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17701_T | Saint Francis of Assisi in Ecstasy (Caravaggio) | How does Saint Francis of Assisi in Ecstasy (Caravaggio) elucidate its abstract? | Saint Francis of Assisi in Ecstasy (or The Ecstasy of Saint Francis) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is now in the Wadsworth Atheneum, Hartford, Connecticut.The painting was the first of Caravaggio's religious canvasses, and is thought to date from 1595, when he had recently entered the household of Cardinal Francesco Maria Del Monte. It was presumably painted at the behest of Del Monte, and is thought to be one of the first paintings done by the artist as "Del Monte's painter", as he is believed to have described himself over the next few years while living in Palazzo Madama. It shows Saint Francis of Assisi (the Cardinal's name-saint) at the moment of receiving the signs of the Stigmata, the wounds left in Christ's body by the Crucifixion. The story is told by one of Francis' companions, Brother Leo. In 1224 Francis retired to the wilderness with a small number of his followers to contemplate God. On the mountainside at night Brother Leo saw a six-winged seraph (one of the higher Orders of angels) come down to Francis in answer to the saint's prayer that he might know both Christ's suffering and His love:All of a sudden there was a dazzling light. It was as though the heavens were exploding and splashing forth all their glory in millions of waterfalls of colours and stars. And in the centre of that bright whirlpool was a core of blinding light that flashed down from the depths of the sky with terrifying speed until suddenly it stopped, motionless and sacred, above a pointed rock in front of Francis. It was a fiery figure with wings, nailed to a cross of fire. Two flaming wings rose straight upward, two others opened out horizontally, and two more covered the figure. And the wounds in the hands and feet and heart were blazing rays of blood. The sparkling features of the Being wore an expression of supernatural beauty and grief. It was the face of Jesus, and Jesus spoke. Then suddenly streams of fire and blood shot from His wounds and pierced the hands and feet of Francis with nails and his heart with the stab of a lance. As Francis uttered a mighty shout of joy and pain, the fiery image impressed itself into his body, as into a mirrored reflection of itself, with all its love, its beauty, and its grief. And it vanished within him. Another cry pierced the air. Then, with nails and wounds through his body, and with his soul and spirit aflame, Francis sank down, unconscious, in his blood.
Caravaggio's painting is less dramatic than the account given by Leo - the six-winged seraph is replaced by a two-winged angel, and there is none of the violent confrontation described by Leo - no streams of fire, no pools of blood, no shouts or fiery images of Christ. Just the gentle-seeming angel, bulking far larger than the unconscious saint, and Francis' companions in the middle distance, almost invisible in the darkness.
The subject had been a popular one ever since the 13th century: Giotto treated it about 1290, and Giovanni Bellini painted a famous version about 1480–85. Caravaggio's version is much more intimate and marks a sharp change of key: the saint, who has the features of Del Monte, seems to sink back peacefully into the arms of a boy (who bears a marked resemblance to the boy in Boy Peeling a Fruit and to the winged Cupid on the far left of The Musicians, and even more to the boy being cheated in Cardsharps) wearing a sheet and some stage-prop wings. There is very little to indicate the subject beyond the saint's Franciscan robe - no sign of the Stigmata, or blood, except the wound in his heart, nor of the fearsome seraph. Yet the atmosphere remains genuinely spiritual, the two figures lit by an unearthly effulgence in the dark night-time landscape where strange glimmerings flicker on the horizon. The scene is at once real and unreal. Del Monte kept it till the end of his life, and several copies went into circulation and were greatly valued. | [
"Giovanni Bellini",
"Michelangelo Merisi da Caravaggio",
"Stigmata",
"Cardsharps",
"Cardinal Francesco Maria Del Monte",
"seraph",
"The Musicians",
"Wadsworth Atheneum",
"Saint Francis of Assisi",
"Caravaggio",
"left",
"Palazzo Madama",
"Brother Leo",
"Giotto",
"angel",
"Francis of Assisi",
"Boy Peeling a Fruit",
"Wadsworth Atheneum, Hartford, Connecticut"
] |
|
17701_NT | Saint Francis of Assisi in Ecstasy (Caravaggio) | How does this artwork elucidate its abstract? | Saint Francis of Assisi in Ecstasy (or The Ecstasy of Saint Francis) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is now in the Wadsworth Atheneum, Hartford, Connecticut.The painting was the first of Caravaggio's religious canvasses, and is thought to date from 1595, when he had recently entered the household of Cardinal Francesco Maria Del Monte. It was presumably painted at the behest of Del Monte, and is thought to be one of the first paintings done by the artist as "Del Monte's painter", as he is believed to have described himself over the next few years while living in Palazzo Madama. It shows Saint Francis of Assisi (the Cardinal's name-saint) at the moment of receiving the signs of the Stigmata, the wounds left in Christ's body by the Crucifixion. The story is told by one of Francis' companions, Brother Leo. In 1224 Francis retired to the wilderness with a small number of his followers to contemplate God. On the mountainside at night Brother Leo saw a six-winged seraph (one of the higher Orders of angels) come down to Francis in answer to the saint's prayer that he might know both Christ's suffering and His love:All of a sudden there was a dazzling light. It was as though the heavens were exploding and splashing forth all their glory in millions of waterfalls of colours and stars. And in the centre of that bright whirlpool was a core of blinding light that flashed down from the depths of the sky with terrifying speed until suddenly it stopped, motionless and sacred, above a pointed rock in front of Francis. It was a fiery figure with wings, nailed to a cross of fire. Two flaming wings rose straight upward, two others opened out horizontally, and two more covered the figure. And the wounds in the hands and feet and heart were blazing rays of blood. The sparkling features of the Being wore an expression of supernatural beauty and grief. It was the face of Jesus, and Jesus spoke. Then suddenly streams of fire and blood shot from His wounds and pierced the hands and feet of Francis with nails and his heart with the stab of a lance. As Francis uttered a mighty shout of joy and pain, the fiery image impressed itself into his body, as into a mirrored reflection of itself, with all its love, its beauty, and its grief. And it vanished within him. Another cry pierced the air. Then, with nails and wounds through his body, and with his soul and spirit aflame, Francis sank down, unconscious, in his blood.
Caravaggio's painting is less dramatic than the account given by Leo - the six-winged seraph is replaced by a two-winged angel, and there is none of the violent confrontation described by Leo - no streams of fire, no pools of blood, no shouts or fiery images of Christ. Just the gentle-seeming angel, bulking far larger than the unconscious saint, and Francis' companions in the middle distance, almost invisible in the darkness.
The subject had been a popular one ever since the 13th century: Giotto treated it about 1290, and Giovanni Bellini painted a famous version about 1480–85. Caravaggio's version is much more intimate and marks a sharp change of key: the saint, who has the features of Del Monte, seems to sink back peacefully into the arms of a boy (who bears a marked resemblance to the boy in Boy Peeling a Fruit and to the winged Cupid on the far left of The Musicians, and even more to the boy being cheated in Cardsharps) wearing a sheet and some stage-prop wings. There is very little to indicate the subject beyond the saint's Franciscan robe - no sign of the Stigmata, or blood, except the wound in his heart, nor of the fearsome seraph. Yet the atmosphere remains genuinely spiritual, the two figures lit by an unearthly effulgence in the dark night-time landscape where strange glimmerings flicker on the horizon. The scene is at once real and unreal. Del Monte kept it till the end of his life, and several copies went into circulation and were greatly valued. | [
"Giovanni Bellini",
"Michelangelo Merisi da Caravaggio",
"Stigmata",
"Cardsharps",
"Cardinal Francesco Maria Del Monte",
"seraph",
"The Musicians",
"Wadsworth Atheneum",
"Saint Francis of Assisi",
"Caravaggio",
"left",
"Palazzo Madama",
"Brother Leo",
"Giotto",
"angel",
"Francis of Assisi",
"Boy Peeling a Fruit",
"Wadsworth Atheneum, Hartford, Connecticut"
] |
|
17702_T | The House at Rueil | Focus on The House at Rueil and analyze the abstract. | The House at Rueil (La maison du Rueil) is the title of two oil-on-canvas paintings by Édouard Manet completed in 1882. The paintings depict a view of the house where Manet and his family stayed for a few months before his death. The two versions are almost identical, but one is in landscape format, and the other is portrait format. The landscape version measures 71.5 × 92.3 cm and is in the collection of the Alte Nationalgalerie in Berlin, Germany, whereas the portrait version measures 92.8 × 73.5 cm and is at the National Gallery of Victoria in Melbourne, Australia. The composition shows typical characteristics of Impressionism and influenced various painters in the early 20th century who created similar works based on this model. | [
"Impressionism",
"Australia",
"Berlin",
"Melbourne",
"National Gallery of Victoria",
"Édouard Manet",
"Alte Nationalgalerie",
"Germany"
] |
|
17702_NT | The House at Rueil | Focus on this artwork and analyze the abstract. | The House at Rueil (La maison du Rueil) is the title of two oil-on-canvas paintings by Édouard Manet completed in 1882. The paintings depict a view of the house where Manet and his family stayed for a few months before his death. The two versions are almost identical, but one is in landscape format, and the other is portrait format. The landscape version measures 71.5 × 92.3 cm and is in the collection of the Alte Nationalgalerie in Berlin, Germany, whereas the portrait version measures 92.8 × 73.5 cm and is at the National Gallery of Victoria in Melbourne, Australia. The composition shows typical characteristics of Impressionism and influenced various painters in the early 20th century who created similar works based on this model. | [
"Impressionism",
"Australia",
"Berlin",
"Melbourne",
"National Gallery of Victoria",
"Édouard Manet",
"Alte Nationalgalerie",
"Germany"
] |
|
17703_T | The House at Rueil | In The House at Rueil, how is the Overview discussed? | The paintings depict the front of a house at Rue du Château No. 18 in Rueil-Malmaison in the suburbs of Paris, in which Manet and his family stayed during the summer (July to October) of 1882. He rented the house from André Labiche, who was possibly a relative of the comedy poet Eugène Labiche. Manet was very ill at the time. From his letters of the period, he suffered from depression and a sense of hopelessness, and indeed he would die less than a year after these paintings were completed. However, despite his infirmity, Manet remained productive and in the same letters complained that inclement weather limited his painting activity.
Manet's portrayal of the house at Rueil was not intended as a faithful architectural rendition but instead is focused only on a section of the front façade of the two-story structure. This view is further limited by a tree trunk that deliberately cuts through the center of the field of view and obscures the entryway to the house, which may or may not be open, with the ambiguity adding to the viewer's attention and appeal. The setting is on a hot summer day with bright sunlight, but with a sense of cooling shade provided by the tree, which extends out of the field of view to the top of the canvas. The walls of the house are light yellow and the window shutters are light blue. In the Berlin version, some shutters are open and others are closed; in the version in Melbourne all the shutters are open. In either version, some of the windows are open; others are closed by window shutters or curtains. In the Berlin version, only part of the dark blue roof can be seen, the rest is cut off from the upper edge of the picture. A lighter shade of blue in the upper left corner could suggest the sky. In the Melbourne version, the picture ends on the second floor; the roof area is completely cut off from the upper edge of the picture. Overall, the version in Melbourne shows a narrower section of the house compared to the Berlin version, especially on the left side, where the Berlin version shows further windows. The Berlin version also shows a bench positioned in front of the house and a garden bench to the right, both of which are missing in the Melbourne version. Both images have a chair to the right of the entry with what appears to be a blanket or coat draped across it.
It is not known which of the two versions of the picture Manet painted first. The authors of the 1975 catalog raisonné, Denis Rouart and Daniel Wildenstein, refer to the portrait version of the Melbourne Museum as “Réplique”, alleging that Manet would have initially executed the landscape format Berlin version. However, the painting in Berlin is unmarked, whereas the version kept in Melbourne is signed and dated, which indicates that Manet considered it to be completed. | [
"Berlin",
"Daniel Wildenstein",
"Melbourne",
"Rueil-Malmaison",
"catalog raisonné",
"Paris",
"Eugène Labiche"
] |
|
17703_NT | The House at Rueil | In this artwork, how is the Overview discussed? | The paintings depict the front of a house at Rue du Château No. 18 in Rueil-Malmaison in the suburbs of Paris, in which Manet and his family stayed during the summer (July to October) of 1882. He rented the house from André Labiche, who was possibly a relative of the comedy poet Eugène Labiche. Manet was very ill at the time. From his letters of the period, he suffered from depression and a sense of hopelessness, and indeed he would die less than a year after these paintings were completed. However, despite his infirmity, Manet remained productive and in the same letters complained that inclement weather limited his painting activity.
Manet's portrayal of the house at Rueil was not intended as a faithful architectural rendition but instead is focused only on a section of the front façade of the two-story structure. This view is further limited by a tree trunk that deliberately cuts through the center of the field of view and obscures the entryway to the house, which may or may not be open, with the ambiguity adding to the viewer's attention and appeal. The setting is on a hot summer day with bright sunlight, but with a sense of cooling shade provided by the tree, which extends out of the field of view to the top of the canvas. The walls of the house are light yellow and the window shutters are light blue. In the Berlin version, some shutters are open and others are closed; in the version in Melbourne all the shutters are open. In either version, some of the windows are open; others are closed by window shutters or curtains. In the Berlin version, only part of the dark blue roof can be seen, the rest is cut off from the upper edge of the picture. A lighter shade of blue in the upper left corner could suggest the sky. In the Melbourne version, the picture ends on the second floor; the roof area is completely cut off from the upper edge of the picture. Overall, the version in Melbourne shows a narrower section of the house compared to the Berlin version, especially on the left side, where the Berlin version shows further windows. The Berlin version also shows a bench positioned in front of the house and a garden bench to the right, both of which are missing in the Melbourne version. Both images have a chair to the right of the entry with what appears to be a blanket or coat draped across it.
It is not known which of the two versions of the picture Manet painted first. The authors of the 1975 catalog raisonné, Denis Rouart and Daniel Wildenstein, refer to the portrait version of the Melbourne Museum as “Réplique”, alleging that Manet would have initially executed the landscape format Berlin version. However, the painting in Berlin is unmarked, whereas the version kept in Melbourne is signed and dated, which indicates that Manet considered it to be completed. | [
"Berlin",
"Daniel Wildenstein",
"Melbourne",
"Rueil-Malmaison",
"catalog raisonné",
"Paris",
"Eugène Labiche"
] |
|
17704_T | Saint Luke Painting the Virgin (Heemskerck) | Focus on Saint Luke Painting the Virgin (Heemskerck) and explore the abstract. | Saint Luke Painting the Virgin is a 1532 painting by the Dutch Golden Age artist Maarten van Heemskerck in the Frans Hals Museum, in Haarlem.This painting shows a baker in the role of Luke the Evangelist painting the Holy Virgin and Child, with a self-portrait in the background as the artist's muse in the form of a laurel-wreathed poet. It is an example of a fairly common 16th- and 17th-century genre in European painting referred to as a Lukas-Madonna in Dutch. Heemskerck painted it before his trip to Italy for the St. Bavochurch in Haarlem. It is painted with exaggerated perspective, and cannot be observed correctly where it hangs today on a museum wall, because it was designed to hang high up in a church. The painting was cut down and divided in two, and the left and right panel have since been reunited, but the top curved piece that once showed a parrot in a cage has been lost. A full description of the painting and the text on the paper in the bottom left-hand corner was documented by Karel van Mander in his Schilder-boeck (1604).
Inscription lower left on tromp l'oeil "paper": Tot memorie is Dese Taeffel gegeven / van mertin heemskerck diet heeft gewracht. / Ter eeren Sinte Lucae heeft hyt bedreven, / ons gemeen ghesellen heeft hy mede bedacht / wy moge hem dancken bij dage by nacht / van zyn milde gifte die hier staet present / Dus willen wy bidden met als ons macht / Dat gods gratie hem wil zijn omtrent / Anno Duysent VcXXXII ist volent 23.May.
The inscription shows that Heemskerck painted the painting as much for his colleagues in the Haarlem Guild of St. Luke as for the memory of St. Luke. The various disciplines reflected in the guild at that time were painting, sculpture, pottery, wood carving, gold- and silversmith work, painting supplies, and the arts of draughtsmanship, perspective drawing, engraving and painting itself.
The idea of a self-portrait with a Madonna and Child in a somewhat similar pose to this one, was painted by Heemskerck's contemporary Jan Cornelisz Vermeyen a bit before this one: | [
"St. Bavochurch",
"Haarlem",
"Karel van Mander",
"Luke the Evangelist",
"Maarten van Heemskerck",
"Jan Cornelisz Vermeyen",
"Lukas-Madonna",
"Heemskerck",
"Schilder-boeck",
"Frans Hals Museum",
"Haarlem Guild of St. Luke"
] |
|
17704_NT | Saint Luke Painting the Virgin (Heemskerck) | Focus on this artwork and explore the abstract. | Saint Luke Painting the Virgin is a 1532 painting by the Dutch Golden Age artist Maarten van Heemskerck in the Frans Hals Museum, in Haarlem.This painting shows a baker in the role of Luke the Evangelist painting the Holy Virgin and Child, with a self-portrait in the background as the artist's muse in the form of a laurel-wreathed poet. It is an example of a fairly common 16th- and 17th-century genre in European painting referred to as a Lukas-Madonna in Dutch. Heemskerck painted it before his trip to Italy for the St. Bavochurch in Haarlem. It is painted with exaggerated perspective, and cannot be observed correctly where it hangs today on a museum wall, because it was designed to hang high up in a church. The painting was cut down and divided in two, and the left and right panel have since been reunited, but the top curved piece that once showed a parrot in a cage has been lost. A full description of the painting and the text on the paper in the bottom left-hand corner was documented by Karel van Mander in his Schilder-boeck (1604).
Inscription lower left on tromp l'oeil "paper": Tot memorie is Dese Taeffel gegeven / van mertin heemskerck diet heeft gewracht. / Ter eeren Sinte Lucae heeft hyt bedreven, / ons gemeen ghesellen heeft hy mede bedacht / wy moge hem dancken bij dage by nacht / van zyn milde gifte die hier staet present / Dus willen wy bidden met als ons macht / Dat gods gratie hem wil zijn omtrent / Anno Duysent VcXXXII ist volent 23.May.
The inscription shows that Heemskerck painted the painting as much for his colleagues in the Haarlem Guild of St. Luke as for the memory of St. Luke. The various disciplines reflected in the guild at that time were painting, sculpture, pottery, wood carving, gold- and silversmith work, painting supplies, and the arts of draughtsmanship, perspective drawing, engraving and painting itself.
The idea of a self-portrait with a Madonna and Child in a somewhat similar pose to this one, was painted by Heemskerck's contemporary Jan Cornelisz Vermeyen a bit before this one: | [
"St. Bavochurch",
"Haarlem",
"Karel van Mander",
"Luke the Evangelist",
"Maarten van Heemskerck",
"Jan Cornelisz Vermeyen",
"Lukas-Madonna",
"Heemskerck",
"Schilder-boeck",
"Frans Hals Museum",
"Haarlem Guild of St. Luke"
] |
|
17705_T | Intercession Altarpiece | Focus on Intercession Altarpiece and explain the abstract. | The Intercession Altarpiece is a five-panel tempera and gold on panel painting by Gentile da Fabriano, produced during his stay in Florence from 1420 to 1423. Its original location is unknown, though it is now in the sacristy of Chiesa di San Niccolò Oltrarno in Florence. It is named after its central panel of Jesus and the Virgin Mary interceding to God the Father. The two outermost panels show Louis of Toulouse and Bernard of Clairvaux. The two inner side-panels show the Resurrection of Lazarus and a group of three saints (Saints Cosmas, Damian and Julian). | [
"Julian",
"Florence",
"Cosmas",
"Chiesa di San Niccolò Oltrarno",
"Bernard of Clairvaux",
"Louis of Toulouse",
"Gentile da Fabriano",
"Damian"
] |
|
17705_NT | Intercession Altarpiece | Focus on this artwork and explain the abstract. | The Intercession Altarpiece is a five-panel tempera and gold on panel painting by Gentile da Fabriano, produced during his stay in Florence from 1420 to 1423. Its original location is unknown, though it is now in the sacristy of Chiesa di San Niccolò Oltrarno in Florence. It is named after its central panel of Jesus and the Virgin Mary interceding to God the Father. The two outermost panels show Louis of Toulouse and Bernard of Clairvaux. The two inner side-panels show the Resurrection of Lazarus and a group of three saints (Saints Cosmas, Damian and Julian). | [
"Julian",
"Florence",
"Cosmas",
"Chiesa di San Niccolò Oltrarno",
"Bernard of Clairvaux",
"Louis of Toulouse",
"Gentile da Fabriano",
"Damian"
] |
|
17706_T | Intercession Altarpiece | Explore the History of this artwork, Intercession Altarpiece. | The polyptych was made following da Fabriano's travels to Florence in 1420–1423, while working on his Adoration of the Magi. The Intercession Altarpiece, named after the central panel, was made for an unknown commission with an unknown original location. The first mention of the altarpiece places it in the Chiesa di San Niccolò Oltrarno in 1862. Having already been aggressively restored, the work was seriously damaged in 1897 by a fire that burned its whole surface. The following cleaning attempts were not able to successfully recover the work's legibility, causing it to be considered a lost da Fabriano masterpiece. It was held, untouched for years, in the storage of the Palazzo Pitti. The poor state of the panels also raised doubts about the signature of the artist, which was however affirmed by Roberto Longhi and his students. In 1979, art historian Luciano Bellosi denied the Florentine origin of the work. Instead he assigned it to an earlier phase of da Fabriano's career, perhaps in Venice. Bellosi believed that the work was perhaps sent to Florence as a calling card by the painter, as a test of his skill before settling there. | [
"Florence",
"Luciano Bellosi",
"Roberto Longhi",
"Chiesa di San Niccolò Oltrarno",
"Palazzo Pitti",
"Adoration of the Magi"
] |
|
17706_NT | Intercession Altarpiece | Explore the History of this artwork. | The polyptych was made following da Fabriano's travels to Florence in 1420–1423, while working on his Adoration of the Magi. The Intercession Altarpiece, named after the central panel, was made for an unknown commission with an unknown original location. The first mention of the altarpiece places it in the Chiesa di San Niccolò Oltrarno in 1862. Having already been aggressively restored, the work was seriously damaged in 1897 by a fire that burned its whole surface. The following cleaning attempts were not able to successfully recover the work's legibility, causing it to be considered a lost da Fabriano masterpiece. It was held, untouched for years, in the storage of the Palazzo Pitti. The poor state of the panels also raised doubts about the signature of the artist, which was however affirmed by Roberto Longhi and his students. In 1979, art historian Luciano Bellosi denied the Florentine origin of the work. Instead he assigned it to an earlier phase of da Fabriano's career, perhaps in Venice. Bellosi believed that the work was perhaps sent to Florence as a calling card by the painter, as a test of his skill before settling there. | [
"Florence",
"Luciano Bellosi",
"Roberto Longhi",
"Chiesa di San Niccolò Oltrarno",
"Palazzo Pitti",
"Adoration of the Magi"
] |
|
17707_T | Brera Madonna | Focus on Brera Madonna and discuss the abstract. | The Brera Madonna (also known as the Pala di Brera, the Montefeltro Altarpiece or Brera Altarpiece) is a painting by the Italian Renaissance master Piero della Francesca, executed in 1472–1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon.
The work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federico's son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma. | [
"Guidobaldo",
"Milan",
"Pinacoteca di Brera",
"Maremma",
"Italian Renaissance",
"Piero della Francesca",
"Federico III da Montefeltro",
"sacra conversazione",
"Duke of Urbino"
] |
|
17707_NT | Brera Madonna | Focus on this artwork and discuss the abstract. | The Brera Madonna (also known as the Pala di Brera, the Montefeltro Altarpiece or Brera Altarpiece) is a painting by the Italian Renaissance master Piero della Francesca, executed in 1472–1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon.
The work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federico's son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma. | [
"Guidobaldo",
"Milan",
"Pinacoteca di Brera",
"Maremma",
"Italian Renaissance",
"Piero della Francesca",
"Federico III da Montefeltro",
"sacra conversazione",
"Duke of Urbino"
] |
|
17708_T | Brera Madonna | How does Brera Madonna elucidate its Description? | The work represents a sacred conversation, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and saints. On the right low corner, kneeling and wearing his armor, the patron of arts, duke and condottiero Federico da Montefeltro. Federico's choice of wearing armor had not been observed in other donor paintings of the past century. The donning of armor here signifies his military prowess and devotion to protect his faith, a new concept for presenting in armor when in a holy presence. The background consists of the apse of a church in Renaissance classical style, which is rendered in such meticulous perspective that the feigned depth of the coffer-vaulted apse at the rear can be calculated. At the center, hanging by a thread from the apse shell is an egg, emblem alike of Mary's fecundity and the promise of regeneration and immortality.The Child wears a necklace of deep red coral beads, a color which alludes to blood, a symbol of life and death, but also to the redemption brought by Christ. Coral was also used for teething, and often worn by babies. The saints at the left of the Madonna are generally identified as John the Baptist, Bernardino of Siena (dedicatee of the painting's original location) and Jerome; on the right would be Francis, Peter Martyr and Andrew. In the last figure, the Italian historian Ricci has identified a portrait of Luca Pacioli, a mathematician born in Sansepolcro like Piero della Francesca. The presence of John the Baptist would be explained as he was the patron saint of Federico's wife, while St. Jerome was the protector of Humanists. Francis, finally, would be present as the painting was originally thought for the Franciscan church of San Donato degli Osservanti, where Federico was later buried.
Modern cleaning has revealed the great detail in characters' clothes, the angels' jewels, Federico's reflective armor and the oriental carpet beneath the feet of the Virgin, reflecting the influence of Early Netherlandish painting.
The apse ends with a shell semi-dome from which an ostrich egg is hanging. The shell was a symbol of the new Venus, Mary (in fact it is perpendicular to her head) and of eternal beauty. According to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception (the shell generates the pearl without any male intervention). The egg is generally considered a symbol of the Creation and, in particular, to Guidobaldo's birth; the ostrich was also one of the heraldic symbols of the Montefeltro family.According to Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of entablatures barely visible in the upper corners. | [
"ostrich egg",
"apse",
"San Donato degli Osservanti",
"Guidobaldo",
"Andrew",
"condottiero",
"Coral",
"oriental carpet",
"Francis",
"semi-dome",
"Piero della Francesca",
"John the Baptist",
"Luca Pacioli",
"Bernardino of Siena",
"sacred conversation",
"Jerome",
"Venus",
"Sansepolcro",
"Federico da Montefeltro",
"entablature",
"Humanists",
"Early Netherlandish painting",
"Peter Martyr",
"coral"
] |
|
17708_NT | Brera Madonna | How does this artwork elucidate its Description? | The work represents a sacred conversation, with the Virgin enthroned and the sleeping Child in the middle, surrounded by a host of angels and saints. On the right low corner, kneeling and wearing his armor, the patron of arts, duke and condottiero Federico da Montefeltro. Federico's choice of wearing armor had not been observed in other donor paintings of the past century. The donning of armor here signifies his military prowess and devotion to protect his faith, a new concept for presenting in armor when in a holy presence. The background consists of the apse of a church in Renaissance classical style, which is rendered in such meticulous perspective that the feigned depth of the coffer-vaulted apse at the rear can be calculated. At the center, hanging by a thread from the apse shell is an egg, emblem alike of Mary's fecundity and the promise of regeneration and immortality.The Child wears a necklace of deep red coral beads, a color which alludes to blood, a symbol of life and death, but also to the redemption brought by Christ. Coral was also used for teething, and often worn by babies. The saints at the left of the Madonna are generally identified as John the Baptist, Bernardino of Siena (dedicatee of the painting's original location) and Jerome; on the right would be Francis, Peter Martyr and Andrew. In the last figure, the Italian historian Ricci has identified a portrait of Luca Pacioli, a mathematician born in Sansepolcro like Piero della Francesca. The presence of John the Baptist would be explained as he was the patron saint of Federico's wife, while St. Jerome was the protector of Humanists. Francis, finally, would be present as the painting was originally thought for the Franciscan church of San Donato degli Osservanti, where Federico was later buried.
Modern cleaning has revealed the great detail in characters' clothes, the angels' jewels, Federico's reflective armor and the oriental carpet beneath the feet of the Virgin, reflecting the influence of Early Netherlandish painting.
The apse ends with a shell semi-dome from which an ostrich egg is hanging. The shell was a symbol of the new Venus, Mary (in fact it is perpendicular to her head) and of eternal beauty. According to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception (the shell generates the pearl without any male intervention). The egg is generally considered a symbol of the Creation and, in particular, to Guidobaldo's birth; the ostrich was also one of the heraldic symbols of the Montefeltro family.According to Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of entablatures barely visible in the upper corners. | [
"ostrich egg",
"apse",
"San Donato degli Osservanti",
"Guidobaldo",
"Andrew",
"condottiero",
"Coral",
"oriental carpet",
"Francis",
"semi-dome",
"Piero della Francesca",
"John the Baptist",
"Luca Pacioli",
"Bernardino of Siena",
"sacred conversation",
"Jerome",
"Venus",
"Sansepolcro",
"Federico da Montefeltro",
"entablature",
"Humanists",
"Early Netherlandish painting",
"Peter Martyr",
"coral"
] |
|
17709_T | A Procession of Flagellants | Focus on A Procession of Flagellants and analyze the abstract. | A Procession of Flagellants (Procesión de disciplinantes, or Procesión de flagelantes) is an oil-on-panel painting produced by Francisco de Goya between 1812 and 1819. In the foreground is a procession of Roman Catholic men dressed in white, wearing pointed hats and whipping their bared backs in penitence. Their backs are bleeding and they pull over-life-size statues of Nuestra Señora dela Soledad, the Ecce Homo and the Crucifixion of Christ. Other devotees, who are kneeling and wearing black hoods, line the route. On the right a man is impaled and all are carrying banners, crosses and lamps.
The painting belongs to a series which also includes The Inquisition Tribunal, The Madhouse and The Bullfight. This series illustrates aspects of Spanish life which liberals (of whom Goya was then one) wished to reform but whose reform was opposed by Ferdinand VII of Spain's absolutist policy. A common feature of the series is the presence of cruelty, here shown by the blood flowing out onto the white garment of the central figure, and two contrasting zones of light and dark – here, all the figures in the foreground are in the light, well-characterised and individualised, but the background is left as an anonymous crowd of the faithful, dimly lit under a cloudy blue sky. The two zones are divided by a dark wall, possibly symbolising the heavy weight of religion.
The series played an important part in creating the legend of 'Black Spain'. It does not go beyond the usual point of view on the Spanish mindset of its era among most other Europeans, interested in Spain as an exotic and picturesque land, an interest first aroused by the French contact with Spain that led to the Peninsular War. Paintings such as these, with a terrible and romantic aura, inspired several later prints. | [
"The Bullfight",
"Ecce Homo",
"legend of 'Black Spain'",
"romantic",
"Spanish",
"Nuestra Señora dela Soledad",
"The Madhouse",
"Ferdinand VII",
"Ferdinand VII of Spain",
"The Inquisition Tribunal",
"Francisco de Goya",
"Crucifixion of Christ",
"Peninsular War",
"penitence"
] |
|
17709_NT | A Procession of Flagellants | Focus on this artwork and analyze the abstract. | A Procession of Flagellants (Procesión de disciplinantes, or Procesión de flagelantes) is an oil-on-panel painting produced by Francisco de Goya between 1812 and 1819. In the foreground is a procession of Roman Catholic men dressed in white, wearing pointed hats and whipping their bared backs in penitence. Their backs are bleeding and they pull over-life-size statues of Nuestra Señora dela Soledad, the Ecce Homo and the Crucifixion of Christ. Other devotees, who are kneeling and wearing black hoods, line the route. On the right a man is impaled and all are carrying banners, crosses and lamps.
The painting belongs to a series which also includes The Inquisition Tribunal, The Madhouse and The Bullfight. This series illustrates aspects of Spanish life which liberals (of whom Goya was then one) wished to reform but whose reform was opposed by Ferdinand VII of Spain's absolutist policy. A common feature of the series is the presence of cruelty, here shown by the blood flowing out onto the white garment of the central figure, and two contrasting zones of light and dark – here, all the figures in the foreground are in the light, well-characterised and individualised, but the background is left as an anonymous crowd of the faithful, dimly lit under a cloudy blue sky. The two zones are divided by a dark wall, possibly symbolising the heavy weight of religion.
The series played an important part in creating the legend of 'Black Spain'. It does not go beyond the usual point of view on the Spanish mindset of its era among most other Europeans, interested in Spain as an exotic and picturesque land, an interest first aroused by the French contact with Spain that led to the Peninsular War. Paintings such as these, with a terrible and romantic aura, inspired several later prints. | [
"The Bullfight",
"Ecce Homo",
"legend of 'Black Spain'",
"romantic",
"Spanish",
"Nuestra Señora dela Soledad",
"The Madhouse",
"Ferdinand VII",
"Ferdinand VII of Spain",
"The Inquisition Tribunal",
"Francisco de Goya",
"Crucifixion of Christ",
"Peninsular War",
"penitence"
] |
|
17710_T | Confederate Private Monument | In Confederate Private Monument, how is the abstract discussed? | The Confederate Private Monument is a bronze sculpture of a private of the Confederate States Army in Centennial Park, Nashville, Tennessee, United States. Designed by George Julian Zolnay, it was commissioned by the Frank Cheatham Bivouac of the United Confederate Veterans in 1903, laid with Masonic honors in 1907, and dedicated in 1909. It was vandalized in June 2019. | [
"Frank Cheatham",
"George Julian Zolnay",
"bronze sculpture",
"Confederate States Army",
"Centennial Park",
"United Confederate Veterans",
"Nashville, Tennessee"
] |
|
17710_NT | Confederate Private Monument | In this artwork, how is the abstract discussed? | The Confederate Private Monument is a bronze sculpture of a private of the Confederate States Army in Centennial Park, Nashville, Tennessee, United States. Designed by George Julian Zolnay, it was commissioned by the Frank Cheatham Bivouac of the United Confederate Veterans in 1903, laid with Masonic honors in 1907, and dedicated in 1909. It was vandalized in June 2019. | [
"Frank Cheatham",
"George Julian Zolnay",
"bronze sculpture",
"Confederate States Army",
"Centennial Park",
"United Confederate Veterans",
"Nashville, Tennessee"
] |
|
17711_T | Confederate Private Monument | Focus on Confederate Private Monument and explore the Vandalism. | The statue was vandalized with red paint on June 17, 2019. The vandal(s) also painted "THEY WERE RACISTS" on the plaque with the names of the 540 Confederate veterans.At the time when the monument was installed, Tennessee had legal racial segregation in public schools, parks and other facilities. African Americans were forbidden to use the public pool at Centennial Park. Twenty-first century opponents of maintaining Confederate monuments have noted the white supremacy of such post-Reconstruction history as part of the context of the installation of the monuments and say they should be removed from public places. | [
"Centennial Park",
"white supremacy"
] |
|
17711_NT | Confederate Private Monument | Focus on this artwork and explore the Vandalism. | The statue was vandalized with red paint on June 17, 2019. The vandal(s) also painted "THEY WERE RACISTS" on the plaque with the names of the 540 Confederate veterans.At the time when the monument was installed, Tennessee had legal racial segregation in public schools, parks and other facilities. African Americans were forbidden to use the public pool at Centennial Park. Twenty-first century opponents of maintaining Confederate monuments have noted the white supremacy of such post-Reconstruction history as part of the context of the installation of the monuments and say they should be removed from public places. | [
"Centennial Park",
"white supremacy"
] |
|
17712_T | The Death of Adonis (Rodin) | Focus on The Death of Adonis (Rodin) and explain the abstract. | The Death of Adonis is a white marble sculpture. It was created by Auguste Rodin and signed “A RODIN” on the base. It shows Aphrodite mourning over the body of Adonis. The main version is in the Musée Rodin and another is in the Museo Soumaya. | [
"Musée Rodin",
"Aphrodite",
"Auguste Rodin",
"Museo Soumaya",
"Adonis"
] |
|
17712_NT | The Death of Adonis (Rodin) | Focus on this artwork and explain the abstract. | The Death of Adonis is a white marble sculpture. It was created by Auguste Rodin and signed “A RODIN” on the base. It shows Aphrodite mourning over the body of Adonis. The main version is in the Musée Rodin and another is in the Museo Soumaya. | [
"Musée Rodin",
"Aphrodite",
"Auguste Rodin",
"Museo Soumaya",
"Adonis"
] |
|
17713_T | The Death of Adonis (Rodin) | Explore the History of this artwork, The Death of Adonis (Rodin). | As Rodin's fame grew during the 1880s, the demand for his work increased, so many of his works, which were originally created in a smaller format, began to come out of his studio, which had already grown considerably. Some of these pieces were finished compositions, based on the coupling of figures originally conceived individually; this work is an example of such a composition.This sculpture has had different names: Idylle (Idyll), Le Printemps (Spring), Le Printemps de la vie (The Spring of Life) and Les Océanides (The Oceánides). It represents the legend of Adonis, showing Aphrodite kissing the lips of the dying youth. The piece was placed in The Gates of Hell and is located on the top, on one of the four corbels, just below The Three Shadows. The pain experienced by the mother of Cupid has its origin in the repentance of the sculptural group in the lower right corner of the portico. In this marble, the finished bodies lie in opposition to the tree with a rough surface. From this moment the artist sought perfection through works that seem unfinished, where the fragment evokes the whole.
The group of characters that make up the work was represented for the first time in the form of a drawing, in the margin of the poem "Poison" of the poet Charles Baudelaire, in the edition of the Flowers of Evil illustrated for the Editorial Gallimard. In the marble of this sculpture these verses appear: Opium increases that which has no limits / [...], delves [...], excavates pleasure and pleasures / blacks and melancholy. / And it fills the soul even more than it fits in it./ It is not worth the poison that your eyes distill / [...] lakes where my soul trembles and looks inverted / and my dreams flow / to be satiated in those bitter vortices. | [
"Opium",
"Flowers of Evil",
"Baudelaire",
"Aphrodite",
"The Gates of Hell",
"Cupid",
"Charles Baudelaire",
"corbel",
"Adonis"
] |
|
17713_NT | The Death of Adonis (Rodin) | Explore the History of this artwork. | As Rodin's fame grew during the 1880s, the demand for his work increased, so many of his works, which were originally created in a smaller format, began to come out of his studio, which had already grown considerably. Some of these pieces were finished compositions, based on the coupling of figures originally conceived individually; this work is an example of such a composition.This sculpture has had different names: Idylle (Idyll), Le Printemps (Spring), Le Printemps de la vie (The Spring of Life) and Les Océanides (The Oceánides). It represents the legend of Adonis, showing Aphrodite kissing the lips of the dying youth. The piece was placed in The Gates of Hell and is located on the top, on one of the four corbels, just below The Three Shadows. The pain experienced by the mother of Cupid has its origin in the repentance of the sculptural group in the lower right corner of the portico. In this marble, the finished bodies lie in opposition to the tree with a rough surface. From this moment the artist sought perfection through works that seem unfinished, where the fragment evokes the whole.
The group of characters that make up the work was represented for the first time in the form of a drawing, in the margin of the poem "Poison" of the poet Charles Baudelaire, in the edition of the Flowers of Evil illustrated for the Editorial Gallimard. In the marble of this sculpture these verses appear: Opium increases that which has no limits / [...], delves [...], excavates pleasure and pleasures / blacks and melancholy. / And it fills the soul even more than it fits in it./ It is not worth the poison that your eyes distill / [...] lakes where my soul trembles and looks inverted / and my dreams flow / to be satiated in those bitter vortices. | [
"Opium",
"Flowers of Evil",
"Baudelaire",
"Aphrodite",
"The Gates of Hell",
"Cupid",
"Charles Baudelaire",
"corbel",
"Adonis"
] |
|
17714_T | The Death of Adonis (Rodin) | Focus on The Death of Adonis (Rodin) and discuss the Inspiration. | Rodin made numerous studies of the attitudes of human expressions, inspired by allegories and Greek mythologies. His main sources of inspiration were the literary works of Ovid, Dante and Baudelaire. Myths and characters came to life through different materials and gave them a unique interpretation.
Adonis was born from the Cypriot tree into which the gods converted his mother, and was the fruit of the incestuous union between Myrrha and her father Ciniras, king of Pafos. He was raised by nymphs and when hunting with Venus, a wild boar attacked him.
This work represents the devastating moment that Venus had experienced before the imminent death of her beloved. Agonising, Adonis gives birth to the anemones, a symbol of rebirth that in the Middle Ages were transformed into white roses which, dyed with blood, became the emblem of love. Rodin managed to get the goddess to transmit to the spectator her desire to return her beloved to life, reflected in her face full of despair and at the same time of tenderness. His hair fused to the rock shows the timelessness that the author explored at the beginning of the 1880s.The position of Pena is that of the desolate Venus of this work. The mythical story of Ovid tells how the goddess of beauty mourns the death of her companion. In this work, the inert hand of Adonis is subject to the trunk that he will water with his own blood, and that in combination with the nectar, will make the anemone sprout. Other stories tell that his blood watered the white roses, which when dyed became the most precious gift of love.
The mythological theme was recurrent in Rodin's production and refers to the myth in which Venus fell in love with Adonis, and after dying under the onslaught of the boar, arrived in the underworld, where Persephone, the wife of Pluto, Lord of the demons, also falls in love with him. Both women request Zeus to resuscitate him, which he grants, but Adonis could not be with both at the same time, since Zeus arranges that during the day he is with Venus and at night with Persephone.The other work with which Rodin completes the Greek myth of Adonis, is The Awakening of Adonis. | [
"Ovid",
"Persephone",
"Baudelaire",
"Middle Ages",
"Dante",
"Myrrha",
"nymph",
"anemone",
"Pluto",
"Ciniras",
"Venus",
"Zeus",
"wild boar",
"Adonis"
] |
|
17714_NT | The Death of Adonis (Rodin) | Focus on this artwork and discuss the Inspiration. | Rodin made numerous studies of the attitudes of human expressions, inspired by allegories and Greek mythologies. His main sources of inspiration were the literary works of Ovid, Dante and Baudelaire. Myths and characters came to life through different materials and gave them a unique interpretation.
Adonis was born from the Cypriot tree into which the gods converted his mother, and was the fruit of the incestuous union between Myrrha and her father Ciniras, king of Pafos. He was raised by nymphs and when hunting with Venus, a wild boar attacked him.
This work represents the devastating moment that Venus had experienced before the imminent death of her beloved. Agonising, Adonis gives birth to the anemones, a symbol of rebirth that in the Middle Ages were transformed into white roses which, dyed with blood, became the emblem of love. Rodin managed to get the goddess to transmit to the spectator her desire to return her beloved to life, reflected in her face full of despair and at the same time of tenderness. His hair fused to the rock shows the timelessness that the author explored at the beginning of the 1880s.The position of Pena is that of the desolate Venus of this work. The mythical story of Ovid tells how the goddess of beauty mourns the death of her companion. In this work, the inert hand of Adonis is subject to the trunk that he will water with his own blood, and that in combination with the nectar, will make the anemone sprout. Other stories tell that his blood watered the white roses, which when dyed became the most precious gift of love.
The mythological theme was recurrent in Rodin's production and refers to the myth in which Venus fell in love with Adonis, and after dying under the onslaught of the boar, arrived in the underworld, where Persephone, the wife of Pluto, Lord of the demons, also falls in love with him. Both women request Zeus to resuscitate him, which he grants, but Adonis could not be with both at the same time, since Zeus arranges that during the day he is with Venus and at night with Persephone.The other work with which Rodin completes the Greek myth of Adonis, is The Awakening of Adonis. | [
"Ovid",
"Persephone",
"Baudelaire",
"Middle Ages",
"Dante",
"Myrrha",
"nymph",
"anemone",
"Pluto",
"Ciniras",
"Venus",
"Zeus",
"wild boar",
"Adonis"
] |
|
17715_T | Monumento al perro callejero | How does Monumento al perro callejero elucidate its abstract? | The Monumento al perro callejero (lit. transl. "Monument to the Stray Dog"), also known as Peluso, is an outdoor bronze sculpture installed along Insurgentes Sur Avenue, in the southern borough of Tlalpan, in Mexico City. The statue was unveiled in July 2008 and was dedicated to the free-ranging dogs of the city.
It was sculpted by Girasol Botello and its model was Peluso, a former stray dog that was adopted by Patricia España, founder of Milagros Caninos, a non-governmental dog shelter. The shelter collected money and paid for the sculpture in order to raise awareness about the large population of free-ranging dogs in the city. Since its establishment, the monument has been neglected, vandalized and defaced. | [
"Insurgentes Sur Avenue",
"bronze",
"borough",
"bronze sculpture",
"dog shelter",
"free-ranging dog",
"stray dog",
"Tlalpan",
"non-governmental",
"Mexico City"
] |
|
17715_NT | Monumento al perro callejero | How does this artwork elucidate its abstract? | The Monumento al perro callejero (lit. transl. "Monument to the Stray Dog"), also known as Peluso, is an outdoor bronze sculpture installed along Insurgentes Sur Avenue, in the southern borough of Tlalpan, in Mexico City. The statue was unveiled in July 2008 and was dedicated to the free-ranging dogs of the city.
It was sculpted by Girasol Botello and its model was Peluso, a former stray dog that was adopted by Patricia España, founder of Milagros Caninos, a non-governmental dog shelter. The shelter collected money and paid for the sculpture in order to raise awareness about the large population of free-ranging dogs in the city. Since its establishment, the monument has been neglected, vandalized and defaced. | [
"Insurgentes Sur Avenue",
"bronze",
"borough",
"bronze sculpture",
"dog shelter",
"free-ranging dog",
"stray dog",
"Tlalpan",
"non-governmental",
"Mexico City"
] |
|
17716_T | Monumento al perro callejero | Focus on Monumento al perro callejero and analyze the Description. | The Monumento al perro callejero depicts Peluso, a sad-looking and severely underweight stray dog, thin to the bones, with his tail between his legs and one injured hind leg. The statue is made of bronze, it is 1.3 meters (4.3 ft) high and weighs around 85 kilograms (187 lb). The sculpture was created by Patricia España (née Ruiz), founder of Milagros Caninos, a non-governmental dog shelter. It was sculpted by Girasol Botello and it was cast by Germán Michel. It cost Mex$130,000 and Milagros Caninos paid it with the contributions of private donations in order to raise awareness about the high population of free-ranging dogs in the city.When it was inaugurated, the monument featured a plaque that said:
Jorge Castro said for Local.mx that the plaque symbolizes what stray dogs would say if they could talk. | [
"bronze",
"dog shelter",
"free-ranging dog",
"stray dog",
"non-governmental",
"Mex$"
] |
|
17716_NT | Monumento al perro callejero | Focus on this artwork and analyze the Description. | The Monumento al perro callejero depicts Peluso, a sad-looking and severely underweight stray dog, thin to the bones, with his tail between his legs and one injured hind leg. The statue is made of bronze, it is 1.3 meters (4.3 ft) high and weighs around 85 kilograms (187 lb). The sculpture was created by Patricia España (née Ruiz), founder of Milagros Caninos, a non-governmental dog shelter. It was sculpted by Girasol Botello and it was cast by Germán Michel. It cost Mex$130,000 and Milagros Caninos paid it with the contributions of private donations in order to raise awareness about the high population of free-ranging dogs in the city.When it was inaugurated, the monument featured a plaque that said:
Jorge Castro said for Local.mx that the plaque symbolizes what stray dogs would say if they could talk. | [
"bronze",
"dog shelter",
"free-ranging dog",
"stray dog",
"non-governmental",
"Mex$"
] |
|
17717_T | Monumento al perro callejero | Describe the characteristics of the Peluso, the dog in Monumento al perro callejero's Description. | Peluso was the name given to a 15-year-old stray dog that España adopted. He had suffered abuse that left him with renal insufficiency, canine distemper, and deafness. Peluso died five days before the inauguration of the monument. | [
"deafness",
"stray dog",
"canine distemper",
"renal insufficiency"
] |
|
17717_NT | Monumento al perro callejero | Describe the characteristics of the Peluso, the dog in this artwork's Description. | Peluso was the name given to a 15-year-old stray dog that España adopted. He had suffered abuse that left him with renal insufficiency, canine distemper, and deafness. Peluso died five days before the inauguration of the monument. | [
"deafness",
"stray dog",
"canine distemper",
"renal insufficiency"
] |
|
17718_T | Monumento al perro callejero | Focus on Monumento al perro callejero and explore the Installation and status. | The Monumento al perro callejero was unveiled on 20 July 2008. It lies in the corner of Insurgentes Sur Avenue and Moneda Street, near the National Institute of Neurology and Neurosurgery, and between Ayuntamiento and Fuentes Brotantes Metrobús stations, in the center of Tlalpan, the southern borough of Mexico City.Since it was inaugurated, the monument has been neglected: it has been graffitied and its plaque was stolen. A well-preserved replica is kept at the Milagros Caninos dog shelter. Castro criticized the status of the monument, adding that it is ironic as its main purpose was to denounce the abandonment of stray dogs. | [
"Insurgentes Sur Avenue",
"borough",
"dog shelter",
"Fuentes Brotantes",
"Metrobús",
"stray dog",
"Tlalpan",
"Ayuntamiento",
"National Institute of Neurology and Neurosurgery",
"Mexico City"
] |
|
17718_NT | Monumento al perro callejero | Focus on this artwork and explore the Installation and status. | The Monumento al perro callejero was unveiled on 20 July 2008. It lies in the corner of Insurgentes Sur Avenue and Moneda Street, near the National Institute of Neurology and Neurosurgery, and between Ayuntamiento and Fuentes Brotantes Metrobús stations, in the center of Tlalpan, the southern borough of Mexico City.Since it was inaugurated, the monument has been neglected: it has been graffitied and its plaque was stolen. A well-preserved replica is kept at the Milagros Caninos dog shelter. Castro criticized the status of the monument, adding that it is ironic as its main purpose was to denounce the abandonment of stray dogs. | [
"Insurgentes Sur Avenue",
"borough",
"dog shelter",
"Fuentes Brotantes",
"Metrobús",
"stray dog",
"Tlalpan",
"Ayuntamiento",
"National Institute of Neurology and Neurosurgery",
"Mexico City"
] |
|
17719_T | Monumento al perro callejero | Focus on Monumento al perro callejero and explain the Reception. | Castro said the statue is one of the most needed because it does not glorify a historical figure as most do, but instead "belittles the human who doesn't do anything to help". A writer of Chilango said that it celebrates a dying dog and only generates morbid fascination for the millions of stray animals that exist and ironized that as a consequence a monument to the homeless might eventually exist. | [
"Chilango"
] |
|
17719_NT | Monumento al perro callejero | Focus on this artwork and explain the Reception. | Castro said the statue is one of the most needed because it does not glorify a historical figure as most do, but instead "belittles the human who doesn't do anything to help". A writer of Chilango said that it celebrates a dying dog and only generates morbid fascination for the millions of stray animals that exist and ironized that as a consequence a monument to the homeless might eventually exist. | [
"Chilango"
] |
|
17720_T | Resurrection of Christ (Bellini) | Explore the abstract of this artwork, Resurrection of Christ (Bellini). | Resurrection of Christ is a 1475–1479 painting by the Italian Renaissance artist Giovanni Bellini. It was produced for the Marino Zorzi chapel in the mortuary church of San Michele di Murano in Venice. It has previously been attributed to Cima da Conegliano, Previtali, Bartolomeo Veneto and Marco Basaiti. It was acquired by the Gemäldegalerie, Berlin in 1903 and a full restoration shortly afterwards confirmed its attribution to Bellini. | [
"San Michele di Murano",
"Gemäldegalerie, Berlin",
"Giovanni Bellini",
"Previtali",
"Gemäldegalerie",
"Bellini",
"Bartolomeo Veneto",
"Marco Basaiti",
"Cima da Conegliano",
"Italian Renaissance",
"Venice",
"Berlin"
] |
|
17720_NT | Resurrection of Christ (Bellini) | Explore the abstract of this artwork. | Resurrection of Christ is a 1475–1479 painting by the Italian Renaissance artist Giovanni Bellini. It was produced for the Marino Zorzi chapel in the mortuary church of San Michele di Murano in Venice. It has previously been attributed to Cima da Conegliano, Previtali, Bartolomeo Veneto and Marco Basaiti. It was acquired by the Gemäldegalerie, Berlin in 1903 and a full restoration shortly afterwards confirmed its attribution to Bellini. | [
"San Michele di Murano",
"Gemäldegalerie, Berlin",
"Giovanni Bellini",
"Previtali",
"Gemäldegalerie",
"Bellini",
"Bartolomeo Veneto",
"Marco Basaiti",
"Cima da Conegliano",
"Italian Renaissance",
"Venice",
"Berlin"
] |
|
17721_T | Homme au bain (painting) | Focus on Homme au bain (painting) and discuss the abstract. | Homme au bain (English title: Man at His Bath) is an 1884 oil painting by French Impressionist Gustave Caillebotte.
The canvas measures 145 by 114 centimetres (57 in × 45 in). It was held in private collections from the artist's death in 1894 until June 2011, when it was acquired by the Museum of Fine Arts, Boston. | [
"canvas",
"Gustave Caillebotte",
"Boston",
"Impressionist",
"oil painting",
"Museum of Fine Arts",
"Museum of Fine Arts, Boston"
] |
|
17721_NT | Homme au bain (painting) | Focus on this artwork and discuss the abstract. | Homme au bain (English title: Man at His Bath) is an 1884 oil painting by French Impressionist Gustave Caillebotte.
The canvas measures 145 by 114 centimetres (57 in × 45 in). It was held in private collections from the artist's death in 1894 until June 2011, when it was acquired by the Museum of Fine Arts, Boston. | [
"canvas",
"Gustave Caillebotte",
"Boston",
"Impressionist",
"oil painting",
"Museum of Fine Arts",
"Museum of Fine Arts, Boston"
] |
|
17722_T | Homme au bain (painting) | How does Homme au bain (painting) elucidate its Description? | The subject of the painting is a male nude. A man is seen drying himself, having just come from a large metal bathtub in the corner of a plain room. His clothes are folded and placed on a nearby wooden chair, alongside his boots. A towel or robe is lying on the floor next to the tub. The man has left wet footprints on the wooden floor. He is naked and observed from behind with his towel covering only the mid part of his back. | [
"nude",
"bathtub"
] |
|
17722_NT | Homme au bain (painting) | How does this artwork elucidate its Description? | The subject of the painting is a male nude. A man is seen drying himself, having just come from a large metal bathtub in the corner of a plain room. His clothes are folded and placed on a nearby wooden chair, alongside his boots. A towel or robe is lying on the floor next to the tub. The man has left wet footprints on the wooden floor. He is naked and observed from behind with his towel covering only the mid part of his back. | [
"nude",
"bathtub"
] |
|
17723_T | Homme au bain (painting) | Focus on Homme au bain (painting) and analyze the Analysis. | By this point in his career, Caillebotte had painted many images with great fidelity to realistic portrayals of people and their environment. As with his Les raboteurs de parquet (English title: The Floor Scrapers), Caillebotte did not attempt to show an idealized form of masculinity, but instead depicted a typical 19th-century male.Interpretations of this work contrast the masculinity of the image with the figure's vulnerability. Male nudes were not commonly depicted in Impressionist images, though female nudes were an established theme. Feminist critics have argued that images of nude females at their toilette were associated with prostitution in the 19th-century France. Thus, this image challenges traditional notions of masculinity and gender norms in domestic settings. | [
"nude",
"Les raboteurs de parquet",
"masculinity",
"Impressionist",
"gender norms"
] |
|
17723_NT | Homme au bain (painting) | Focus on this artwork and analyze the Analysis. | By this point in his career, Caillebotte had painted many images with great fidelity to realistic portrayals of people and their environment. As with his Les raboteurs de parquet (English title: The Floor Scrapers), Caillebotte did not attempt to show an idealized form of masculinity, but instead depicted a typical 19th-century male.Interpretations of this work contrast the masculinity of the image with the figure's vulnerability. Male nudes were not commonly depicted in Impressionist images, though female nudes were an established theme. Feminist critics have argued that images of nude females at their toilette were associated with prostitution in the 19th-century France. Thus, this image challenges traditional notions of masculinity and gender norms in domestic settings. | [
"nude",
"Les raboteurs de parquet",
"masculinity",
"Impressionist",
"gender norms"
] |
|
17724_T | Homme au bain (painting) | In Homme au bain (painting), how is the History and acquisition by the MFA discussed? | Caillebotte created this work in 1884. He sent the painting to be exhibited at the Les XX show of 1888 in Brussels. The painting was controversial enough that it was removed from public view and placed in a small and inaccessible room. The painting was held by Caillebotte's heirs until it passed to another family, and then to a private collection in Switzerland in 1967.In preparation for its Degas and the Nude exhibition in 2011, the Museum of Fine Arts, Boston (MFA), decided to purchase the painting, which it already had held on loan since earlier that year. The painting was bought for approximately $17 million. The chairman of the museum's European art department realized that they would be extremely unlikely to obtain donor funding for the purchase, because the painting depicted a male nude – difficult subject matter for attracting donors. To raise the funds, the MFA "deaccessioned" (sold) eight other paintings in its collection. The move was controversial, as the eight pieces had been given to the museum as gifts from benefactors. Those paintings were also by artists more recognized to the general public than the lesser-known Caillebotte: they included work by Monet, Renoir and Gauguin. Others defended the move by the MFA: Boston Globe editor Dante Ramos said acquiring the Caillebotte was "the kind of bold, adventurous move that a world-class museum ought to be making", while noting that there may not have been many benefactors willing to donate "a painting showing some random guy's naked butt." The painting became the museum's first Impressionist nude, and joined the one other work by Caillebotte, the still life Fruits sur un étalage.
The deaccessioned paintings were sold at two auctions at Sotheby's in November 2011 for a total of $18.72 million. They were: | [
"Dante Ramos",
"still life",
"nude",
"Monet",
"Boston",
"Impressionist",
"Sotheby's",
"Renoir",
"Museum of Fine Arts",
"Les XX",
"Gauguin",
"Museum of Fine Arts, Boston",
"Brussels"
] |
|
17724_NT | Homme au bain (painting) | In this artwork, how is the History and acquisition by the MFA discussed? | Caillebotte created this work in 1884. He sent the painting to be exhibited at the Les XX show of 1888 in Brussels. The painting was controversial enough that it was removed from public view and placed in a small and inaccessible room. The painting was held by Caillebotte's heirs until it passed to another family, and then to a private collection in Switzerland in 1967.In preparation for its Degas and the Nude exhibition in 2011, the Museum of Fine Arts, Boston (MFA), decided to purchase the painting, which it already had held on loan since earlier that year. The painting was bought for approximately $17 million. The chairman of the museum's European art department realized that they would be extremely unlikely to obtain donor funding for the purchase, because the painting depicted a male nude – difficult subject matter for attracting donors. To raise the funds, the MFA "deaccessioned" (sold) eight other paintings in its collection. The move was controversial, as the eight pieces had been given to the museum as gifts from benefactors. Those paintings were also by artists more recognized to the general public than the lesser-known Caillebotte: they included work by Monet, Renoir and Gauguin. Others defended the move by the MFA: Boston Globe editor Dante Ramos said acquiring the Caillebotte was "the kind of bold, adventurous move that a world-class museum ought to be making", while noting that there may not have been many benefactors willing to donate "a painting showing some random guy's naked butt." The painting became the museum's first Impressionist nude, and joined the one other work by Caillebotte, the still life Fruits sur un étalage.
The deaccessioned paintings were sold at two auctions at Sotheby's in November 2011 for a total of $18.72 million. They were: | [
"Dante Ramos",
"still life",
"nude",
"Monet",
"Boston",
"Impressionist",
"Sotheby's",
"Renoir",
"Museum of Fine Arts",
"Les XX",
"Gauguin",
"Museum of Fine Arts, Boston",
"Brussels"
] |
|
17725_T | Love (Indianapolis) | Focus on Love (Indianapolis) and explore the Description. | This pop art sculpture consists of three separate elements fabricated from 3/8 inch-thick sheets of Cor-ten steel. They are bolted together to render the two-dimensional text design in three-dimensional form. The hollow but enclosed block letters are 72 inches deep. The largest piece consists of the L stacked on top of the V and fashioned as one unit without a seam between the letters. The O and E are separate elements that attach to the LV. Two posts are installed on the top of the E for the alignment and stability of the O, which has corresponding openings on its lowest surface.
The right upper serif of the E comes into contact with and forms a smooth continuation to the proper left upper serif of the V. The bottommost curve of the O contacts the E in line with the E's inner vertical surface, and it contacts the L at the upper edge of the L's lower left serif. | [
"Cor-ten steel",
"serif",
"pop art"
] |
|
17725_NT | Love (Indianapolis) | Focus on this artwork and explore the Description. | This pop art sculpture consists of three separate elements fabricated from 3/8 inch-thick sheets of Cor-ten steel. They are bolted together to render the two-dimensional text design in three-dimensional form. The hollow but enclosed block letters are 72 inches deep. The largest piece consists of the L stacked on top of the V and fashioned as one unit without a seam between the letters. The O and E are separate elements that attach to the LV. Two posts are installed on the top of the E for the alignment and stability of the O, which has corresponding openings on its lowest surface.
The right upper serif of the E comes into contact with and forms a smooth continuation to the proper left upper serif of the V. The bottommost curve of the O contacts the E in line with the E's inner vertical surface, and it contacts the L at the upper edge of the L's lower left serif. | [
"Cor-ten steel",
"serif",
"pop art"
] |
|
17726_T | Love (Indianapolis) | Focus on Love (Indianapolis) and explain the Historical information. | Although the word "love" contained much significance to 1960s culture, Indiana attributes his connection with the word to an earlier, more personal source. Attending Christian Science church services as a child in Indianapolis, he was impressed by a small plaque over the reader's platform bearing the inscription "God Is Love." By 1973, Indiana was no longer a practicing member of the church, but he insisted that the message of LOVE be taken as a spiritual one.The sculpture is based on the artist's original 1965 Christmas card design for MoMA, in which the majuscule letters of the word “love” are arranged in a 2×2 square, LO atop VE, and the O tilted to align with the diagonal of the square. MoMA's commission for the card came one year after Indiana had designed similar Christmas cards for close friends.After pirated versions of the design began to appear in excess during the late 1960s, Indiana attempted to copyright his work, but this was rejected on the grounds that a single word cannot be protected. Some art critics believed his switch to the large-scale, three-dimensional version of the artwork was an effort by Indiana to reclaim his design in monumental fashion. Generally, however, the innovation of the letters standing as an independent form is seen as an aesthetic progression from his earlier sculptures which utilized typography painted upon flat surfaces. | [
"Indianapolis",
"Indiana",
"majuscule",
"MoMA",
"Christian Science"
] |
|
17726_NT | Love (Indianapolis) | Focus on this artwork and explain the Historical information. | Although the word "love" contained much significance to 1960s culture, Indiana attributes his connection with the word to an earlier, more personal source. Attending Christian Science church services as a child in Indianapolis, he was impressed by a small plaque over the reader's platform bearing the inscription "God Is Love." By 1973, Indiana was no longer a practicing member of the church, but he insisted that the message of LOVE be taken as a spiritual one.The sculpture is based on the artist's original 1965 Christmas card design for MoMA, in which the majuscule letters of the word “love” are arranged in a 2×2 square, LO atop VE, and the O tilted to align with the diagonal of the square. MoMA's commission for the card came one year after Indiana had designed similar Christmas cards for close friends.After pirated versions of the design began to appear in excess during the late 1960s, Indiana attempted to copyright his work, but this was rejected on the grounds that a single word cannot be protected. Some art critics believed his switch to the large-scale, three-dimensional version of the artwork was an effort by Indiana to reclaim his design in monumental fashion. Generally, however, the innovation of the letters standing as an independent form is seen as an aesthetic progression from his earlier sculptures which utilized typography painted upon flat surfaces. | [
"Indianapolis",
"Indiana",
"majuscule",
"MoMA",
"Christian Science"
] |
|
17727_T | Love (Indianapolis) | Explore the Other versions about the Historical information of this artwork, Love (Indianapolis). |
The IMA's LOVE is the original sculptural rendition of the design. Many other versions have been made and are displayed worldwide, including editions in Hebrew, Chinese, Italian, and Spanish. | [
"Chinese",
"Spanish",
"Italian",
"Hebrew"
] |
|
17727_NT | Love (Indianapolis) | Explore the Other versions about the Historical information of this artwork. |
The IMA's LOVE is the original sculptural rendition of the design. Many other versions have been made and are displayed worldwide, including editions in Hebrew, Chinese, Italian, and Spanish. | [
"Chinese",
"Spanish",
"Italian",
"Hebrew"
] |
|
17728_T | Love (Indianapolis) | In the context of Love (Indianapolis), discuss the Location history of the Historical information. |
LOVE was executed in North Haven, Connecticut, in 1970 by Lippincott, Inc., a fabricator of large-scale sculpture. After its move to Indianapolis, the sculpture was originally installed on the main plaza at the Indianapolis Museum of Art in 1970 for the opening of the museum's current building. It then spent nearly a year displayed on the city hall plaza in Boston before being loaned to New York City, where it was exhibited in Central Park for the 1971 holiday season.Upon the artwork's return to Indianapolis in 1972, it was showcased for several months in front of the Indiana National Bank building and later appeared for a short time on the mall behind Eli Lilly and Company's administration building. The purpose of the latter instance was to use the sculpture as a backdrop for a TV commercial promoting the Lilly company; the ad intended to draw an analogy between the creativity of art and the creativity involved in research.LOVE has undergone a few location adjustments as the IMA building and grounds have developed over the years. In 2005, after a major museum expansion, the sculpture was restored and temporarily placed in the museum's Pulliam Court before it was moved outdoors to the main sculpture courtyard, where it is surrounded by decorative landscaping and faced Numbers 1-0, another Indiana sculpture. | [
"New York City",
"Indianapolis",
"North Haven, Connecticut",
"Indianapolis Museum of Art",
"Boston",
"Eli Lilly and Company",
"Indiana",
"Numbers 1-0",
"Central Park"
] |
|
17728_NT | Love (Indianapolis) | In the context of this artwork, discuss the Location history of the Historical information. |
LOVE was executed in North Haven, Connecticut, in 1970 by Lippincott, Inc., a fabricator of large-scale sculpture. After its move to Indianapolis, the sculpture was originally installed on the main plaza at the Indianapolis Museum of Art in 1970 for the opening of the museum's current building. It then spent nearly a year displayed on the city hall plaza in Boston before being loaned to New York City, where it was exhibited in Central Park for the 1971 holiday season.Upon the artwork's return to Indianapolis in 1972, it was showcased for several months in front of the Indiana National Bank building and later appeared for a short time on the mall behind Eli Lilly and Company's administration building. The purpose of the latter instance was to use the sculpture as a backdrop for a TV commercial promoting the Lilly company; the ad intended to draw an analogy between the creativity of art and the creativity involved in research.LOVE has undergone a few location adjustments as the IMA building and grounds have developed over the years. In 2005, after a major museum expansion, the sculpture was restored and temporarily placed in the museum's Pulliam Court before it was moved outdoors to the main sculpture courtyard, where it is surrounded by decorative landscaping and faced Numbers 1-0, another Indiana sculpture. | [
"New York City",
"Indianapolis",
"North Haven, Connecticut",
"Indianapolis Museum of Art",
"Boston",
"Eli Lilly and Company",
"Indiana",
"Numbers 1-0",
"Central Park"
] |
|
17729_T | Love (Indianapolis) | In Love (Indianapolis), how is the Acquisition of the Historical information elucidated? | The sculpture was officially accessioned into the IMA's collection in 1975 through a "Gift of the Friends of the Indianapolis Museum of Art in memory of Henry F. DeBoest." | [
"Indianapolis",
"Indianapolis Museum of Art",
"Indiana"
] |
|
17729_NT | Love (Indianapolis) | In this artwork, how is the Acquisition of the Historical information elucidated? | The sculpture was officially accessioned into the IMA's collection in 1975 through a "Gift of the Friends of the Indianapolis Museum of Art in memory of Henry F. DeBoest." | [
"Indianapolis",
"Indianapolis Museum of Art",
"Indiana"
] |
|
17730_T | Love (Indianapolis) | Focus on Love (Indianapolis) and analyze the Condition. | As an outdoor sculpture made of a weathering iron alloy, the surface of LOVE should naturally carry an even layer of iron(III) oxide, which provides distinctive coloration and also protects the metal underneath from further corrosion. The price of being a cultural icon, however, has continuously disrupted the formation of this layer; viewers have enjoyed climbing the artwork since its first public appearances, apparent through photography and damage to the appearance of LOVE. Indiana acknowledged the inevitable appeal of his sculpture as a site of exploration for children, couples, and passerby. In a 1973 interview with Indianapolis magazine, he wished only "that people would take their shoes off first."Various conservation efforts to reduce the amount of direct patron contact and its effects, as well as to deal with moisture within the hollow letters have taken place throughout the sculpture's lifespan. The Smithsonian American Art Museum's Inventories of American Painting and Sculpture surveyed LOVE in July 1993, and the sculpture was deemed to be well-maintained.In 2006 the sculpture was blasted with an inert medium (aluminum oxide) to strip away uneven surface corrosion, and then it was re-installed outside on an indefinite basis to produce a new patina through natural weathering. The intention is to recreate the original "crispy," purplish, and iridescent surface. The restorative efforts of the IMA on behalf of LOVE were made possible through the generosity of Patricia J. and James E. LaCrosse. | [
"American",
"Indianapolis",
"iron(III) oxide",
"aluminum oxide",
"Indiana"
] |
|
17730_NT | Love (Indianapolis) | Focus on this artwork and analyze the Condition. | As an outdoor sculpture made of a weathering iron alloy, the surface of LOVE should naturally carry an even layer of iron(III) oxide, which provides distinctive coloration and also protects the metal underneath from further corrosion. The price of being a cultural icon, however, has continuously disrupted the formation of this layer; viewers have enjoyed climbing the artwork since its first public appearances, apparent through photography and damage to the appearance of LOVE. Indiana acknowledged the inevitable appeal of his sculpture as a site of exploration for children, couples, and passerby. In a 1973 interview with Indianapolis magazine, he wished only "that people would take their shoes off first."Various conservation efforts to reduce the amount of direct patron contact and its effects, as well as to deal with moisture within the hollow letters have taken place throughout the sculpture's lifespan. The Smithsonian American Art Museum's Inventories of American Painting and Sculpture surveyed LOVE in July 1993, and the sculpture was deemed to be well-maintained.In 2006 the sculpture was blasted with an inert medium (aluminum oxide) to strip away uneven surface corrosion, and then it was re-installed outside on an indefinite basis to produce a new patina through natural weathering. The intention is to recreate the original "crispy," purplish, and iridescent surface. The restorative efforts of the IMA on behalf of LOVE were made possible through the generosity of Patricia J. and James E. LaCrosse. | [
"American",
"Indianapolis",
"iron(III) oxide",
"aluminum oxide",
"Indiana"
] |
|
17731_T | Finding of the Body of Saint Mark | In Finding of the Body of Saint Mark, how is the abstract discussed? | The Finding of the Body of Saint Mark or Discovery of the Body of Saint Mark is a painting by Tintoretto. Dated to between 1562 and 1566, it is part of a cycle of paintings of Saint Mark, the patron saint of Venice. It is now held in the Pinacoteca di Brera in Milan. | [
"Tintoretto",
"Saint Mark",
"Milan",
"Pinacoteca di Brera",
"Venice"
] |
|
17731_NT | Finding of the Body of Saint Mark | In this artwork, how is the abstract discussed? | The Finding of the Body of Saint Mark or Discovery of the Body of Saint Mark is a painting by Tintoretto. Dated to between 1562 and 1566, it is part of a cycle of paintings of Saint Mark, the patron saint of Venice. It is now held in the Pinacoteca di Brera in Milan. | [
"Tintoretto",
"Saint Mark",
"Milan",
"Pinacoteca di Brera",
"Venice"
] |
|
17732_T | Finding of the Body of Saint Mark | Focus on Finding of the Body of Saint Mark and explore the Description. | The painting was commissioned by Tommaso Rangone, the “grand guardian” of the Scuola Grande di San Marco in Venice, from Tintoretto as part of a series of large canvases depicting Venice's acquisition of the body of Saint Mark.
The subject is traditionally known as Finding of the body of Saint Mark, but actually it is the Miracles of Saint Mark in the church of Boucolis in Alexandria. The same scene was already sculpted by Jacopo Sansovino in the reliefs for the St. Mark's Basilica. The saint is represented alive, with his feet on the ground, unlike the other post-mortem scenes in which he appears in flight, according to the common iconographic conventions relating to the stories of the saints.
The error was originated by Carlo Ridolfi, in his Le Maraviglie dell'arte (1648), where he wrote "il modo tenuto nel levare il corpo di san Marco".
Saint Mark is depicted curing the sick, resurrecting the dead and exorcising a man.
In the center of the canvas, an elder kneels (the portrait of Tommaso Rangone), acknowledging the miracles.
In places, the work appears unfinished (e.g. the tiles of floor and the cornices are still visible through some clothing and figures). The foreshortening is accentuated by the tiles, the wall tombs, and finally the rays of light that emerge from the crypt in the background. In the right foreground, a contorted half-naked man is described as "possessed by demons", and above him hover strands of smoke.Like its companion piece, Saint Mark's Body Brought to Venice, the composition exemplifies Tintoretto's preference for dramatic effects of perspective and light. According to the art historian Thomas Nichols, "the linear logic of the emptied, boxlike perspective vistas is undermined by an irrational play of light and shade. Both paintings suggest the simultaneous existence of different levels of reality through the use of a range of pictorial techniques."According to art historian Augusto Gentili, the iconography of the painting suggests that it represents not the finding of the body of Saint Mark, but Miracles of Saint Mark in the church of Boucolis in Alexandria. | [
"Saint Mark's Body Brought to Venice",
"Tintoretto",
"Saint Mark",
"perspective",
"Venice",
"Scuola Grande di San Marco"
] |
|
17732_NT | Finding of the Body of Saint Mark | Focus on this artwork and explore the Description. | The painting was commissioned by Tommaso Rangone, the “grand guardian” of the Scuola Grande di San Marco in Venice, from Tintoretto as part of a series of large canvases depicting Venice's acquisition of the body of Saint Mark.
The subject is traditionally known as Finding of the body of Saint Mark, but actually it is the Miracles of Saint Mark in the church of Boucolis in Alexandria. The same scene was already sculpted by Jacopo Sansovino in the reliefs for the St. Mark's Basilica. The saint is represented alive, with his feet on the ground, unlike the other post-mortem scenes in which he appears in flight, according to the common iconographic conventions relating to the stories of the saints.
The error was originated by Carlo Ridolfi, in his Le Maraviglie dell'arte (1648), where he wrote "il modo tenuto nel levare il corpo di san Marco".
Saint Mark is depicted curing the sick, resurrecting the dead and exorcising a man.
In the center of the canvas, an elder kneels (the portrait of Tommaso Rangone), acknowledging the miracles.
In places, the work appears unfinished (e.g. the tiles of floor and the cornices are still visible through some clothing and figures). The foreshortening is accentuated by the tiles, the wall tombs, and finally the rays of light that emerge from the crypt in the background. In the right foreground, a contorted half-naked man is described as "possessed by demons", and above him hover strands of smoke.Like its companion piece, Saint Mark's Body Brought to Venice, the composition exemplifies Tintoretto's preference for dramatic effects of perspective and light. According to the art historian Thomas Nichols, "the linear logic of the emptied, boxlike perspective vistas is undermined by an irrational play of light and shade. Both paintings suggest the simultaneous existence of different levels of reality through the use of a range of pictorial techniques."According to art historian Augusto Gentili, the iconography of the painting suggests that it represents not the finding of the body of Saint Mark, but Miracles of Saint Mark in the church of Boucolis in Alexandria. | [
"Saint Mark's Body Brought to Venice",
"Tintoretto",
"Saint Mark",
"perspective",
"Venice",
"Scuola Grande di San Marco"
] |
|
17733_T | The Bench (Hogarth) | Focus on The Bench (Hogarth) and explain the abstract. | The Bench is the title of both a 1758 oil-on-canvas painting by the English artist William Hogarth, and a print issued by him in the same year. Unlike many of Hogarth's engravings produced from painted originals, the print differs considerably from the painting. It was intended as a demonstration of the differences between character painting, caricature and outré—developing on the theme he had begun to address in Characters and Caricaturas (his subscription ticket for Marriage à-la-mode)—but Hogarth was unhappy with the result as it showed only "characters", and he continued to work on the piece until his death. | [
"Characters and Caricaturas",
"Marriage à-la-mode",
"William Hogarth",
"oil-on-canvas"
] |
|
17733_NT | The Bench (Hogarth) | Focus on this artwork and explain the abstract. | The Bench is the title of both a 1758 oil-on-canvas painting by the English artist William Hogarth, and a print issued by him in the same year. Unlike many of Hogarth's engravings produced from painted originals, the print differs considerably from the painting. It was intended as a demonstration of the differences between character painting, caricature and outré—developing on the theme he had begun to address in Characters and Caricaturas (his subscription ticket for Marriage à-la-mode)—but Hogarth was unhappy with the result as it showed only "characters", and he continued to work on the piece until his death. | [
"Characters and Caricaturas",
"Marriage à-la-mode",
"William Hogarth",
"oil-on-canvas"
] |
|
17734_T | The Bench (Hogarth) | Explore the Background of this artwork, The Bench (Hogarth). | Hogarth had often been accused of being a caricaturist, but regarded this as a slur on his work. In his book on art, The Analysis of Beauty, Hogarth claimed that the critics had branded all his women as harlots and all his men as caricatures. He complained:…the whole nest of Phizmongers were upon my back every one of whome has his friends and were all taught to run em down.
He had made an early attempt to address what he perceived as a mistake on the part of his critics with the subscription ticket for his 1743 series Marriage à-la-mode, on which he contrasted a number of his reproductions of classical caricatures – from Annibale Carracci, Pier Leone Ghezzi and Leonardo da Vinci – with his version of some Raphael characters (from the Cartoons) and a hundred of his own character profiles. After Hogarth's death the subscription ticket was reproduced as print in its own right, minus the subscription details for Marriage a-la-mode, and came to be known as Characters and Caricaturas (from the inscription Hogarth had added at the foot of the original).
Hogarth intended to formally address the point with The Bench by creating a print for sale that showed characters, caricatures and outré. Hogarth dismissed outré as a subset of caricature, but considered caricature to be as far below the art of character painting as the "wild attempts of children". In his own comments on The Bench he compared character, caricature, and outré to comedy, tragedy, and farce in the theatre. Comedy, which he aligned with character, showed a true view of nature, as nothing was outside reality. Tragedy, which he compared to caricature, heightened reality, exaggerating aspects of its subjects. Farce and outré both took this heightening of features to ridiculous extremes. Hogarth scholar Ronald Paulson suggests that by the time he produced The Bench Hogarth had become very sensitive to the criticisms levelled at him as a painter, and was anxious both to distance himself once and for all from the caricaturists, and to prove both that he could capture the true nature of his subjects. Hogarth originally dedicated the print to the soldier and caricaturist George Townshend, but removed the dedication before the print was issued, fearing it would be misinterpreted; some variations on the first state of the print still show "Addressed to the Hon'ble Col. T—ns—d". Townshend was just the sort of talented amateur Hogarth despised: he used his talents as a caricaturist to attack his political opponents and gain an advantage for himself; by trying to differentiate character and caricature Hogarth hoped place himself in a class with the Renaissance painters and disassociate his work from that of the gentleman caricaturists for whom caricature was an enjoyable distraction or tool for their own advancement. | [
"Ronald Paulson",
"Annibale Carracci",
"Characters and Caricaturas",
"Raphael",
"right",
"Pier Leone Ghezzi",
"Marriage à-la-mode",
"The Analysis of Beauty",
"Cartoons",
"Leonardo da Vinci",
"George Townshend"
] |
|
17734_NT | The Bench (Hogarth) | Explore the Background of this artwork. | Hogarth had often been accused of being a caricaturist, but regarded this as a slur on his work. In his book on art, The Analysis of Beauty, Hogarth claimed that the critics had branded all his women as harlots and all his men as caricatures. He complained:…the whole nest of Phizmongers were upon my back every one of whome has his friends and were all taught to run em down.
He had made an early attempt to address what he perceived as a mistake on the part of his critics with the subscription ticket for his 1743 series Marriage à-la-mode, on which he contrasted a number of his reproductions of classical caricatures – from Annibale Carracci, Pier Leone Ghezzi and Leonardo da Vinci – with his version of some Raphael characters (from the Cartoons) and a hundred of his own character profiles. After Hogarth's death the subscription ticket was reproduced as print in its own right, minus the subscription details for Marriage a-la-mode, and came to be known as Characters and Caricaturas (from the inscription Hogarth had added at the foot of the original).
Hogarth intended to formally address the point with The Bench by creating a print for sale that showed characters, caricatures and outré. Hogarth dismissed outré as a subset of caricature, but considered caricature to be as far below the art of character painting as the "wild attempts of children". In his own comments on The Bench he compared character, caricature, and outré to comedy, tragedy, and farce in the theatre. Comedy, which he aligned with character, showed a true view of nature, as nothing was outside reality. Tragedy, which he compared to caricature, heightened reality, exaggerating aspects of its subjects. Farce and outré both took this heightening of features to ridiculous extremes. Hogarth scholar Ronald Paulson suggests that by the time he produced The Bench Hogarth had become very sensitive to the criticisms levelled at him as a painter, and was anxious both to distance himself once and for all from the caricaturists, and to prove both that he could capture the true nature of his subjects. Hogarth originally dedicated the print to the soldier and caricaturist George Townshend, but removed the dedication before the print was issued, fearing it would be misinterpreted; some variations on the first state of the print still show "Addressed to the Hon'ble Col. T—ns—d". Townshend was just the sort of talented amateur Hogarth despised: he used his talents as a caricaturist to attack his political opponents and gain an advantage for himself; by trying to differentiate character and caricature Hogarth hoped place himself in a class with the Renaissance painters and disassociate his work from that of the gentleman caricaturists for whom caricature was an enjoyable distraction or tool for their own advancement. | [
"Ronald Paulson",
"Annibale Carracci",
"Characters and Caricaturas",
"Raphael",
"right",
"Pier Leone Ghezzi",
"Marriage à-la-mode",
"The Analysis of Beauty",
"Cartoons",
"Leonardo da Vinci",
"George Townshend"
] |
|
17735_T | The Bench (Hogarth) | Focus on The Bench (Hogarth) and discuss the Inscription. | The print was accompanied by a second sheet of the same size with a lengthy inscription detailing Hogarth's motives for creating the piece. In a letter to Hogarth, a correspondent identified only as "B" noted that the print seemed of minor importance compared to the inscription, indeed it was the only written work that Hogarth released under his own name after the completion of The Analysis of Beauty; Paulson suggests it may have been a rejected passage from that book, and Trusler, a nineteenth-century commentator on Hogarth, goes as far as to wrongly attribute the inscription as an excerpt from chapter six.
Text of the inscription: | [
"The Analysis of Beauty"
] |
|
17735_NT | The Bench (Hogarth) | Focus on this artwork and discuss the Inscription. | The print was accompanied by a second sheet of the same size with a lengthy inscription detailing Hogarth's motives for creating the piece. In a letter to Hogarth, a correspondent identified only as "B" noted that the print seemed of minor importance compared to the inscription, indeed it was the only written work that Hogarth released under his own name after the completion of The Analysis of Beauty; Paulson suggests it may have been a rejected passage from that book, and Trusler, a nineteenth-century commentator on Hogarth, goes as far as to wrongly attribute the inscription as an excerpt from chapter six.
Text of the inscription: | [
"The Analysis of Beauty"
] |
|
17736_T | The Bench (Hogarth) | How does The Bench (Hogarth) elucidate its History? | The original painting was bought by George Hay, a prominent civil servant in the Pitt Government, who owned several of Hogarth's works and whose portrait Hogarth had painted in 1757, then passed to a Mr. Edwards, and is now held by the Fitzwilliam Museum in Cambridge. The first and second states along with the inscriptions which accompanied both sold in Baker's 1825 auction of Hogarth's works for £6. 12s. 6d. The picture has some interest to scholars of Hogarth because of its continuation of the theme started in Characters and Caricaturas, and because the second state was unfinished at the time of Hogarth's death, but the picture is usually dismissed as little more than a jab at the legal profession in the mould of others of Hogarth's satirical prints which mocked various of the professions, such as Scholars at a Lecture and The Company of Undertakers. | [
"Characters and Caricaturas",
"Fitzwilliam Museum",
"The Company of Undertakers",
"George Hay",
"Cambridge"
] |
|
17736_NT | The Bench (Hogarth) | How does this artwork elucidate its History? | The original painting was bought by George Hay, a prominent civil servant in the Pitt Government, who owned several of Hogarth's works and whose portrait Hogarth had painted in 1757, then passed to a Mr. Edwards, and is now held by the Fitzwilliam Museum in Cambridge. The first and second states along with the inscriptions which accompanied both sold in Baker's 1825 auction of Hogarth's works for £6. 12s. 6d. The picture has some interest to scholars of Hogarth because of its continuation of the theme started in Characters and Caricaturas, and because the second state was unfinished at the time of Hogarth's death, but the picture is usually dismissed as little more than a jab at the legal profession in the mould of others of Hogarth's satirical prints which mocked various of the professions, such as Scholars at a Lecture and The Company of Undertakers. | [
"Characters and Caricaturas",
"Fitzwilliam Museum",
"The Company of Undertakers",
"George Hay",
"Cambridge"
] |
|
17737_T | Joseph's Tunic | Focus on Joseph's Tunic and analyze the abstract. | Joseph's Tunic is a 1630 painting by Diego Velázquez, now held in the museum of the Sacristía Mayor del Monasterio de San Lorenzo de El Escorial (Madrid, Spain). It was painted in the house of the Spanish ambassador in Rome and brought back to Spain with the painting Apollo in the Forge of Vulcan. | [
"Diego Velázquez",
"San Lorenzo de El Escorial",
"Spain",
"Apollo in the Forge of Vulcan",
"Monasterio de San Lorenzo de El Escorial",
"Madrid",
"El Escorial"
] |
|
17737_NT | Joseph's Tunic | Focus on this artwork and analyze the abstract. | Joseph's Tunic is a 1630 painting by Diego Velázquez, now held in the museum of the Sacristía Mayor del Monasterio de San Lorenzo de El Escorial (Madrid, Spain). It was painted in the house of the Spanish ambassador in Rome and brought back to Spain with the painting Apollo in the Forge of Vulcan. | [
"Diego Velázquez",
"San Lorenzo de El Escorial",
"Spain",
"Apollo in the Forge of Vulcan",
"Monasterio de San Lorenzo de El Escorial",
"Madrid",
"El Escorial"
] |
|
17738_T | Tulips (Koons) | In Tulips (Koons), how is the abstract discussed? | Tulips is a series of sculptures by American artist Jeff Koons, made between 1995 and 2004. There are five unique versions. One sculpture is part of the collection of The Broad in Los Angeles, California.
Another is at the Guggenheim Museum Bilbao. In November 2012 Steve Wynn acquired an edition at auction for $33,682,500 USD. It was on display at Wynn Las Vegas from 2013 to 2016, then on display at a Wynn Palace in Macau, China, before returning to Las Vegas in 2019 where it remains on display at the Wynn Plaza. Additional copies are on display at Fondazione Prada and held by the Viktor Pinchuk Foundation. | [
"Macau",
"Wynn Palace",
"The Broad",
"Fondazione Prada",
"Steve Wynn",
"Guggenheim Museum Bilbao",
"Jeff Koons",
"Wynn Las Vegas"
] |
|
17738_NT | Tulips (Koons) | In this artwork, how is the abstract discussed? | Tulips is a series of sculptures by American artist Jeff Koons, made between 1995 and 2004. There are five unique versions. One sculpture is part of the collection of The Broad in Los Angeles, California.
Another is at the Guggenheim Museum Bilbao. In November 2012 Steve Wynn acquired an edition at auction for $33,682,500 USD. It was on display at Wynn Las Vegas from 2013 to 2016, then on display at a Wynn Palace in Macau, China, before returning to Las Vegas in 2019 where it remains on display at the Wynn Plaza. Additional copies are on display at Fondazione Prada and held by the Viktor Pinchuk Foundation. | [
"Macau",
"Wynn Palace",
"The Broad",
"Fondazione Prada",
"Steve Wynn",
"Guggenheim Museum Bilbao",
"Jeff Koons",
"Wynn Las Vegas"
] |
|
17739_T | Laughing Boy with a Flute | Focus on Laughing Boy with a Flute and explore the abstract. | Laughing boy with a flute is an oil-on-panel painting by the Dutch Golden Age painter Frans Hals, painted in 1626 and now in the Staatliches Museum Schwerin, Schwerin. | [
"Dutch Golden Age painter",
"Staatliches Museum Schwerin",
"Schwerin",
"Frans Hals"
] |
|
17739_NT | Laughing Boy with a Flute | Focus on this artwork and explore the abstract. | Laughing boy with a flute is an oil-on-panel painting by the Dutch Golden Age painter Frans Hals, painted in 1626 and now in the Staatliches Museum Schwerin, Schwerin. | [
"Dutch Golden Age painter",
"Staatliches Museum Schwerin",
"Schwerin",
"Frans Hals"
] |
|
17740_T | Laughing Boy with a Flute | Focus on Laughing Boy with a Flute and explain the Painting. | The painting shows a boy with a flute with his head at an angle facing the viewer. | [] |
|
17740_NT | Laughing Boy with a Flute | Focus on this artwork and explain the Painting. | The painting shows a boy with a flute with his head at an angle facing the viewer. | [] |
|
17741_T | Laughing Boy with a Flute | Explore the Provenance of this artwork, Laughing Boy with a Flute. | In his 1910 catalog of Frans Hals works Hofstede de Groot wrote: "32. A LAUGHING BOY WITH A FLUTE. B. 118 ; M. 230. Half-length ; life size, almost in full face. The line of the shoulders rises to the left. The head is also almost in full face, but slightly inclined to the left. The long hair falls down, but a lock dangles just
above the right shoulder. The eyes look at the spectator. The left hand holds a flute. Light-grey background. Broadly painted. The ground shows through the paint. A life-like rendering. [Pendant to 11.] Circular panel, 15 inches across. In the Schwerin Museum, 1882 catalogue, No. 444"This painting is a pendant to Boy with a glass and a pewter jug and the pair has long been considered to be part of a series on the five senses, where this one symbolizes hearing and the drinking boy symbolizes taste: | [
"Hofstede de Groot",
"Schwerin",
"Frans Hals",
"Boy with a glass and a pewter jug"
] |
|
17741_NT | Laughing Boy with a Flute | Explore the Provenance of this artwork. | In his 1910 catalog of Frans Hals works Hofstede de Groot wrote: "32. A LAUGHING BOY WITH A FLUTE. B. 118 ; M. 230. Half-length ; life size, almost in full face. The line of the shoulders rises to the left. The head is also almost in full face, but slightly inclined to the left. The long hair falls down, but a lock dangles just
above the right shoulder. The eyes look at the spectator. The left hand holds a flute. Light-grey background. Broadly painted. The ground shows through the paint. A life-like rendering. [Pendant to 11.] Circular panel, 15 inches across. In the Schwerin Museum, 1882 catalogue, No. 444"This painting is a pendant to Boy with a glass and a pewter jug and the pair has long been considered to be part of a series on the five senses, where this one symbolizes hearing and the drinking boy symbolizes taste: | [
"Hofstede de Groot",
"Schwerin",
"Frans Hals",
"Boy with a glass and a pewter jug"
] |
|
17742_T | Apollo (System Copernicus) | Focus on Apollo (System Copernicus) and discuss the abstract. | Apollo (System Copernicus) is a stained glass window, designed by Stanisław Wyspiański for the Medical Society in Kraków, from 1904. | [
"Stanisław Wyspiański",
"stained glass window",
"Apollo",
"Kraków"
] |
|
17742_NT | Apollo (System Copernicus) | Focus on this artwork and discuss the abstract. | Apollo (System Copernicus) is a stained glass window, designed by Stanisław Wyspiański for the Medical Society in Kraków, from 1904. | [
"Stanisław Wyspiański",
"stained glass window",
"Apollo",
"Kraków"
] |
|
17743_T | Apollo (System Copernicus) | How does Apollo (System Copernicus) elucidate its Location and history? | The stained glass is located in the Medical Society house in Kraków, which was built for Dr. Julian Nowak in 1904. This is only one of the many art elements of the building designed by Wyspiański; he also designed stair railings, wall paintings and flooring, as well as furniture and chandeliers. The Wyspiański stained glass windows in the House of Medicine are the only stained glass windows by the artist housed in a secular building.
The stained glass is based on a pastel by Wyspiański with the same title; the pastel drawing is located in the collection of the National Museum in Kraków, which received it in 1946 as a gift from Dr. Nowak. This stained glass is one of the most reproduced works by Wyspiański, and has been printed in magazines, albums and postage stamps. | [
"Julian Nowak",
"National Museum in Kraków",
"stained glass window",
"Kraków"
] |
|
17743_NT | Apollo (System Copernicus) | How does this artwork elucidate its Location and history? | The stained glass is located in the Medical Society house in Kraków, which was built for Dr. Julian Nowak in 1904. This is only one of the many art elements of the building designed by Wyspiański; he also designed stair railings, wall paintings and flooring, as well as furniture and chandeliers. The Wyspiański stained glass windows in the House of Medicine are the only stained glass windows by the artist housed in a secular building.
The stained glass is based on a pastel by Wyspiański with the same title; the pastel drawing is located in the collection of the National Museum in Kraków, which received it in 1946 as a gift from Dr. Nowak. This stained glass is one of the most reproduced works by Wyspiański, and has been printed in magazines, albums and postage stamps. | [
"Julian Nowak",
"National Museum in Kraków",
"stained glass window",
"Kraków"
] |
|
17744_T | Apollo (System Copernicus) | Focus on Apollo (System Copernicus) and analyze the Description. | Apollo, god of the Sun, is represented tied up and attached to a lyre, which is crushing him with its weight. Such an approach to the subject has been interpreted among other things, as a reference to Nicolaus Copernicus stopping the Sun. Around Apollo, the painting shows other objects of the Solar System: Saturn, Jupiter, Mars, Mercury, Earth, Luna, and Venus. | [
"lyre",
"Solar System",
"Nicolaus Copernicus",
"Apollo"
] |
|
17744_NT | Apollo (System Copernicus) | Focus on this artwork and analyze the Description. | Apollo, god of the Sun, is represented tied up and attached to a lyre, which is crushing him with its weight. Such an approach to the subject has been interpreted among other things, as a reference to Nicolaus Copernicus stopping the Sun. Around Apollo, the painting shows other objects of the Solar System: Saturn, Jupiter, Mars, Mercury, Earth, Luna, and Venus. | [
"lyre",
"Solar System",
"Nicolaus Copernicus",
"Apollo"
] |
|
17745_T | Kendall Band | In Kendall Band, how is the Sculpture discussed? | The Kendall Band is an interactive sound sculpture located in Cambridge, Massachusetts, in Kendall Station. The work consists of three interactive instruments that are played using handles located on both the inbound and outbound subway platform walls. Each instrument was designed so that it could be played from either platform of the subway station. Aluminum, steel, and teak were all used in the construction of the musical instruments, with the teak being used for the heads of the hammers.The ensemble was created by Paul Matisse, who is the grandson of Henri Matisse and stepson of Marcel Duchamp. Matisse won the commission in 1981 to create a sculpture for Kendall Station, as part of an effort to beautify the Red Line and its stations. This effort was known as the "Arts on the Line" program, and was "the first program in the nation to put works of art in public transportation systems." The work was not installed until 1987 due to station reconstruction.Due to fears of the art work being vandalized, Matisse decided to place the sculpture between the inbound and outbound tracks of the station before even deciding on what to create. He said "It had a third rail on one side, a third rail on the other side, and I thought it would be safe." Matisse is known for other interactive sound sculptures, such as his Musical Fence (1980), which was originally installed in Cambridge, Massachusetts, and now is located at the DeCordova Museum and Sculpture Park in Lincoln, Massachusetts. | [
"Paul Matisse",
"Kendall Station",
"teak",
"Red Line",
"third rail",
"Arts on the Line",
"steel",
"Cambridge, Massachusetts",
"DeCordova Museum and Sculpture Park",
"Marcel Duchamp",
"Lincoln, Massachusetts",
"Henri Matisse",
"Cambridge",
"Aluminum",
"Massachusetts"
] |
|
17745_NT | Kendall Band | In this artwork, how is the Sculpture discussed? | The Kendall Band is an interactive sound sculpture located in Cambridge, Massachusetts, in Kendall Station. The work consists of three interactive instruments that are played using handles located on both the inbound and outbound subway platform walls. Each instrument was designed so that it could be played from either platform of the subway station. Aluminum, steel, and teak were all used in the construction of the musical instruments, with the teak being used for the heads of the hammers.The ensemble was created by Paul Matisse, who is the grandson of Henri Matisse and stepson of Marcel Duchamp. Matisse won the commission in 1981 to create a sculpture for Kendall Station, as part of an effort to beautify the Red Line and its stations. This effort was known as the "Arts on the Line" program, and was "the first program in the nation to put works of art in public transportation systems." The work was not installed until 1987 due to station reconstruction.Due to fears of the art work being vandalized, Matisse decided to place the sculpture between the inbound and outbound tracks of the station before even deciding on what to create. He said "It had a third rail on one side, a third rail on the other side, and I thought it would be safe." Matisse is known for other interactive sound sculptures, such as his Musical Fence (1980), which was originally installed in Cambridge, Massachusetts, and now is located at the DeCordova Museum and Sculpture Park in Lincoln, Massachusetts. | [
"Paul Matisse",
"Kendall Station",
"teak",
"Red Line",
"third rail",
"Arts on the Line",
"steel",
"Cambridge, Massachusetts",
"DeCordova Museum and Sculpture Park",
"Marcel Duchamp",
"Lincoln, Massachusetts",
"Henri Matisse",
"Cambridge",
"Aluminum",
"Massachusetts"
] |
|
17746_T | Kendall Band | In the context of Kendall Band, explore the Pythagoras of the Sculpture. | The Pythagoras section of the Kendall Band is named for the philosopher, mathematician, and scientist Pythagoras of Samos, who is best known for the Pythagorean theorem. The sculpture consists of 16 4-inch-diameter (100 mm), 1⁄4-inch-thick (6.4 mm) aluminum tubular bells, all tuned in the key of B minor. The longer bells create low pitches, while the shorter bells create higher pitches in the scale. When a handle on the wall of the subway platform is pulled, teak-headed hammers swing back and forth between the bells, striking them and creating the musical notes. Due to asymmetrical slits located at the nodal points in the bells, each chime's note plays a slight vibrato.There are actually two identical, completely separate and independent musical instruments comprising Pythagoras. One can be operated from a handle located on the inbound subway platform, and the other can be played simultaneously from a handle on the outbound side. The hammers are not directly coupled to the handles, to prevent them from striking the chimes too violently. Instead, the handles must be rhythmically moved back and forth at an appropriate frequency, depending on the physical phenomenon of mechanical resonance to build up enough energy to strike the chimes. Which chimes are sounded when depends in a complex manner on the recent history of handle movement. Although the detailed mathematical analysis of motions is quite complex, most visitors quickly and intuitively figure out how to operate the sculpture without any written instructions. | [
"teak",
"resonance",
"vibrato",
"B minor",
"philosopher",
"Pythagoras",
"Pythagoras of Samos",
"mathematician",
"scientist",
"aluminum",
"nodal point",
"tubular bell",
"Pythagorean theorem"
] |
|
17746_NT | Kendall Band | In the context of this artwork, explore the Pythagoras of the Sculpture. | The Pythagoras section of the Kendall Band is named for the philosopher, mathematician, and scientist Pythagoras of Samos, who is best known for the Pythagorean theorem. The sculpture consists of 16 4-inch-diameter (100 mm), 1⁄4-inch-thick (6.4 mm) aluminum tubular bells, all tuned in the key of B minor. The longer bells create low pitches, while the shorter bells create higher pitches in the scale. When a handle on the wall of the subway platform is pulled, teak-headed hammers swing back and forth between the bells, striking them and creating the musical notes. Due to asymmetrical slits located at the nodal points in the bells, each chime's note plays a slight vibrato.There are actually two identical, completely separate and independent musical instruments comprising Pythagoras. One can be operated from a handle located on the inbound subway platform, and the other can be played simultaneously from a handle on the outbound side. The hammers are not directly coupled to the handles, to prevent them from striking the chimes too violently. Instead, the handles must be rhythmically moved back and forth at an appropriate frequency, depending on the physical phenomenon of mechanical resonance to build up enough energy to strike the chimes. Which chimes are sounded when depends in a complex manner on the recent history of handle movement. Although the detailed mathematical analysis of motions is quite complex, most visitors quickly and intuitively figure out how to operate the sculpture without any written instructions. | [
"teak",
"resonance",
"vibrato",
"B minor",
"philosopher",
"Pythagoras",
"Pythagoras of Samos",
"mathematician",
"scientist",
"aluminum",
"nodal point",
"tubular bell",
"Pythagorean theorem"
] |
|
17747_T | Kendall Band | In the context of Kendall Band, explain the Kepler of the Sculpture. | The Kepler section is named for Johannes Kepler, a 17th-century German mathematician, astronomer, and astrologer. This instrument features a 125-pound (57 kg), 55-inch (1,400 mm), metal ring that plays an F♯ when struck. This note creates a harmonic perfect fifth with the tones sounded by Pythagoras. The ring plays this note when a handle on either subway platform is manipulated, which in turn ratchets a hammer upward until it falls and strikes the ring. After the ring is struck, it will continue to hum for five minutes. | [
"F♯",
"Johannes Kepler",
"perfect fifth",
"astronomer",
"Pythagoras",
"astrologer",
"mathematician"
] |
|
17747_NT | Kendall Band | In the context of this artwork, explain the Kepler of the Sculpture. | The Kepler section is named for Johannes Kepler, a 17th-century German mathematician, astronomer, and astrologer. This instrument features a 125-pound (57 kg), 55-inch (1,400 mm), metal ring that plays an F♯ when struck. This note creates a harmonic perfect fifth with the tones sounded by Pythagoras. The ring plays this note when a handle on either subway platform is manipulated, which in turn ratchets a hammer upward until it falls and strikes the ring. After the ring is struck, it will continue to hum for five minutes. | [
"F♯",
"Johannes Kepler",
"perfect fifth",
"astronomer",
"Pythagoras",
"astrologer",
"mathematician"
] |
|
17748_T | Kendall Band | Explore the Galileo about the Sculpture of this artwork, Kendall Band. | The Galileo instrument is a large metal sheet the size of a barn door, and is named for Italian physicist, mathematician, astronomer, and philosopher Galileo Galilei. The flat panel of steel works like a thunder sheet. When a handle on either station platform is moved, the sheet shakes and creates a low rumbling sound, similar to the sound of thunder, or the sound trains make when rolling through the station. | [
"thunder",
"steel",
"thunder sheet",
"astronomer",
"philosopher",
"mathematician",
"physicist",
"Galileo Galilei"
] |
|
17748_NT | Kendall Band | Explore the Galileo about the Sculpture of this artwork. | The Galileo instrument is a large metal sheet the size of a barn door, and is named for Italian physicist, mathematician, astronomer, and philosopher Galileo Galilei. The flat panel of steel works like a thunder sheet. When a handle on either station platform is moved, the sheet shakes and creates a low rumbling sound, similar to the sound of thunder, or the sound trains make when rolling through the station. | [
"thunder",
"steel",
"thunder sheet",
"astronomer",
"philosopher",
"mathematician",
"physicist",
"Galileo Galilei"
] |
|
17749_T | Kendall Band | Focus on Kendall Band and discuss the Installation and repairs. | Paul Matisse was the only artist commissioned for the initial "Arts on the Line" program who created an artwork with moving parts. Almost immediately after the Kendall Band was installed, it broke. The sculpture began to fail so quickly that the Pythagoras instrument stopped working before the other two could even be completely installed. Matisse later commented that, "You’d probably have to say it was folly of me to press ahead and present them with something that had moving parts...(but)...I figured it was going to be all right."Matisse would post temporary signs in place of the instrument handles on the walls of Kendall Station, whenever repair work was taking place on the Kendall Band. Responses which were scrawled in the margins by passengers ranged from "If you spent my tax $ on this, then may you DIE SLOWLY!!" to “If you spent tax dollars on this, may you live long + happily." Other comments included “Great to do while stoned!", “Thank you for making me forget the horrors of this day", and “Try to get a tapered connection from the first vertical to the second on this side and an oversized second vertical linkage with perhaps an internal shock absorber".Over time, repairs and additions to the sculpture were completed that made the work more resilient. One of the more-important modifications added a set of mechanical clutches hidden behind the handles of the instruments, which disengage "when someone yanks too hard or too fast".No repair or upgrade work can be embarked upon until 1:30am each night, which is when the MBTA stops running trains. Matisse himself had to personally repair the sculpture whenever it broke, and he was not able to find any organization or corporation that was willing to take over the upkeep of the Band. Because of this, Matisse eventually abandoned the work after roughly 20 years of maintenance. He later stated, “I just kept it going, and then at one point I decided that I was just going to have to let it go out on its own... Sort of like one’s kids. The time comes." | [
"Paul Matisse",
"Kendall Station",
"MBTA",
"Arts on the Line",
"Pythagoras",
"clutch"
] |
|
17749_NT | Kendall Band | Focus on this artwork and discuss the Installation and repairs. | Paul Matisse was the only artist commissioned for the initial "Arts on the Line" program who created an artwork with moving parts. Almost immediately after the Kendall Band was installed, it broke. The sculpture began to fail so quickly that the Pythagoras instrument stopped working before the other two could even be completely installed. Matisse later commented that, "You’d probably have to say it was folly of me to press ahead and present them with something that had moving parts...(but)...I figured it was going to be all right."Matisse would post temporary signs in place of the instrument handles on the walls of Kendall Station, whenever repair work was taking place on the Kendall Band. Responses which were scrawled in the margins by passengers ranged from "If you spent my tax $ on this, then may you DIE SLOWLY!!" to “If you spent tax dollars on this, may you live long + happily." Other comments included “Great to do while stoned!", “Thank you for making me forget the horrors of this day", and “Try to get a tapered connection from the first vertical to the second on this side and an oversized second vertical linkage with perhaps an internal shock absorber".Over time, repairs and additions to the sculpture were completed that made the work more resilient. One of the more-important modifications added a set of mechanical clutches hidden behind the handles of the instruments, which disengage "when someone yanks too hard or too fast".No repair or upgrade work can be embarked upon until 1:30am each night, which is when the MBTA stops running trains. Matisse himself had to personally repair the sculpture whenever it broke, and he was not able to find any organization or corporation that was willing to take over the upkeep of the Band. Because of this, Matisse eventually abandoned the work after roughly 20 years of maintenance. He later stated, “I just kept it going, and then at one point I decided that I was just going to have to let it go out on its own... Sort of like one’s kids. The time comes." | [
"Paul Matisse",
"Kendall Station",
"MBTA",
"Arts on the Line",
"Pythagoras",
"clutch"
] |
|
17750_T | Kendall Band | How does Kendall Band elucidate its Decline into disrepair? | A one-time $10,000 fix was paid for by the MBTA in 2007, but the transit agency then stated that it could not fund any future repairs. All further repairs made to the sculpture had to be carried out and paid for by Matisse out of his own pocket. In 2007, when the now 74-year-old Paul Matisse stopped patching up the Kendall Band, the sculpture quickly fell into disrepair. Out of the original six handles, four had been removed, and only Galileo was in a working state.The only original engineering drawings for the Kendall Band were also lost in a hard-drive crash during this period, requiring documentation to be reconstructed from disassembly and direct measurement of components. | [
"Paul Matisse",
"MBTA"
] |
|
17750_NT | Kendall Band | How does this artwork elucidate its Decline into disrepair? | A one-time $10,000 fix was paid for by the MBTA in 2007, but the transit agency then stated that it could not fund any future repairs. All further repairs made to the sculpture had to be carried out and paid for by Matisse out of his own pocket. In 2007, when the now 74-year-old Paul Matisse stopped patching up the Kendall Band, the sculpture quickly fell into disrepair. Out of the original six handles, four had been removed, and only Galileo was in a working state.The only original engineering drawings for the Kendall Band were also lost in a hard-drive crash during this period, requiring documentation to be reconstructed from disassembly and direct measurement of components. | [
"Paul Matisse",
"MBTA"
] |
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