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17751_T | Kendall Band | Focus on Kendall Band and analyze the Kendall Band Preservation Society. | Over the years, the nearby Massachusetts Institute of Technology (MIT) has expanded into Kendall Square, as principal sponsor and collaborator in the burgeoning high-tech innovation district. In 2010, a group of MIT students were brought together to repair and conserve the Kendall Band. The idea for the group came from Seth G. Parker, a principal at a Massachusetts based energy consulting firm. He got in touch with the head of the Concerts Office in Music and Theater Arts at MIT, Clarise E. Snyder. She in turn contacted Paul Matisse and the MIT Department of Materials Science and Engineering, who recommended that instructor Michael J. Tarkanian be supervisor of the project to repair the sculpture.About 20 students were gathered to work on the cataloging and repair of the instruments, with seven of them chosen to actually dismantle the work. The students dubbed themselves "The Kendall Band Preservation Society".In April 2010, the Kendall Band Preservation Society started dismantling the Kendall Band. Richard A. Davey, then general manager of the MBTA, stopped in to speak to the students and wish them luck in repairing the artwork. The students taped up signs in the same fashion as Paul Matisse did when he repaired the Band, and comments were again scrawled in the margins. A student representative of the group said, “I think we will be able to get the instruments functional over the span of a few months, but our longer term goal is to complete [sic] refurbish and document each instrument. That will be a much longer project, on the order of years.”As of May 2011, Pythagoras was restored to operation from the inbound platform, while work continued on the other two instruments.Since then, the sculptures have again fallen into disrepair, and were being restored to operation as of February 2018. Tarkanian has handed over responsibility for maintenance to Steve Drasco, a physics instructor in the MIT Concourse educational group. As of June 2023, only the Pythagoras tubular chimes operated from the outbound platform were connected and functional. | [
"Paul Matisse",
"Kendall Square",
"MBTA",
"Richard A. Davey",
"Pythagoras",
"Massachusetts Institute of Technology",
"Massachusetts"
] |
|
17751_NT | Kendall Band | Focus on this artwork and analyze the Kendall Band Preservation Society. | Over the years, the nearby Massachusetts Institute of Technology (MIT) has expanded into Kendall Square, as principal sponsor and collaborator in the burgeoning high-tech innovation district. In 2010, a group of MIT students were brought together to repair and conserve the Kendall Band. The idea for the group came from Seth G. Parker, a principal at a Massachusetts based energy consulting firm. He got in touch with the head of the Concerts Office in Music and Theater Arts at MIT, Clarise E. Snyder. She in turn contacted Paul Matisse and the MIT Department of Materials Science and Engineering, who recommended that instructor Michael J. Tarkanian be supervisor of the project to repair the sculpture.About 20 students were gathered to work on the cataloging and repair of the instruments, with seven of them chosen to actually dismantle the work. The students dubbed themselves "The Kendall Band Preservation Society".In April 2010, the Kendall Band Preservation Society started dismantling the Kendall Band. Richard A. Davey, then general manager of the MBTA, stopped in to speak to the students and wish them luck in repairing the artwork. The students taped up signs in the same fashion as Paul Matisse did when he repaired the Band, and comments were again scrawled in the margins. A student representative of the group said, “I think we will be able to get the instruments functional over the span of a few months, but our longer term goal is to complete [sic] refurbish and document each instrument. That will be a much longer project, on the order of years.”As of May 2011, Pythagoras was restored to operation from the inbound platform, while work continued on the other two instruments.Since then, the sculptures have again fallen into disrepair, and were being restored to operation as of February 2018. Tarkanian has handed over responsibility for maintenance to Steve Drasco, a physics instructor in the MIT Concourse educational group. As of June 2023, only the Pythagoras tubular chimes operated from the outbound platform were connected and functional. | [
"Paul Matisse",
"Kendall Square",
"MBTA",
"Richard A. Davey",
"Pythagoras",
"Massachusetts Institute of Technology",
"Massachusetts"
] |
|
17752_T | Untitled (Shapiro, 1989) | In Untitled (Shapiro, 1989), how is the abstract discussed? | Untitled, 1989, is a bronze abstract sculpture by Joel Shapiro.Constructed in 1989, it is located at the National Gallery of Art Sculpture Garden. | [
"Joel Shapiro",
"National Gallery of Art Sculpture Garden"
] |
|
17752_NT | Untitled (Shapiro, 1989) | In this artwork, how is the abstract discussed? | Untitled, 1989, is a bronze abstract sculpture by Joel Shapiro.Constructed in 1989, it is located at the National Gallery of Art Sculpture Garden. | [
"Joel Shapiro",
"National Gallery of Art Sculpture Garden"
] |
|
17753_T | The Happy Lovers | Focus on The Happy Lovers and explore the abstract. | The Happy Lovers is a title given to a c. 1844 painting by the French artist Gustave Courbet, now in the musée des Beaux-Arts de Lyon. One of its earlier titles when exhibited in 1855 at the Pavillon Courbet in Paris was The Waltz. It was sold in the Courbet sale of 1881 and bought by M. Hard and resold to M. Brame, before entering the collection of the musée des Beaux-Arts de Lyon in 1892. The engraver Félix Bracquemond, a friend of the painter, reproduced the work as an etching.
This was the prototype for a second version produced around the same time, under the title The Lovers in the Countryside – Sentiments of youth, which was given to the Petit Palais in Paris in 1909 by Juliette Courbet. Both are oil paintings on canvas and show the artist and a woman in profile. | [
"Gustave Courbet",
"Petit Palais",
"Félix Bracquemond",
"etching",
"musée des Beaux-Arts de Lyon"
] |
|
17753_NT | The Happy Lovers | Focus on this artwork and explore the abstract. | The Happy Lovers is a title given to a c. 1844 painting by the French artist Gustave Courbet, now in the musée des Beaux-Arts de Lyon. One of its earlier titles when exhibited in 1855 at the Pavillon Courbet in Paris was The Waltz. It was sold in the Courbet sale of 1881 and bought by M. Hard and resold to M. Brame, before entering the collection of the musée des Beaux-Arts de Lyon in 1892. The engraver Félix Bracquemond, a friend of the painter, reproduced the work as an etching.
This was the prototype for a second version produced around the same time, under the title The Lovers in the Countryside – Sentiments of youth, which was given to the Petit Palais in Paris in 1909 by Juliette Courbet. Both are oil paintings on canvas and show the artist and a woman in profile. | [
"Gustave Courbet",
"Petit Palais",
"Félix Bracquemond",
"etching",
"musée des Beaux-Arts de Lyon"
] |
|
17754_T | The Happy Lovers | Focus on The Happy Lovers and explain the Analysis. | The painting has been described as an evocation of two lovers leaning against each other in the whirlwind of a waltz. The female model may be Virginie Binet, the mother of the artist's son, born shortly after the creation of this painting and visible in The Wheat Sifters (1854). Several preparatory drawings for the painting are known.
The use of radiography has made it possible to determine with certainty that the Lyon version of The Happy Lovers preceded the version preserved in Paris: the study of the first reveals that the original format was square, but that Courbet added a lower band 10 cm wide; moreover, pentimenti are apparent, the woman's hand was leaning on the man's shoulder and the setting was a bay and not a landscape. The Paris version, a repetition of this motif but of a smaller size, does not reveal any pentimenti on analysis. | [
"radiography",
"pentimenti",
"The Wheat Sifters"
] |
|
17754_NT | The Happy Lovers | Focus on this artwork and explain the Analysis. | The painting has been described as an evocation of two lovers leaning against each other in the whirlwind of a waltz. The female model may be Virginie Binet, the mother of the artist's son, born shortly after the creation of this painting and visible in The Wheat Sifters (1854). Several preparatory drawings for the painting are known.
The use of radiography has made it possible to determine with certainty that the Lyon version of The Happy Lovers preceded the version preserved in Paris: the study of the first reveals that the original format was square, but that Courbet added a lower band 10 cm wide; moreover, pentimenti are apparent, the woman's hand was leaning on the man's shoulder and the setting was a bay and not a landscape. The Paris version, a repetition of this motif but of a smaller size, does not reveal any pentimenti on analysis. | [
"radiography",
"pentimenti",
"The Wheat Sifters"
] |
|
17755_T | Gertie the Duck | Explore the abstract of this artwork, Gertie the Duck. | Gertie the Duck is an icon of Milwaukee, Wisconsin history and the subject of a 4-foot-tall (1.2 m) bronze sculpture by American artist Gwendolyn Gillen. It was installed on the Wisconsin Avenue bridge in September 1997.
The story of her heroic efforts to hatch six ducklings became an inspiration for many war-weary Americans near the end of World War II. Gertie's story unfolded as a daily serial in the local newspaper for 37 days, captivating the residents of Milwaukee, the state and eventually the country. | [
"Gwendolyn Gillen",
"Wisconsin",
"Milwaukee",
"World War II"
] |
|
17755_NT | Gertie the Duck | Explore the abstract of this artwork. | Gertie the Duck is an icon of Milwaukee, Wisconsin history and the subject of a 4-foot-tall (1.2 m) bronze sculpture by American artist Gwendolyn Gillen. It was installed on the Wisconsin Avenue bridge in September 1997.
The story of her heroic efforts to hatch six ducklings became an inspiration for many war-weary Americans near the end of World War II. Gertie's story unfolded as a daily serial in the local newspaper for 37 days, captivating the residents of Milwaukee, the state and eventually the country. | [
"Gwendolyn Gillen",
"Wisconsin",
"Milwaukee",
"World War II"
] |
|
17756_T | Gertie the Duck | Focus on Gertie the Duck and discuss the History. | Gertie's story began in April 1945 when Milwaukee Journal outdoor writer Gordon MacQuarrie reported that a mallard duck was nesting on a wood piling under the Wisconsin Avenue bridge. A total of nine eggs were laid and the duck kept vigil atop her nest despite throngs of visitors and motorists stopping on the bridge daily to check the progress of the expectant mother. Mother's Day cards began arriving for the mallard, the Boy Scouts formed a Gertie Patrol and a Wisconsin Humane Society officer was stationed to watch the brood as six of the nine eggs eventually produced chicks.Public interest continued to swell as wire services picked up MacQuarrie's stories. Gertie and her nest were photographed by the Journal and local rival Milwaukee Sentinel, featured in Life Magazine and even had a front-page story in the United Kingdom's Daily Express. Reader's Digest ran a story on Gertie entitled "The Duck That Made Milwaukee Famous".Despite flooding, storms and fire on some nearby pilings, five ducklings and Gertie survived the ordeal and were put on public display in the nearby Gimbels department store windows, where more than 2 million visitors peered in to see the famous feathered family. The ducks were later relocated to the Juneau Park lagoon on Milwaukee's lakefront. | [
"Daily Express",
"Milwaukee Sentinel",
"Reader's Digest",
"Wisconsin",
"Gordon MacQuarrie",
"Gimbels",
"Milwaukee",
"Milwaukee Journal",
"Life Magazine"
] |
|
17756_NT | Gertie the Duck | Focus on this artwork and discuss the History. | Gertie's story began in April 1945 when Milwaukee Journal outdoor writer Gordon MacQuarrie reported that a mallard duck was nesting on a wood piling under the Wisconsin Avenue bridge. A total of nine eggs were laid and the duck kept vigil atop her nest despite throngs of visitors and motorists stopping on the bridge daily to check the progress of the expectant mother. Mother's Day cards began arriving for the mallard, the Boy Scouts formed a Gertie Patrol and a Wisconsin Humane Society officer was stationed to watch the brood as six of the nine eggs eventually produced chicks.Public interest continued to swell as wire services picked up MacQuarrie's stories. Gertie and her nest were photographed by the Journal and local rival Milwaukee Sentinel, featured in Life Magazine and even had a front-page story in the United Kingdom's Daily Express. Reader's Digest ran a story on Gertie entitled "The Duck That Made Milwaukee Famous".Despite flooding, storms and fire on some nearby pilings, five ducklings and Gertie survived the ordeal and were put on public display in the nearby Gimbels department store windows, where more than 2 million visitors peered in to see the famous feathered family. The ducks were later relocated to the Juneau Park lagoon on Milwaukee's lakefront. | [
"Daily Express",
"Milwaukee Sentinel",
"Reader's Digest",
"Wisconsin",
"Gordon MacQuarrie",
"Gimbels",
"Milwaukee",
"Milwaukee Journal",
"Life Magazine"
] |
|
17757_T | Gertie the Duck | How does Gertie the Duck elucidate its Popular culture? | The first book based on Gertie's story was The Story of 'Gertie', published by the Journal in July 1945 and based on its daily coverage. The book sold out three printings before being re-printed by New York's Rinehart & Co. in 1946.That same year, Milwaukee toymaker Earl F. Wendt produced a wooden toy duck named for the famous mallard.In 1959, Nicholas P. Georgiady and Louis G. Romano, two Milwaukee-area teachers, wrote a children's book titled Gertie the Duck. The book was reissued in 1988 after selling more than 800,000 copies and translated into six languages.Gertie's story was also told in an episode of GE True in 1963 entitled "Gertie the Great", featuring Jan Shepard as a reporter assigned to cover the hatching eggs. | [
"Jan Shepard",
"GE True",
"Milwaukee"
] |
|
17757_NT | Gertie the Duck | How does this artwork elucidate its Popular culture? | The first book based on Gertie's story was The Story of 'Gertie', published by the Journal in July 1945 and based on its daily coverage. The book sold out three printings before being re-printed by New York's Rinehart & Co. in 1946.That same year, Milwaukee toymaker Earl F. Wendt produced a wooden toy duck named for the famous mallard.In 1959, Nicholas P. Georgiady and Louis G. Romano, two Milwaukee-area teachers, wrote a children's book titled Gertie the Duck. The book was reissued in 1988 after selling more than 800,000 copies and translated into six languages.Gertie's story was also told in an episode of GE True in 1963 entitled "Gertie the Great", featuring Jan Shepard as a reporter assigned to cover the hatching eggs. | [
"Jan Shepard",
"GE True",
"Milwaukee"
] |
|
17758_T | Gertie the Duck | Focus on Gertie the Duck and analyze the Sculpture. | Gertie the Duck is a 4-foot-tall (1.2 m) bronze sculpture of the mallard duck created by sculptor Gwendolyn Gillen. The original cost of the sculpture was $15,000, and it was given to the city by the Eppstein Uhen Architects firm and installed in September 1997. It stands on the northwest side of the Wisconsin Avenue bridge over the Milwaukee River in downtown Milwaukee. The sculpture is part of the art displays called RiverSculpture! | [
"Gwendolyn Gillen",
"RiverSculpture!",
"Wisconsin",
"Milwaukee",
"Milwaukee River"
] |
|
17758_NT | Gertie the Duck | Focus on this artwork and analyze the Sculpture. | Gertie the Duck is a 4-foot-tall (1.2 m) bronze sculpture of the mallard duck created by sculptor Gwendolyn Gillen. The original cost of the sculpture was $15,000, and it was given to the city by the Eppstein Uhen Architects firm and installed in September 1997. It stands on the northwest side of the Wisconsin Avenue bridge over the Milwaukee River in downtown Milwaukee. The sculpture is part of the art displays called RiverSculpture! | [
"Gwendolyn Gillen",
"RiverSculpture!",
"Wisconsin",
"Milwaukee",
"Milwaukee River"
] |
|
17759_T | Portrait of Baldassare Castiglione | In Portrait of Baldassare Castiglione, how is the abstract discussed? | Portrait of Baldassare Castiglione is a c. 1514–1515 oil painting attributed to the Italian High Renaissance painter Raphael. Considered one of the great portraits of the Renaissance, it has an enduring influence. It depicts Raphael's friend, the diplomat and humanist Baldassare Castiglione, who is considered a quintessential example of the High Renaissance gentleman. | [
"Baldassare Castiglione",
"Raphael",
"Castiglione",
"High Renaissance"
] |
|
17759_NT | Portrait of Baldassare Castiglione | In this artwork, how is the abstract discussed? | Portrait of Baldassare Castiglione is a c. 1514–1515 oil painting attributed to the Italian High Renaissance painter Raphael. Considered one of the great portraits of the Renaissance, it has an enduring influence. It depicts Raphael's friend, the diplomat and humanist Baldassare Castiglione, who is considered a quintessential example of the High Renaissance gentleman. | [
"Baldassare Castiglione",
"Raphael",
"Castiglione",
"High Renaissance"
] |
|
17760_T | Portrait of Baldassare Castiglione | Focus on Portrait of Baldassare Castiglione and explore the Overview. | The portrait was produced as a result of Raphael's friendship with Castiglione, whose ascent in courtly circles paralleled that of the artist. They were close friends by 1504, when Castiglione made his second visit to Urbino, as Raphael was gaining recognition as an artist in the humanist circle of the city's ducal court. Raphael was commissioned by Guidobaldo da Montefeltro in 1505 to paint a picture for Henry VII; Castiglione traveled to England to present the finished painting to the king. It is possible that Castiglione later served as a "scholarly advisor" for Raphael's The School of Athens, and that the depiction of Zoroaster in that fresco may be a portrait of the courtier.Portrait of Baldassare Castiglione may have had a practical and intimate purpose. Castiglione left his family behind when he went to Rome, and he wrote a poem in which he imagined his wife and son consoling themselves with the picture during his absence.The composition is pyramidal. It's one of only two Raphael's paintings on canvas (it was considered before as originally painted on a wood panel, and later transferred to canvas). Copies produced in the 17th century show Castiglione's hands in full, suggesting that the picture was subsequently cut by several inches at the bottom (at a later date researchers determined it has not been cut). Castiglione is seated against an earth-toned background and wears a dark doublet with a trim of squirrel fur and black ribbon; on his head is a turban topped by a notched beret. The attire indicates that this was painted during the winter, likely that of 1514–1515, when Castiglione was in Rome by appointment of Guidobaldo da Montefeltro to Pope Leo X. The lightest areas are the subject's face seen nearly head-on, a billow of white shirt front at his chest, and his folded hands, which are mostly cropped at the bottom edge of the canvas. Castiglione is seen as vulnerable, possessing a humane sensitivity characteristic of Raphael's later portraits. The soft contours of his clothing and rounded beard express the subtlety of the subject's personality. In his The Book of the Courtier Castiglione argued on behalf of the cultivation of fine manners and dress. He popularized the term sprezzatura, which translates roughly to "nonchalant mastery", an ideal of effortless grace befitting a man of culture. The concept eventually found its way into English literature, in the plays of Ben Jonson and William Shakespeare.The picture's elegance of execution is consistent with the attitude of the subject. Art historian Lawrence Gowing noted the counter-intuitive handling of gray velvet (actually a fur) as contrary to an academic modeling of form, with the broad surfaces banked in rich darkness and the fabric shining most brightly as it turns away from the light. For Gowing, "The picture has the subtlety of baroque observation but the stillness and noble contour of classic painting at its peak." The portrait's composition and atmospheric quality suggest an homage to the Mona Lisa, which Raphael would have seen in Rome. Yet the Castiglione portrait transcends questions of influence; art historian James Beck wrote that "The Portrait of Baldassare Castiglione stands as a final solution for single male portraiture within the Renaissance style...."Notwithstanding shifts in the critical appraisal of Raphael's work, the painting has enjoyed consistent admiration from other artists. Titian was strongly influenced by this portrait, and may have first viewed it in Castiglione's home in Mantua. The Venetian master's Portrait of a Man (Tommaso Mosti?) is generally seen as owing a strong compositional debt to Raphael's painting, and also reflects Castiglione's influential advice regarding the restrained elegance of attire recommended for courtiers. In 1639 Rembrandt drew a sketch of the painting while it was being auctioned in Amsterdam, and subsequently referenced the composition in several self-portraits. A copy of the painting, now in the Courtauld Institute of Art, was painted by Peter Paul Rubens. Both Rembrandt's and Rubens's versions display Baroque flourish, quite different from the original painting's sober restraint. In the 19th century Jean Auguste Dominique Ingres chose a frame for his Portrait of Monsieur Bertin much like that which adorned Raphael's painting, perhaps indicating Ingres's ambitions, while also underscoring the paintings' similarities of coloration and extraordinary illusionism. At the turn of the 20th century Henri Matisse copied the painting, and Paul Cézanne exclaimed of Raphael's portrait: "How well rounded the forehead is, with all the distinct planes. How well balanced the patches in the unity of the whole...."Now in the Louvre, the painting was acquired by Louis XIV in 1661 from the heirs of Cardinal Mazarin. | [
"Amsterdam",
"The School of Athens",
"Baldassare Castiglione",
"Ben Jonson",
"Raphael",
"James Beck",
"Peter Paul Rubens",
"William Shakespeare",
"Castiglione",
"Lawrence Gowing",
"Baroque",
"Louis XIV",
"Pope Leo X",
"Zoroaster",
"Urbino",
"Rembrandt",
"The Book of the Courtier",
"Titian",
"Mona Lisa",
"Courtauld Institute of Art",
"Guidobaldo da Montefeltro",
"Henri Matisse",
"Louvre",
"Portrait of Monsieur Bertin",
"Jean Auguste Dominique Ingres",
"Henry VII",
"Cardinal Mazarin",
"transferred to canvas",
"Paul Cézanne"
] |
|
17760_NT | Portrait of Baldassare Castiglione | Focus on this artwork and explore the Overview. | The portrait was produced as a result of Raphael's friendship with Castiglione, whose ascent in courtly circles paralleled that of the artist. They were close friends by 1504, when Castiglione made his second visit to Urbino, as Raphael was gaining recognition as an artist in the humanist circle of the city's ducal court. Raphael was commissioned by Guidobaldo da Montefeltro in 1505 to paint a picture for Henry VII; Castiglione traveled to England to present the finished painting to the king. It is possible that Castiglione later served as a "scholarly advisor" for Raphael's The School of Athens, and that the depiction of Zoroaster in that fresco may be a portrait of the courtier.Portrait of Baldassare Castiglione may have had a practical and intimate purpose. Castiglione left his family behind when he went to Rome, and he wrote a poem in which he imagined his wife and son consoling themselves with the picture during his absence.The composition is pyramidal. It's one of only two Raphael's paintings on canvas (it was considered before as originally painted on a wood panel, and later transferred to canvas). Copies produced in the 17th century show Castiglione's hands in full, suggesting that the picture was subsequently cut by several inches at the bottom (at a later date researchers determined it has not been cut). Castiglione is seated against an earth-toned background and wears a dark doublet with a trim of squirrel fur and black ribbon; on his head is a turban topped by a notched beret. The attire indicates that this was painted during the winter, likely that of 1514–1515, when Castiglione was in Rome by appointment of Guidobaldo da Montefeltro to Pope Leo X. The lightest areas are the subject's face seen nearly head-on, a billow of white shirt front at his chest, and his folded hands, which are mostly cropped at the bottom edge of the canvas. Castiglione is seen as vulnerable, possessing a humane sensitivity characteristic of Raphael's later portraits. The soft contours of his clothing and rounded beard express the subtlety of the subject's personality. In his The Book of the Courtier Castiglione argued on behalf of the cultivation of fine manners and dress. He popularized the term sprezzatura, which translates roughly to "nonchalant mastery", an ideal of effortless grace befitting a man of culture. The concept eventually found its way into English literature, in the plays of Ben Jonson and William Shakespeare.The picture's elegance of execution is consistent with the attitude of the subject. Art historian Lawrence Gowing noted the counter-intuitive handling of gray velvet (actually a fur) as contrary to an academic modeling of form, with the broad surfaces banked in rich darkness and the fabric shining most brightly as it turns away from the light. For Gowing, "The picture has the subtlety of baroque observation but the stillness and noble contour of classic painting at its peak." The portrait's composition and atmospheric quality suggest an homage to the Mona Lisa, which Raphael would have seen in Rome. Yet the Castiglione portrait transcends questions of influence; art historian James Beck wrote that "The Portrait of Baldassare Castiglione stands as a final solution for single male portraiture within the Renaissance style...."Notwithstanding shifts in the critical appraisal of Raphael's work, the painting has enjoyed consistent admiration from other artists. Titian was strongly influenced by this portrait, and may have first viewed it in Castiglione's home in Mantua. The Venetian master's Portrait of a Man (Tommaso Mosti?) is generally seen as owing a strong compositional debt to Raphael's painting, and also reflects Castiglione's influential advice regarding the restrained elegance of attire recommended for courtiers. In 1639 Rembrandt drew a sketch of the painting while it was being auctioned in Amsterdam, and subsequently referenced the composition in several self-portraits. A copy of the painting, now in the Courtauld Institute of Art, was painted by Peter Paul Rubens. Both Rembrandt's and Rubens's versions display Baroque flourish, quite different from the original painting's sober restraint. In the 19th century Jean Auguste Dominique Ingres chose a frame for his Portrait of Monsieur Bertin much like that which adorned Raphael's painting, perhaps indicating Ingres's ambitions, while also underscoring the paintings' similarities of coloration and extraordinary illusionism. At the turn of the 20th century Henri Matisse copied the painting, and Paul Cézanne exclaimed of Raphael's portrait: "How well rounded the forehead is, with all the distinct planes. How well balanced the patches in the unity of the whole...."Now in the Louvre, the painting was acquired by Louis XIV in 1661 from the heirs of Cardinal Mazarin. | [
"Amsterdam",
"The School of Athens",
"Baldassare Castiglione",
"Ben Jonson",
"Raphael",
"James Beck",
"Peter Paul Rubens",
"William Shakespeare",
"Castiglione",
"Lawrence Gowing",
"Baroque",
"Louis XIV",
"Pope Leo X",
"Zoroaster",
"Urbino",
"Rembrandt",
"The Book of the Courtier",
"Titian",
"Mona Lisa",
"Courtauld Institute of Art",
"Guidobaldo da Montefeltro",
"Henri Matisse",
"Louvre",
"Portrait of Monsieur Bertin",
"Jean Auguste Dominique Ingres",
"Henry VII",
"Cardinal Mazarin",
"transferred to canvas",
"Paul Cézanne"
] |
|
17761_T | Portrait of Baldassare Castiglione | Explore the On screen of this artwork, Portrait of Baldassare Castiglione. | Portrait de l'ami en homme de cour. Portrait de Balthazar Castiglione, film by Alain Jaubert from Palettes series (1994). | [
"Alain Jaubert",
"Castiglione",
"Palettes"
] |
|
17761_NT | Portrait of Baldassare Castiglione | Explore the On screen of this artwork. | Portrait de l'ami en homme de cour. Portrait de Balthazar Castiglione, film by Alain Jaubert from Palettes series (1994). | [
"Alain Jaubert",
"Castiglione",
"Palettes"
] |
|
17762_T | A Bridge Across and Beyond | Focus on A Bridge Across and Beyond and discuss the abstract. | A Bridge Across and Beyond, is a public artwork by American artist Richard Hunt, located at the Blackburn Center on the Howard University campus in Washington, D.C., United States. A Bridge Across and Beyond was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. | [
"American",
"Washington, D.C.",
"Howard University",
"Smithsonian's",
"Richard Hunt",
"United States",
"Save Outdoor Sculpture!"
] |
|
17762_NT | A Bridge Across and Beyond | Focus on this artwork and discuss the abstract. | A Bridge Across and Beyond, is a public artwork by American artist Richard Hunt, located at the Blackburn Center on the Howard University campus in Washington, D.C., United States. A Bridge Across and Beyond was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. | [
"American",
"Washington, D.C.",
"Howard University",
"Smithsonian's",
"Richard Hunt",
"United States",
"Save Outdoor Sculpture!"
] |
|
17763_T | A Bridge Across and Beyond | How does A Bridge Across and Beyond elucidate its Description? | "A Bridge Across and Beyond" is a welded bronze abstract sculpture which sits, surrounded by fountains, within a large reflecting pool. The sculpture consists of two massive pyramid-like structures that bend towards each other, symbolizing both Africa and the descendants of Africans in America; the "bridge" is formed by abstract African symbols reaching across from each pyramid to the other. | [
"bronze"
] |
|
17763_NT | A Bridge Across and Beyond | How does this artwork elucidate its Description? | "A Bridge Across and Beyond" is a welded bronze abstract sculpture which sits, surrounded by fountains, within a large reflecting pool. The sculpture consists of two massive pyramid-like structures that bend towards each other, symbolizing both Africa and the descendants of Africans in America; the "bridge" is formed by abstract African symbols reaching across from each pyramid to the other. | [
"bronze"
] |
|
17764_T | A Bridge Across and Beyond | Focus on A Bridge Across and Beyond and analyze the Acquisition and tribute. | This sculpture was donated to the university by John Debrew, Jr., the CEO of Mildred Andrew's Fund. The sculpture is dedicated to Debrew's mother, Katie May Artis Debrew and all single mothers in the world. | [] |
|
17764_NT | A Bridge Across and Beyond | Focus on this artwork and analyze the Acquisition and tribute. | This sculpture was donated to the university by John Debrew, Jr., the CEO of Mildred Andrew's Fund. The sculpture is dedicated to Debrew's mother, Katie May Artis Debrew and all single mothers in the world. | [] |
|
17765_T | A Bridge Across and Beyond | In A Bridge Across and Beyond, how is the Condition discussed? | This sculpture was surveyed in 1993 for its condition and was described that "well maintained". However, since 2005, the fountain has only been filled sporadically, due to cracks in the fountain. In lieu of repairing the fountain, Howard has considered removing the fountain, leaving the sculpture "suspended over a solid plaza." In 2007, Howard's Blackburn Center director, Roberta McLeod, passed out fliers and considered raising money to fix the fountain, desiring to leave it a working fountain unlike other fountains on campus, which were no longer running. Regarding the fixing of the fountain McLeod stated "I want it back the way it used to be because it was beautiful." | [] |
|
17765_NT | A Bridge Across and Beyond | In this artwork, how is the Condition discussed? | This sculpture was surveyed in 1993 for its condition and was described that "well maintained". However, since 2005, the fountain has only been filled sporadically, due to cracks in the fountain. In lieu of repairing the fountain, Howard has considered removing the fountain, leaving the sculpture "suspended over a solid plaza." In 2007, Howard's Blackburn Center director, Roberta McLeod, passed out fliers and considered raising money to fix the fountain, desiring to leave it a working fountain unlike other fountains on campus, which were no longer running. Regarding the fixing of the fountain McLeod stated "I want it back the way it used to be because it was beautiful." | [] |
|
17766_T | 1937 in fine arts of the Soviet Union | Focus on 1937 in fine arts of the Soviet Union and explore the abstract. | The year 1937 was marked by many events that left an imprint on the history of Soviet and Russian Fine Arts. | [
"Art",
"Soviet",
"Russia"
] |
|
17766_NT | 1937 in fine arts of the Soviet Union | Focus on this artwork and explore the abstract. | The year 1937 was marked by many events that left an imprint on the history of Soviet and Russian Fine Arts. | [
"Art",
"Soviet",
"Russia"
] |
|
17767_T | 1937 in fine arts of the Soviet Union | Focus on 1937 in fine arts of the Soviet Union and explain the Events. | May 30 — Exhibition of Painting, Drawing, and Sculpture of Leningrad artists was opened in the House of Actors.
Artist Isaak Brodsky was awarded the Grand Prix at the International Exhibition in Paris for the painting of Lenin speaks at the Putilov Plant (1929).
Sculptural group Worker and Kolkhoz Woman was created for the Soviet pavilion at the World Exhibition in Paris by sculptor Vera Mukhina and architect Boris Iofan. An outstanding monument of monumental art, it was "an ideal and a symbol of Soviet-era". In August 1939 the sculpture Worker and Kolkhoz Woman was installed on a pedestal in front of the northern entrance to the All-Union Agricultural Exhibition in Moscow. In 2003-2009 was complete restoration of the sculptural group, accompanied by her dismantling of 40 fragments. There have been considerably strengthened framing compositions, all of the fragments were cleaned and treated with special anti-corrosion compounds. The sculpture was installed on a new specially built pavilion for her pedestal, echoing the proportions of the original pavilion of 1937. Inauguration of the monument Worker and Kolkhoz Woman took place in Moscow on December 4, 2009.
Artist Alexander Samokhvalov was twice awarded the Grand Prix at the International Exhibition in Paris for the panel "Soviet Sport", performed in the Soviet Pavilion, and for his illustrations for the novel of The History of a City, by Saltykov-Shchedrin, and the Great Gold Medal for the painting Girl in a T-shirt. In the same year Samokhvalov painted one of his most famous paintings, A Subway builder's Girl with a drill.
November 2 — New Kremlin ruby stars lit over Moscow. New ruby stars were made by sketches of the People's Artist of the USSR, the chief artist of the Bolshoi Theatre Academician Fyodor Fedorovsky. | [
"Kremlin ruby stars",
"Boris Iofan",
"Worker and Kolkhoz Woman",
"Fyodor Fedorovsky",
"Alexander Samokhvalov",
"People's Artist of the USSR",
"Art",
"Moscow",
"Soviet",
"Vera Mukhina",
"Bolshoi Theatre",
"Isaak Brodsky"
] |
|
17767_NT | 1937 in fine arts of the Soviet Union | Focus on this artwork and explain the Events. | May 30 — Exhibition of Painting, Drawing, and Sculpture of Leningrad artists was opened in the House of Actors.
Artist Isaak Brodsky was awarded the Grand Prix at the International Exhibition in Paris for the painting of Lenin speaks at the Putilov Plant (1929).
Sculptural group Worker and Kolkhoz Woman was created for the Soviet pavilion at the World Exhibition in Paris by sculptor Vera Mukhina and architect Boris Iofan. An outstanding monument of monumental art, it was "an ideal and a symbol of Soviet-era". In August 1939 the sculpture Worker and Kolkhoz Woman was installed on a pedestal in front of the northern entrance to the All-Union Agricultural Exhibition in Moscow. In 2003-2009 was complete restoration of the sculptural group, accompanied by her dismantling of 40 fragments. There have been considerably strengthened framing compositions, all of the fragments were cleaned and treated with special anti-corrosion compounds. The sculpture was installed on a new specially built pavilion for her pedestal, echoing the proportions of the original pavilion of 1937. Inauguration of the monument Worker and Kolkhoz Woman took place in Moscow on December 4, 2009.
Artist Alexander Samokhvalov was twice awarded the Grand Prix at the International Exhibition in Paris for the panel "Soviet Sport", performed in the Soviet Pavilion, and for his illustrations for the novel of The History of a City, by Saltykov-Shchedrin, and the Great Gold Medal for the painting Girl in a T-shirt. In the same year Samokhvalov painted one of his most famous paintings, A Subway builder's Girl with a drill.
November 2 — New Kremlin ruby stars lit over Moscow. New ruby stars were made by sketches of the People's Artist of the USSR, the chief artist of the Bolshoi Theatre Academician Fyodor Fedorovsky. | [
"Kremlin ruby stars",
"Boris Iofan",
"Worker and Kolkhoz Woman",
"Fyodor Fedorovsky",
"Alexander Samokhvalov",
"People's Artist of the USSR",
"Art",
"Moscow",
"Soviet",
"Vera Mukhina",
"Bolshoi Theatre",
"Isaak Brodsky"
] |
|
17768_T | 1937 in fine arts of the Soviet Union | Explore the Births of this artwork, 1937 in fine arts of the Soviet Union. | February 28 — Vitaly Tulenev (Russian: Тюленев Виталий Иванович), Russian Soviet painter and graphic artist, Honored Artist of the Russian Federation (died 1998).
April 30 — George Moroz (Russian: Мороз Георгий Моисеевич), Russian Soviet painter. | [
"1998",
"Art",
"Soviet",
"Vitaly Tulenev",
"Honored Artist of the Russian Federation",
"Russia"
] |
|
17768_NT | 1937 in fine arts of the Soviet Union | Explore the Births of this artwork. | February 28 — Vitaly Tulenev (Russian: Тюленев Виталий Иванович), Russian Soviet painter and graphic artist, Honored Artist of the Russian Federation (died 1998).
April 30 — George Moroz (Russian: Мороз Георгий Моисеевич), Russian Soviet painter. | [
"1998",
"Art",
"Soviet",
"Vitaly Tulenev",
"Honored Artist of the Russian Federation",
"Russia"
] |
|
17769_T | 1937 in fine arts of the Soviet Union | Focus on 1937 in fine arts of the Soviet Union and discuss the Deaths. | December 6 — Sergey Malyutin (Russian: Малютин Сергей Васильевич), Russian painter, Honored Art Worker of RSFSR (born 1859). | [
"Sergey Malyutin",
"1859",
"Art",
"Russia"
] |
|
17769_NT | 1937 in fine arts of the Soviet Union | Focus on this artwork and discuss the Deaths. | December 6 — Sergey Malyutin (Russian: Малютин Сергей Васильевич), Russian painter, Honored Art Worker of RSFSR (born 1859). | [
"Sergey Malyutin",
"1859",
"Art",
"Russia"
] |
|
17770_T | Portrait of Galeazzo Sanvitale | How does Portrait of Galeazzo Sanvitale elucidate its History? | Parmigianino worked for a short period at the Sanvitale family court in their "Rocca" (palace-fortress) in Fontanellato (in what is now the province of Parma). The work, dated 1524 on the rear, was executed during his stay there, before he moved to Rome the following year. He also executed the Stufetta of Diana and Actaeon and a cycle of frescoes in the private room of Paola Gonzaga, wife of Gian Galeazzo Sanvitale.
The work was part of the Farnese collections in 1587, when it is mentioned for the first time in an inventory. The work had been perhaps acquired by duke Ottavio Farnese in 1561 when he acquired from bishop Eucherio Sanvitale the casino (mansion) of Codiponte, in the Ducal Park of Parma. Eucherio was the son of Gian Galeazzo Sanvitale, and had inherited the family's possessions in 1550.The portrait, together with the whole Farnese collection, was moved from Parma to Naples in 1784. The French removed it in 1799, and it was later at Palermo until 1816, before returning to Naples. During the various changes of hands the painting lost its original identification, and was considered a portrait of Christopher Columbus (likely due to the presence, in the hat, of a representation of the Pillars of Hercules) from Raphael's school. A descendant of Galeazzo Sanvitale, Luigi, recognized his ancestor based on some documents, in 1857. The re-attribution to Parmigianino occurred in 1894.There are some preparatory drawings at the Cabinet des Dessins of the Louvre (6472 recto and verso) and in the Tobley Collection. | [
"Raphael",
"Parmigianino",
"Gian Galeazzo Sanvitale",
"Naples",
"\"Rocca\"",
"Farnese collections",
"Ottavio Farnese",
"Pillars of Hercules",
"Christopher Columbus",
"Louvre",
"province of Parma",
"Fontanellato",
"Sanvitale"
] |
|
17770_NT | Portrait of Galeazzo Sanvitale | How does this artwork elucidate its History? | Parmigianino worked for a short period at the Sanvitale family court in their "Rocca" (palace-fortress) in Fontanellato (in what is now the province of Parma). The work, dated 1524 on the rear, was executed during his stay there, before he moved to Rome the following year. He also executed the Stufetta of Diana and Actaeon and a cycle of frescoes in the private room of Paola Gonzaga, wife of Gian Galeazzo Sanvitale.
The work was part of the Farnese collections in 1587, when it is mentioned for the first time in an inventory. The work had been perhaps acquired by duke Ottavio Farnese in 1561 when he acquired from bishop Eucherio Sanvitale the casino (mansion) of Codiponte, in the Ducal Park of Parma. Eucherio was the son of Gian Galeazzo Sanvitale, and had inherited the family's possessions in 1550.The portrait, together with the whole Farnese collection, was moved from Parma to Naples in 1784. The French removed it in 1799, and it was later at Palermo until 1816, before returning to Naples. During the various changes of hands the painting lost its original identification, and was considered a portrait of Christopher Columbus (likely due to the presence, in the hat, of a representation of the Pillars of Hercules) from Raphael's school. A descendant of Galeazzo Sanvitale, Luigi, recognized his ancestor based on some documents, in 1857. The re-attribution to Parmigianino occurred in 1894.There are some preparatory drawings at the Cabinet des Dessins of the Louvre (6472 recto and verso) and in the Tobley Collection. | [
"Raphael",
"Parmigianino",
"Gian Galeazzo Sanvitale",
"Naples",
"\"Rocca\"",
"Farnese collections",
"Ottavio Farnese",
"Pillars of Hercules",
"Christopher Columbus",
"Louvre",
"province of Parma",
"Fontanellato",
"Sanvitale"
] |
|
17771_T | 2020 Summer Olympics cauldron | Focus on 2020 Summer Olympics cauldron and analyze the abstract. | The 2020 Summer Olympics cauldron was made for the 2020 Summer Olympics in Tokyo, Japan. In fact, there were two cauldrons, one inside the Olympic Stadium that was used only at the (opening and closing ceremony only) and the actual one, which was located on Tokyo's new waterfront on Ariake West Canal, which was lit after the Opening Ceremony and remained alight throughout the Games. The cauldron was designed by Canadian-Japanese designer Oki Sato, who attended Waseda University, the same university as Yoshinori Sakai, the cauldron-lighter in 1964. The steps to reach the cauldron, symbolising Mount Fuji, were "designed to evoke the image of a blooming sakura flower."Designed by Nendo founder Oki Sato, the white cauldron evokes the opening ceremony's concept of "All gather under the sun, all are equal, and all receive energy". The panels opened to reveal the Olympic torch, at the ending of the opening ceremony, and was lit by Japanese tennis player Naomi Osaka. "At the end of the opening ceremony of the Olympic Games, the cauldron 'blooms' to welcome the final torchbearer," said Nendo. "This expresses not only the sun itself, but also the energy and vitality that can be obtained from it, such as plants sprouting, flowers blooming, and hands opening wide toward the sky."The cauldron's flame was the first at the Olympics to burn hydrogen as a fuel. The hydrogen was produced via the electrolysis of water using solar power produced at a plant in the Fukushima Prefecture. Hydrogen produced by this process is known as green hydrogen. The hydrogen burns with an invisible, colourless flame unlike propane, which has is traditionally used as a fuel in previous Olympic flames. In order to create a yellow and visible flame, sodium carbonate is sprayed. "[We] adjusted the movement and shape of the flame to shimmer like firewood was stoked; such an attempt to 'design flames' was unprecedented." said Nendo firm.
After the 2020 Summer Olympics, the true waterfront cauldron has remained in place as a reminder of the Games, as in 2016. | [
"Oki Sato",
"Naomi Osaka",
"Mount Fuji",
"Waseda University",
"Japan",
"hydrogen",
"closing ceremony",
"Hydrogen",
"1964",
"sakura flower",
"Nendo",
"Fukushima Prefecture",
"opening",
"Ariake West Canal",
"green hydrogen",
"electrolysis",
"2020 Summer Olympics",
"Olympic Stadium",
"Olympic Games",
"sodium carbonate",
"propane",
"Tokyo",
"Yoshinori Sakai"
] |
|
17771_NT | 2020 Summer Olympics cauldron | Focus on this artwork and analyze the abstract. | The 2020 Summer Olympics cauldron was made for the 2020 Summer Olympics in Tokyo, Japan. In fact, there were two cauldrons, one inside the Olympic Stadium that was used only at the (opening and closing ceremony only) and the actual one, which was located on Tokyo's new waterfront on Ariake West Canal, which was lit after the Opening Ceremony and remained alight throughout the Games. The cauldron was designed by Canadian-Japanese designer Oki Sato, who attended Waseda University, the same university as Yoshinori Sakai, the cauldron-lighter in 1964. The steps to reach the cauldron, symbolising Mount Fuji, were "designed to evoke the image of a blooming sakura flower."Designed by Nendo founder Oki Sato, the white cauldron evokes the opening ceremony's concept of "All gather under the sun, all are equal, and all receive energy". The panels opened to reveal the Olympic torch, at the ending of the opening ceremony, and was lit by Japanese tennis player Naomi Osaka. "At the end of the opening ceremony of the Olympic Games, the cauldron 'blooms' to welcome the final torchbearer," said Nendo. "This expresses not only the sun itself, but also the energy and vitality that can be obtained from it, such as plants sprouting, flowers blooming, and hands opening wide toward the sky."The cauldron's flame was the first at the Olympics to burn hydrogen as a fuel. The hydrogen was produced via the electrolysis of water using solar power produced at a plant in the Fukushima Prefecture. Hydrogen produced by this process is known as green hydrogen. The hydrogen burns with an invisible, colourless flame unlike propane, which has is traditionally used as a fuel in previous Olympic flames. In order to create a yellow and visible flame, sodium carbonate is sprayed. "[We] adjusted the movement and shape of the flame to shimmer like firewood was stoked; such an attempt to 'design flames' was unprecedented." said Nendo firm.
After the 2020 Summer Olympics, the true waterfront cauldron has remained in place as a reminder of the Games, as in 2016. | [
"Oki Sato",
"Naomi Osaka",
"Mount Fuji",
"Waseda University",
"Japan",
"hydrogen",
"closing ceremony",
"Hydrogen",
"1964",
"sakura flower",
"Nendo",
"Fukushima Prefecture",
"opening",
"Ariake West Canal",
"green hydrogen",
"electrolysis",
"2020 Summer Olympics",
"Olympic Stadium",
"Olympic Games",
"sodium carbonate",
"propane",
"Tokyo",
"Yoshinori Sakai"
] |
|
17772_T | Statue of Christopher Columbus (Richmond, Virginia) | In Statue of Christopher Columbus (Richmond, Virginia), how is the abstract discussed? | A statue of Christopher Columbus was installed in Richmond, Virginia in 1927, where it stood until 2020 when it was torn down by protestors in the wake of the murder of George Floyd and thrown into a nearby lake. | [
"murder of George Floyd",
"Richmond",
"Richmond, Virginia",
"Christopher Columbus"
] |
|
17772_NT | Statue of Christopher Columbus (Richmond, Virginia) | In this artwork, how is the abstract discussed? | A statue of Christopher Columbus was installed in Richmond, Virginia in 1927, where it stood until 2020 when it was torn down by protestors in the wake of the murder of George Floyd and thrown into a nearby lake. | [
"murder of George Floyd",
"Richmond",
"Richmond, Virginia",
"Christopher Columbus"
] |
|
17773_T | Statue of Christopher Columbus (Richmond, Virginia) | Focus on Statue of Christopher Columbus (Richmond, Virginia) and explore the History. | In 1925, Frank Realmuto (a Richmond barber) organized a campaign to donate a statue of Christopher Columbus to Richmond's Monument Avenue; this campaign was supported by Richmond's approximately 1,000 Italian-American residents. In May 1925, the Richmond City Council rejected a proposal to donate land for the statue alongside Monument Avenue on the basis that Columbus was both a foreigner and a Catholic; most of the council members believed that putting Columbus near monuments to revered Confederate figures would be inappropriate. This decision was widely criticized in newspaper editorials published across the United States, especially when it came to light that an opponent of the statue who spoke at the meeting was a member of a coalition that included the Ku Klux Klan. In June 1925, a committee of the Richmond city council decided to allocate land near Byrd Park for the statue. Fundraising began in February 1926 while Ferruccio Legnaioli, an Italian immigrant to Richmond, was selected to design the statue. Ground was broken in June 1926.
The statue was dedicated on December 9, 1927. Over 2,000 people attended the dedication despite near freezing temperatures. At the dedication, Virginia Governor Harry F. Byrd praised Italian dictator Benito Mussolini while Italian ambassador Giacomo de Martino claimed Italy sought peace. The ceremony concluded with de Martino pulling a cord to display an Italian and an American flag and the firing of a two-gun salute.For decades, members Richmond's Italian-American community gathered near the statue on the eve of Columbus Day to celebrate Columbus and their culture. During the 2010s, the statue was repeatedly vandalized; these vandalizations coincided with increased opposition to Columbus Day and efforts to recognize indigenous peoples. On June 9, 2020, the statue was torn down, spray-painted, set on fire, and thrown into a nearby lake by individuals protesting the May 2020 murder of George Floyd. The protestors stated they were acting in solidarity with Native Americans; vandalism to the statue's base noted it was built on land belonging to the Powhatan. The statue was recovered from the lake on June 10 and taken away to be stored in a secure place. | [
"salute",
"murder of George Floyd",
"Columbus Day",
"Powhatan",
"Harry F. Byrd",
"Native Americans",
"Richmond",
"Giacomo de Martino",
"gun salute",
"Christopher Columbus",
"Benito Mussolini",
"Monument Avenue",
"Ku Klux Klan"
] |
|
17773_NT | Statue of Christopher Columbus (Richmond, Virginia) | Focus on this artwork and explore the History. | In 1925, Frank Realmuto (a Richmond barber) organized a campaign to donate a statue of Christopher Columbus to Richmond's Monument Avenue; this campaign was supported by Richmond's approximately 1,000 Italian-American residents. In May 1925, the Richmond City Council rejected a proposal to donate land for the statue alongside Monument Avenue on the basis that Columbus was both a foreigner and a Catholic; most of the council members believed that putting Columbus near monuments to revered Confederate figures would be inappropriate. This decision was widely criticized in newspaper editorials published across the United States, especially when it came to light that an opponent of the statue who spoke at the meeting was a member of a coalition that included the Ku Klux Klan. In June 1925, a committee of the Richmond city council decided to allocate land near Byrd Park for the statue. Fundraising began in February 1926 while Ferruccio Legnaioli, an Italian immigrant to Richmond, was selected to design the statue. Ground was broken in June 1926.
The statue was dedicated on December 9, 1927. Over 2,000 people attended the dedication despite near freezing temperatures. At the dedication, Virginia Governor Harry F. Byrd praised Italian dictator Benito Mussolini while Italian ambassador Giacomo de Martino claimed Italy sought peace. The ceremony concluded with de Martino pulling a cord to display an Italian and an American flag and the firing of a two-gun salute.For decades, members Richmond's Italian-American community gathered near the statue on the eve of Columbus Day to celebrate Columbus and their culture. During the 2010s, the statue was repeatedly vandalized; these vandalizations coincided with increased opposition to Columbus Day and efforts to recognize indigenous peoples. On June 9, 2020, the statue was torn down, spray-painted, set on fire, and thrown into a nearby lake by individuals protesting the May 2020 murder of George Floyd. The protestors stated they were acting in solidarity with Native Americans; vandalism to the statue's base noted it was built on land belonging to the Powhatan. The statue was recovered from the lake on June 10 and taken away to be stored in a secure place. | [
"salute",
"murder of George Floyd",
"Columbus Day",
"Powhatan",
"Harry F. Byrd",
"Native Americans",
"Richmond",
"Giacomo de Martino",
"gun salute",
"Christopher Columbus",
"Benito Mussolini",
"Monument Avenue",
"Ku Klux Klan"
] |
|
17774_T | Statue of Christopher Columbus (Richmond, Virginia) | Focus on Statue of Christopher Columbus (Richmond, Virginia) and explain the Future. | In 2022, it was announced that the sculpture would be given to the Italian American Cultural Association of Virginia. A decision on its future placement has not been made. | [] |
|
17774_NT | Statue of Christopher Columbus (Richmond, Virginia) | Focus on this artwork and explain the Future. | In 2022, it was announced that the sculpture would be given to the Italian American Cultural Association of Virginia. A decision on its future placement has not been made. | [] |
|
17775_T | Promenade Bellerive Park | Explore the abstract of this artwork, Promenade Bellerive Park. | Promenade Bellerive Park (French: Parc de la Promenade-Bellerive) is an urban park in the Mercier–Hochelaga-Maisonneuve borough of Montreal, Quebec, Canada. It is located in between Notre Dame Street East and the Saint Lawrence River. It is 22 hectares (54 acres) large. Throughout its approximately 2km length, it faces the Boucherville Islands and Charron Island. A ferry service to Charron Island runs during the summer. | [
"Mercier–Hochelaga-Maisonneuve",
"Charron Island",
"Saint Lawrence River",
"ferry",
"Montreal",
"urban park",
"Notre Dame Street East",
"Boucherville Islands",
"Notre Dame Street",
"Quebec"
] |
|
17775_NT | Promenade Bellerive Park | Explore the abstract of this artwork. | Promenade Bellerive Park (French: Parc de la Promenade-Bellerive) is an urban park in the Mercier–Hochelaga-Maisonneuve borough of Montreal, Quebec, Canada. It is located in between Notre Dame Street East and the Saint Lawrence River. It is 22 hectares (54 acres) large. Throughout its approximately 2km length, it faces the Boucherville Islands and Charron Island. A ferry service to Charron Island runs during the summer. | [
"Mercier–Hochelaga-Maisonneuve",
"Charron Island",
"Saint Lawrence River",
"ferry",
"Montreal",
"urban park",
"Notre Dame Street East",
"Boucherville Islands",
"Notre Dame Street",
"Quebec"
] |
|
17776_T | Promenade Bellerive Park | Focus on Promenade Bellerive Park and discuss the History. | The City of Montreal obtained the land that would become Promenade Bellerive Park in 1893, following a land swap with the Canadian Pacific Railway (CPR). As part of the deal, CPR obtained a piece of land in Old Montreal on which Place Viger would eventually be constructed. In the 1960s, the City of Montreal first announced its plans to convert its waterfront land into a park. Earth from the digging of the Louis-Hippolyte Lafontaine Bridge-Tunnel was dumped on the site, and enlarged the piece of land by 800 feet (240 m) over more than a distance of over 2.2 kilometres (1.4 mi). The land was then used for the storage of road salt. During the winter the land was used by the city to dump snow into the river.Local citizens became frustrated at the slow pace it took for site to be transformed into a park. They worked with their local elected officials to facilitate the beginning of the work. In 1995, a floating dock was installed, providing summer ferry service to the Boucherville Islands. In 1997, most of the landscaping work was done and the welcome centre was built. | [
"Louis-Hippolyte Lafontaine Bridge-Tunnel",
"road salt",
"Place Viger",
"ferry",
"Montreal",
"Boucherville Islands",
"snow",
"Old Montreal",
"City of Montreal",
"Canadian Pacific Railway"
] |
|
17776_NT | Promenade Bellerive Park | Focus on this artwork and discuss the History. | The City of Montreal obtained the land that would become Promenade Bellerive Park in 1893, following a land swap with the Canadian Pacific Railway (CPR). As part of the deal, CPR obtained a piece of land in Old Montreal on which Place Viger would eventually be constructed. In the 1960s, the City of Montreal first announced its plans to convert its waterfront land into a park. Earth from the digging of the Louis-Hippolyte Lafontaine Bridge-Tunnel was dumped on the site, and enlarged the piece of land by 800 feet (240 m) over more than a distance of over 2.2 kilometres (1.4 mi). The land was then used for the storage of road salt. During the winter the land was used by the city to dump snow into the river.Local citizens became frustrated at the slow pace it took for site to be transformed into a park. They worked with their local elected officials to facilitate the beginning of the work. In 1995, a floating dock was installed, providing summer ferry service to the Boucherville Islands. In 1997, most of the landscaping work was done and the welcome centre was built. | [
"Louis-Hippolyte Lafontaine Bridge-Tunnel",
"road salt",
"Place Viger",
"ferry",
"Montreal",
"Boucherville Islands",
"snow",
"Old Montreal",
"City of Montreal",
"Canadian Pacific Railway"
] |
|
17777_T | Promenade Bellerive Park | How does Promenade Bellerive Park elucidate its Art? | In 2009, the sculpture Continuum 2009 (à la mémoire de Pierre Perrault) was installed in the park. It is a three-element abstract artwork made of weathering steel. The sculpture was created by Roland Poulin, in tribute to the filmmaker Pierre Perrault. Three elements form a series of vertical and horizontal planes that frame an empty space. People can enter the artwork by walking through its frame. | [
"Pierre Perrault",
"sculpture",
"weathering steel",
"Roland Poulin"
] |
|
17777_NT | Promenade Bellerive Park | How does this artwork elucidate its Art? | In 2009, the sculpture Continuum 2009 (à la mémoire de Pierre Perrault) was installed in the park. It is a three-element abstract artwork made of weathering steel. The sculpture was created by Roland Poulin, in tribute to the filmmaker Pierre Perrault. Three elements form a series of vertical and horizontal planes that frame an empty space. People can enter the artwork by walking through its frame. | [
"Pierre Perrault",
"sculpture",
"weathering steel",
"Roland Poulin"
] |
|
17778_T | Winter (sculpture) | Focus on Winter (sculpture) and analyze the abstract. | Winter is a bronze statue of a young woman cast by 18th century neoclassical sculptor Jean-Antoine Houdon in 1787. Houdon intended the statue to be an allegory of the winter season. This intent is reflected in both the medium (a cold, dark bronze) and features of the sculpture. Upon its completion, Winter and Bather, another work by Houdon, shocked the French artistic establishment with their perceived eroticism. Winter is currently on display at the Metropolitan Museum of Art. The statue is located in the Greek and Roman collection of the museum. | [
"allegory",
"eroticism",
"bronze statue",
"Bather",
"Jean-Antoine Houdon",
"Winter",
"Metropolitan Museum of Art",
"neoclassical",
"winter season"
] |
|
17778_NT | Winter (sculpture) | Focus on this artwork and analyze the abstract. | Winter is a bronze statue of a young woman cast by 18th century neoclassical sculptor Jean-Antoine Houdon in 1787. Houdon intended the statue to be an allegory of the winter season. This intent is reflected in both the medium (a cold, dark bronze) and features of the sculpture. Upon its completion, Winter and Bather, another work by Houdon, shocked the French artistic establishment with their perceived eroticism. Winter is currently on display at the Metropolitan Museum of Art. The statue is located in the Greek and Roman collection of the museum. | [
"allegory",
"eroticism",
"bronze statue",
"Bather",
"Jean-Antoine Houdon",
"Winter",
"Metropolitan Museum of Art",
"neoclassical",
"winter season"
] |
|
17779_T | Winter (sculpture) | In Winter (sculpture), how is the Description discussed? | Winter depicts the nubile form of a young woman clad only in a shawl. The woman's arms are crossed across her chest and stomach, pressing her scant garment to her skin. Her gaze is downcast, while her right leg is slightly elevated and crossed before her left, pulling her body into a defensive posture. In terms of her clothing, the Metropolitan Museum of Art describes it as "elegant but hardly adequate". The hem of her shawl is visibly frayed, and the cloth barely covers her sensual body. | [
"shawl",
"Winter",
"Metropolitan Museum of Art"
] |
|
17779_NT | Winter (sculpture) | In this artwork, how is the Description discussed? | Winter depicts the nubile form of a young woman clad only in a shawl. The woman's arms are crossed across her chest and stomach, pressing her scant garment to her skin. Her gaze is downcast, while her right leg is slightly elevated and crossed before her left, pulling her body into a defensive posture. In terms of her clothing, the Metropolitan Museum of Art describes it as "elegant but hardly adequate". The hem of her shawl is visibly frayed, and the cloth barely covers her sensual body. | [
"shawl",
"Winter",
"Metropolitan Museum of Art"
] |
|
17780_T | Portrait of an Artist (Pool with Two Figures) | Focus on Portrait of an Artist (Pool with Two Figures) and explore the abstract. | Portrait of an Artist (Pool with Two Figures) is a large acrylic-on-canvas pop art painting by British artist David Hockney, completed in May 1972. It measures 7 ft × 10 ft (2.1 m × 3.0 m), and depicts two figures: one swimming underwater and one clothed male figure looking down at the swimmer. In November 2018, it sold for US$90.3 million, at that time the highest price ever paid at auction for a painting by a living artist. | [
"David Hockney",
"highest price ever paid at auction for a painting by a living artist",
"acrylic",
"pop art"
] |
|
17780_NT | Portrait of an Artist (Pool with Two Figures) | Focus on this artwork and explore the abstract. | Portrait of an Artist (Pool with Two Figures) is a large acrylic-on-canvas pop art painting by British artist David Hockney, completed in May 1972. It measures 7 ft × 10 ft (2.1 m × 3.0 m), and depicts two figures: one swimming underwater and one clothed male figure looking down at the swimmer. In November 2018, it sold for US$90.3 million, at that time the highest price ever paid at auction for a painting by a living artist. | [
"David Hockney",
"highest price ever paid at auction for a painting by a living artist",
"acrylic",
"pop art"
] |
|
17781_T | Portrait of an Artist (Pool with Two Figures) | Focus on Portrait of an Artist (Pool with Two Figures) and explain the Background. | Hockney visited California for the first time in January 1964 after a successful first solo exhibition at the John Kasmin gallery. The United States fascinated him, and Los Angeles in particular, partly because of the influence of Hollywood cinema but also because of the modernist building Case Study House #21. As a gay man, he was also a fan of the beefcake magazine Physique Pictorial, which was published in Los Angeles. "I instinctively knew I was going to like it," Hockney said, "and as I flew over San Bernardino and saw the swimming pools and the houses and everything and the sun, I was more thrilled than I have ever been in arriving in any city."Hockney painted the first of his pool paintings, California Art Collector in 1964, and the swimming pool became a recurring theme in his paintings, such as Peter Getting Out of Nick's Pool (1966, Walker Art Gallery, Liverpool) and most notably A Bigger Splash (1967, Tate Gallery). He painted a series of double portraits from 1968 to 1977, including American Collectors (Fred and Marcia Weisman) (1968, Art Institute of Chicago), and Mr and Mrs Clark and Percy (1971, Tate Gallery). | [
"Mr and Mrs Clark and Percy",
"Physique Pictorial",
"Art Institute of Chicago",
"A Bigger Splash",
"California",
"beefcake magazine",
"Tate",
"Peter Getting Out of Nick's Pool",
"Tate Gallery",
"Liverpool",
"Walker Art Gallery",
"John Kasmin",
"Case Study House #21",
"American Collectors (Fred and Marcia Weisman)"
] |
|
17781_NT | Portrait of an Artist (Pool with Two Figures) | Focus on this artwork and explain the Background. | Hockney visited California for the first time in January 1964 after a successful first solo exhibition at the John Kasmin gallery. The United States fascinated him, and Los Angeles in particular, partly because of the influence of Hollywood cinema but also because of the modernist building Case Study House #21. As a gay man, he was also a fan of the beefcake magazine Physique Pictorial, which was published in Los Angeles. "I instinctively knew I was going to like it," Hockney said, "and as I flew over San Bernardino and saw the swimming pools and the houses and everything and the sun, I was more thrilled than I have ever been in arriving in any city."Hockney painted the first of his pool paintings, California Art Collector in 1964, and the swimming pool became a recurring theme in his paintings, such as Peter Getting Out of Nick's Pool (1966, Walker Art Gallery, Liverpool) and most notably A Bigger Splash (1967, Tate Gallery). He painted a series of double portraits from 1968 to 1977, including American Collectors (Fred and Marcia Weisman) (1968, Art Institute of Chicago), and Mr and Mrs Clark and Percy (1971, Tate Gallery). | [
"Mr and Mrs Clark and Percy",
"Physique Pictorial",
"Art Institute of Chicago",
"A Bigger Splash",
"California",
"beefcake magazine",
"Tate",
"Peter Getting Out of Nick's Pool",
"Tate Gallery",
"Liverpool",
"Walker Art Gallery",
"John Kasmin",
"Case Study House #21",
"American Collectors (Fred and Marcia Weisman)"
] |
|
17782_T | Portrait of an Artist (Pool with Two Figures) | Explore the Composition of this artwork, Portrait of an Artist (Pool with Two Figures). | This work brings together two of Hockney's themes from his paintings of the late 1960s and early 1970s: the swimming pool, and the double portrait. It depicts a male figure in white trunks swimming breaststroke underwater, and the painter Peter Schlesinger, Hockney's former lover and muse, fully clothed and standing at the edge of the pool looking down at the swimmer. The painting is set in southern France, near Saint-Tropez. In characteristic Hockney style, the foreground is simplified and flattened with a view of tree-clad hills in the background.
The composition was inspired by a serendipitous combination of photographs that Hockney noticed on his studio floor: one of a man swimming underwater, taken in California in 1966, and the other of a man standing looking at the ground. Juxtaposed, it appeared as if the standing person were looking at the swimmer. Hockney's relationship with Schlesinger had ended abruptly in 1971, following a fight in Cadaqués. "By showing another young man swimming towards Peter, the artist acknowledges lost love and his boyfriend’s desire for a new partner". The painting can be viewed as fitting into a European tradition since the Renaissance of depicting the nude bathing, washing off the stain of pollution amid the peace of nature.Hockney worked on the painting for four months in late 1971, but dissatisfied with the composition, in particular with the angle of the pool, abandoned the work and started afresh. He then travelled for several months with Mark Lancaster, and returned to the work in early 1972. The year 1972 was a very productive year for Hockney, as he threw himself into his work to escape from his unhappiness, often working 14 or 15 hours a day. Around the same time, he was working on his (unfinished) double portrait of George Lawson and Wayne Sleep (1972-5, Tate).
In April 1972, Hockney flew to the south of France to better visualise the figure swimming underwater, using the pool at film director Tony Richardson's villa at Le Nid du Duc near Saint-Tropez to do so. Hockney's studio assistant, Mo McDermott, recreated the pose of the downcast man, while a young photographer, John St Clair, was the swimmer. Hockney took hundreds of photographs based on his original composition.Back at his London studio, Hockney assembled the photos along with photographs of Peter Schlesinger taken in Kensington Gardens wearing the same pink jacket. Hockney worked on the painting for two weeks, working 18-hour days, completing and varnishing it only the night before it was due to be shipped to New York for the exhibition at André Emmerich Gallery. It was first shown in the exhibition Paintings and Drawings, which ran from 13 to 31 May 1972.Hockney said of the painting, "I must admit I loved working on that picture, [...] working with such intensity; it was marvellous doing it, really thrilling"The creation of the painting and the breakdown of Hockney's relationship with Schlesinger were featured in the semi-fictional 1974 documentary A Bigger Splash, named after the 1967 Hockney painting. | [
"Saint-Tropez",
"Cadaqués",
"A Bigger Splash",
"California",
"Kensington Gardens",
"Renaissance",
"Tate",
"André Emmerich",
"Peter Schlesinger",
"breaststroke",
"Tony Richardson"
] |
|
17782_NT | Portrait of an Artist (Pool with Two Figures) | Explore the Composition of this artwork. | This work brings together two of Hockney's themes from his paintings of the late 1960s and early 1970s: the swimming pool, and the double portrait. It depicts a male figure in white trunks swimming breaststroke underwater, and the painter Peter Schlesinger, Hockney's former lover and muse, fully clothed and standing at the edge of the pool looking down at the swimmer. The painting is set in southern France, near Saint-Tropez. In characteristic Hockney style, the foreground is simplified and flattened with a view of tree-clad hills in the background.
The composition was inspired by a serendipitous combination of photographs that Hockney noticed on his studio floor: one of a man swimming underwater, taken in California in 1966, and the other of a man standing looking at the ground. Juxtaposed, it appeared as if the standing person were looking at the swimmer. Hockney's relationship with Schlesinger had ended abruptly in 1971, following a fight in Cadaqués. "By showing another young man swimming towards Peter, the artist acknowledges lost love and his boyfriend’s desire for a new partner". The painting can be viewed as fitting into a European tradition since the Renaissance of depicting the nude bathing, washing off the stain of pollution amid the peace of nature.Hockney worked on the painting for four months in late 1971, but dissatisfied with the composition, in particular with the angle of the pool, abandoned the work and started afresh. He then travelled for several months with Mark Lancaster, and returned to the work in early 1972. The year 1972 was a very productive year for Hockney, as he threw himself into his work to escape from his unhappiness, often working 14 or 15 hours a day. Around the same time, he was working on his (unfinished) double portrait of George Lawson and Wayne Sleep (1972-5, Tate).
In April 1972, Hockney flew to the south of France to better visualise the figure swimming underwater, using the pool at film director Tony Richardson's villa at Le Nid du Duc near Saint-Tropez to do so. Hockney's studio assistant, Mo McDermott, recreated the pose of the downcast man, while a young photographer, John St Clair, was the swimmer. Hockney took hundreds of photographs based on his original composition.Back at his London studio, Hockney assembled the photos along with photographs of Peter Schlesinger taken in Kensington Gardens wearing the same pink jacket. Hockney worked on the painting for two weeks, working 18-hour days, completing and varnishing it only the night before it was due to be shipped to New York for the exhibition at André Emmerich Gallery. It was first shown in the exhibition Paintings and Drawings, which ran from 13 to 31 May 1972.Hockney said of the painting, "I must admit I loved working on that picture, [...] working with such intensity; it was marvellous doing it, really thrilling"The creation of the painting and the breakdown of Hockney's relationship with Schlesinger were featured in the semi-fictional 1974 documentary A Bigger Splash, named after the 1967 Hockney painting. | [
"Saint-Tropez",
"Cadaqués",
"A Bigger Splash",
"California",
"Kensington Gardens",
"Renaissance",
"Tate",
"André Emmerich",
"Peter Schlesinger",
"breaststroke",
"Tony Richardson"
] |
|
17783_T | Portrait of an Artist (Pool with Two Figures) | Focus on Portrait of an Artist (Pool with Two Figures) and discuss the Sale history. | The painting was originally sold to James Astor and his wife in 1972 for $18,000 (equivalent to $126,000 in 2022). Six months later it was sold on for $50,000 (equivalent to $350,000 in 2022). It was acquired in 1983 by the American billionaire David Geffen, who sold it to British billionaire Joe Lewis in 1995 at an undisclosed price.It was included in the Hockney exhibition, which toured the Tate Gallery, the Metropolitan Museum of Art and the Centre Georges Pompidou from February 2017 to February 2018.On 15 November 2018, in nine minutes of bidding, it was sold to an unknown buyer for $90.3 million at Christie's auction house in New York City, setting an auction record for a living artist. The sale broke the previous record for a living artist of $58 million for Jeff Koons' Balloon Dog (Orange) in 2013 and more than tripled the record for a work by Hockney, $28.5 million for Pacific Coast Highway and Santa Monica set in May 2018. The highest known prices for a painting by a living artist in private sales are for two paintings by Jasper Johns (born 1930): in 2006, Kenneth C. Griffin bought Johns' False Start for about $80 million ($116 million in 2022) from David Geffen, and in 2010 Steven A. Cohen bought Johns' 1958 Flag for around $110 million (equivalent to $148 million in 2022) from Leo Castelli's son. | [
"Joe Lewis",
"auction record for a living artist",
"Kenneth C. Griffin",
"Centre Georges Pompidou",
"Jasper Johns",
"Tate",
"Tate Gallery",
"Steven A. Cohen",
"David Geffen",
"Christie's",
"Jeff Koons",
"Leo Castelli",
"Metropolitan Museum of Art"
] |
|
17783_NT | Portrait of an Artist (Pool with Two Figures) | Focus on this artwork and discuss the Sale history. | The painting was originally sold to James Astor and his wife in 1972 for $18,000 (equivalent to $126,000 in 2022). Six months later it was sold on for $50,000 (equivalent to $350,000 in 2022). It was acquired in 1983 by the American billionaire David Geffen, who sold it to British billionaire Joe Lewis in 1995 at an undisclosed price.It was included in the Hockney exhibition, which toured the Tate Gallery, the Metropolitan Museum of Art and the Centre Georges Pompidou from February 2017 to February 2018.On 15 November 2018, in nine minutes of bidding, it was sold to an unknown buyer for $90.3 million at Christie's auction house in New York City, setting an auction record for a living artist. The sale broke the previous record for a living artist of $58 million for Jeff Koons' Balloon Dog (Orange) in 2013 and more than tripled the record for a work by Hockney, $28.5 million for Pacific Coast Highway and Santa Monica set in May 2018. The highest known prices for a painting by a living artist in private sales are for two paintings by Jasper Johns (born 1930): in 2006, Kenneth C. Griffin bought Johns' False Start for about $80 million ($116 million in 2022) from David Geffen, and in 2010 Steven A. Cohen bought Johns' 1958 Flag for around $110 million (equivalent to $148 million in 2022) from Leo Castelli's son. | [
"Joe Lewis",
"auction record for a living artist",
"Kenneth C. Griffin",
"Centre Georges Pompidou",
"Jasper Johns",
"Tate",
"Tate Gallery",
"Steven A. Cohen",
"David Geffen",
"Christie's",
"Jeff Koons",
"Leo Castelli",
"Metropolitan Museum of Art"
] |
|
17784_T | Portrait of an Artist (Pool with Two Figures) | How does Portrait of an Artist (Pool with Two Figures) elucidate its Pop culture influence? | In the American adult animated television series BoJack Horseman a painting in Bojack's house is based on Portrait of an Artist (Pool with Two Figures).
The cover art of the Mr. Oizo album Stade 2, by the artist So Me, is a deconstructed reinterpretation of Portrait of an Artist (Pool with Two Figures). | [
"BoJack Horseman",
"Mr. Oizo",
"So Me",
"Stade 2"
] |
|
17784_NT | Portrait of an Artist (Pool with Two Figures) | How does this artwork elucidate its Pop culture influence? | In the American adult animated television series BoJack Horseman a painting in Bojack's house is based on Portrait of an Artist (Pool with Two Figures).
The cover art of the Mr. Oizo album Stade 2, by the artist So Me, is a deconstructed reinterpretation of Portrait of an Artist (Pool with Two Figures). | [
"BoJack Horseman",
"Mr. Oizo",
"So Me",
"Stade 2"
] |
|
17785_T | Invaders (Wiley) | Focus on Invaders (Wiley) and analyze the abstract. | Invaders is a 1981 sculpture by Gary Wiley, installed on the Massachusetts Institute of Technology (MIT) campus, in Cambridge, Massachusetts, United States. | [
"Gary Wiley",
"Massachusetts Institute of Technology",
"Cambridge, Massachusetts"
] |
|
17785_NT | Invaders (Wiley) | Focus on this artwork and analyze the abstract. | Invaders is a 1981 sculpture by Gary Wiley, installed on the Massachusetts Institute of Technology (MIT) campus, in Cambridge, Massachusetts, United States. | [
"Gary Wiley",
"Massachusetts Institute of Technology",
"Cambridge, Massachusetts"
] |
|
17786_T | Invaders (Wiley) | In Invaders (Wiley), how is the Description and history discussed? | The work was commissioned by MIT Percent-for-Art Funds. Conceived as a "reconfigurable installation", Invaders features four different wrought iron and soft steel butterflies mounted to the exterior of MIT Building 57, "individually articulated with colored and mirrored plexiglass, colored marbles, and fluorescent paint".Invaders has been installed on the outside of several campus buildings. Until 2019, the artwork was installed on the exterior of MIT Building 44. | [] |
|
17786_NT | Invaders (Wiley) | In this artwork, how is the Description and history discussed? | The work was commissioned by MIT Percent-for-Art Funds. Conceived as a "reconfigurable installation", Invaders features four different wrought iron and soft steel butterflies mounted to the exterior of MIT Building 57, "individually articulated with colored and mirrored plexiglass, colored marbles, and fluorescent paint".Invaders has been installed on the outside of several campus buildings. Until 2019, the artwork was installed on the exterior of MIT Building 44. | [] |
|
17787_T | Bust of Haile Selassie | Focus on Bust of Haile Selassie and explore the abstract. | A bust of the Ethiopian emperor Haile Selassie formerly stood in Cannizaro Park in Wimbledon Common, London. A work of the sculptor Hilda Seligman, it was destroyed in June 2020. | [
"Wimbledon",
"Cannizaro Park",
"Hilda Seligman",
"emperor",
"Ethiopia",
"Haile Selassie",
"Wimbledon Common",
"London"
] |
|
17787_NT | Bust of Haile Selassie | Focus on this artwork and explore the abstract. | A bust of the Ethiopian emperor Haile Selassie formerly stood in Cannizaro Park in Wimbledon Common, London. A work of the sculptor Hilda Seligman, it was destroyed in June 2020. | [
"Wimbledon",
"Cannizaro Park",
"Hilda Seligman",
"emperor",
"Ethiopia",
"Haile Selassie",
"Wimbledon Common",
"London"
] |
|
17788_T | Time Defeated by Love, Beauty and Hope | Focus on Time Defeated by Love, Beauty and Hope and explain the abstract. | Time Defeated by Love, Beauty and Hope or Allegory of Time and Beauty is a 1627 oil-on-canvas painting by the French artist Simon Vouet. It is held in the Museo del Prado, in Madrid, which bought it in London in 1954. | [
"Simon Vouet",
"London",
"Museo del Prado",
"Madrid"
] |
|
17788_NT | Time Defeated by Love, Beauty and Hope | Focus on this artwork and explain the abstract. | Time Defeated by Love, Beauty and Hope or Allegory of Time and Beauty is a 1627 oil-on-canvas painting by the French artist Simon Vouet. It is held in the Museo del Prado, in Madrid, which bought it in London in 1954. | [
"Simon Vouet",
"London",
"Museo del Prado",
"Madrid"
] |
|
17789_T | Time Defeated by Love, Beauty and Hope | Explore the Description of this artwork, Time Defeated by Love, Beauty and Hope. | The titan Cronus is personified as the inexorable Time that devours everything, only occasionally stopped or defeated by Love, Beauty and Hope. The allegory is shown in a somewhat humorous and jovial way.Time, with the scythe of death and an hourglass, is brought down by Beauty and Hope, helped by some putti, who attack the old man on the ground, in a humorous way, biting and plucking his wings. A wreath of flowers identifies Hope, wearing a brown dress, who uses an anchor, while a naked and smiling Beauty, for whom Vouet is believed to have used his wife, Virginia Vezzi, as a model, helds a spear in his direction, and is also pulling out some of his hair. The scene has for background a rock and some trees while to the right extends a landscape with the sea visible in the distance. | [
"putti",
"Cronus",
"Virginia Vezzi"
] |
|
17789_NT | Time Defeated by Love, Beauty and Hope | Explore the Description of this artwork. | The titan Cronus is personified as the inexorable Time that devours everything, only occasionally stopped or defeated by Love, Beauty and Hope. The allegory is shown in a somewhat humorous and jovial way.Time, with the scythe of death and an hourglass, is brought down by Beauty and Hope, helped by some putti, who attack the old man on the ground, in a humorous way, biting and plucking his wings. A wreath of flowers identifies Hope, wearing a brown dress, who uses an anchor, while a naked and smiling Beauty, for whom Vouet is believed to have used his wife, Virginia Vezzi, as a model, helds a spear in his direction, and is also pulling out some of his hair. The scene has for background a rock and some trees while to the right extends a landscape with the sea visible in the distance. | [
"putti",
"Cronus",
"Virginia Vezzi"
] |
|
17790_T | Autoportrait (Tamara in a Green Bugatti) | Focus on Autoportrait (Tamara in a Green Bugatti) and discuss the abstract. | Autoportrait (Tamara in a Green Bugatti) is a self-portrait by the Polish artist Tamara de Lempicka, which she painted in Paris in 1928. It was commissioned by the German fashion magazine Die Dame for the cover of the magazine, to celebrate the independence of women. It is one of the best-known examples of Art Deco portrait painting. | [
"Die Dame",
"Tamara de Lempicka",
"Polish",
"self-portrait",
"Art Deco",
"Bugatti"
] |
|
17790_NT | Autoportrait (Tamara in a Green Bugatti) | Focus on this artwork and discuss the abstract. | Autoportrait (Tamara in a Green Bugatti) is a self-portrait by the Polish artist Tamara de Lempicka, which she painted in Paris in 1928. It was commissioned by the German fashion magazine Die Dame for the cover of the magazine, to celebrate the independence of women. It is one of the best-known examples of Art Deco portrait painting. | [
"Die Dame",
"Tamara de Lempicka",
"Polish",
"self-portrait",
"Art Deco",
"Bugatti"
] |
|
17791_T | Autoportrait (Tamara in a Green Bugatti) | How does Autoportrait (Tamara in a Green Bugatti) elucidate its Description? | In 1928, De Lempicka was commissioned to make a self-portrait for the cover of the German fashion magazine Die Dame. The painting she produced showed her at the wheel of a Bugatti racing car, wearing a leather helmet and gloves and wrapped in a gray scarf. She portrayed herself as a personification of cold beauty, independence, wealth and inaccessibility. In fact she did not own a Bugatti automobile; her own car was a small yellow Renault, which was stolen one night when she and her friends were celebrating at Café de la Rotonde in Montparnasse.
Although De Lempicka's portrait shows the steering wheel on the left side of the car, the Bugatti models 23, 43 and 46 of that period actually had the steering wheel on the right side. | [
"Die Dame",
"Café de la Rotonde",
"Montparnasse",
"self-portrait",
"Renault",
"Bugatti"
] |
|
17791_NT | Autoportrait (Tamara in a Green Bugatti) | How does this artwork elucidate its Description? | In 1928, De Lempicka was commissioned to make a self-portrait for the cover of the German fashion magazine Die Dame. The painting she produced showed her at the wheel of a Bugatti racing car, wearing a leather helmet and gloves and wrapped in a gray scarf. She portrayed herself as a personification of cold beauty, independence, wealth and inaccessibility. In fact she did not own a Bugatti automobile; her own car was a small yellow Renault, which was stolen one night when she and her friends were celebrating at Café de la Rotonde in Montparnasse.
Although De Lempicka's portrait shows the steering wheel on the left side of the car, the Bugatti models 23, 43 and 46 of that period actually had the steering wheel on the right side. | [
"Die Dame",
"Café de la Rotonde",
"Montparnasse",
"self-portrait",
"Renault",
"Bugatti"
] |
|
17792_T | Autoportrait (Tamara in a Green Bugatti) | Focus on Autoportrait (Tamara in a Green Bugatti) and analyze the Influences. | De Lempicka developed her painting skills among the avant-garde art and literature movements of Neo-Cubism, Futurism, and Art Deco of the "Lost Generation". She studied at the Académie Ranson under Maurice Denis, although she only credited him for her draftsmanship skills. One of her main influences was the Neo-cubist André Lhote (professor to De Lempicka at the Académie de la Grande Chaumière).A possible influence for this particular picture might have been by André Kertész, who was living in Paris in the 1920s and whose 1927 photo has a very similar composition. | [
"Maurice Denis",
"draftsmanship",
"Cubism",
"Académie Ranson",
"Futurism",
"André Lhote",
"Académie de la Grande Chaumière",
"Art Deco",
"André Kertész",
"avant-garde",
"Lost Generation"
] |
|
17792_NT | Autoportrait (Tamara in a Green Bugatti) | Focus on this artwork and analyze the Influences. | De Lempicka developed her painting skills among the avant-garde art and literature movements of Neo-Cubism, Futurism, and Art Deco of the "Lost Generation". She studied at the Académie Ranson under Maurice Denis, although she only credited him for her draftsmanship skills. One of her main influences was the Neo-cubist André Lhote (professor to De Lempicka at the Académie de la Grande Chaumière).A possible influence for this particular picture might have been by André Kertész, who was living in Paris in the 1920s and whose 1927 photo has a very similar composition. | [
"Maurice Denis",
"draftsmanship",
"Cubism",
"Académie Ranson",
"Futurism",
"André Lhote",
"Académie de la Grande Chaumière",
"Art Deco",
"André Kertész",
"avant-garde",
"Lost Generation"
] |
|
17793_T | Autoportrait (Tamara in a Green Bugatti) | In Autoportrait (Tamara in a Green Bugatti), how is the Patron discussed? | The female editor of Die Dame, a popular German fashion magazine, encountered De Lempicka in Monte Carlo while the almost-divorced baroness was on vacation and commissioned her to paint a self-portrait for an upcoming cover. De Lempicka replaced her yellow Renault with a green Bugatti because she believed that a green Bugatti appeared more elite and more beautiful. | [
"Die Dame",
"self-portrait",
"Renault",
"Monte Carlo",
"Bugatti"
] |
|
17793_NT | Autoportrait (Tamara in a Green Bugatti) | In this artwork, how is the Patron discussed? | The female editor of Die Dame, a popular German fashion magazine, encountered De Lempicka in Monte Carlo while the almost-divorced baroness was on vacation and commissioned her to paint a self-portrait for an upcoming cover. De Lempicka replaced her yellow Renault with a green Bugatti because she believed that a green Bugatti appeared more elite and more beautiful. | [
"Die Dame",
"self-portrait",
"Renault",
"Monte Carlo",
"Bugatti"
] |
|
17794_T | Portrait of Maddalena Doni | Focus on Portrait of Maddalena Doni and explain the abstract. | The Portrait of Maddalena Doni is an oil painting by Italian Renaissance master Raphael, made c. 1506. It is housed in the Uffizi in Florence. | [
"Florence",
"oil painting",
"Maddalena",
"Raphael",
"Uffizi"
] |
|
17794_NT | Portrait of Maddalena Doni | Focus on this artwork and explain the abstract. | The Portrait of Maddalena Doni is an oil painting by Italian Renaissance master Raphael, made c. 1506. It is housed in the Uffizi in Florence. | [
"Florence",
"oil painting",
"Maddalena",
"Raphael",
"Uffizi"
] |
|
17795_T | Portrait of Maddalena Doni | Explore the Story of this artwork, Portrait of Maddalena Doni. | The portrait is one of a pair that depict a recently married merchant and his wife.
Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.
But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels (which draw one's attention to the couple's wealth) is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.
These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity. | [
"Leonardo da Vinci",
"nature",
"Mona Lisa",
"Maddalena",
"Raphael"
] |
|
17795_NT | Portrait of Maddalena Doni | Explore the Story of this artwork. | The portrait is one of a pair that depict a recently married merchant and his wife.
Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.
But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels (which draw one's attention to the couple's wealth) is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.
These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity. | [
"Leonardo da Vinci",
"nature",
"Mona Lisa",
"Maddalena",
"Raphael"
] |
|
17796_T | Jolly Toper | Focus on Jolly Toper and discuss the abstract. | The Jolly Toper is a 1629 oil painting by the Dutch artist Judith Leyster in the collection of the Rijksmuseum that is on long-term loan to the Frans Hals Museum since 1959. It was acquired by the museum as a painting by Frans Hals and was attributed to Leyster by the researcher Juliane Harms in 1927. | [
"Rijksmuseum",
"Frans Hals",
"Frans Hals Museum",
"Judith Leyster"
] |
|
17796_NT | Jolly Toper | Focus on this artwork and discuss the abstract. | The Jolly Toper is a 1629 oil painting by the Dutch artist Judith Leyster in the collection of the Rijksmuseum that is on long-term loan to the Frans Hals Museum since 1959. It was acquired by the museum as a painting by Frans Hals and was attributed to Leyster by the researcher Juliane Harms in 1927. | [
"Rijksmuseum",
"Frans Hals",
"Frans Hals Museum",
"Judith Leyster"
] |
|
17797_T | Jolly Toper | How does Jolly Toper elucidate its Provenance? | The painting was sold in Hotel Drouot in Paris in 1890 as by Hals or a son to Schiff and was bought by the Rijksmuseum in 1897 from F. Kleinberger of Paris. The painting is signed and dated on the back wall above the tankard.
According to Hofrichter, the scene shows the popular Peeckelhaeringh figure in 17th-century comic plays. The Peeckelhaeringh or Pekelharing character is often shown as a "Kannenkijker", or jug-looker. This is a signal that the mug is empty and the show is over. The figure in this painting bears a resemblance to another, similar painting, also by Leyster, but less finished. | [
"Rijksmuseum",
"F. Kleinberger",
"Peeckelhaeringh"
] |
|
17797_NT | Jolly Toper | How does this artwork elucidate its Provenance? | The painting was sold in Hotel Drouot in Paris in 1890 as by Hals or a son to Schiff and was bought by the Rijksmuseum in 1897 from F. Kleinberger of Paris. The painting is signed and dated on the back wall above the tankard.
According to Hofrichter, the scene shows the popular Peeckelhaeringh figure in 17th-century comic plays. The Peeckelhaeringh or Pekelharing character is often shown as a "Kannenkijker", or jug-looker. This is a signal that the mug is empty and the show is over. The figure in this painting bears a resemblance to another, similar painting, also by Leyster, but less finished. | [
"Rijksmuseum",
"F. Kleinberger",
"Peeckelhaeringh"
] |
|
17798_T | Statuette of the lady Tiye | Focus on Statuette of the lady Tiye and analyze the abstract. | The Statuette of the lady Tiye is a wooden statue of a high-status woman from the reign of Amenhotep III to Akhenaten (ca. 1390–1349 B.C); Dynasty 18 of the New Kingdom of ancient Egypt. Believed to depict a leading servant of the powerful Great Royal Wife Tiye (her superior, with whom she may have shared the same name), her title has been variously translated over the years as "Chief of Weavers" / "Chief of the Household" / "mistress of the harim". It is one of only about 160 wooden statues (80 of them female) discovered from the New Kingdom. It currently resides in the Metropolitan Museum of Art. | [
"New Kingdom",
"harim",
"Tiye",
"Amenhotep III",
"Metropolitan Museum of Art"
] |
|
17798_NT | Statuette of the lady Tiye | Focus on this artwork and analyze the abstract. | The Statuette of the lady Tiye is a wooden statue of a high-status woman from the reign of Amenhotep III to Akhenaten (ca. 1390–1349 B.C); Dynasty 18 of the New Kingdom of ancient Egypt. Believed to depict a leading servant of the powerful Great Royal Wife Tiye (her superior, with whom she may have shared the same name), her title has been variously translated over the years as "Chief of Weavers" / "Chief of the Household" / "mistress of the harim". It is one of only about 160 wooden statues (80 of them female) discovered from the New Kingdom. It currently resides in the Metropolitan Museum of Art. | [
"New Kingdom",
"harim",
"Tiye",
"Amenhotep III",
"Metropolitan Museum of Art"
] |
|
17799_T | Statuette of the lady Tiye | In Statuette of the lady Tiye, how is the Description discussed? | The statuette shows Tiye standing upright and was found in 1900 together with four other statuettes of women and one statue of a young girl in a tomb near Gurob. The tomb also contained several cosmetic objects, including alabaster vessels and a mirror. Some objects were inscribed with the name of king Amenhotep III and his wife queen Tiye, providing a dating for the burial.
In addition to wood, it is embellished with gold, semi-precious stones, and glass, used for the jewelry around her neck. Her left arm is bent to hold her dress. Around her neck are beads of "gold, carnelian, and other semi-precious stones" assembled into a necklace. She wears a long wig and a "soft, diaphanous robe", which hangs over her left shoulder, cinches at her waist, and extends down to her feet. The "wondrously elaborate" wig is intricately detailed and carefully rendered, including three long braids at the back of her head. The detail of the wig stands in contrast to that of her relatively simple dress, which uses sharp sunken lines to indicate gathering in the fabric around her arm and imprecise hashing for patterns on the garment. Like most female wooden statues, she stands barefoot with her left foot slightly forward. She stands on a base inscribed with an offering passage to Mut, Lady of Heaven, and gives Tiye's title of Chief of Weavers. | [
"Gurob",
"offering passage",
"Tiye",
"Mut",
"Amenhotep III",
"carnelian"
] |
|
17799_NT | Statuette of the lady Tiye | In this artwork, how is the Description discussed? | The statuette shows Tiye standing upright and was found in 1900 together with four other statuettes of women and one statue of a young girl in a tomb near Gurob. The tomb also contained several cosmetic objects, including alabaster vessels and a mirror. Some objects were inscribed with the name of king Amenhotep III and his wife queen Tiye, providing a dating for the burial.
In addition to wood, it is embellished with gold, semi-precious stones, and glass, used for the jewelry around her neck. Her left arm is bent to hold her dress. Around her neck are beads of "gold, carnelian, and other semi-precious stones" assembled into a necklace. She wears a long wig and a "soft, diaphanous robe", which hangs over her left shoulder, cinches at her waist, and extends down to her feet. The "wondrously elaborate" wig is intricately detailed and carefully rendered, including three long braids at the back of her head. The detail of the wig stands in contrast to that of her relatively simple dress, which uses sharp sunken lines to indicate gathering in the fabric around her arm and imprecise hashing for patterns on the garment. Like most female wooden statues, she stands barefoot with her left foot slightly forward. She stands on a base inscribed with an offering passage to Mut, Lady of Heaven, and gives Tiye's title of Chief of Weavers. | [
"Gurob",
"offering passage",
"Tiye",
"Mut",
"Amenhotep III",
"carnelian"
] |
|
17800_T | Statuette of the lady Tiye | Focus on Statuette of the lady Tiye and explore the Material. | Wooden statuary was almost as common as stone statuary in Ancient Egypt, but due to its susceptibility to continuous decay and damage from the presence of termites at the time, this statuette is one of a very small group that remain. Over three-quarters of discovered New Kingdom wood statues are from the reign of Amenhotep III to the end of the dynasty.
The statuette is made of ebony. It was likely made from only two pieces; the figure from one piece of wood, and the base from another, since statues smaller than 30 cm were usually carved from one piece of wood. There are a few cracks in the wood. The main damage to the statuette is a sizable crack on Tiye's behind. The wood around Tiye's right hand is rotting, and much of her finger details have disintegrated. There is also a chunk of wood missing from the platform, destroying part of the inscription.
The statuette was originally painted Egyptian blue. The paint has since worn away, exposing the wood. Faint black and white pigment remains, delineating her eyes and eyebrows. Painted designs detailing her costume and jewelry would have covered it. | [
"New Kingdom",
"Tiye",
"Egyptian blue",
"ebony",
"termite",
"Amenhotep III"
] |
|
17800_NT | Statuette of the lady Tiye | Focus on this artwork and explore the Material. | Wooden statuary was almost as common as stone statuary in Ancient Egypt, but due to its susceptibility to continuous decay and damage from the presence of termites at the time, this statuette is one of a very small group that remain. Over three-quarters of discovered New Kingdom wood statues are from the reign of Amenhotep III to the end of the dynasty.
The statuette is made of ebony. It was likely made from only two pieces; the figure from one piece of wood, and the base from another, since statues smaller than 30 cm were usually carved from one piece of wood. There are a few cracks in the wood. The main damage to the statuette is a sizable crack on Tiye's behind. The wood around Tiye's right hand is rotting, and much of her finger details have disintegrated. There is also a chunk of wood missing from the platform, destroying part of the inscription.
The statuette was originally painted Egyptian blue. The paint has since worn away, exposing the wood. Faint black and white pigment remains, delineating her eyes and eyebrows. Painted designs detailing her costume and jewelry would have covered it. | [
"New Kingdom",
"Tiye",
"Egyptian blue",
"ebony",
"termite",
"Amenhotep III"
] |
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