",
"BP Portrait Award",
"Mehmet Haberal",
"Frank Delmonico",
"House of Lords"
] |
|
17677_NT | The 'Finger-Assisted' Nephrectomy of Professor Nadey Hakim | Focus on this artwork and analyze the Unveiling and reception. | The painting was unveiled in the Lord Speaker's private chamber of the House of Lords, by Baroness Finlay of Llandaff in 2010. Frank Delmonico, president-elect of The Transplantation Society, spoke on human organ transplantation and organ donation.The painting was subsequently chosen to be included in the display of the BP Portrait Award 2010 at the National Portrait Gallery, the largest work ever to be included, following which it toured with the intention of ultimately being placed on display at the International Museum of Surgical Science in Chicago. Sandy Nairne, director of the National Portrait Gallery, included the painting in his book 500 Portraits: 25 Years of The BP Portrait Award in 2012.Hakim later offered the painting to Mehmet Haberal at Başkent University, Ankara, Turkey, where it is on display. | [
"Ankara",
"organ donation",
"National Portrait Gallery",
"Baroness Finlay of Llandaff",
"Sandy Nairne",
"International Museum of Surgical Science",
"Başkent University",
"BP Portrait Award",
"Mehmet Haberal",
"Frank Delmonico",
"House of Lords"
] |
|
17678_T | Tullia driving her Chariot over her Father | In Tullia driving her Chariot over her Father, how is the abstract discussed? | Tullia driving her Chariot over her Father is a 1687 painting by Giuseppe Bartolomeo Chiari which depicts the last Queen of Rome Tullia driving her chariot over the dead body of her father, King Servius Tullius. The work was commissioned by Jacopo Montinioni and was later purchased by John Cecil, 5th Earl of Exeter after the formers death. It is held today by the Burghley House Historic Trust. | [
"Servius Tullius",
"Jacopo Montinioni",
"Tullia",
"John Cecil, 5th Earl of Exeter",
"Giuseppe Bartolomeo Chiari"
] |
|
17678_NT | Tullia driving her Chariot over her Father | In this artwork, how is the abstract discussed? | Tullia driving her Chariot over her Father is a 1687 painting by Giuseppe Bartolomeo Chiari which depicts the last Queen of Rome Tullia driving her chariot over the dead body of her father, King Servius Tullius. The work was commissioned by Jacopo Montinioni and was later purchased by John Cecil, 5th Earl of Exeter after the formers death. It is held today by the Burghley House Historic Trust. | [
"Servius Tullius",
"Jacopo Montinioni",
"Tullia",
"John Cecil, 5th Earl of Exeter",
"Giuseppe Bartolomeo Chiari"
] |
|
17679_T | Café Terrace at Night | Focus on Café Terrace at Night and explore the abstract. | Café Terrace at Night is an 1888 oil painting by the Dutch artist Vincent van Gogh. It is also known as The Cafe Terrace on the Place du Forum, and, when first exhibited in 1891, was entitled Coffeehouse, in the evening (Café, le soir).
Van Gogh painted Café Terrace at Night in Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters.Visitors to the site can stand at the north eastern corner of the Place du Forum, where the artist set up his easel. The site was refurbished in 1990 and 1991 to replicate van Gogh's painting. He looked south towards the artificially lit terrace of the popular coffee house, as well as into the enforced darkness of the rue du Palais which led up to a building structure (to the left, not pictured) and, beyond this structure, the tower of a former church which is now Musée Lapidaire.
Towards the right, Van Gogh indicated a lighted shop and some branches of the trees surrounding the place, but he omitted the remainders of the Roman monuments just beside this little shop.
The painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands. | [
"terrace",
"Otterlo",
"Arles",
"Kröller-Müller Museum",
"Vincent van Gogh"
] |
|
17679_NT | Café Terrace at Night | Focus on this artwork and explore the abstract. | Café Terrace at Night is an 1888 oil painting by the Dutch artist Vincent van Gogh. It is also known as The Cafe Terrace on the Place du Forum, and, when first exhibited in 1891, was entitled Coffeehouse, in the evening (Café, le soir).
Van Gogh painted Café Terrace at Night in Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters.Visitors to the site can stand at the north eastern corner of the Place du Forum, where the artist set up his easel. The site was refurbished in 1990 and 1991 to replicate van Gogh's painting. He looked south towards the artificially lit terrace of the popular coffee house, as well as into the enforced darkness of the rue du Palais which led up to a building structure (to the left, not pictured) and, beyond this structure, the tower of a former church which is now Musée Lapidaire.
Towards the right, Van Gogh indicated a lighted shop and some branches of the trees surrounding the place, but he omitted the remainders of the Roman monuments just beside this little shop.
The painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands. | [
"terrace",
"Otterlo",
"Arles",
"Kröller-Müller Museum",
"Vincent van Gogh"
] |
|
17680_T | Café Terrace at Night | Focus on Café Terrace at Night and explain the Genesis. | After finishing Café Terrace at Night, Van Gogh wrote a letter to his sister expressing his enthusiasm:I was interrupted precisely by the work that a new painting of the outside of a café in the evening has been giving me these past few days. On the terrace, there are little figures of people drinking. A huge yellow lantern lights the terrace, the façade, the pavement, and even projects light over the cobblestones of the street, which takes on a violet-pink tinge. The gables of the houses on a street that leads away under the blue sky studded with stars are dark blue or violet, with a green tree. Now there’s a painting of night without black. With nothing but beautiful blue, violet and green, and in these surroundings the lighted square is coloured pale sulphur, lemon green. I enormously enjoy painting on the spot at night. In the past they used to draw, and paint the picture from the drawing in the daytime. But I find that it suits me to paint the thing straightaway. It’s quite true that I may take a blue for a green in the dark, a blue lilac for a pink lilac, since you can’t make out the nature of the tone clearly. But it’s the only way of getting away from the conventional black night with a poor, pallid and whitish light, while in fact a mere candle by itself gives us the richest yellows and oranges.
He continues, in this same letter, You never told me if you had read Guy de Maupassant’s Bel-ami, and what you now think of his talent in general. I say this because the beginning of Bel-ami is precisely the description of a starry night in Paris, with the lighted cafés of the boulevard, and it’s something like the same subject that I’ve painted just now.
This excerpt forms the basis of the Van Gogh Museum's curators' opinion that the painting is a depiction "of drinkers in the harsh, bright lights of their illuminated facades" from Maupassant's novel Bel Ami, however, they also note that Maupassant makes no mention of a 'starry sky.'
In 1981, Bogomila Welsh-Ovcharov argued that since it "displays not only a night scene but also a funnel-like perspective and dominant blue-yellow tonality" it was at least partially inspired by Louis Anquetin's Avenue de Clichy: 5 o'clock in the evening.An academic paper presented at IAFOR's 2013 European Conference on Arts & Humanities, however, advanced the theory that van Gogh intended the painting to be a uniquely innovated Last Supper. The paper was subsequently published by The Art Histories Society in the January 2014 Art History Supplement and the July 2014 fourteenth volume of The Anistoriton Journal of History, Archaeology and Art History.Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing Japonism and Cloisonnism with his own plein air techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette (see Boats du Rhône); "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal Last Supper studies (Interior of a Restaurant in Arles and Interior of the Restaurant Carrel in Arles) featuring straw-bottomed chairs he'd just purchased by the dozen (hoping to start a commune of twelve "artist-apostles" at his Yellow House); culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's Last Supper.
Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, "That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals." | [
"Last Supper",
"Jesus",
"Louis Anquetin",
"Theo",
"Boats du Rhône",
"Jean-François Millet",
"Interior of the Restaurant Carrel in Arles",
"Essenes",
"Symbolist's",
"terrace",
"Maupassant",
"Émile Bernard",
"Boccaccio",
"Arles",
"Émile Burnouf",
"Guy de Maupassant",
"Bel Ami",
"Symbolist",
"Cloisonnism",
"IAFOR",
"Thomas Carlyle",
"Van Gogh Museum's",
"Louis Anquetin's",
"Japonism",
"Van Gogh Museum",
"Jesus Christ",
"plein air",
"Interior of a Restaurant in Arles",
"Eugène Delacroix",
"Yellow House"
] |
|
17680_NT | Café Terrace at Night | Focus on this artwork and explain the Genesis. | After finishing Café Terrace at Night, Van Gogh wrote a letter to his sister expressing his enthusiasm:I was interrupted precisely by the work that a new painting of the outside of a café in the evening has been giving me these past few days. On the terrace, there are little figures of people drinking. A huge yellow lantern lights the terrace, the façade, the pavement, and even projects light over the cobblestones of the street, which takes on a violet-pink tinge. The gables of the houses on a street that leads away under the blue sky studded with stars are dark blue or violet, with a green tree. Now there’s a painting of night without black. With nothing but beautiful blue, violet and green, and in these surroundings the lighted square is coloured pale sulphur, lemon green. I enormously enjoy painting on the spot at night. In the past they used to draw, and paint the picture from the drawing in the daytime. But I find that it suits me to paint the thing straightaway. It’s quite true that I may take a blue for a green in the dark, a blue lilac for a pink lilac, since you can’t make out the nature of the tone clearly. But it’s the only way of getting away from the conventional black night with a poor, pallid and whitish light, while in fact a mere candle by itself gives us the richest yellows and oranges.
He continues, in this same letter, You never told me if you had read Guy de Maupassant’s Bel-ami, and what you now think of his talent in general. I say this because the beginning of Bel-ami is precisely the description of a starry night in Paris, with the lighted cafés of the boulevard, and it’s something like the same subject that I’ve painted just now.
This excerpt forms the basis of the Van Gogh Museum's curators' opinion that the painting is a depiction "of drinkers in the harsh, bright lights of their illuminated facades" from Maupassant's novel Bel Ami, however, they also note that Maupassant makes no mention of a 'starry sky.'
In 1981, Bogomila Welsh-Ovcharov argued that since it "displays not only a night scene but also a funnel-like perspective and dominant blue-yellow tonality" it was at least partially inspired by Louis Anquetin's Avenue de Clichy: 5 o'clock in the evening.An academic paper presented at IAFOR's 2013 European Conference on Arts & Humanities, however, advanced the theory that van Gogh intended the painting to be a uniquely innovated Last Supper. The paper was subsequently published by The Art Histories Society in the January 2014 Art History Supplement and the July 2014 fourteenth volume of The Anistoriton Journal of History, Archaeology and Art History.Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing Japonism and Cloisonnism with his own plein air techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette (see Boats du Rhône); "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal Last Supper studies (Interior of a Restaurant in Arles and Interior of the Restaurant Carrel in Arles) featuring straw-bottomed chairs he'd just purchased by the dozen (hoping to start a commune of twelve "artist-apostles" at his Yellow House); culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's Last Supper.
Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, "That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals." | [
"Last Supper",
"Jesus",
"Louis Anquetin",
"Theo",
"Boats du Rhône",
"Jean-François Millet",
"Interior of the Restaurant Carrel in Arles",
"Essenes",
"Symbolist's",
"terrace",
"Maupassant",
"Émile Bernard",
"Boccaccio",
"Arles",
"Émile Burnouf",
"Guy de Maupassant",
"Bel Ami",
"Symbolist",
"Cloisonnism",
"IAFOR",
"Thomas Carlyle",
"Van Gogh Museum's",
"Louis Anquetin's",
"Japonism",
"Van Gogh Museum",
"Jesus Christ",
"plein air",
"Interior of a Restaurant in Arles",
"Eugène Delacroix",
"Yellow House"
] |
|
17681_T | Café Terrace at Night | Explore the Night effects of this artwork, Café Terrace at Night. | When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening (Café, le soir).
This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône (painted the same month), and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch. Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" (emphasis van Gogh's).Van Gogh was careful to reflect the actual appearance of his skies and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM. | [
"Eugène Boch",
"Starry Night Over the Rhône",
"The Starry Night",
"Portrait of Eugène Boch",
"Albert Boime"
] |
|
17681_NT | Café Terrace at Night | Explore the Night effects of this artwork. | When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening (Café, le soir).
This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône (painted the same month), and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch. Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" (emphasis van Gogh's).Van Gogh was careful to reflect the actual appearance of his skies and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM. | [
"Eugène Boch",
"Starry Night Over the Rhône",
"The Starry Night",
"Portrait of Eugène Boch",
"Albert Boime"
] |
|
17682_T | Café Terrace at Night | Focus on Café Terrace at Night and discuss the In popular culture. | The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" (2010), the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent (2017). The café was also featured in the film Ronin (1998).The 1980 BBC series 100 Great Paintings featured the painting. | [
"Ronin",
"Lust for Life",
"Kirk Douglas",
"Vincent and the Doctor",
"BBC",
"science fiction",
"Loving Vincent",
"Doctor Who",
"fifth series",
"100 Great Paintings"
] |
|
17682_NT | Café Terrace at Night | Focus on this artwork and discuss the In popular culture. | The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" (2010), the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent (2017). The café was also featured in the film Ronin (1998).The 1980 BBC series 100 Great Paintings featured the painting. | [
"Ronin",
"Lust for Life",
"Kirk Douglas",
"Vincent and the Doctor",
"BBC",
"science fiction",
"Loving Vincent",
"Doctor Who",
"fifth series",
"100 Great Paintings"
] |
|
17683_T | Café Terrace at Night | How does Café Terrace at Night elucidate its Colour? | "This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colours itself sulfur pale yellow and citron green." | [] |
|
17683_NT | Café Terrace at Night | How does this artwork elucidate its Colour? | "This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colours itself sulfur pale yellow and citron green." | [] |
|
17684_T | Spirit of Belfast | Focus on Spirit of Belfast and analyze the abstract. | The Spirit of Belfast is a public art sculpture by Dan George in Belfast, Northern Ireland. The sculpture was unveiled on 25 September 2009 after a series of delays and is located on Arthur Square, close to the main point of access to Victoria Square. The sculpture is constructed of steel and cost £200,000. As with other public works of art in Northern Ireland the sculpture has been given a nickname, the Onion Rings. | [
"Belfast",
"public art",
"Victoria Square"
] |
|
17684_NT | Spirit of Belfast | Focus on this artwork and analyze the abstract. | The Spirit of Belfast is a public art sculpture by Dan George in Belfast, Northern Ireland. The sculpture was unveiled on 25 September 2009 after a series of delays and is located on Arthur Square, close to the main point of access to Victoria Square. The sculpture is constructed of steel and cost £200,000. As with other public works of art in Northern Ireland the sculpture has been given a nickname, the Onion Rings. | [
"Belfast",
"public art",
"Victoria Square"
] |
|
17685_T | Spirit of Belfast | In Spirit of Belfast, how is the Unveiling discussed? | The sculpture was unveiled by the Department for Social Development Minister, Margaret Ritchie MLA and broadcast live on BBC Newsline on BBC One on 25 September 2009. | [
"BBC Newsline",
"Margaret Ritchie",
"MLA",
"Department for Social Development",
"BBC One"
] |
|
17685_NT | Spirit of Belfast | In this artwork, how is the Unveiling discussed? | The sculpture was unveiled by the Department for Social Development Minister, Margaret Ritchie MLA and broadcast live on BBC Newsline on BBC One on 25 September 2009. | [
"BBC Newsline",
"Margaret Ritchie",
"MLA",
"Department for Social Development",
"BBC One"
] |
|
17686_T | Spirit of Belfast | Focus on Spirit of Belfast and explore the Selection. | The Department for Social Development commenced the procurement process to commission an artist for the Arthur Square artwork in June 2007. The method of selection was as follows:following the publication of a Design Contest Notice in the Official Journal of the EU an initial short list of 8 artists were selected by the Public Art Selection Jury, appointed by DSD, from a response of approximately 20 applicants
the short-listed artists were invited to develop concept sketch designs
the Public Art Selection Jury met on 10 October 2007 to consider the concepts and selected a final shortlist of three concepts to be put forward to the public voteThe Selection Panel was made up from representatives from:Department for Social Development
Belfast City Council
Planning Service
Multi Development UK (Victoria Square developers)
EDAW (Belfast Streets Ahead design team)
Belfast Chamber of Trade and Commerce
Arts Council of Northern Ireland
Royal Society of Ulster Architects | [
"Royal Society of Ulster Architects",
"Belfast",
"Planning Service",
"Victoria Square",
"Arts Council of Northern Ireland",
"Department for Social Development",
"Belfast City Council"
] |
|
17686_NT | Spirit of Belfast | Focus on this artwork and explore the Selection. | The Department for Social Development commenced the procurement process to commission an artist for the Arthur Square artwork in June 2007. The method of selection was as follows:following the publication of a Design Contest Notice in the Official Journal of the EU an initial short list of 8 artists were selected by the Public Art Selection Jury, appointed by DSD, from a response of approximately 20 applicants
the short-listed artists were invited to develop concept sketch designs
the Public Art Selection Jury met on 10 October 2007 to consider the concepts and selected a final shortlist of three concepts to be put forward to the public voteThe Selection Panel was made up from representatives from:Department for Social Development
Belfast City Council
Planning Service
Multi Development UK (Victoria Square developers)
EDAW (Belfast Streets Ahead design team)
Belfast Chamber of Trade and Commerce
Arts Council of Northern Ireland
Royal Society of Ulster Architects | [
"Royal Society of Ulster Architects",
"Belfast",
"Planning Service",
"Victoria Square",
"Arts Council of Northern Ireland",
"Department for Social Development",
"Belfast City Council"
] |
|
17687_T | Spirit of Belfast | Focus on Spirit of Belfast and explain the Arthur Square Artwork competition. | The public were given the opportunity to view the designs that made the final shortlist and cast their vote through the Belfast: Streets Ahead website or by visiting the public exhibition at the Lagan Lookout. The vote was open from 22 October 2007 to 4 November 2007. The three short listed concepts were : Dancing Tree, Phoenix Rising and Spirit of Belfast. Spirit of Belfast was the winning art piece for Arthur Square following a public vote.
The competition results were:Dancing Tree: 28.8%
Phoenix Rising: 24.6%
Spirit of Belfast: 46.6% | [
"Lagan Lookout",
"Belfast"
] |
|
17687_NT | Spirit of Belfast | Focus on this artwork and explain the Arthur Square Artwork competition. | The public were given the opportunity to view the designs that made the final shortlist and cast their vote through the Belfast: Streets Ahead website or by visiting the public exhibition at the Lagan Lookout. The vote was open from 22 October 2007 to 4 November 2007. The three short listed concepts were : Dancing Tree, Phoenix Rising and Spirit of Belfast. Spirit of Belfast was the winning art piece for Arthur Square following a public vote.
The competition results were:Dancing Tree: 28.8%
Phoenix Rising: 24.6%
Spirit of Belfast: 46.6% | [
"Lagan Lookout",
"Belfast"
] |
|
17688_T | Spirit of Belfast | Explore the Funding of this artwork, Spirit of Belfast. | The sculpture has been funded by Belfast City Council and the Department for Social Development. | [
"Belfast",
"Department for Social Development",
"Belfast City Council"
] |
|
17688_NT | Spirit of Belfast | Explore the Funding of this artwork. | The sculpture has been funded by Belfast City Council and the Department for Social Development. | [
"Belfast",
"Department for Social Development",
"Belfast City Council"
] |
|
17689_T | Spirit of Belfast | Focus on Spirit of Belfast and discuss the Spirit of Belfast Intervention. | In May 2012 a Belfast-based artist, Tonya McMullan, made an intervention to the Spirit of Belfast Sculpture. At the time the sculpture had protective railings around it while an investigation of the structure was underway. McMullan installed a temporary banner that read 'FAIL', the intervention was then photographed by Belfast-based photographer Jordan Hutchings. The image was circulated online in an attempt for it to become an Internet meme.
Details about this intervention, which the artist considers to be an artwork in itself, are included in Bree T, Hocking's book, The Great Reimagining, Public Art, Urban Space and the Symbolic Landscapes of a 'New' Northern Ireland ISBN 978-1-78238-621-6 and in Dorothy Hunter's article "A Public City" published online in the International Sculpture Centre Re:Sculpt blog. | [
"Belfast"
] |
|
17689_NT | Spirit of Belfast | Focus on this artwork and discuss the Spirit of Belfast Intervention. | In May 2012 a Belfast-based artist, Tonya McMullan, made an intervention to the Spirit of Belfast Sculpture. At the time the sculpture had protective railings around it while an investigation of the structure was underway. McMullan installed a temporary banner that read 'FAIL', the intervention was then photographed by Belfast-based photographer Jordan Hutchings. The image was circulated online in an attempt for it to become an Internet meme.
Details about this intervention, which the artist considers to be an artwork in itself, are included in Bree T, Hocking's book, The Great Reimagining, Public Art, Urban Space and the Symbolic Landscapes of a 'New' Northern Ireland ISBN 978-1-78238-621-6 and in Dorothy Hunter's article "A Public City" published online in the International Sculpture Centre Re:Sculpt blog. | [
"Belfast"
] |
|
17690_T | Young Woman (painting) | How does Young Woman (painting) elucidate its abstract? | Young Woman is a painting by Isabel Bishop (1902–1988). It is in the collection of the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania in the United States. | [
"Isabel Bishop",
"Philadelphia, Pennsylvania",
"Pennsylvania Academy of the Fine Arts",
"Philadelphia"
] |
|
17690_NT | Young Woman (painting) | How does this artwork elucidate its abstract? | Young Woman is a painting by Isabel Bishop (1902–1988). It is in the collection of the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania in the United States. | [
"Isabel Bishop",
"Philadelphia, Pennsylvania",
"Pennsylvania Academy of the Fine Arts",
"Philadelphia"
] |
|
17691_T | Young Woman (painting) | Focus on Young Woman (painting) and analyze the Description. | Young Woman depicts a white woman staring left of center of the viewer. She is dressed professionally, wearing a hat, white blazer, a scarf, and an orange skirt. She carries a handbag and blue jacket in her right arm. Bishop was inspired by the style of the old masters, whose work she saw in person while visiting Europe in 1931, when creating this piece, which often involved the use of egg tempera, as used in this artwork. Like many works by Bishop, this painting may have taken a year or more for her to complete. | [
"blazer",
"white woman",
"old masters",
"egg tempera"
] |
|
17691_NT | Young Woman (painting) | Focus on this artwork and analyze the Description. | Young Woman depicts a white woman staring left of center of the viewer. She is dressed professionally, wearing a hat, white blazer, a scarf, and an orange skirt. She carries a handbag and blue jacket in her right arm. Bishop was inspired by the style of the old masters, whose work she saw in person while visiting Europe in 1931, when creating this piece, which often involved the use of egg tempera, as used in this artwork. Like many works by Bishop, this painting may have taken a year or more for her to complete. | [
"blazer",
"white woman",
"old masters",
"egg tempera"
] |
|
17692_T | Young Woman (painting) | In Young Woman (painting), how is the Curatorial analysis discussed? | This painting is one of many that Bishop created examining the everyday life of young women in urban New York City, often working women. | [] |
|
17692_NT | Young Woman (painting) | In this artwork, how is the Curatorial analysis discussed? | This painting is one of many that Bishop created examining the everyday life of young women in urban New York City, often working women. | [] |
|
17693_T | Young Woman (painting) | Focus on Young Woman (painting) and explore the History. | The painting was acquired with monies from the Henry D. Gilpin Fund in 1938. It is currently on view at the museum. | [
"Henry D. Gilpin"
] |
|
17693_NT | Young Woman (painting) | Focus on this artwork and explore the History. | The painting was acquired with monies from the Henry D. Gilpin Fund in 1938. It is currently on view at the museum. | [
"Henry D. Gilpin"
] |
|
17694_T | The Temple of Juno in Agrigento | Focus on The Temple of Juno in Agrigento and explain the abstract. | The Temple of Juno in Agrigento (German - Junotempel in Agrigent) is an 1828-1830 oil on canvas painting of by Caspar David Friedrich. It is now in the Museum für Kunst und Kulturgeschichte in Dortmund, which bought it from a Cologne art dealer in 1951. It is said to have been previously owned by the F. A. Brockhaus publishers in Leipzig.
The work shows the 460-450 BC Temple of Hera Lacinia in the Valle dei Templi in Agrigento, Sicily, sacked by the Carthaginians around 406 BC, rebuilt by the Romans and the subject of renewed interest for classicists and antiquarians from the mid 18th-century onwards. It was visited by both Jacob Philipp Hackert and Johann Wolfgang von Goethe, with the latter writing in his letters "The current view of the Temple of Juno is as gritty as one could wish for". However, Friedrich never visited Italy and produced the work from a print by another artist.
In 1943 Hermann Beenken published the painting with an attribution to Friedrich, later reattributing it to Carl Gustav Carus. Helmut Börsch-Supan argues it cannot be a late work by Carus, but is instead a Friedrich. | [
"Museum für Kunst und Kulturgeschichte",
"Hermann Beenken",
"Johann Wolfgang von Goethe",
"Helmut Börsch-Supan",
"Dortmund",
"Caspar David Friedrich",
"Temple of Hera Lacinia",
"Carl Gustav Carus",
"Agrigento",
"Valle dei Templi",
"Jacob Philipp Hackert"
] |
|
17694_NT | The Temple of Juno in Agrigento | Focus on this artwork and explain the abstract. | The Temple of Juno in Agrigento (German - Junotempel in Agrigent) is an 1828-1830 oil on canvas painting of by Caspar David Friedrich. It is now in the Museum für Kunst und Kulturgeschichte in Dortmund, which bought it from a Cologne art dealer in 1951. It is said to have been previously owned by the F. A. Brockhaus publishers in Leipzig.
The work shows the 460-450 BC Temple of Hera Lacinia in the Valle dei Templi in Agrigento, Sicily, sacked by the Carthaginians around 406 BC, rebuilt by the Romans and the subject of renewed interest for classicists and antiquarians from the mid 18th-century onwards. It was visited by both Jacob Philipp Hackert and Johann Wolfgang von Goethe, with the latter writing in his letters "The current view of the Temple of Juno is as gritty as one could wish for". However, Friedrich never visited Italy and produced the work from a print by another artist.
In 1943 Hermann Beenken published the painting with an attribution to Friedrich, later reattributing it to Carl Gustav Carus. Helmut Börsch-Supan argues it cannot be a late work by Carus, but is instead a Friedrich. | [
"Museum für Kunst und Kulturgeschichte",
"Hermann Beenken",
"Johann Wolfgang von Goethe",
"Helmut Börsch-Supan",
"Dortmund",
"Caspar David Friedrich",
"Temple of Hera Lacinia",
"Carl Gustav Carus",
"Agrigento",
"Valle dei Templi",
"Jacob Philipp Hackert"
] |
|
17695_T | The Temple of Juno in Agrigento | Explore the Context of this artwork, The Temple of Juno in Agrigento. | German enthusiasm for Italian art had peaked at the time the work was produced. In honour of Crown Prince Friedrich Wilhelm's visit to Italy in autumn 1828 an exhibition of Nazarene art was held at the Palazzo Caffarelli in Rome, including the first showing of Friedrich Overbeck's allegorical work Italia und Germania. The Crown Prince favoured these artists, but Friedrich rejected them, writing of one that he must have painted a number of works "through coloured glass ... Perhaps he should try the dangerous idea of painting of painting without glasses, by which objects would appear to him as they do to other honest folk who haven't been in Rome and have healthy eyes". he wrote of Ernst Ferdinand Oehme that he might have got further in art had he "not travelled to Rome" and that he had "greatly improved" since returning from thence, getting clear of the fashionable influence of Joseph Anton Koch who was "no longer a student of nature". He also wrote of a number of similar artists as being "no longer satisfied with our German sun, moon and stars, our rocks, trees and herbs, seas and rivers"His reason for rejecting a trip to Italy is unknown, possibly for fear of betraying German brotherhood, though it was not from lack of funds, since he turned down invitations from his painter friend Frederik Christian Lund in 1816:Thank you for your friendly invitation to Rome, but I must admit my mind never went there. But now that I am leafing through some of H[err] Farber's sketchbooks I have become almost completely different. I can now imagine travelling to Rome and living there. But I couldn't think of returning north without shuddering; in my opinion, that would mean so much: like burying oneself alive. I put up with staying put, without grumbling, if fate wills it that way; but going backwards is contrary to my nature. My whole being is outraged
Jens Christian Jensen argues that Friedrich deliberately and rigorously kept both his radius of travel and his choice of subjects for his pictures narrow. Ironically, Friedrich's friend Johan Christian Clausen Dahl took him to Naples virtually by including a figure of him in his Eruption of Vesuvius, identifiable from a labelled preparatory drawing.
Friedrich was not alone in criticising the Nazarenes, though the Nazarenes themselves maintained that only artists could judge art Johann Christian Reinhart, Bertel Thorvaldsen, Philipp Veit and Joseph Anton Koch wrote counterblasts to the German art critics in the polemic Drei Schreiben aus Rom gegen Kunstschreiberei in Deutschland. However, many artists such as Ludwig Richter did diminish in quality after time in Italy, producing emptier and emptier work the more time they spent there. | [
"Bertel Thorvaldsen",
"Palazzo Caffarelli",
"Jens Christian Jensen",
"Johan Christian Clausen Dahl",
"Ernst Ferdinand Oehme",
"Frederik Christian Lund",
"Italia und Germania",
"Nazarene",
"Ludwig Richter",
"Crown Prince Friedrich Wilhelm",
"Friedrich Overbeck",
"Johann Christian Reinhart",
"Joseph Anton Koch",
"Philipp Veit"
] |
|
17695_NT | The Temple of Juno in Agrigento | Explore the Context of this artwork. | German enthusiasm for Italian art had peaked at the time the work was produced. In honour of Crown Prince Friedrich Wilhelm's visit to Italy in autumn 1828 an exhibition of Nazarene art was held at the Palazzo Caffarelli in Rome, including the first showing of Friedrich Overbeck's allegorical work Italia und Germania. The Crown Prince favoured these artists, but Friedrich rejected them, writing of one that he must have painted a number of works "through coloured glass ... Perhaps he should try the dangerous idea of painting of painting without glasses, by which objects would appear to him as they do to other honest folk who haven't been in Rome and have healthy eyes". he wrote of Ernst Ferdinand Oehme that he might have got further in art had he "not travelled to Rome" and that he had "greatly improved" since returning from thence, getting clear of the fashionable influence of Joseph Anton Koch who was "no longer a student of nature". He also wrote of a number of similar artists as being "no longer satisfied with our German sun, moon and stars, our rocks, trees and herbs, seas and rivers"His reason for rejecting a trip to Italy is unknown, possibly for fear of betraying German brotherhood, though it was not from lack of funds, since he turned down invitations from his painter friend Frederik Christian Lund in 1816:Thank you for your friendly invitation to Rome, but I must admit my mind never went there. But now that I am leafing through some of H[err] Farber's sketchbooks I have become almost completely different. I can now imagine travelling to Rome and living there. But I couldn't think of returning north without shuddering; in my opinion, that would mean so much: like burying oneself alive. I put up with staying put, without grumbling, if fate wills it that way; but going backwards is contrary to my nature. My whole being is outraged
Jens Christian Jensen argues that Friedrich deliberately and rigorously kept both his radius of travel and his choice of subjects for his pictures narrow. Ironically, Friedrich's friend Johan Christian Clausen Dahl took him to Naples virtually by including a figure of him in his Eruption of Vesuvius, identifiable from a labelled preparatory drawing.
Friedrich was not alone in criticising the Nazarenes, though the Nazarenes themselves maintained that only artists could judge art Johann Christian Reinhart, Bertel Thorvaldsen, Philipp Veit and Joseph Anton Koch wrote counterblasts to the German art critics in the polemic Drei Schreiben aus Rom gegen Kunstschreiberei in Deutschland. However, many artists such as Ludwig Richter did diminish in quality after time in Italy, producing emptier and emptier work the more time they spent there. | [
"Bertel Thorvaldsen",
"Palazzo Caffarelli",
"Jens Christian Jensen",
"Johan Christian Clausen Dahl",
"Ernst Ferdinand Oehme",
"Frederik Christian Lund",
"Italia und Germania",
"Nazarene",
"Ludwig Richter",
"Crown Prince Friedrich Wilhelm",
"Friedrich Overbeck",
"Johann Christian Reinhart",
"Joseph Anton Koch",
"Philipp Veit"
] |
|
17696_T | The Temple of Juno in Agrigento | Focus on The Temple of Juno in Agrigento and discuss the Analysis. | Most of the rest of Friedrich's oeuvre rejects neoclassicism and its idealised versions of Roman and Greek architecture in favour of the Gothic. Helmut Börsch-Supan interprets the temple's depiction in the work, surrounded by a barren landscape, symbolises the death of ancient pagan religion, as in the artist's treatment of pagan megalithic tombs, whilst Jens Christian Jensen argued that the work was painted to prove an artist could produce profound Italian subjects without actually having to travel there. Detlef Stapf sees it as a melancholic architectural work drawing on an idea in Christian Cay Lorenz Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art) and that it was produced in hope of its being easier to sell than Friedrich's Gothic works. | [
"megalithic tombs",
"Jens Christian Jensen",
"Helmut Börsch-Supan",
"Christian Cay Lorenz Hirschfeld",
"megalith"
] |
|
17696_NT | The Temple of Juno in Agrigento | Focus on this artwork and discuss the Analysis. | Most of the rest of Friedrich's oeuvre rejects neoclassicism and its idealised versions of Roman and Greek architecture in favour of the Gothic. Helmut Börsch-Supan interprets the temple's depiction in the work, surrounded by a barren landscape, symbolises the death of ancient pagan religion, as in the artist's treatment of pagan megalithic tombs, whilst Jens Christian Jensen argued that the work was painted to prove an artist could produce profound Italian subjects without actually having to travel there. Detlef Stapf sees it as a melancholic architectural work drawing on an idea in Christian Cay Lorenz Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art) and that it was produced in hope of its being easier to sell than Friedrich's Gothic works. | [
"megalithic tombs",
"Jens Christian Jensen",
"Helmut Börsch-Supan",
"Christian Cay Lorenz Hirschfeld",
"megalith"
] |
|
17697_T | The Temple of Juno in Agrigento | In The Temple of Juno in Agrigento, how is the Sources of the Analysis elucidated? | According to Paul Ortwin Rave the work was based on an aquatint by Franz Hegi, itself based on a watercolour by Carl Ludwig Frommel. Hegi produced the aquatints for Voyage pittoresque en Sicile for the Paris book-dealer Jean Frédérik Ostervald between 1822 and 1826., though the watercolours on which they were based dated back to 1780.
Friedrich made several modifications to the source print, omitting the staffage and aloe trees in the foreground and the olive trees in the right middle ground and turning the lighting from frontal daylight to a background sunset. The rubble to the left was reworked as Elbe sandstone and the trees and shrubs turned into central European examples from Friedrich's homeland, the background mountains were altered, both showing the painter's lack of interest in the ruins' original Mediterranean setting. Altogether his alterations also demonstrate his obedience to Christian Cay Lorenz Hirschfeld's 'Wirkungsästhetik', particularly as stated in the chapter 'Of Temples, Grottoes, Hermitages, Chapels and Ruins' in Theorie der Gartenkunst:What sensations of melancholy and sadness did not sometimes seize the traveling admirers of antiquity when, in the formerly beautifully built lands of Greece, they found sleeping places for shepherds and wild animals' caves amidst the remains of temples! [Richard] Chandler describes such a fierce appearance when he saw the ruins of the [Hellenistic] Temple of Apollo at Ura, not far from Miletus. The columns were so extraordinarily beautiful, the marble mass so large and noble that it is perhaps impossible to imagine more beautiful or majestic ruins [...] The whole mass was illuminated by the setting sun with a variety of rich inks, and cast a very strong shadow. The distant sea was flat and shiny, and bordered by a mountainous coast with rocky islands.
Friedrich's adaptations of the source watercolour and print also show the contrast between neo-classicism and romanticism and between classicising tendencies in art and Friedrich's Christian-Romanticism. The watercolour was intended not only as a tool and record of archaeology (then rapidly developing as a subject), but also as a way of transmitting to German readers as much information as possible about the ancient ruins and contemporary Sicilian vegetation, animal husbandry, local people and landscapes and a way of demonstrating to Christian readers the downfall of ancient pagan religion. In contrast, Romanticism is less interested in accurate topographical and historical information than in how the temple and landscape would act on the beholder's souls, with the temple's shadow at sunset more important than the temple itself. This especially manifests itself in the work's close-up detail, initially drawn in pencil on a light primer layer, before being reinforced with a reed pen and then glazed in several thin layers to give shades of tone and a different viewing experience at different distances. | [
"[Richard] Chandler",
"Franz Hegi",
"staffage",
"Elbe",
"Christian Cay Lorenz Hirschfeld",
"Temple of Apollo at Ura",
"Paul Ortwin Rave",
"Carl Ludwig Frommel",
"aquatint"
] |
|
17697_NT | The Temple of Juno in Agrigento | In this artwork, how is the Sources of the Analysis elucidated? | According to Paul Ortwin Rave the work was based on an aquatint by Franz Hegi, itself based on a watercolour by Carl Ludwig Frommel. Hegi produced the aquatints for Voyage pittoresque en Sicile for the Paris book-dealer Jean Frédérik Ostervald between 1822 and 1826., though the watercolours on which they were based dated back to 1780.
Friedrich made several modifications to the source print, omitting the staffage and aloe trees in the foreground and the olive trees in the right middle ground and turning the lighting from frontal daylight to a background sunset. The rubble to the left was reworked as Elbe sandstone and the trees and shrubs turned into central European examples from Friedrich's homeland, the background mountains were altered, both showing the painter's lack of interest in the ruins' original Mediterranean setting. Altogether his alterations also demonstrate his obedience to Christian Cay Lorenz Hirschfeld's 'Wirkungsästhetik', particularly as stated in the chapter 'Of Temples, Grottoes, Hermitages, Chapels and Ruins' in Theorie der Gartenkunst:What sensations of melancholy and sadness did not sometimes seize the traveling admirers of antiquity when, in the formerly beautifully built lands of Greece, they found sleeping places for shepherds and wild animals' caves amidst the remains of temples! [Richard] Chandler describes such a fierce appearance when he saw the ruins of the [Hellenistic] Temple of Apollo at Ura, not far from Miletus. The columns were so extraordinarily beautiful, the marble mass so large and noble that it is perhaps impossible to imagine more beautiful or majestic ruins [...] The whole mass was illuminated by the setting sun with a variety of rich inks, and cast a very strong shadow. The distant sea was flat and shiny, and bordered by a mountainous coast with rocky islands.
Friedrich's adaptations of the source watercolour and print also show the contrast between neo-classicism and romanticism and between classicising tendencies in art and Friedrich's Christian-Romanticism. The watercolour was intended not only as a tool and record of archaeology (then rapidly developing as a subject), but also as a way of transmitting to German readers as much information as possible about the ancient ruins and contemporary Sicilian vegetation, animal husbandry, local people and landscapes and a way of demonstrating to Christian readers the downfall of ancient pagan religion. In contrast, Romanticism is less interested in accurate topographical and historical information than in how the temple and landscape would act on the beholder's souls, with the temple's shadow at sunset more important than the temple itself. This especially manifests itself in the work's close-up detail, initially drawn in pencil on a light primer layer, before being reinforced with a reed pen and then glazed in several thin layers to give shades of tone and a different viewing experience at different distances. | [
"[Richard] Chandler",
"Franz Hegi",
"staffage",
"Elbe",
"Christian Cay Lorenz Hirschfeld",
"Temple of Apollo at Ura",
"Paul Ortwin Rave",
"Carl Ludwig Frommel",
"aquatint"
] |
|
17698_T | The Temple of Juno in Agrigento | Focus on The Temple of Juno in Agrigento and analyze the Place in Friedrich's oeuvre. | An ancient temple is a rare but not unique motif in the artist's work. Around 1803 he produced the etching Landscape with Temple Ruins., possibly created according to Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art). | [] |
|
17698_NT | The Temple of Juno in Agrigento | Focus on this artwork and analyze the Place in Friedrich's oeuvre. | An ancient temple is a rare but not unique motif in the artist's work. Around 1803 he produced the etching Landscape with Temple Ruins., possibly created according to Hirschfeld's Theorie der Gartenkunst (Theory of Garden Art). | [] |
|
17699_T | The Temple of Juno in Agrigento | Explore the Bibliography (in German) of this artwork, The Temple of Juno in Agrigento. | Hermann Beenken: Eine romantische Landschaft mit dem Junotempel von Agrigent. In: Die Kunst 59, S. 1, 2
Helmut Börsch-Supan, Karl Wilhelm Jähnig: Caspar David Friedrich. Gemälde, Druckgraphik und bildmäßige Zeichnungen, Prestel Verlag, München 1973, ISBN 3-7913-0053-9 (Werkverzeichnis)
Sigrid Hinz (Hrsg.): Caspar David Friedrich in Briefen und Bekenntnissen. Henschelverlag Kunst und Gesellschaft, Berlin 1974
Jens Christian Jensen: Caspar David Friedrich. Leben und Werk. DuMont Verlag, Köln 1999
Detlef Stapf: Caspar David Friedrichs verborgene Landschaften. Die Neubrandenburger Kontexte. Greifswald 2014, netzbasiert P-Book
Herrmann Zschoche: Caspar David Friedrich. Die Briefe. ConferencePoint Verlag, Hamburg 2005, ISBN 3-936406-12-X | [
"Hermann Beenken",
"Jens Christian Jensen",
"Helmut Börsch-Supan",
"Caspar David Friedrich"
] |
|
17699_NT | The Temple of Juno in Agrigento | Explore the Bibliography (in German) of this artwork. | Hermann Beenken: Eine romantische Landschaft mit dem Junotempel von Agrigent. In: Die Kunst 59, S. 1, 2
Helmut Börsch-Supan, Karl Wilhelm Jähnig: Caspar David Friedrich. Gemälde, Druckgraphik und bildmäßige Zeichnungen, Prestel Verlag, München 1973, ISBN 3-7913-0053-9 (Werkverzeichnis)
Sigrid Hinz (Hrsg.): Caspar David Friedrich in Briefen und Bekenntnissen. Henschelverlag Kunst und Gesellschaft, Berlin 1974
Jens Christian Jensen: Caspar David Friedrich. Leben und Werk. DuMont Verlag, Köln 1999
Detlef Stapf: Caspar David Friedrichs verborgene Landschaften. Die Neubrandenburger Kontexte. Greifswald 2014, netzbasiert P-Book
Herrmann Zschoche: Caspar David Friedrich. Die Briefe. ConferencePoint Verlag, Hamburg 2005, ISBN 3-936406-12-X | [
"Hermann Beenken",
"Jens Christian Jensen",
"Helmut Börsch-Supan",
"Caspar David Friedrich"
] |
|
17700_T | The Procession of the Magi (Zanobi Strozzi) | Focus on The Procession of the Magi (Zanobi Strozzi) and discuss the abstract. | The Procession of the Magi, more recently and more precisely known as King Balthazar's Journey to the Holy Land is a mid-1440s or late 1440s painting by the Italian painter from Tuscany, Zanobi Strozzi. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 261.
The painting is today recognized as the pendant of King Melchior Sailing to the Holy Land by Francesco Pesellino now in the Clark Art Institute of Williamstown, Massachusetts. Together with a yet unidentified painting, they may have formed the predella of a yet unidentified altarpiece. Strozzi's painting had at first been attributed to Domenico di Michelino by Bernard Berenson. It is attributed to Strozzi since 1950.King Balthazar's Journey to the Holy Land had belonged to the collection of Alessandro Castellani, Rome, then to the collection of Charles Butler (1821–1910) in London. At its first sale, on 29 March 1884, it passed from the estate of Castellani into the Butler collection with an attribution to Piero della Francesca, but this was abandoned before Wilhelm von Bode bought the painting for the Strasbourg museum in 1893.The refined style, the precious colours and the fairy-tale atmosphere of the painting are characteristic of the school of Florentine painting initiated by Fra Angelico, although they were already very much on display in Gentile da Fabriano's Adoration of the Magi (1423). | [
"pendant",
"Zanobi Strozzi",
"Wilhelm von Bode",
"King Balthazar's",
"Williamstown, Massachusetts",
"King Melchior Sailing to the Holy Land",
"Florentine",
"Domenico di Michelino",
"Clark Art Institute",
"Musée des Beaux-Arts",
"Piero della Francesca",
"Alessandro Castellani",
"Francesco Pesellino",
"Italian",
"Bernard Berenson",
"Fra Angelico",
"Strasbourg",
"Magi",
"altarpiece",
"Holy Land",
"predella",
"Tuscany",
"Adoration of the Magi"
] |
|
17700_NT | The Procession of the Magi (Zanobi Strozzi) | Focus on this artwork and discuss the abstract. | The Procession of the Magi, more recently and more precisely known as King Balthazar's Journey to the Holy Land is a mid-1440s or late 1440s painting by the Italian painter from Tuscany, Zanobi Strozzi. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 261.
The painting is today recognized as the pendant of King Melchior Sailing to the Holy Land by Francesco Pesellino now in the Clark Art Institute of Williamstown, Massachusetts. Together with a yet unidentified painting, they may have formed the predella of a yet unidentified altarpiece. Strozzi's painting had at first been attributed to Domenico di Michelino by Bernard Berenson. It is attributed to Strozzi since 1950.King Balthazar's Journey to the Holy Land had belonged to the collection of Alessandro Castellani, Rome, then to the collection of Charles Butler (1821–1910) in London. At its first sale, on 29 March 1884, it passed from the estate of Castellani into the Butler collection with an attribution to Piero della Francesca, but this was abandoned before Wilhelm von Bode bought the painting for the Strasbourg museum in 1893.The refined style, the precious colours and the fairy-tale atmosphere of the painting are characteristic of the school of Florentine painting initiated by Fra Angelico, although they were already very much on display in Gentile da Fabriano's Adoration of the Magi (1423). | [
"pendant",
"Zanobi Strozzi",
"Wilhelm von Bode",
"King Balthazar's",
"Williamstown, Massachusetts",
"King Melchior Sailing to the Holy Land",
"Florentine",
"Domenico di Michelino",
"Clark Art Institute",
"Musée des Beaux-Arts",
"Piero della Francesca",
"Alessandro Castellani",
"Francesco Pesellino",
"Italian",
"Bernard Berenson",
"Fra Angelico",
"Strasbourg",
"Magi",
"altarpiece",
"Holy Land",
"predella",
"Tuscany",
"Adoration of the Magi"
] |
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