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17801_T | Statuette of the lady Tiye | Focus on Statuette of the lady Tiye and explain the Style and identification. | The intricate drapery of her garment and how details were carved into the wood rather than only painted was a development in wood sculpture that occurred towards the end of the 18th Dynasty. The orderliness of the cut and style of the wig depicted indicates her status. This wig style was commonly depicted on elite and noble women of the period. | [] |
|
17801_NT | Statuette of the lady Tiye | Focus on this artwork and explain the Style and identification. | The intricate drapery of her garment and how details were carved into the wood rather than only painted was a development in wood sculpture that occurred towards the end of the 18th Dynasty. The orderliness of the cut and style of the wig depicted indicates her status. This wig style was commonly depicted on elite and noble women of the period. | [] |
|
17802_T | Statuette of the lady Tiye | Explore the Proportion and form about the Style and identification of this artwork, Statuette of the lady Tiye. | On stylistic grounds, Hayes dates the statuette to the co-regency of Amenhotep III and Amenhotep IV (Akhenaten). Her wig and face are "disproportionately large"; and, as was conventional, "the curves of her body are a trifle overemphasized". Her face is not, however, elongated, and neither is her neck, which are trademarks of Amarna art. | [
"Amenhotep III"
] |
|
17802_NT | Statuette of the lady Tiye | Explore the Proportion and form about the Style and identification of this artwork. | On stylistic grounds, Hayes dates the statuette to the co-regency of Amenhotep III and Amenhotep IV (Akhenaten). Her wig and face are "disproportionately large"; and, as was conventional, "the curves of her body are a trifle overemphasized". Her face is not, however, elongated, and neither is her neck, which are trademarks of Amarna art. | [
"Amenhotep III"
] |
|
17803_T | Statuette of the lady Tiye | In the context of Statuette of the lady Tiye, discuss the Decoration of the Style and identification. | The use of gold, citrine, and other stones to resemble a necklace around the neck of the figure would indicate power and status. The long inscription indicates that in addition to Lady Tiye’s name/title, is her offering formula and dedication done by a family member, honoring her as deceased. | [
"Tiye"
] |
|
17803_NT | Statuette of the lady Tiye | In the context of this artwork, discuss the Decoration of the Style and identification. | The use of gold, citrine, and other stones to resemble a necklace around the neck of the figure would indicate power and status. The long inscription indicates that in addition to Lady Tiye’s name/title, is her offering formula and dedication done by a family member, honoring her as deceased. | [
"Tiye"
] |
|
17804_T | Statuette of the lady Tiye | How does Statuette of the lady Tiye elucidate its Later history? | The statuette was first described by Émile Chassinat in 1901, and was subsequently owned by Martine de Béhague and then by Dikran Kelekian, from whom the Metropolitan Museum of Art bought it in 1941 thanks to the Rogers Fund. The statuette is currently on view in "The Met Fifth Avenue in Gallery 119". | [
"The Met Fifth Avenue",
"Émile Chassinat",
"Rogers",
"Martine de Béhague",
"Dikran Kelekian",
"Metropolitan Museum of Art"
] |
|
17804_NT | Statuette of the lady Tiye | How does this artwork elucidate its Later history? | The statuette was first described by Émile Chassinat in 1901, and was subsequently owned by Martine de Béhague and then by Dikran Kelekian, from whom the Metropolitan Museum of Art bought it in 1941 thanks to the Rogers Fund. The statuette is currently on view in "The Met Fifth Avenue in Gallery 119". | [
"The Met Fifth Avenue",
"Émile Chassinat",
"Rogers",
"Martine de Béhague",
"Dikran Kelekian",
"Metropolitan Museum of Art"
] |
|
17805_T | Contarini Madonna | Focus on Contarini Madonna and analyze the Description. | The painting shows the Madonna holding Jesus who stands on a parapet in the foreground. Below is a cartouche with the artist's signature, IOANNES BELLINVS. The blessing Child has similar features to that in the San Giobbe Altarpiece, dating to the same decade or a few years later. His icon-like staring appearance recalls the Byzantine painting, which was one of the roots of the Venetian painting school.
The background is formed by a soft landscape, with hills and a city with towers. | [
"Byzantine painting",
"San Giobbe Altarpiece"
] |
|
17805_NT | Contarini Madonna | Focus on this artwork and analyze the Description. | The painting shows the Madonna holding Jesus who stands on a parapet in the foreground. Below is a cartouche with the artist's signature, IOANNES BELLINVS. The blessing Child has similar features to that in the San Giobbe Altarpiece, dating to the same decade or a few years later. His icon-like staring appearance recalls the Byzantine painting, which was one of the roots of the Venetian painting school.
The background is formed by a soft landscape, with hills and a city with towers. | [
"Byzantine painting",
"San Giobbe Altarpiece"
] |
|
17806_T | Union Square Drinking Fountain | In Union Square Drinking Fountain, how is the abstract discussed? | Union Square Drinking Fountain, also known as James Fountain, is an outdoor bronze sculpture and ornamental fountain by sculptor Adolf von Donndorf and architect J. Leonard Corning, located on the west side of Union Square Park in Manhattan, New York City. Cast in 1881 and dedicated on October 25, 1881, it was donated by Daniel Willis James "to promote public health as well as the virtue of charity". The statuary group includes a standing woman holding a baby in her right arm and a young child at her left side. They are set on an octagonal Swedish red granite pedestal with lion head fountains and basins on four of the sides. | [
"New York City",
"bronze sculpture",
"Union Square Park",
"Manhattan",
"Adolf von Donndorf",
"Daniel Willis James"
] |
|
17806_NT | Union Square Drinking Fountain | In this artwork, how is the abstract discussed? | Union Square Drinking Fountain, also known as James Fountain, is an outdoor bronze sculpture and ornamental fountain by sculptor Adolf von Donndorf and architect J. Leonard Corning, located on the west side of Union Square Park in Manhattan, New York City. Cast in 1881 and dedicated on October 25, 1881, it was donated by Daniel Willis James "to promote public health as well as the virtue of charity". The statuary group includes a standing woman holding a baby in her right arm and a young child at her left side. They are set on an octagonal Swedish red granite pedestal with lion head fountains and basins on four of the sides. | [
"New York City",
"bronze sculpture",
"Union Square Park",
"Manhattan",
"Adolf von Donndorf",
"Daniel Willis James"
] |
|
17807_T | General George Washington at Trenton | Focus on General George Washington at Trenton and explore the abstract. | General George Washington at Trenton is a large full-length portrait in oil painted in 1792 by the American artist John Trumbull of General George Washington at Trenton, New Jersey, on the night of January 2, 1777, during the American Revolutionary War. This is the night after the Battle of the Assunpink Creek, also known as the Second Battle of Trenton, and before the decisive victory at the Battle of Princeton the next day. The artist considered this portrait "the best certainly of those which I painted." The portrait is on view at the Yale University Art Gallery in New Haven, Connecticut, an 1806 gift of the Society of the Cincinnati in Connecticut. It was commissioned by the city of Charleston, South Carolina, but was rejected by the city, resulting in Trumbull painting another version. | [
"Trenton, New Jersey",
"John Trumbull",
"Battle of Trenton",
"Charleston, South Carolina",
"Assunpink Creek",
"New Haven, Connecticut",
"Battle of the Assunpink Creek",
"oil",
"Society of the Cincinnati",
"Yale University Art Gallery",
"American Revolution",
"Battle of Princeton",
"George Washington",
"American Revolutionary War"
] |
|
17807_NT | General George Washington at Trenton | Focus on this artwork and explore the abstract. | General George Washington at Trenton is a large full-length portrait in oil painted in 1792 by the American artist John Trumbull of General George Washington at Trenton, New Jersey, on the night of January 2, 1777, during the American Revolutionary War. This is the night after the Battle of the Assunpink Creek, also known as the Second Battle of Trenton, and before the decisive victory at the Battle of Princeton the next day. The artist considered this portrait "the best certainly of those which I painted." The portrait is on view at the Yale University Art Gallery in New Haven, Connecticut, an 1806 gift of the Society of the Cincinnati in Connecticut. It was commissioned by the city of Charleston, South Carolina, but was rejected by the city, resulting in Trumbull painting another version. | [
"Trenton, New Jersey",
"John Trumbull",
"Battle of Trenton",
"Charleston, South Carolina",
"Assunpink Creek",
"New Haven, Connecticut",
"Battle of the Assunpink Creek",
"oil",
"Society of the Cincinnati",
"Yale University Art Gallery",
"American Revolution",
"Battle of Princeton",
"George Washington",
"American Revolutionary War"
] |
|
17808_T | General George Washington at Trenton | Focus on General George Washington at Trenton and explain the Commission. | The work was commissioned by the city of Charleston, South Carolina, in 1792 to commemorate President Washington's visit there in May 1791 during his Southern Tour. Trumbull had visited Charleston earlier, in February 1791, to paint portraits of several leaders, including Charles Cotesworth Pinckney. Trumbull took the commission from William Loughton Smith, a representative of South Carolina and representing Charleston, con amore (with love), to paint Washington "in the most sublime moment ... the evening previous to the battle of Princeton". | [
"Charleston, South Carolina",
"Charles Cotesworth Pinckney",
"William Loughton Smith"
] |
|
17808_NT | General George Washington at Trenton | Focus on this artwork and explain the Commission. | The work was commissioned by the city of Charleston, South Carolina, in 1792 to commemorate President Washington's visit there in May 1791 during his Southern Tour. Trumbull had visited Charleston earlier, in February 1791, to paint portraits of several leaders, including Charles Cotesworth Pinckney. Trumbull took the commission from William Loughton Smith, a representative of South Carolina and representing Charleston, con amore (with love), to paint Washington "in the most sublime moment ... the evening previous to the battle of Princeton". | [
"Charleston, South Carolina",
"Charles Cotesworth Pinckney",
"William Loughton Smith"
] |
|
17809_T | General George Washington at Trenton | Explore the Description of this artwork, General George Washington at Trenton. | General George Washington is in full military uniform, a blue coat over buff waistcoat and pants. He holds a spyglass in his right hand and a sword in his left hand. Behind him is Blueskin, his spirited, light-colored horse, restrained by a groom. Further in the distance is the bridge over the Assunpink Creek and nearby mill, along with artillery and campfires. | [
"right",
"Assunpink Creek",
"buff",
"George Washington",
"Blueskin"
] |
|
17809_NT | General George Washington at Trenton | Explore the Description of this artwork. | General George Washington is in full military uniform, a blue coat over buff waistcoat and pants. He holds a spyglass in his right hand and a sword in his left hand. Behind him is Blueskin, his spirited, light-colored horse, restrained by a groom. Further in the distance is the bridge over the Assunpink Creek and nearby mill, along with artillery and campfires. | [
"right",
"Assunpink Creek",
"buff",
"George Washington",
"Blueskin"
] |
|
17810_T | General George Washington at Trenton | Focus on General George Washington at Trenton and discuss the Charleston version. | After Smith rejected the painting, Trumbull painted a similar, but different version for the city, entitled Washington at the City of Charleston. It was now set at Charleston, with the city in the background, the Cooper River and boats in the middle ground, and local plants in the foreground. Washington is shown as Smith wanted, "calm, tranquil, peaceful." He wears gloves on both hands, holds a hat in his left hand which is shown resting on his sword, while holding a walking stick with his right hand. The painting is now on view in the Charleston City Hall. | [
"right",
"Cooper River",
"walking stick"
] |
|
17810_NT | General George Washington at Trenton | Focus on this artwork and discuss the Charleston version. | After Smith rejected the painting, Trumbull painted a similar, but different version for the city, entitled Washington at the City of Charleston. It was now set at Charleston, with the city in the background, the Cooper River and boats in the middle ground, and local plants in the foreground. Washington is shown as Smith wanted, "calm, tranquil, peaceful." He wears gloves on both hands, holds a hat in his left hand which is shown resting on his sword, while holding a walking stick with his right hand. The painting is now on view in the Charleston City Hall. | [
"right",
"Cooper River",
"walking stick"
] |
|
17811_T | General George Washington at Trenton | How does General George Washington at Trenton elucidate its Other versions? | Trumbull painted a much smaller version (26+1/2 inches (67 cm) x 18+1/2 inches (47 cm)), entitled George Washington before the Battle of Trenton, c. 1792–94, likely for his friend Charles Wilkes, a New York banker. It is similar to the original, but with changes in the background and a bay horse. It was bequested to the Metropolitan Museum of Art in 1922 and is on view there. In 1794, Trumbull went to London as secretary of legation for John Jay during the negotiations of the Jay Treaty. He had made a small version of this portrait and later supervised its engraving by Thomas Cheesman, entitled George Washington, in 1796. It was noted by historian Justin Winsor as the best engraving of Trumbull's paintings and was used as the basis for several other engravings. In 1845, William Warner Jr. engraved Gen. Washington. Illman & Sons engraved a version George Washington - On the Great Occasion of our Presidential Election in 1858. Alfred Daggett engraved a version, Washington at Trenton, New Jersey, January 2d, 1777, that was published in Historical Collections of New Jersey, Past and Present by John W. Barber and Henry Howe in 1868. An engraving entitled, General Washington at the Bridge Over the Assunpink Creek, was published in the 1898 book, The Battles of Trenton and Princeton, by historian William S. Stryker. | [
"Trenton, New Jersey",
"Battle of Trenton",
"John W. Barber",
"Assunpink Creek",
"Jay Treaty",
"Thomas Cheesman",
"Justin Winsor",
"Henry Howe",
"George Washington",
"John Jay",
"bay",
"London",
"Metropolitan Museum of Art"
] |
|
17811_NT | General George Washington at Trenton | How does this artwork elucidate its Other versions? | Trumbull painted a much smaller version (26+1/2 inches (67 cm) x 18+1/2 inches (47 cm)), entitled George Washington before the Battle of Trenton, c. 1792–94, likely for his friend Charles Wilkes, a New York banker. It is similar to the original, but with changes in the background and a bay horse. It was bequested to the Metropolitan Museum of Art in 1922 and is on view there. In 1794, Trumbull went to London as secretary of legation for John Jay during the negotiations of the Jay Treaty. He had made a small version of this portrait and later supervised its engraving by Thomas Cheesman, entitled George Washington, in 1796. It was noted by historian Justin Winsor as the best engraving of Trumbull's paintings and was used as the basis for several other engravings. In 1845, William Warner Jr. engraved Gen. Washington. Illman & Sons engraved a version George Washington - On the Great Occasion of our Presidential Election in 1858. Alfred Daggett engraved a version, Washington at Trenton, New Jersey, January 2d, 1777, that was published in Historical Collections of New Jersey, Past and Present by John W. Barber and Henry Howe in 1868. An engraving entitled, General Washington at the Bridge Over the Assunpink Creek, was published in the 1898 book, The Battles of Trenton and Princeton, by historian William S. Stryker. | [
"Trenton, New Jersey",
"Battle of Trenton",
"John W. Barber",
"Assunpink Creek",
"Jay Treaty",
"Thomas Cheesman",
"Justin Winsor",
"Henry Howe",
"George Washington",
"John Jay",
"bay",
"London",
"Metropolitan Museum of Art"
] |
|
17812_T | General George Washington at Trenton | Focus on General George Washington at Trenton and analyze the Critical reception. | Trumbull described the thinking of Washington after seeing the superiority of the enemy at Trenton: ... he is supposed to have been meditating how to avoid the apparently impending ruin. To re-cross the Delaware in the presence of such an enemy, was impossible; to retreat down the eastern side of the river, and cross at Philadelphia, was equally so; to hazard a battle on the ground, was desperate. Historian and painter William Dunlap after viewing it in the Trumbull Gallery at Yale said: "This is, in many respects, a fine picture, and painted in the artist's best days." | [
"William Dunlap"
] |
|
17812_NT | General George Washington at Trenton | Focus on this artwork and analyze the Critical reception. | Trumbull described the thinking of Washington after seeing the superiority of the enemy at Trenton: ... he is supposed to have been meditating how to avoid the apparently impending ruin. To re-cross the Delaware in the presence of such an enemy, was impossible; to retreat down the eastern side of the river, and cross at Philadelphia, was equally so; to hazard a battle on the ground, was desperate. Historian and painter William Dunlap after viewing it in the Trumbull Gallery at Yale said: "This is, in many respects, a fine picture, and painted in the artist's best days." | [
"William Dunlap"
] |
|
17813_T | Joseph and Potiphar's Wife (Finoglia) | In Joseph and Potiphar's Wife (Finoglia), how is the abstract discussed? | Joseph and Potiphar's Wife is a 1620-1623 (or possibly c.1640) painting by Paolo Finoglia. It was previously attributed to Artemisia Gentileschi. It was purchased by the Samuel H. Kress Foundation in 1950 and twelve years later was given by it to the Fogg Art Museum, its present owner.The theme relates to the story told in Book of Genesis chapter 39, of Joseph in Potiphar's house. | [
"Artemisia Gentileschi",
"Samuel H. Kress Foundation",
"Joseph in Potiphar's house",
"Paolo Finoglia",
"Book of Genesis",
"Fogg Art Museum"
] |
|
17813_NT | Joseph and Potiphar's Wife (Finoglia) | In this artwork, how is the abstract discussed? | Joseph and Potiphar's Wife is a 1620-1623 (or possibly c.1640) painting by Paolo Finoglia. It was previously attributed to Artemisia Gentileschi. It was purchased by the Samuel H. Kress Foundation in 1950 and twelve years later was given by it to the Fogg Art Museum, its present owner.The theme relates to the story told in Book of Genesis chapter 39, of Joseph in Potiphar's house. | [
"Artemisia Gentileschi",
"Samuel H. Kress Foundation",
"Joseph in Potiphar's house",
"Paolo Finoglia",
"Book of Genesis",
"Fogg Art Museum"
] |
|
17814_T | Saints Christopher, Jerome and Louis of Toulouse | Focus on Saints Christopher, Jerome and Louis of Toulouse and explore the abstract. | Saints Christopher, Jerome and Louis of Toulouse is an oil on panel painting by the Italian Renaissance artist Giovanni Bellini, executed in 1513, and housed in the church of San Giovanni Crisostomo, Venice. | [
"Giovanni Bellini",
"Bellini",
"San Giovanni Crisostomo",
"Venice",
"Louis of Toulouse"
] |
|
17814_NT | Saints Christopher, Jerome and Louis of Toulouse | Focus on this artwork and explore the abstract. | Saints Christopher, Jerome and Louis of Toulouse is an oil on panel painting by the Italian Renaissance artist Giovanni Bellini, executed in 1513, and housed in the church of San Giovanni Crisostomo, Venice. | [
"Giovanni Bellini",
"Bellini",
"San Giovanni Crisostomo",
"Venice",
"Louis of Toulouse"
] |
|
17815_T | Saints Christopher, Jerome and Louis of Toulouse | Focus on Saints Christopher, Jerome and Louis of Toulouse and explain the History. | The painting dates to Bellini's late career, when he had adopted Giorgione's tonalism. It had been commissioned in 1494 by the Venetian merchant Giorgio Diletti. It is however signed and dated 1513, but it is not known why there were some twenty years between the commissioning and the execution. | [
"Bellini",
"Giorgione"
] |
|
17815_NT | Saints Christopher, Jerome and Louis of Toulouse | Focus on this artwork and explain the History. | The painting dates to Bellini's late career, when he had adopted Giorgione's tonalism. It had been commissioned in 1494 by the Venetian merchant Giorgio Diletti. It is however signed and dated 1513, but it is not known why there were some twenty years between the commissioning and the execution. | [
"Bellini",
"Giorgione"
] |
|
17816_T | The Lovers (Abbasi) | Explore the abstract of this artwork, The Lovers (Abbasi). | The Lovers, alternatively titled Two Lovers or Courtly Lovers, is an early 17th-century painting by Iranian artist Reza Abbasi. Done in a combination of ink, watercolor, and gilding on paper, the work depicts a couple of lovers embracing each-other. The painting is in the collection of the Metropolitan Museum of Art. | [
"Metropolitan Museum of Art",
"Reza Abbasi"
] |
|
17816_NT | The Lovers (Abbasi) | Explore the abstract of this artwork. | The Lovers, alternatively titled Two Lovers or Courtly Lovers, is an early 17th-century painting by Iranian artist Reza Abbasi. Done in a combination of ink, watercolor, and gilding on paper, the work depicts a couple of lovers embracing each-other. The painting is in the collection of the Metropolitan Museum of Art. | [
"Metropolitan Museum of Art",
"Reza Abbasi"
] |
|
17817_T | The Lovers (Abbasi) | Focus on The Lovers (Abbasi) and discuss the Description. | The painting depicts a pair of lovers embracing each-other. The bodies of the two are posed so as to be evocative of passionate foreplay, while their faces remain impassive - a common theme in contemporary Safavid art. The costume of the lovers are rich and dark in contrast to the brown background with gold-hued highlights. The quality of the clothing implies that the male figure is wealthy and that the woman is likely a prostitute (a profession that was legal in Safavid Iran at the time). Further reinforcing the sensual nature of the painting is the partially-exposed navel of the woman, her uncovered feet (though she remains clothed and her hair is covered), and the way in which her breast is caught by the male figure's arm. Clouds, flowers, and trees are also present in the painting, serving to encircle the couple, while a carafe of wine and half-empty plate of fruit lies by their feet, implying some indulgence has already taken place.Lovers was painted by Iranian artist Reza Abbasi in 1630. At the time, Abbasi had already become known as a bold, innovative painter of drawings and album miniatures - a break from the traditional artistic establishment of Safavid Iran, which favored illustrations. Though the artist had previously painted the nude female figures, the introduction of a male figure in Lovers elevated the work from simply evoking erotic thoughts to outright representing courting.Though his controversial style posed a threat to his career, Abbasi became a favorite painter of Abbas I, a connection which allowed for Abbasi to continue his work.Lovers was gifted to the Metropolitan Museum of Art in 1950 by Francis M. Weld. | [
"Abbas I",
"Safavid Iran",
"foreplay",
"Metropolitan Museum of Art",
"Reza Abbasi"
] |
|
17817_NT | The Lovers (Abbasi) | Focus on this artwork and discuss the Description. | The painting depicts a pair of lovers embracing each-other. The bodies of the two are posed so as to be evocative of passionate foreplay, while their faces remain impassive - a common theme in contemporary Safavid art. The costume of the lovers are rich and dark in contrast to the brown background with gold-hued highlights. The quality of the clothing implies that the male figure is wealthy and that the woman is likely a prostitute (a profession that was legal in Safavid Iran at the time). Further reinforcing the sensual nature of the painting is the partially-exposed navel of the woman, her uncovered feet (though she remains clothed and her hair is covered), and the way in which her breast is caught by the male figure's arm. Clouds, flowers, and trees are also present in the painting, serving to encircle the couple, while a carafe of wine and half-empty plate of fruit lies by their feet, implying some indulgence has already taken place.Lovers was painted by Iranian artist Reza Abbasi in 1630. At the time, Abbasi had already become known as a bold, innovative painter of drawings and album miniatures - a break from the traditional artistic establishment of Safavid Iran, which favored illustrations. Though the artist had previously painted the nude female figures, the introduction of a male figure in Lovers elevated the work from simply evoking erotic thoughts to outright representing courting.Though his controversial style posed a threat to his career, Abbasi became a favorite painter of Abbas I, a connection which allowed for Abbasi to continue his work.Lovers was gifted to the Metropolitan Museum of Art in 1950 by Francis M. Weld. | [
"Abbas I",
"Safavid Iran",
"foreplay",
"Metropolitan Museum of Art",
"Reza Abbasi"
] |
|
17818_T | Aurora (Artemisia Gentileschi) | How does Aurora (Artemisia Gentileschi) elucidate its abstract? | Aurora is a c.1625-1627 painting by the Italian artist Artemisia Gentileschi, depicting the Roman goddess of dawn. It is part of a private collection in Rome. | [
"Artemisia Gentileschi",
"Roman goddess of dawn"
] |
|
17818_NT | Aurora (Artemisia Gentileschi) | How does this artwork elucidate its abstract? | Aurora is a c.1625-1627 painting by the Italian artist Artemisia Gentileschi, depicting the Roman goddess of dawn. It is part of a private collection in Rome. | [
"Artemisia Gentileschi",
"Roman goddess of dawn"
] |
|
17819_T | Aurora (Artemisia Gentileschi) | Focus on Aurora (Artemisia Gentileschi) and analyze the Subject matter. | In Roman mythology, the goddess Aurora rises every morning to signal the arrival of the Sun by coloring the sky, which was used in the period as a metaphor for creativity and beauty. Her contemporary Pierre Dumonstier created a drawing of Artemisia's hand holding a brush which refers to the "hands of Aurora", praising both her beauty as well as her skill as a colorist. | [
"Pierre Dumonstier"
] |
|
17819_NT | Aurora (Artemisia Gentileschi) | Focus on this artwork and analyze the Subject matter. | In Roman mythology, the goddess Aurora rises every morning to signal the arrival of the Sun by coloring the sky, which was used in the period as a metaphor for creativity and beauty. Her contemporary Pierre Dumonstier created a drawing of Artemisia's hand holding a brush which refers to the "hands of Aurora", praising both her beauty as well as her skill as a colorist. | [
"Pierre Dumonstier"
] |
|
17820_T | Aurora (Artemisia Gentileschi) | In Aurora (Artemisia Gentileschi), how is the Provenance discussed? | The painting passed through the Arrighetti family before arriving on the art market in Florence in 1974. Bissell believes the patron was Niccolò Arrighetti, associate of Michelangelo Buonarroti, who had commissioned Gentileschi to paint Allegory of Inclination a decade earlier. | [
"Allegory of Inclination",
"Michelangelo Buonarroti",
"Niccolò Arrighetti"
] |
|
17820_NT | Aurora (Artemisia Gentileschi) | In this artwork, how is the Provenance discussed? | The painting passed through the Arrighetti family before arriving on the art market in Florence in 1974. Bissell believes the patron was Niccolò Arrighetti, associate of Michelangelo Buonarroti, who had commissioned Gentileschi to paint Allegory of Inclination a decade earlier. | [
"Allegory of Inclination",
"Michelangelo Buonarroti",
"Niccolò Arrighetti"
] |
|
17821_T | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians | Focus on Audience Given by the Trustees of Georgia to a Delegation of Creek Indians and explore the abstract. | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians is an oil-on-canvas group portrait created by English painter William Verelst (1704–1752). It was painted in London in 1734 or 1735. A bequest from Henry Francis du Pont, the painting is held in the permanent collection of the Winterthur Museum, Garden and Library. The painting depicts a Creek Yamacraw delegation, including Tomochichi, meeting with the governing body of the English Province of Georgia. | [
"Tomochichi",
"William Verelst",
"Henry Francis du Pont",
"Province of Georgia",
"Creek",
"London",
"Yamacraw",
"Winterthur Museum, Garden and Library"
] |
|
17821_NT | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians | Focus on this artwork and explore the abstract. | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians is an oil-on-canvas group portrait created by English painter William Verelst (1704–1752). It was painted in London in 1734 or 1735. A bequest from Henry Francis du Pont, the painting is held in the permanent collection of the Winterthur Museum, Garden and Library. The painting depicts a Creek Yamacraw delegation, including Tomochichi, meeting with the governing body of the English Province of Georgia. | [
"Tomochichi",
"William Verelst",
"Henry Francis du Pont",
"Province of Georgia",
"Creek",
"London",
"Yamacraw",
"Winterthur Museum, Garden and Library"
] |
|
17822_T | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians | Focus on Audience Given by the Trustees of Georgia to a Delegation of Creek Indians and explain the Background. | In February 1733, James Oglethorpe and a group of one hundred British colonists arrived at the mouth of the Savannah River, where Tomochichi had led a band of two hundred Creek followers (which became the Yamacraw band) to settle in the late 1720s, far from their ancestral lands in the Chattahoochee River basin. Tomochichi and Oglethorpe quickly established friendly relations that culminated in a treaty of friendship and trade, enabling the British to form the new colony of Georgia. Tomochichi also played an important role in negotiating alliances between Lower Creek communities and the British.In 1734, a Yamacraw delegation accompanied Oglethorpe to London to meet with the Trustees for the Establishment of the Colony of Georgia in America and other English dignitaries. Oglethorpe hoped that the Indians' presence would attract greater investments to the colony. During a four-month visit, the delegates met with King George II and Queen Caroline on August 1 and with Georgia's trustees on September 11 before sailing for home in late October. Verelst painted a group portrait of this meeting between the delegates and trustees. The portrait was likely painted from sketches in the months after the visit. Verelst also painted a separate portrait of Tomochichi and his heir. | [
"colony of Georgia",
"Tomochichi",
"King George II",
"Trustees for the Establishment of the Colony of Georgia in America",
"Savannah River",
"James Oglethorpe",
"Creek",
"London",
"Chattahoochee River",
"Yamacraw",
"Queen Caroline"
] |
|
17822_NT | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians | Focus on this artwork and explain the Background. | In February 1733, James Oglethorpe and a group of one hundred British colonists arrived at the mouth of the Savannah River, where Tomochichi had led a band of two hundred Creek followers (which became the Yamacraw band) to settle in the late 1720s, far from their ancestral lands in the Chattahoochee River basin. Tomochichi and Oglethorpe quickly established friendly relations that culminated in a treaty of friendship and trade, enabling the British to form the new colony of Georgia. Tomochichi also played an important role in negotiating alliances between Lower Creek communities and the British.In 1734, a Yamacraw delegation accompanied Oglethorpe to London to meet with the Trustees for the Establishment of the Colony of Georgia in America and other English dignitaries. Oglethorpe hoped that the Indians' presence would attract greater investments to the colony. During a four-month visit, the delegates met with King George II and Queen Caroline on August 1 and with Georgia's trustees on September 11 before sailing for home in late October. Verelst painted a group portrait of this meeting between the delegates and trustees. The portrait was likely painted from sketches in the months after the visit. Verelst also painted a separate portrait of Tomochichi and his heir. | [
"colony of Georgia",
"Tomochichi",
"King George II",
"Trustees for the Establishment of the Colony of Georgia in America",
"Savannah River",
"James Oglethorpe",
"Creek",
"London",
"Chattahoochee River",
"Yamacraw",
"Queen Caroline"
] |
|
17823_T | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians | Explore the Description of this artwork, Audience Given by the Trustees of Georgia to a Delegation of Creek Indians. | In this painting, the English trustees of Georgia Colony meet with a delegation of Creek Indians of the Yamacraw band at the trustees' headquarters in Whitehall. Twenty-four English trustees, wearing the powdered wigs and tailcoats of English gentry, gather on a slightly elevated area on the left side of the image, signifying the formality of the occasion and assumed superiority to their guests. The nine Indian delegates stand on the floor to the right and wear traditional attire of deerskin moccasins and robes, braided hair, and feathered or beaded accessories. Senauki, Tomochichi's wife and the sole woman in the group, wears a pink English-style jacket and petticoats. A black bear cub and a bald eagle are intended as gifts from the Indians that also signify their perceived quality of wildness. Tomochichi, his robe draped over one shoulder, extends an open hand, palm upward, signifying frankness and amity. The youth with dark skin, positioned near the center of the painting and clasping the hand of one of the English trustees, is dressed in English formal wear. Mistaken as a "black attendant" by at least one scholar, he is Tooanahowi, the fifteen-year-old heir-designate of Tomochichi. Contemporaries described Tooanahowi as the chief's nephew, but he was actually Senauki's grandson (traditional Creek society was matrilineal). The youth received English schooling, delivered speeches in English during the expedition, and later fought alongside the British in the War of Jenkins' Ear.The scene is set inside a Late Baroque building with high stone walls, marble-tiled floor, heavy draperies, and brass chandelier with a window giving a view of Westminster Abbey. | [
"Tomochichi",
"Senauki",
"Westminster Abbey",
"Whitehall",
"Late Baroque",
"Creek",
"War of Jenkins' Ear",
"Yamacraw"
] |
|
17823_NT | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians | Explore the Description of this artwork. | In this painting, the English trustees of Georgia Colony meet with a delegation of Creek Indians of the Yamacraw band at the trustees' headquarters in Whitehall. Twenty-four English trustees, wearing the powdered wigs and tailcoats of English gentry, gather on a slightly elevated area on the left side of the image, signifying the formality of the occasion and assumed superiority to their guests. The nine Indian delegates stand on the floor to the right and wear traditional attire of deerskin moccasins and robes, braided hair, and feathered or beaded accessories. Senauki, Tomochichi's wife and the sole woman in the group, wears a pink English-style jacket and petticoats. A black bear cub and a bald eagle are intended as gifts from the Indians that also signify their perceived quality of wildness. Tomochichi, his robe draped over one shoulder, extends an open hand, palm upward, signifying frankness and amity. The youth with dark skin, positioned near the center of the painting and clasping the hand of one of the English trustees, is dressed in English formal wear. Mistaken as a "black attendant" by at least one scholar, he is Tooanahowi, the fifteen-year-old heir-designate of Tomochichi. Contemporaries described Tooanahowi as the chief's nephew, but he was actually Senauki's grandson (traditional Creek society was matrilineal). The youth received English schooling, delivered speeches in English during the expedition, and later fought alongside the British in the War of Jenkins' Ear.The scene is set inside a Late Baroque building with high stone walls, marble-tiled floor, heavy draperies, and brass chandelier with a window giving a view of Westminster Abbey. | [
"Tomochichi",
"Senauki",
"Westminster Abbey",
"Whitehall",
"Late Baroque",
"Creek",
"War of Jenkins' Ear",
"Yamacraw"
] |
|
17824_T | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians | Focus on Audience Given by the Trustees of Georgia to a Delegation of Creek Indians and discuss the Analysis. | The painting is also known as the Common Council of Georgia receiving the Indian Chiefs. Commissioned by Georgia's trustees, it hung in the trustees' offices in London until the trustees dissolved after Georgia became a royal colony in 1752. Anthony Ashley Cooper, 4th Earl of Shaftesbury, acquired the portrait, which stayed in the Cooper family until it was purchased by Henry Francis du Pont circa 1930. The ninth earl presented a copy, painted by Edmund Dyer in 1826, to the State of Georgia in 1926.Author Donald N. Yates argued that most of the Indian delegates were Cherokees rather than Creeks, including Cherokee leader Attakullakulla. Yates walked back these claims in 2020 after reviewing a high-resolution image from the Winterthur Museum. The Indians' names appear in a cartouche, part of the painting's original frame.The painting inspired the design of a towering and nearly nude statue of Tomochichi erected in Atlanta in 2022. Historians and members of the Muscogee Nation criticized the statute as historically inaccurate and its source material as "propaganda" intended to portray Native Americans as "weak and uncivilized." | [
"Tomochichi",
"ninth earl",
"Muscogee",
"Atlanta",
"Anthony Ashley Cooper, 4th Earl of Shaftesbury",
"Henry Francis du Pont",
"Creek",
"London",
"Attakullakulla"
] |
|
17824_NT | Audience Given by the Trustees of Georgia to a Delegation of Creek Indians | Focus on this artwork and discuss the Analysis. | The painting is also known as the Common Council of Georgia receiving the Indian Chiefs. Commissioned by Georgia's trustees, it hung in the trustees' offices in London until the trustees dissolved after Georgia became a royal colony in 1752. Anthony Ashley Cooper, 4th Earl of Shaftesbury, acquired the portrait, which stayed in the Cooper family until it was purchased by Henry Francis du Pont circa 1930. The ninth earl presented a copy, painted by Edmund Dyer in 1826, to the State of Georgia in 1926.Author Donald N. Yates argued that most of the Indian delegates were Cherokees rather than Creeks, including Cherokee leader Attakullakulla. Yates walked back these claims in 2020 after reviewing a high-resolution image from the Winterthur Museum. The Indians' names appear in a cartouche, part of the painting's original frame.The painting inspired the design of a towering and nearly nude statue of Tomochichi erected in Atlanta in 2022. Historians and members of the Muscogee Nation criticized the statute as historically inaccurate and its source material as "propaganda" intended to portray Native Americans as "weak and uncivilized." | [
"Tomochichi",
"ninth earl",
"Muscogee",
"Atlanta",
"Anthony Ashley Cooper, 4th Earl of Shaftesbury",
"Henry Francis du Pont",
"Creek",
"London",
"Attakullakulla"
] |
|
17825_T | Le Rêve (Detaille) | How does Le Rêve (Detaille) elucidate its abstract? | Le Rêve ([lə ʁɛːv], transl. The Dream) is a painting by Édouard Detaille created in 1888. It won the gold medal at the Salon in 1888. | [
"Édouard Detaille",
"1888"
] |
|
17825_NT | Le Rêve (Detaille) | How does this artwork elucidate its abstract? | Le Rêve ([lə ʁɛːv], transl. The Dream) is a painting by Édouard Detaille created in 1888. It won the gold medal at the Salon in 1888. | [
"Édouard Detaille",
"1888"
] |
|
17826_T | Le Rêve (Detaille) | Focus on Le Rêve (Detaille) and analyze the Description. | Le Rêve is a painting depicting the military - the specialty of its creator, Édouard Detaille. It shows an encampment of sleeping French soldiers that continues as far as the eye can see. The soldiers are young conscripts of the French Third Republic who are taking part in summer exercises, probably in Champagne. They are dreaming of the glory of their predecessors, and of exacting revenge following their country's defeat in the Franco-Prussian War.In a patriotic allegory, French soldiers from previous battles are depicted in the sky above in an intentionally indistinct way. They include soldiers from the French Revolutionary Army, as well as those involved in the battles of Austerlitz, Trocadero, Magenta and Solferino, the invasion of Algiers and the defeats at Gravelotte and Reichshoffen in 1870.
This type of painting corresponds well with the sentiment of the time, evoking nostalgia for a unified, victorious France, and acting as a memento of a mythical France that was edging further into the past. For Detaille, creating this painting was to "take a direct political position", showing his support for nationalist general Georges Boulanger, as well as celebrating the army. | [
"Édouard Detaille",
"Austerlitz",
"Franco-Prussian War",
"Solferino",
"Georges Boulanger",
"Reichshoffen",
"Gravelotte",
"French Third Republic",
"French Revolutionary Army",
"Magenta",
"Champagne",
"Trocadero",
"the invasion of Algiers"
] |
|
17826_NT | Le Rêve (Detaille) | Focus on this artwork and analyze the Description. | Le Rêve is a painting depicting the military - the specialty of its creator, Édouard Detaille. It shows an encampment of sleeping French soldiers that continues as far as the eye can see. The soldiers are young conscripts of the French Third Republic who are taking part in summer exercises, probably in Champagne. They are dreaming of the glory of their predecessors, and of exacting revenge following their country's defeat in the Franco-Prussian War.In a patriotic allegory, French soldiers from previous battles are depicted in the sky above in an intentionally indistinct way. They include soldiers from the French Revolutionary Army, as well as those involved in the battles of Austerlitz, Trocadero, Magenta and Solferino, the invasion of Algiers and the defeats at Gravelotte and Reichshoffen in 1870.
This type of painting corresponds well with the sentiment of the time, evoking nostalgia for a unified, victorious France, and acting as a memento of a mythical France that was edging further into the past. For Detaille, creating this painting was to "take a direct political position", showing his support for nationalist general Georges Boulanger, as well as celebrating the army. | [
"Édouard Detaille",
"Austerlitz",
"Franco-Prussian War",
"Solferino",
"Georges Boulanger",
"Reichshoffen",
"Gravelotte",
"French Third Republic",
"French Revolutionary Army",
"Magenta",
"Champagne",
"Trocadero",
"the invasion of Algiers"
] |
|
17827_T | Saint Peter (Grão Vasco) | In Saint Peter (Grão Vasco), how is the abstract discussed? | Saint Peter is a painting by Portuguese artist Grão Vasco, dated c. 1529. Commissioned by Miguel da Silva, originally meant to serve as an altarpiece for a side altar of the Viseu Cathedral, the painting is now part of the collections of Grão Vasco National Museum, in Viseu, Portugal.
The painting is considered a masterpiece of the Portuguese Renaissance. Anglo-Irish art critic Sir William Henry Gregory called Saint Peter "one of the chief ornaments of any gallery in the world from its grandeur and simplicity". | [
"Saint Peter",
"Miguel da Silva",
"painting",
"Grão Vasco",
"side altar",
"Viseu",
"altarpiece",
"Sir William Henry Gregory",
"Anglo-Irish",
"Portugal",
"William Henry Gregory",
"Grão Vasco National Museum",
"Viseu Cathedral",
"Portuguese",
"Portuguese Renaissance",
"Peter"
] |
|
17827_NT | Saint Peter (Grão Vasco) | In this artwork, how is the abstract discussed? | Saint Peter is a painting by Portuguese artist Grão Vasco, dated c. 1529. Commissioned by Miguel da Silva, originally meant to serve as an altarpiece for a side altar of the Viseu Cathedral, the painting is now part of the collections of Grão Vasco National Museum, in Viseu, Portugal.
The painting is considered a masterpiece of the Portuguese Renaissance. Anglo-Irish art critic Sir William Henry Gregory called Saint Peter "one of the chief ornaments of any gallery in the world from its grandeur and simplicity". | [
"Saint Peter",
"Miguel da Silva",
"painting",
"Grão Vasco",
"side altar",
"Viseu",
"altarpiece",
"Sir William Henry Gregory",
"Anglo-Irish",
"Portugal",
"William Henry Gregory",
"Grão Vasco National Museum",
"Viseu Cathedral",
"Portuguese",
"Portuguese Renaissance",
"Peter"
] |
|
17828_T | Saint Peter (Grão Vasco) | Focus on Saint Peter (Grão Vasco) and explore the Description. | Saint Peter is at the centre of the symmetrical composition, sitting on an ornate Italianate pontifical throne making the blessing gesture toward the viewer, in full Papal regalia: the ample cope, of rich red brocade, features finely woven ornamental motifs in gold thread and medallions with angels holding the Instruments of the Passion, pearls and precious stones; the papal tiara features three intricately-decorated gold circlets with arabesque patterns of interlacing foliage; the pontifical gloves are white and the Ring of the Fisherman is visible, set with a dark green gem. On his left hand, in place of a crosier, Peter holds an elongated golden key, in reference to the Keys of Heaven, an attribute of this saint and a symbol of papal authority. The top of the throne features some Manueline decorative elements (like the vegetalist details at the top), as well as some pagan elements such as the carved putti and grotesques that hold the papal arms as well as the brocade canopy over the seat.On either side of the throne, two arches open to distant views of two episodes of Saint Peter's life: on the left, the Gospel narrative of Jesus Christ calling Peter and Andrew to become his disciples; on the right, the Quo vadis? from the apocryphal Acts of Peter, as the risen Jesus appears to him just before his martyrdom.The painting, as an altarpiece, also features a predella underneath it; it has three smaller paintings depicting Saint John the Evangelist and Saint Andrew, Saint Bartholomew and Saint Jude, and Saint Paul and Saint James. | [
"Saint Jude",
"Acts of Peter",
"Jesus",
"arabesque",
"cope",
"Saint Peter",
"painting",
"papal tiara",
"Italianate",
"right",
"putti",
"Keys of Heaven",
"Manueline",
"Gospel",
"papal authority",
"canopy",
"altarpiece",
"predella",
"Ring of the Fisherman",
"John the Evangelist",
"Andrew",
"Papal regalia",
"grotesques",
"Saint John the Evangelist",
"risen",
"crosier",
"Saint Bartholomew",
"Quo vadis?",
"pontifical gloves",
"gold thread",
"martyr",
"brocade",
"Jesus Christ",
"his disciples",
"Saint Andrew",
"Instruments of the Passion",
"Saint Paul",
"left",
"Peter",
"blessing",
"Saint James"
] |
|
17828_NT | Saint Peter (Grão Vasco) | Focus on this artwork and explore the Description. | Saint Peter is at the centre of the symmetrical composition, sitting on an ornate Italianate pontifical throne making the blessing gesture toward the viewer, in full Papal regalia: the ample cope, of rich red brocade, features finely woven ornamental motifs in gold thread and medallions with angels holding the Instruments of the Passion, pearls and precious stones; the papal tiara features three intricately-decorated gold circlets with arabesque patterns of interlacing foliage; the pontifical gloves are white and the Ring of the Fisherman is visible, set with a dark green gem. On his left hand, in place of a crosier, Peter holds an elongated golden key, in reference to the Keys of Heaven, an attribute of this saint and a symbol of papal authority. The top of the throne features some Manueline decorative elements (like the vegetalist details at the top), as well as some pagan elements such as the carved putti and grotesques that hold the papal arms as well as the brocade canopy over the seat.On either side of the throne, two arches open to distant views of two episodes of Saint Peter's life: on the left, the Gospel narrative of Jesus Christ calling Peter and Andrew to become his disciples; on the right, the Quo vadis? from the apocryphal Acts of Peter, as the risen Jesus appears to him just before his martyrdom.The painting, as an altarpiece, also features a predella underneath it; it has three smaller paintings depicting Saint John the Evangelist and Saint Andrew, Saint Bartholomew and Saint Jude, and Saint Paul and Saint James. | [
"Saint Jude",
"Acts of Peter",
"Jesus",
"arabesque",
"cope",
"Saint Peter",
"painting",
"papal tiara",
"Italianate",
"right",
"putti",
"Keys of Heaven",
"Manueline",
"Gospel",
"papal authority",
"canopy",
"altarpiece",
"predella",
"Ring of the Fisherman",
"John the Evangelist",
"Andrew",
"Papal regalia",
"grotesques",
"Saint John the Evangelist",
"risen",
"crosier",
"Saint Bartholomew",
"Quo vadis?",
"pontifical gloves",
"gold thread",
"martyr",
"brocade",
"Jesus Christ",
"his disciples",
"Saint Andrew",
"Instruments of the Passion",
"Saint Paul",
"left",
"Peter",
"blessing",
"Saint James"
] |
|
17829_T | Saint Peter (Grão Vasco) | Focus on Saint Peter (Grão Vasco) and explain the History. | From records of payments from the chapter of Viseu Cathedral, it is known that Vasco Fernandes (later commonly referred to by the moniker Grão Vasco, "The Great Vasco") had an important artistic workshop in the city of Viseu between 1515 and 1535.
In 1529–35, Miguel da Silva, Bishop of Viseu, commissioned five paintings from Fernandes to grace the side altars of Viseu Cathedral as well as its cloisters, to wit: this Saint Peter and a Baptism of Christ for the two chancel chapels (of the Epistle and Gospel side, respectively), a Calvary and Pentecost for the two transept chapels (sacred to the Blessed Sacrament, on the south semitransept, and the Holy Spirit, respectively), and a Saint Sebastian for a chapel dedicated to that saint, in the cloisters.
The series of paintings underwent restoration in 1607, about 72 years after they were created. It is known that they were saved from overpainting due to the early recognition of their artistic value as an important part of the prestigious artist's corpus; this information was left in writing by canon Botelho Pereira in 1630. Out of the different paintings, and owing to its quality, Saint Peter was the most protected from alteration. When the Cathedral was redecorated in keeping with Baroque tastes in the 1720s–30s, these paintings were moved to the sacristy: writings from 1758 (Diccionario Geographico), 1843 (Oliveira Bernardo), 1865 (John Charles Robinson), and 1890 (Joaquim de Vasconcelos) attest their permanence in this space for many decades.
In the 19th century, the work of Grão Vasco gained the attention of the Arundel Society, specifically the Saint Peter in Viseu Cathedral, recognised as a remarkable picture "of the greatest merit, but virtually unknown". In 1884, Arundel Society trustees Sir William Henry Gregory and Sir Austen Henry Layard submitted a request to Miguel Martins d'Antas, the Minister of Portugal in London, so the Portuguese government would allow an artist appointed by the Arundel Society to copy the painting (along with others in Viseu Cathedral and in the Hospital da Misericórdia, in Oporto) in order to produce and distribute chromolithograph prints of it; the authorisation was granted following the favourable opinion of the Civil Governor of Porto and of the Bishop of Viseu (José Dias Correia de Carvalho). The nearly insignificant number of works by non-Italian artists chosen to be reproduced makes it truly notable: Grão Vasco was put alongside the likes of Van Eyck, Memling, or Dürer. The artist chosen to copy the painting, Emilio Costantini, travelled to Viseu in 1887; the chromolithographs, by Wilhelm Greve, were published in 1892.The Saint Peter was incorporated into the collections of the Grão Vasco National Museum, in Viseu; in 2006, it was classified as a National Treasure by the Ministry of Culture. | [
"Van Eyck",
"Vasco Fernandes",
"José Dias Correia de Carvalho",
"Saint Peter",
"Miguel da Silva",
"painting",
"John Charles Robinson",
"overpainting",
"Minister of Portugal in London",
"Grão Vasco",
"Oporto",
"side altar",
"Memling",
"Blessed Sacrament",
"Gospel",
"Sir Austen Henry Layard",
"Viseu",
"Epistle",
"Dürer",
"Ministry of Culture",
"Sir William Henry Gregory",
"Portugal",
"restoration",
"Holy Spirit",
"Miguel Martins d'Antas",
"National Treasure",
"Baroque",
"Bishop of Viseu",
"sacristy",
"chancel",
"Arundel Society",
"chapter",
"Civil Governor",
"Austen Henry Layard",
"Porto",
"William Henry Gregory",
"Grão Vasco National Museum",
"Emilio Costantini",
"Viseu Cathedral",
"Gospel side",
"Portuguese",
"left",
"Peter",
"Joaquim de Vasconcelos",
"canon",
"chromolithograph",
"transept"
] |
|
17829_NT | Saint Peter (Grão Vasco) | Focus on this artwork and explain the History. | From records of payments from the chapter of Viseu Cathedral, it is known that Vasco Fernandes (later commonly referred to by the moniker Grão Vasco, "The Great Vasco") had an important artistic workshop in the city of Viseu between 1515 and 1535.
In 1529–35, Miguel da Silva, Bishop of Viseu, commissioned five paintings from Fernandes to grace the side altars of Viseu Cathedral as well as its cloisters, to wit: this Saint Peter and a Baptism of Christ for the two chancel chapels (of the Epistle and Gospel side, respectively), a Calvary and Pentecost for the two transept chapels (sacred to the Blessed Sacrament, on the south semitransept, and the Holy Spirit, respectively), and a Saint Sebastian for a chapel dedicated to that saint, in the cloisters.
The series of paintings underwent restoration in 1607, about 72 years after they were created. It is known that they were saved from overpainting due to the early recognition of their artistic value as an important part of the prestigious artist's corpus; this information was left in writing by canon Botelho Pereira in 1630. Out of the different paintings, and owing to its quality, Saint Peter was the most protected from alteration. When the Cathedral was redecorated in keeping with Baroque tastes in the 1720s–30s, these paintings were moved to the sacristy: writings from 1758 (Diccionario Geographico), 1843 (Oliveira Bernardo), 1865 (John Charles Robinson), and 1890 (Joaquim de Vasconcelos) attest their permanence in this space for many decades.
In the 19th century, the work of Grão Vasco gained the attention of the Arundel Society, specifically the Saint Peter in Viseu Cathedral, recognised as a remarkable picture "of the greatest merit, but virtually unknown". In 1884, Arundel Society trustees Sir William Henry Gregory and Sir Austen Henry Layard submitted a request to Miguel Martins d'Antas, the Minister of Portugal in London, so the Portuguese government would allow an artist appointed by the Arundel Society to copy the painting (along with others in Viseu Cathedral and in the Hospital da Misericórdia, in Oporto) in order to produce and distribute chromolithograph prints of it; the authorisation was granted following the favourable opinion of the Civil Governor of Porto and of the Bishop of Viseu (José Dias Correia de Carvalho). The nearly insignificant number of works by non-Italian artists chosen to be reproduced makes it truly notable: Grão Vasco was put alongside the likes of Van Eyck, Memling, or Dürer. The artist chosen to copy the painting, Emilio Costantini, travelled to Viseu in 1887; the chromolithographs, by Wilhelm Greve, were published in 1892.The Saint Peter was incorporated into the collections of the Grão Vasco National Museum, in Viseu; in 2006, it was classified as a National Treasure by the Ministry of Culture. | [
"Van Eyck",
"Vasco Fernandes",
"José Dias Correia de Carvalho",
"Saint Peter",
"Miguel da Silva",
"painting",
"John Charles Robinson",
"overpainting",
"Minister of Portugal in London",
"Grão Vasco",
"Oporto",
"side altar",
"Memling",
"Blessed Sacrament",
"Gospel",
"Sir Austen Henry Layard",
"Viseu",
"Epistle",
"Dürer",
"Ministry of Culture",
"Sir William Henry Gregory",
"Portugal",
"restoration",
"Holy Spirit",
"Miguel Martins d'Antas",
"National Treasure",
"Baroque",
"Bishop of Viseu",
"sacristy",
"chancel",
"Arundel Society",
"chapter",
"Civil Governor",
"Austen Henry Layard",
"Porto",
"William Henry Gregory",
"Grão Vasco National Museum",
"Emilio Costantini",
"Viseu Cathedral",
"Gospel side",
"Portuguese",
"left",
"Peter",
"Joaquim de Vasconcelos",
"canon",
"chromolithograph",
"transept"
] |
|
17830_T | Batalha dos Guararapes | Explore the abstract of this artwork, Batalha dos Guararapes. | Batalha dos Guararapes (English: Battle of Guararapes) is an oil painting created between 1875 and 1879. It represents a history painting from the first confrontation of the Battle of Guararapes that took place in the 17th century in the Captaincy of Pernambuco, which culminated with the banishment of the Dutch invaders from Brazilian lands. The canvas was painted by the Brazilian artist and professor of historical painting Victor Meirelles and the scene represents the victory of the Brazilian troops against the Dutch on April 19, 1648, in the first of the two confrontations that occurred in that battle, fought in the region of Guararapes Hill. The second confrontation would be fought months later at the same location, on February 19, 1649, leading to the definitive expulsion of the Dutch troops from the colony, which would only occur in January 1654, with the signing of their capitulation.Initially, the painting on the battle would have been assigned to the painter Pedro Américo from Paraíba, commissioned by the Minister of the Empire João Alfredo Correia de Oliveira. Once the proposal was accepted, the painter went to Italy and stayed at the Convent Santissima Annunziata, Florence to start the painting. Pedro Américo gave up painting the commissioned battle and decided to do a canvas portraying the Paraguayan War, which would be called the Battle of Avaí. With this decision, the minister transferred the commission to Victor Meirelles in 1872:Meirelles' work is one of the historical paintings that circulated most in Brazil, along with canvases such as First Mass in Brazill, also by him, and Independence or Death, by Pedro Américo. It was shown at the 25th General Exposition of the Imperial Academy of Fine Arts in 1879, in Rio de Janeiro, to some three hundred thousand visitors. There were also works by Pedro Americo in the exhibition, such as the Battle of Avaí, both representing victorious episodes in the "national military history". The exhibition, which at first highlighted the qualities of the paintings, displayed side by side, began to be marked by an atmosphere of rivalry between the authors, instigated by the opinions of the press.This battle also has the particularity of being the first moment of national communion in Brazilian history, with regard to the defense of the territory against invaders. It represents the union of the Brazilian people in favor of a national feeling. This interpretation about the Dutch invasion was built in the 19th century, based on the historiographic production of the Brazilian Historic and Geographic Institute (IHGB), creating the "visual memory of the nation". The frequent Dutch and foreign invasions in general, caused a national bond that united the three ethnic groups that formed the colony's society at the time, aligning white Europeans (Portuguese), indigenous and blacks, in a common goal: the expulsion of the Dutch not only from that region, which would later be called Northeast Brazil, but also from the whole territory of the still colony of Portugal. It was a historically important event to portray and that would be, more than 170 years later, one of the strongest inspirations for the formation of the Brazilian Army. | [
"Santissima Annunziata, Florence",
"English",
"Brazilian Historic and Geographic Institute",
"17th century",
"Paraguayan War",
"Brazilian Army",
"historical painting",
"Captaincy of Pernambuco",
"Northeast Brazil",
"Pedro Américo",
"history painting",
"Imperial Academy of Fine Arts",
"25th General Exposition of the Imperial Academy of Fine Arts",
"first confrontation of the Battle of Guararapes",
"Rio de Janeiro",
"artist",
"historical paintings",
"Victor Meirelles",
"three ethnic groups",
"Independence or Death",
"Portuguese",
"colony of Portugal",
"19th century",
"Pernambuco",
"oil painting",
"João Alfredo Correia de Oliveira"
] |
|
17830_NT | Batalha dos Guararapes | Explore the abstract of this artwork. | Batalha dos Guararapes (English: Battle of Guararapes) is an oil painting created between 1875 and 1879. It represents a history painting from the first confrontation of the Battle of Guararapes that took place in the 17th century in the Captaincy of Pernambuco, which culminated with the banishment of the Dutch invaders from Brazilian lands. The canvas was painted by the Brazilian artist and professor of historical painting Victor Meirelles and the scene represents the victory of the Brazilian troops against the Dutch on April 19, 1648, in the first of the two confrontations that occurred in that battle, fought in the region of Guararapes Hill. The second confrontation would be fought months later at the same location, on February 19, 1649, leading to the definitive expulsion of the Dutch troops from the colony, which would only occur in January 1654, with the signing of their capitulation.Initially, the painting on the battle would have been assigned to the painter Pedro Américo from Paraíba, commissioned by the Minister of the Empire João Alfredo Correia de Oliveira. Once the proposal was accepted, the painter went to Italy and stayed at the Convent Santissima Annunziata, Florence to start the painting. Pedro Américo gave up painting the commissioned battle and decided to do a canvas portraying the Paraguayan War, which would be called the Battle of Avaí. With this decision, the minister transferred the commission to Victor Meirelles in 1872:Meirelles' work is one of the historical paintings that circulated most in Brazil, along with canvases such as First Mass in Brazill, also by him, and Independence or Death, by Pedro Américo. It was shown at the 25th General Exposition of the Imperial Academy of Fine Arts in 1879, in Rio de Janeiro, to some three hundred thousand visitors. There were also works by Pedro Americo in the exhibition, such as the Battle of Avaí, both representing victorious episodes in the "national military history". The exhibition, which at first highlighted the qualities of the paintings, displayed side by side, began to be marked by an atmosphere of rivalry between the authors, instigated by the opinions of the press.This battle also has the particularity of being the first moment of national communion in Brazilian history, with regard to the defense of the territory against invaders. It represents the union of the Brazilian people in favor of a national feeling. This interpretation about the Dutch invasion was built in the 19th century, based on the historiographic production of the Brazilian Historic and Geographic Institute (IHGB), creating the "visual memory of the nation". The frequent Dutch and foreign invasions in general, caused a national bond that united the three ethnic groups that formed the colony's society at the time, aligning white Europeans (Portuguese), indigenous and blacks, in a common goal: the expulsion of the Dutch not only from that region, which would later be called Northeast Brazil, but also from the whole territory of the still colony of Portugal. It was a historically important event to portray and that would be, more than 170 years later, one of the strongest inspirations for the formation of the Brazilian Army. | [
"Santissima Annunziata, Florence",
"English",
"Brazilian Historic and Geographic Institute",
"17th century",
"Paraguayan War",
"Brazilian Army",
"historical painting",
"Captaincy of Pernambuco",
"Northeast Brazil",
"Pedro Américo",
"history painting",
"Imperial Academy of Fine Arts",
"25th General Exposition of the Imperial Academy of Fine Arts",
"first confrontation of the Battle of Guararapes",
"Rio de Janeiro",
"artist",
"historical paintings",
"Victor Meirelles",
"three ethnic groups",
"Independence or Death",
"Portuguese",
"colony of Portugal",
"19th century",
"Pernambuco",
"oil painting",
"João Alfredo Correia de Oliveira"
] |
|
17831_T | Batalha dos Guararapes | Focus on Batalha dos Guararapes and discuss the Author. | Victor Meirelles (1832–1903) was born in Nossa Senhora do Desterro (now Florianópolis), in the then Province of Santa Catarina. At the age of six he began his artistic studies and at the age of fifteen he moved to Rio de Janeiro, then capital of the Empire, to study at the Imperial Academy of Fine Arts (Portuguese: Academia Imperial de Belas Artes, AIBA), specializing in historical painting. He perfected his technique in Europe, studying in Rome and Paris for seven years. In the latter city, he produced his painting Primeira Missa no Brasil (English: First Mass in Brazil), considered by critics to be the first great work of Brazilian art. He returns to Brazil in 1861 and, in the following year, is appointed professor of historical painting at Imperial Academy of Fine Arts. Before Batalha dos Guararapes, Meirelles had already painted Indian themes, such as Moema, in 1866, and other historical episodes of battles, such as Passagem de Humaitá (English: Humaitá Passageway) and Batalha do Riachuelo (English: Riachuelo Battle), between 1869 and 1872. In 1885, he founded a company to produce panoramic images of Rio de Janeiro and from then on began to dedicate himself to this style of painting. With the restructuring of AIBA, after the Proclamation of the Republic in 1889, Meirelles was exonerated from his position as professor and went through a period of "marginalization", for having been the official artist of the monarchic period. However, he left a legacy considered important by critics for several artists of the second half of the 19th century, after almost thirty years as a professor. Regretting that his works had been forgotten, he began to hold public exhibitions of his panoramic paintings to support himself until his death a few years later. | [
"English",
"Rome",
"historical painting",
"capital of the Empire",
"Imperial Academy of Fine Arts",
"Rio de Janeiro",
"artist",
"Paris",
"Victor Meirelles",
"Proclamation of the Republic",
"Portuguese",
"style of painting",
"19th century"
] |
|
17831_NT | Batalha dos Guararapes | Focus on this artwork and discuss the Author. | Victor Meirelles (1832–1903) was born in Nossa Senhora do Desterro (now Florianópolis), in the then Province of Santa Catarina. At the age of six he began his artistic studies and at the age of fifteen he moved to Rio de Janeiro, then capital of the Empire, to study at the Imperial Academy of Fine Arts (Portuguese: Academia Imperial de Belas Artes, AIBA), specializing in historical painting. He perfected his technique in Europe, studying in Rome and Paris for seven years. In the latter city, he produced his painting Primeira Missa no Brasil (English: First Mass in Brazil), considered by critics to be the first great work of Brazilian art. He returns to Brazil in 1861 and, in the following year, is appointed professor of historical painting at Imperial Academy of Fine Arts. Before Batalha dos Guararapes, Meirelles had already painted Indian themes, such as Moema, in 1866, and other historical episodes of battles, such as Passagem de Humaitá (English: Humaitá Passageway) and Batalha do Riachuelo (English: Riachuelo Battle), between 1869 and 1872. In 1885, he founded a company to produce panoramic images of Rio de Janeiro and from then on began to dedicate himself to this style of painting. With the restructuring of AIBA, after the Proclamation of the Republic in 1889, Meirelles was exonerated from his position as professor and went through a period of "marginalization", for having been the official artist of the monarchic period. However, he left a legacy considered important by critics for several artists of the second half of the 19th century, after almost thirty years as a professor. Regretting that his works had been forgotten, he began to hold public exhibitions of his panoramic paintings to support himself until his death a few years later. | [
"English",
"Rome",
"historical painting",
"capital of the Empire",
"Imperial Academy of Fine Arts",
"Rio de Janeiro",
"artist",
"Paris",
"Victor Meirelles",
"Proclamation of the Republic",
"Portuguese",
"style of painting",
"19th century"
] |
|
17832_T | Batalha dos Guararapes | How does Batalha dos Guararapes elucidate its Description? | Batalha dos Guararapes, oil on canvas full-color work, is kept in the collection of the Museu Nacional de Belas Artes, in Rio de Janeiro, and measures 500 cm by 925 cm. It depicts one of the battles between the Portuguese and the Dutch that took place on the Guararapes Hill, on Brazilian soil, during Brazil's colonial period.The painting follows a movement belonging to a period of construction of visual molds of Brazil's national identity, related to novelistic aesthetics, making the battles a new source of evocative images of Brazil. The title of the painting refers to the name given to the battle, relating it to the name of the place where it took place: Morro dos Guararapes.
Centrally and prominently, there is André Vidal de Negreiros, field master of the Portuguese Army, brandishing his sword, mounted on a brown and white horse that prances at the moment captured by the artist, making his image taller than any other. At the same time, the master strikes a blow with his sword against the Dutch colonel Keeweer, who looks at him stunned, lying on the ground. This is the nerve center of the scene. Around the central content, many warriors with various spears, flags and swords face each other, having a concentration of men around the confrontation of the two chiefs. The battle is being won by the Portuguese army that is arranged on the left side of the picture, and on the right side, several Dutch dead, wounded on the ground and others still in the middle of the duel, with their bodies leaning forward, which directs the viewer's gaze. Next to the battered colonel, there are warriors protecting him from the Portuguese master, covering him like in a barricade and pointing their weapons at the enemy. The Dutch colonel's white horse is lying wounded on the ground. Meirelles also depicts the military strategies used and, in this way, exposes the Dutch warriors, who were arranged in several human bands, creating army phases.Right behind André Vidal, there is the commander of the troop, Barreto de Menezes, also mounted on horseback, showing his sword and going to capture the governor of the Dutch, Sigismund von Schkopp. On the right side, some warriors further away from the chaos of the battle in the center, observe and comment on the scene. The Dutch, as well as the Portuguese, all white-skinned, wear colorful clothes, in various shades: red, green, yellow, blue, orange, brown, gray, black, and white, colors that call attention in their clothes of thick fabrics, showy, detailed, with feathers, belts, trim, leather boots. They also wear iron armor and have numerous pieces of equipment such as shields, spears, and swords, the latter aimed at the enemy. The Portuguese army is composed of white-skinned Portuguese and some indigenous and black men who are poorly represented, wear simple clothes, some are even unarmored. The white men have horses, and the dark-skinned fight all on the ground.To the left, towards the land of the scenery, there are a group of Portuguese soldiers on horseback in the background, ferociously approaching the combat zone. These are depicted with more muted colors that blend with the vegetation and a surrounding dust. On the lower side of the canvas, on the dirt floor with some bloodstains, are several wounded men, dead, lying among some dry branches, abandoned weapons and pieces of clothing. Others, also on the ground, are watching and protecting themselves from the battle, helpless. All the chaos and movement of the scene raises a dust produced by the earthen floor, which involves the whole picture, causing a frame effect of penumbra. Filipe Camarão and Henrique Dias occupy the sides of the canvas, right and left respectively. The groups of warriors slowly disappear into the open space in the background. They are represented in a smaller size and with neutral colors which generates a visual effect of depth and grandeur of the battle, as if it were not possible to portray the size of the battle itself, but a specific cut: the Portuguese Vidal de Negreiros' blow against the Dutch Keeweer.The meeting of the armies takes place in the foreground, on the Guararapes Hill, a place with tall trees, an earthy, wide flat ground. The landscape occupies the upper left corner of the screen with an immense blue sky that carries clouds and composes together with the gray dust. Meirelles composes the topography of the region and inserts in the background, in the third plane, Cabo de Santo Agostinho, the place that represents the reason for the confrontation between the two groups. In this more distant plane, a technique of depth is used with the use of a palette of dull colors, white and little sharpness, unlike the center and foregrounds where there is more sharpness and bright colors. One notices a nature composed of various species of trees, and the flow of the sea toward the mountainous horizon.The language used by Meirelles is clear and seeks to be faithful to the event and the place, with the intention of rescuing the spirit of an era from its vestiges, since the paintings of battles became, at that time, ways of documenting real exploits, and recording them as an eyewitness account. Artistic realism from the 19th century onward becomes a fundamental characteristic in works, notably in historical painting. The ability to capture the "real" takes precedence over the didactic function, although not completely. Themes focused on national history became a constant, gradually replacing the interest in religious themes, and there was a greater need to consult sources that would help compose the painting as faithfully as possible, within its historical context. | [
"center",
"Museu Nacional de Belas Artes",
"André Vidal de Negreiros",
"oil on canvas",
"historical painting",
"Cabo de Santo Agostinho",
"topography",
"Rio de Janeiro",
"Barreto de Menezes",
"artist",
"Filipe Camarão",
"Portuguese",
"Brazil's colonial period",
"paintings of battles",
"19th century",
"Portuguese Army",
"field master",
"Henrique Dias"
] |
|
17832_NT | Batalha dos Guararapes | How does this artwork elucidate its Description? | Batalha dos Guararapes, oil on canvas full-color work, is kept in the collection of the Museu Nacional de Belas Artes, in Rio de Janeiro, and measures 500 cm by 925 cm. It depicts one of the battles between the Portuguese and the Dutch that took place on the Guararapes Hill, on Brazilian soil, during Brazil's colonial period.The painting follows a movement belonging to a period of construction of visual molds of Brazil's national identity, related to novelistic aesthetics, making the battles a new source of evocative images of Brazil. The title of the painting refers to the name given to the battle, relating it to the name of the place where it took place: Morro dos Guararapes.
Centrally and prominently, there is André Vidal de Negreiros, field master of the Portuguese Army, brandishing his sword, mounted on a brown and white horse that prances at the moment captured by the artist, making his image taller than any other. At the same time, the master strikes a blow with his sword against the Dutch colonel Keeweer, who looks at him stunned, lying on the ground. This is the nerve center of the scene. Around the central content, many warriors with various spears, flags and swords face each other, having a concentration of men around the confrontation of the two chiefs. The battle is being won by the Portuguese army that is arranged on the left side of the picture, and on the right side, several Dutch dead, wounded on the ground and others still in the middle of the duel, with their bodies leaning forward, which directs the viewer's gaze. Next to the battered colonel, there are warriors protecting him from the Portuguese master, covering him like in a barricade and pointing their weapons at the enemy. The Dutch colonel's white horse is lying wounded on the ground. Meirelles also depicts the military strategies used and, in this way, exposes the Dutch warriors, who were arranged in several human bands, creating army phases.Right behind André Vidal, there is the commander of the troop, Barreto de Menezes, also mounted on horseback, showing his sword and going to capture the governor of the Dutch, Sigismund von Schkopp. On the right side, some warriors further away from the chaos of the battle in the center, observe and comment on the scene. The Dutch, as well as the Portuguese, all white-skinned, wear colorful clothes, in various shades: red, green, yellow, blue, orange, brown, gray, black, and white, colors that call attention in their clothes of thick fabrics, showy, detailed, with feathers, belts, trim, leather boots. They also wear iron armor and have numerous pieces of equipment such as shields, spears, and swords, the latter aimed at the enemy. The Portuguese army is composed of white-skinned Portuguese and some indigenous and black men who are poorly represented, wear simple clothes, some are even unarmored. The white men have horses, and the dark-skinned fight all on the ground.To the left, towards the land of the scenery, there are a group of Portuguese soldiers on horseback in the background, ferociously approaching the combat zone. These are depicted with more muted colors that blend with the vegetation and a surrounding dust. On the lower side of the canvas, on the dirt floor with some bloodstains, are several wounded men, dead, lying among some dry branches, abandoned weapons and pieces of clothing. Others, also on the ground, are watching and protecting themselves from the battle, helpless. All the chaos and movement of the scene raises a dust produced by the earthen floor, which involves the whole picture, causing a frame effect of penumbra. Filipe Camarão and Henrique Dias occupy the sides of the canvas, right and left respectively. The groups of warriors slowly disappear into the open space in the background. They are represented in a smaller size and with neutral colors which generates a visual effect of depth and grandeur of the battle, as if it were not possible to portray the size of the battle itself, but a specific cut: the Portuguese Vidal de Negreiros' blow against the Dutch Keeweer.The meeting of the armies takes place in the foreground, on the Guararapes Hill, a place with tall trees, an earthy, wide flat ground. The landscape occupies the upper left corner of the screen with an immense blue sky that carries clouds and composes together with the gray dust. Meirelles composes the topography of the region and inserts in the background, in the third plane, Cabo de Santo Agostinho, the place that represents the reason for the confrontation between the two groups. In this more distant plane, a technique of depth is used with the use of a palette of dull colors, white and little sharpness, unlike the center and foregrounds where there is more sharpness and bright colors. One notices a nature composed of various species of trees, and the flow of the sea toward the mountainous horizon.The language used by Meirelles is clear and seeks to be faithful to the event and the place, with the intention of rescuing the spirit of an era from its vestiges, since the paintings of battles became, at that time, ways of documenting real exploits, and recording them as an eyewitness account. Artistic realism from the 19th century onward becomes a fundamental characteristic in works, notably in historical painting. The ability to capture the "real" takes precedence over the didactic function, although not completely. Themes focused on national history became a constant, gradually replacing the interest in religious themes, and there was a greater need to consult sources that would help compose the painting as faithfully as possible, within its historical context. | [
"center",
"Museu Nacional de Belas Artes",
"André Vidal de Negreiros",
"oil on canvas",
"historical painting",
"Cabo de Santo Agostinho",
"topography",
"Rio de Janeiro",
"Barreto de Menezes",
"artist",
"Filipe Camarão",
"Portuguese",
"Brazil's colonial period",
"paintings of battles",
"19th century",
"Portuguese Army",
"field master",
"Henrique Dias"
] |
|
17833_T | Batalha dos Guararapes | Focus on Batalha dos Guararapes and analyze the Process and inspirations. | For the execution, Meirelles carried out some research work. One of them was to go to the Instituto Arqueológico, Histórico e Geográfico Pernambucano (English: Archeological, Historical and Geographical Institute of Pernambuco), where he could visualize and research about weapons and other utensils present in his canvas. Another research he did was through the collection of the National Historical Museum, where there are several defense equipment, copies of war instruments, on which Meirelles could take as reference to produce the painting.So in the three months or so that he lived in Recife, he often went to Guararapes, where he spent whole days; He went around Olinda, knocking from door to door, so to speak, in search of some paintings depicting the battle he was going to paint, and only after a long time could he find them, ruined, thrown into a corner, detached, since they are painted on wood, representing two battles, the two battles of Guarapes and the third one of Tabocas; he went to Iguarassu, because he had been told about paintings commemorating the Dutch war; he went to Cabo Santo Agostinho; he visited in the capital all the paintings in the church of S. Cosme and S. Damião. Cosme and S. Damião; he went to Cabo de Santo Agostinho; he visited in the capital all the buildings bequeathed by the Batavians. He studied everything, asked everything for inspiration, and tried to take possession through the physical remains of the spirit that presided over them.Being a historical work, the artist used as one of his main sources, the narrative of the Brazilian historian Francisco Adolfo de Varnhagen, História das Lutas dos Holandeses no Brasil (English: History of the Fights of the Dutch in Brazil). With the countless information and details on how the battle presented in this narrative would be arranged, Meirelles composed his painting in three parts, according to the position of the Portuguese army. The care taken to be faithful to the event made Meirelles' work not only a representation of a national historical episode, but a kind of window to that past.The link between the narrative and the painting is so developed that a relationship between image and word is achieved. The influence is so present that the painting is not limited to just exposing the military strategy described in the narrative but also represents the moment as a combat between heroes rather than between civilized and barbarians. According to French historian Christiane Raynaud, "Batalha dos Guararapes seems to become an image-copy of História das Lutas dos Holandeses no Brasil." The idea of image-copy is also noted through the historical summary that accompanies the screen, as a kind of translation through image, when paraphrasing Varnhagen's text.The mention of the historian's work was a strategy used by Meirelles to legitimize his narrative. The instrument of citing renowned historians, eyewitness accounts, or even the artist's own personal experiences at the time of the battle itself, or the on-site observation of the place where it took place, is several times applied by painters in order to show references of their visual creation. These mechanisms confirm the narrative as true and demarcate the limit of verisimilitude in a historiographic painting, making the image more believable. | [
"English",
"Cabo de Santo Agostinho",
"Francisco Adolfo de Varnhagen",
"Varnhagen's",
"artist",
"Portuguese",
"Pernambuco",
"National Historical Museum"
] |
|
17833_NT | Batalha dos Guararapes | Focus on this artwork and analyze the Process and inspirations. | For the execution, Meirelles carried out some research work. One of them was to go to the Instituto Arqueológico, Histórico e Geográfico Pernambucano (English: Archeological, Historical and Geographical Institute of Pernambuco), where he could visualize and research about weapons and other utensils present in his canvas. Another research he did was through the collection of the National Historical Museum, where there are several defense equipment, copies of war instruments, on which Meirelles could take as reference to produce the painting.So in the three months or so that he lived in Recife, he often went to Guararapes, where he spent whole days; He went around Olinda, knocking from door to door, so to speak, in search of some paintings depicting the battle he was going to paint, and only after a long time could he find them, ruined, thrown into a corner, detached, since they are painted on wood, representing two battles, the two battles of Guarapes and the third one of Tabocas; he went to Iguarassu, because he had been told about paintings commemorating the Dutch war; he went to Cabo Santo Agostinho; he visited in the capital all the paintings in the church of S. Cosme and S. Damião. Cosme and S. Damião; he went to Cabo de Santo Agostinho; he visited in the capital all the buildings bequeathed by the Batavians. He studied everything, asked everything for inspiration, and tried to take possession through the physical remains of the spirit that presided over them.Being a historical work, the artist used as one of his main sources, the narrative of the Brazilian historian Francisco Adolfo de Varnhagen, História das Lutas dos Holandeses no Brasil (English: History of the Fights of the Dutch in Brazil). With the countless information and details on how the battle presented in this narrative would be arranged, Meirelles composed his painting in three parts, according to the position of the Portuguese army. The care taken to be faithful to the event made Meirelles' work not only a representation of a national historical episode, but a kind of window to that past.The link between the narrative and the painting is so developed that a relationship between image and word is achieved. The influence is so present that the painting is not limited to just exposing the military strategy described in the narrative but also represents the moment as a combat between heroes rather than between civilized and barbarians. According to French historian Christiane Raynaud, "Batalha dos Guararapes seems to become an image-copy of História das Lutas dos Holandeses no Brasil." The idea of image-copy is also noted through the historical summary that accompanies the screen, as a kind of translation through image, when paraphrasing Varnhagen's text.The mention of the historian's work was a strategy used by Meirelles to legitimize his narrative. The instrument of citing renowned historians, eyewitness accounts, or even the artist's own personal experiences at the time of the battle itself, or the on-site observation of the place where it took place, is several times applied by painters in order to show references of their visual creation. These mechanisms confirm the narrative as true and demarcate the limit of verisimilitude in a historiographic painting, making the image more believable. | [
"English",
"Cabo de Santo Agostinho",
"Francisco Adolfo de Varnhagen",
"Varnhagen's",
"artist",
"Portuguese",
"Pernambuco",
"National Historical Museum"
] |
|
17834_T | Batalha dos Guararapes | In Batalha dos Guararapes, how is the Historical context discussed? | Batalha dos Guararapes painting is set in the imperial period of Brazil, more specifically in the second reign of Dom Pedro II, produced a few years after the end of the Paraguayan War. The painting is in tune with a desire brought about by the period, a political-ideological-cultural project affirmed by the Imperial Academy of Fine Arts together with the Brazilian Historic and Geographic Institute, which was concerned with the construction of a visual Brazilian nationality that incorporated images of the past with struggles and heroes.There was, in the Brazil of the Second Empire, the need for a new political legitimization, since the region now had more independence from Portugal and, at this moment, the great stories of national formation gained importance and notoriety.The Imperial Academy of Fine Arts in Rio de Janeiro received several artistic manifestations, such as neoclassicism, impressionism and romanticism, especially between the 1850s and 1920s, fitting Meirelles' works into the latter aesthetic, since he was part of the first generation of national romantic painters, along with Pedro Américo, Almeida Junior, Rodolfo Amoedo, Henrique Bernardelli and others. Despite being appropriately characterized as a work of Brazilian romanticism, this current in Brazil greatly diluted and softened the passionate radicalism of the first Romantics, considered unseemly and unsuitable for the purposes of the State, besides being marked by a great eclecticism, incorporating a variety of influences from other schools. In the case of Meirelles and Batalha, Baroque and especially Neoclassical influences are noted. The first school, much studied by the artist in his formative period, is noted in the strong contrasts of light and shadow and in the predominance of color over drawing, elements that were recovered already by the early Romantics, and the second, in the balanced, rational, and undramatic organization of the scene. For Jorge Coli, trying to fit Meirelles' style into a specific school can be quite misleading, and tends to hinder the understanding of the complex context in which the painting emerged.It is a time, above all, in which Brazil chooses its most memorable moments and exposes them to the world, in a theatrical way, in vibrant colors by the hands of its best artists. These painters, following the romantic aesthetic, strove to produce commemorative scenes in such a way as to direct the viewer's gaze to specific frames. By representing the past, Meirelles had a strong influence on the creation of the present and the future, because in a certain way he created, from images, what could be known about the history of the country. This is the pedagogy of his works and his intentions in relation to the way in which the Brazilian nation was organized, guided by a civilizing perspective. Through works that fed a collective memory, it was possible for the viewer to relate individual stories.
Painters such as Meirelles, one of the most sought after and considered one of the greatest expressions of 19th century academic art in Brazil, when feeding the idea of national identity in the Batalha dos Guararapes, had control not only of the looks to the past, but also of the projections of what would be the future of a country, together with the State, which was a contractor for these producers and commissioned these memories. In particular this combat, which occurred on April 19, 1648, was chosen by the author because it represents the feeling of patriotism, defeating his enemy with courage and bravery.On the memorable day of April 19, 1648, destined to mark another triumph in testimony to how much the ardor and patriotism of a people can, wounded in their pride and that, firm in the true justice of the cause they defend, and by the faith with which they fight, they know they are victorious; the two armies were found facing each other for a fierce fight.In portraying the Battle of Guarapes, he turns the battle itself into a mere backdrop for a scene in which a communion takes place between the past and the values of the present such as honor, patriotism, knowledge. This relationship of values with the past outlines a civilization composed in a commemoration. In this way, the 19th century is understood as guided by romanticism, with an aesthetic that guides the creation of the scenes. The success of the cultural policy propagated through his works can be identified if we analyze the popular reactions they caused, as well as their incorporation in national history textbooks. The paintings Batalha dos Guararapes and Batalha do Avai are part of a moment in which representations of glorious actions are becoming more frequent. With the Paraguayan War, starting in the 1870s, there was a change in relation to the figure that represented the hero. Previously the figure of the monarch, now anonymous heroes were also painted.
In depicting the Battle of Guararapes, I did not have in mind the fact of the battle, in the raw and ferocious aspect itself. For me, the battle was not that, it was a happy encounter, where the heroes of that time were all reunited. The "Guararapes" canvas is a debt of honor that we had to pay with knowledge, in memory of the valor and patriotism of those men. My end was all noble and the highest: it was necessary to treat that subject as a true historical picture, at the height that history deservedly consecrates that handful of patriots, which is recognized as their right.With the Paraguayan War, a founding myth of the Brazilian nation was fed, based on a patriotism inherited from the victory of this combat. Thus, Meirelles' work received as one of its intentions, the reproduction of this idea: to report the union of white, indigenous and black people who came together in order to maintain national sovereignty. At the time the painting was made, one of the Empire's concerns was precisely the construction of this idea of union throughout the Brazilian nation. Another intention of the paintings commissioned in this period was to motivate the Brazilian population to forget the evils of war, because, even though they were victorious, they had lost many soldiers and still accounted for the losses.
The scene portrayed in the painting was the consequence of an exhausting past for many people from Pernambuco, victims of the tyranny of the Dutch invasions in 1648. The frequent oppression and Desecration generated complaints and a feeling of revolt among Brazilians. For their legitimate rights and for the end of the Dutch exploitation, all classes gathered, generating an army of black, indigenous and white people. Thus, one can see in the painting, the joint presence of the leader of the indigenous, Filipe Camarão, the leader of the black, tshi and creoles, Henrique Dias, and the field masters André Vidal de Negreiros, João Fernandes Vieira and Barreto de Menezes, who commanded the whites. Among the reasons for the battle portrayed was the ambition of the Dutch for the region of Cabo de Santo Agostinho, known for its successful harvests.The comparison between the two canvases caused many to side with Batalha dos Guararapes for the unity and clarity of the scene: a composition without unity does not exist; as a result, the painting Batalha dos Guararapes, notwithstanding its defects of execution, is first in the order of merit for many reasons, and especially for a very simple one - that of being the only one left in the field.
Meirelles was scientific in his work. He was based on the theories of Louis-François Lejeune, who disserted on military paintings. In the 17th century, the paintings of battles became a way of documenting the royal exploits, and of registering travels, with the artist as an eyewitness. This tradition was rescued by Lejeune with his work depicting the Battle of Marengo, with which conceptual parallels can be drawn with Meirelles' work.
One of the painter's concerns was to produce his work following the demand for historical accuracy. He paid attention to details that could provide historical information such as, for example, a faithful representation of the environment in which the battle took place, that is, the setting of the historical fact. Meirelles paid attention to the topography, the ruins and mountains that made up the region, so that the viewer could identify and recognize the place where the scene took place. In the background of the battle scene, on the horizon line, there is Cabo de Santo Agostinho.This region, according to Varnhagen's História das Lutas dos Holandeses no Brasil, was very important for the course of the battle depicted. There was Dutch interest in the area because it was a fertile region, which led to the battle at Morro dos Guararapes. The representation of Cabo de Santo Agostinho brings a historical summary of the moment and also clarifies the reader of the importance of the area at the time, being an element that refers to the author's official history and research.It was rumored that the Dutch were preparing for a new attack, with the objective point of their exploration, with certain success of a better harvest, Cabo Santo Agostinho; located at a distance of 20 leagues away, south of Recife, which at that time was so distinguished by its great development. (...) Barreto de Menezes only had news of what had happened, summons the council that decides to leave immediately to meet the enemy (...) In the last plan, over the horizon, we can see the Cabo de Santo Agostinho.Another form used by the author to legitimize the narrative of his work and bring it closer to the verisimilar was the representation of the military strategies adopted by the two armies, strategies which Meirelles already had some knowledge of. In this way, Batalha dos Guararapes cuts a specific moment in the plot, focusing on special actions and characters.As requested, the author emphasized the victory and unity of the Portuguese army, helping to build the idea of the homeland's well-being and the foundation of a national identity. Despite the horror and violence also represented, national pride, patriotism, in a way, steals the scene. It is important to point out that although the idea of the union of ethnicities and peoples was addressed in the painting, this did not fail to be done in a hierarchical way, as demonstrated by the elements distributed on the screen. The white people were represented by figures such as the field masters André Vidal de Negreiros, João Fernandes Vieira, Dias Cardoso and Barreto de Menezes and Dias da Silva, the indigenous people by Filipe Camarão and the black people by Henrique Dias. Thus, the national history of miscegenation gained its first image with Victor Meirelles.
The representation of the royal army, emphasizing the white man as an example of civilization to be followed by the other races, was a trend of the 19th century tradition. The idea of unity was based precisely on the premise that the Brazilian nation, if united, would have the strength and opportunities to overcome any other civilization, confronting the movement of repudiation of the "other" in which the Brazilian nation was constituted. This "other", being foreign, was defined as barbaric and the idea that Brazilians represented the New World's ideal of civilization.Guararapes operates a synthesis of the races in the same struggle and founds the first legitimization of a country that discovers itself as master of its political destinies. The warrior feat is the baptism of fire of this solidarity among Brazilians, and the guarantee of an unshakable feeling.Even with a commitment to exaltation of national pride, Meirelles does not inferiorize the Dutch warriors, but rather, represents them with bravery and dignity even at the moment they are defeated, a detail that emphasizes the synchrony of the painting with the work of Francisco Adolfo de Varnhagen. Debating the criticism, the painter explains that his goal was to highlight all the heroes gathered together.In depicting the Battle of Guararapes, I did not have in mind the fact of the battle in its cruel and ferocious aspect per se. For me, the battle was not this, it was the happy meeting where the heroes of that time were all reunited. The Guararapes canvas is a debt of honor that we had to pay, with recognition, in memory of the valor and patriotism of those illustrious men. My aim was all noble and the highest; it was necessary to treat that subject as a true historical picture, at the height that history deservedly consecrates to that handful of patriots who, driven by enthusiasm and love of the homeland, became notable meritorious. My concern was to highlight, in the way I thought most appropriate and worthy, the respective merit of each one of them, according to the importance that is rightfully recognized.The painting carries the idea of national heroism extremely necessary for the time when it was released, late 19th century, when there were still reflections of the Paraguayan War in society and in the economy.This set of motifs and aspirations was also an essential part of the academic tradition of historical painting, which has always been the most prestigious genre for scholars, considered the most noble and complete, and the ideal stage for the consecration of political and social ideologies, important also for its strong educational and moral associations. Moreover, in view of the difficulties of execution and its erudite character, the genre lent itself especially well to testify to the artist's superior culture and technical preparation. This tradition goes back to the time when the Imperial Academy was founded by a group of French artists, who sought to imitate in the New World the model of the famous French academy. Although historical painting took a long time to assert itself in Brazil, as of the 1840s the theme became much debated, especially within the scope of the Brazilian Historic and Geographic Institute, at the time the main space for the gestation and articulation of the ideological foundations of art sponsored by the State, the debate being characterized by a faithful alignment with the imperial nationalist program. For the members of the Institute and the Academy's leaders, as art historian Maraliz Vieira Christo states, "the continuity between past, present and future would be the thread that would weave the national memory". It fell to Victor Meirelles and his greatest rival, Pedro Américo, the role of main representatives of the tradition of historical painting in Brazil during the imperial period, in which the Battle is one of the most outstanding examples. | [
"Brazilian Historic and Geographic Institute",
"17th century",
"Paraguayan War",
"Brazilian romanticism",
"Battle of Marengo",
"eclecticism",
"Almeida Junior",
"André Vidal de Negreiros",
"Henrique Bernardelli",
"romanticism",
"historical painting",
"Cabo de Santo Agostinho",
"The Imperial Academy of Fine Arts in Rio de Janeiro",
"topography",
"Pedro Américo",
"Imperial Academy of Fine Arts",
"Francisco Adolfo de Varnhagen",
"Rio de Janeiro",
"Barreto de Menezes",
"neoclassicism",
"Varnhagen's",
"artist",
"Filipe Camarão",
"Victor Meirelles",
"1870s",
"Louis-François Lejeune",
"Portuguese",
"Desecration",
"imperial period of Brazil",
"paintings of battles",
"19th century",
"tshi",
"Pernambuco",
"impressionism",
"field master",
"Rodolfo Amoedo",
"Henrique Dias"
] |
|
17834_NT | Batalha dos Guararapes | In this artwork, how is the Historical context discussed? | Batalha dos Guararapes painting is set in the imperial period of Brazil, more specifically in the second reign of Dom Pedro II, produced a few years after the end of the Paraguayan War. The painting is in tune with a desire brought about by the period, a political-ideological-cultural project affirmed by the Imperial Academy of Fine Arts together with the Brazilian Historic and Geographic Institute, which was concerned with the construction of a visual Brazilian nationality that incorporated images of the past with struggles and heroes.There was, in the Brazil of the Second Empire, the need for a new political legitimization, since the region now had more independence from Portugal and, at this moment, the great stories of national formation gained importance and notoriety.The Imperial Academy of Fine Arts in Rio de Janeiro received several artistic manifestations, such as neoclassicism, impressionism and romanticism, especially between the 1850s and 1920s, fitting Meirelles' works into the latter aesthetic, since he was part of the first generation of national romantic painters, along with Pedro Américo, Almeida Junior, Rodolfo Amoedo, Henrique Bernardelli and others. Despite being appropriately characterized as a work of Brazilian romanticism, this current in Brazil greatly diluted and softened the passionate radicalism of the first Romantics, considered unseemly and unsuitable for the purposes of the State, besides being marked by a great eclecticism, incorporating a variety of influences from other schools. In the case of Meirelles and Batalha, Baroque and especially Neoclassical influences are noted. The first school, much studied by the artist in his formative period, is noted in the strong contrasts of light and shadow and in the predominance of color over drawing, elements that were recovered already by the early Romantics, and the second, in the balanced, rational, and undramatic organization of the scene. For Jorge Coli, trying to fit Meirelles' style into a specific school can be quite misleading, and tends to hinder the understanding of the complex context in which the painting emerged.It is a time, above all, in which Brazil chooses its most memorable moments and exposes them to the world, in a theatrical way, in vibrant colors by the hands of its best artists. These painters, following the romantic aesthetic, strove to produce commemorative scenes in such a way as to direct the viewer's gaze to specific frames. By representing the past, Meirelles had a strong influence on the creation of the present and the future, because in a certain way he created, from images, what could be known about the history of the country. This is the pedagogy of his works and his intentions in relation to the way in which the Brazilian nation was organized, guided by a civilizing perspective. Through works that fed a collective memory, it was possible for the viewer to relate individual stories.
Painters such as Meirelles, one of the most sought after and considered one of the greatest expressions of 19th century academic art in Brazil, when feeding the idea of national identity in the Batalha dos Guararapes, had control not only of the looks to the past, but also of the projections of what would be the future of a country, together with the State, which was a contractor for these producers and commissioned these memories. In particular this combat, which occurred on April 19, 1648, was chosen by the author because it represents the feeling of patriotism, defeating his enemy with courage and bravery.On the memorable day of April 19, 1648, destined to mark another triumph in testimony to how much the ardor and patriotism of a people can, wounded in their pride and that, firm in the true justice of the cause they defend, and by the faith with which they fight, they know they are victorious; the two armies were found facing each other for a fierce fight.In portraying the Battle of Guarapes, he turns the battle itself into a mere backdrop for a scene in which a communion takes place between the past and the values of the present such as honor, patriotism, knowledge. This relationship of values with the past outlines a civilization composed in a commemoration. In this way, the 19th century is understood as guided by romanticism, with an aesthetic that guides the creation of the scenes. The success of the cultural policy propagated through his works can be identified if we analyze the popular reactions they caused, as well as their incorporation in national history textbooks. The paintings Batalha dos Guararapes and Batalha do Avai are part of a moment in which representations of glorious actions are becoming more frequent. With the Paraguayan War, starting in the 1870s, there was a change in relation to the figure that represented the hero. Previously the figure of the monarch, now anonymous heroes were also painted.
In depicting the Battle of Guararapes, I did not have in mind the fact of the battle, in the raw and ferocious aspect itself. For me, the battle was not that, it was a happy encounter, where the heroes of that time were all reunited. The "Guararapes" canvas is a debt of honor that we had to pay with knowledge, in memory of the valor and patriotism of those men. My end was all noble and the highest: it was necessary to treat that subject as a true historical picture, at the height that history deservedly consecrates that handful of patriots, which is recognized as their right.With the Paraguayan War, a founding myth of the Brazilian nation was fed, based on a patriotism inherited from the victory of this combat. Thus, Meirelles' work received as one of its intentions, the reproduction of this idea: to report the union of white, indigenous and black people who came together in order to maintain national sovereignty. At the time the painting was made, one of the Empire's concerns was precisely the construction of this idea of union throughout the Brazilian nation. Another intention of the paintings commissioned in this period was to motivate the Brazilian population to forget the evils of war, because, even though they were victorious, they had lost many soldiers and still accounted for the losses.
The scene portrayed in the painting was the consequence of an exhausting past for many people from Pernambuco, victims of the tyranny of the Dutch invasions in 1648. The frequent oppression and Desecration generated complaints and a feeling of revolt among Brazilians. For their legitimate rights and for the end of the Dutch exploitation, all classes gathered, generating an army of black, indigenous and white people. Thus, one can see in the painting, the joint presence of the leader of the indigenous, Filipe Camarão, the leader of the black, tshi and creoles, Henrique Dias, and the field masters André Vidal de Negreiros, João Fernandes Vieira and Barreto de Menezes, who commanded the whites. Among the reasons for the battle portrayed was the ambition of the Dutch for the region of Cabo de Santo Agostinho, known for its successful harvests.The comparison between the two canvases caused many to side with Batalha dos Guararapes for the unity and clarity of the scene: a composition without unity does not exist; as a result, the painting Batalha dos Guararapes, notwithstanding its defects of execution, is first in the order of merit for many reasons, and especially for a very simple one - that of being the only one left in the field.
Meirelles was scientific in his work. He was based on the theories of Louis-François Lejeune, who disserted on military paintings. In the 17th century, the paintings of battles became a way of documenting the royal exploits, and of registering travels, with the artist as an eyewitness. This tradition was rescued by Lejeune with his work depicting the Battle of Marengo, with which conceptual parallels can be drawn with Meirelles' work.
One of the painter's concerns was to produce his work following the demand for historical accuracy. He paid attention to details that could provide historical information such as, for example, a faithful representation of the environment in which the battle took place, that is, the setting of the historical fact. Meirelles paid attention to the topography, the ruins and mountains that made up the region, so that the viewer could identify and recognize the place where the scene took place. In the background of the battle scene, on the horizon line, there is Cabo de Santo Agostinho.This region, according to Varnhagen's História das Lutas dos Holandeses no Brasil, was very important for the course of the battle depicted. There was Dutch interest in the area because it was a fertile region, which led to the battle at Morro dos Guararapes. The representation of Cabo de Santo Agostinho brings a historical summary of the moment and also clarifies the reader of the importance of the area at the time, being an element that refers to the author's official history and research.It was rumored that the Dutch were preparing for a new attack, with the objective point of their exploration, with certain success of a better harvest, Cabo Santo Agostinho; located at a distance of 20 leagues away, south of Recife, which at that time was so distinguished by its great development. (...) Barreto de Menezes only had news of what had happened, summons the council that decides to leave immediately to meet the enemy (...) In the last plan, over the horizon, we can see the Cabo de Santo Agostinho.Another form used by the author to legitimize the narrative of his work and bring it closer to the verisimilar was the representation of the military strategies adopted by the two armies, strategies which Meirelles already had some knowledge of. In this way, Batalha dos Guararapes cuts a specific moment in the plot, focusing on special actions and characters.As requested, the author emphasized the victory and unity of the Portuguese army, helping to build the idea of the homeland's well-being and the foundation of a national identity. Despite the horror and violence also represented, national pride, patriotism, in a way, steals the scene. It is important to point out that although the idea of the union of ethnicities and peoples was addressed in the painting, this did not fail to be done in a hierarchical way, as demonstrated by the elements distributed on the screen. The white people were represented by figures such as the field masters André Vidal de Negreiros, João Fernandes Vieira, Dias Cardoso and Barreto de Menezes and Dias da Silva, the indigenous people by Filipe Camarão and the black people by Henrique Dias. Thus, the national history of miscegenation gained its first image with Victor Meirelles.
The representation of the royal army, emphasizing the white man as an example of civilization to be followed by the other races, was a trend of the 19th century tradition. The idea of unity was based precisely on the premise that the Brazilian nation, if united, would have the strength and opportunities to overcome any other civilization, confronting the movement of repudiation of the "other" in which the Brazilian nation was constituted. This "other", being foreign, was defined as barbaric and the idea that Brazilians represented the New World's ideal of civilization.Guararapes operates a synthesis of the races in the same struggle and founds the first legitimization of a country that discovers itself as master of its political destinies. The warrior feat is the baptism of fire of this solidarity among Brazilians, and the guarantee of an unshakable feeling.Even with a commitment to exaltation of national pride, Meirelles does not inferiorize the Dutch warriors, but rather, represents them with bravery and dignity even at the moment they are defeated, a detail that emphasizes the synchrony of the painting with the work of Francisco Adolfo de Varnhagen. Debating the criticism, the painter explains that his goal was to highlight all the heroes gathered together.In depicting the Battle of Guararapes, I did not have in mind the fact of the battle in its cruel and ferocious aspect per se. For me, the battle was not this, it was the happy meeting where the heroes of that time were all reunited. The Guararapes canvas is a debt of honor that we had to pay, with recognition, in memory of the valor and patriotism of those illustrious men. My aim was all noble and the highest; it was necessary to treat that subject as a true historical picture, at the height that history deservedly consecrates to that handful of patriots who, driven by enthusiasm and love of the homeland, became notable meritorious. My concern was to highlight, in the way I thought most appropriate and worthy, the respective merit of each one of them, according to the importance that is rightfully recognized.The painting carries the idea of national heroism extremely necessary for the time when it was released, late 19th century, when there were still reflections of the Paraguayan War in society and in the economy.This set of motifs and aspirations was also an essential part of the academic tradition of historical painting, which has always been the most prestigious genre for scholars, considered the most noble and complete, and the ideal stage for the consecration of political and social ideologies, important also for its strong educational and moral associations. Moreover, in view of the difficulties of execution and its erudite character, the genre lent itself especially well to testify to the artist's superior culture and technical preparation. This tradition goes back to the time when the Imperial Academy was founded by a group of French artists, who sought to imitate in the New World the model of the famous French academy. Although historical painting took a long time to assert itself in Brazil, as of the 1840s the theme became much debated, especially within the scope of the Brazilian Historic and Geographic Institute, at the time the main space for the gestation and articulation of the ideological foundations of art sponsored by the State, the debate being characterized by a faithful alignment with the imperial nationalist program. For the members of the Institute and the Academy's leaders, as art historian Maraliz Vieira Christo states, "the continuity between past, present and future would be the thread that would weave the national memory". It fell to Victor Meirelles and his greatest rival, Pedro Américo, the role of main representatives of the tradition of historical painting in Brazil during the imperial period, in which the Battle is one of the most outstanding examples. | [
"Brazilian Historic and Geographic Institute",
"17th century",
"Paraguayan War",
"Brazilian romanticism",
"Battle of Marengo",
"eclecticism",
"Almeida Junior",
"André Vidal de Negreiros",
"Henrique Bernardelli",
"romanticism",
"historical painting",
"Cabo de Santo Agostinho",
"The Imperial Academy of Fine Arts in Rio de Janeiro",
"topography",
"Pedro Américo",
"Imperial Academy of Fine Arts",
"Francisco Adolfo de Varnhagen",
"Rio de Janeiro",
"Barreto de Menezes",
"neoclassicism",
"Varnhagen's",
"artist",
"Filipe Camarão",
"Victor Meirelles",
"1870s",
"Louis-François Lejeune",
"Portuguese",
"Desecration",
"imperial period of Brazil",
"paintings of battles",
"19th century",
"tshi",
"Pernambuco",
"impressionism",
"field master",
"Rodolfo Amoedo",
"Henrique Dias"
] |
|
17835_T | Batalha dos Guararapes | In the context of Batalha dos Guararapes, explain the Verisimilitude of the scene of the Reception and criticism. | Meirelles' work was the target of several criticisms and debates because it deals with a historical moment and there are different opinions about how it really occurred and should be represented. In 1879, Meirelles was accused of producing a misleading scene about the Dutch invasion. It was alleged that this event could not have been portrayed in such a peaceful manner. Different opinions on how the scene occurred conflicted with the research the author himself had done before creating the painting, such as his meticulous work in Pernambuco, where he conducted studies and research at the Instituto Arqueológico, Histórico e Geográfico Pernambucano (IAHGP) and was able to view weapons and other props that helped him in the making of the canvas.One of the critics of the painting was the researcher Donato Mello Júnior (he was a professor, researcher, and architect, who contributed to the collection of the National Museum of Fine Arts), whose attacks on the works of Victor Meirelles and Pedro Américo were present at the 1879 exhibitions, with his publications of articles in pamphlets. Several critics specialized in plastic arts were divided in their opinions about the paintings and their authors. There were also publications by anonymous writers in newspapers, a resource allowed by the press in the 19th century, or pseudonyms, in order to destroy the artists' reputation and deny journalistic seriousness. The accusations were diverse, from plagiarism of the artists, to false or inappropriate representations of people, objects, props, scenes, alleging a lack of commitment to the painting's fidelity to the past.
Some of André Félibien's principles were adopted by Meirelles, in response to the accusation of lack of emotion in Batalha dos Guararapes, such as the theory of the principle of unity of the painting. This doctrine required an idealization in the composition so that all the figures were associated with and assisted in the characterization of the action of the hero portrayed, i.e., the entire cut should serve the central virtuous action at the same moment. This systematized rule would be applied in paintings of the historical genre, according to Félibien, a category that contributed too much to academic teaching besides enabling the painter a valuable status and social recognition.Other principles also preached by André Félibien on the theory of painting were cited by Meirelles, in defense of his work, such as the importance of perspectives, of light and dark, of the ordering of figures, of proportions.The artist felt the need to develop a chronicle with the objective of clarifying the European artistic tradition that his work followed, citing some precepts of the academic art which he followed for his production, and places as the main one the unity of composition. Meirelles says that his work brings a specific central clipping, and eliminates from his narrative anything that might confuse the understanding of the main message. Finally, he legitimizes all his production, claiming that it follows a tradition that only conceives works of art guided by the principle of unity.: p.75 The episodes, however picturesque and characteristic of a battle, whose end was only to represent the destruction or extermination of one race by another, could not, on the canvas Batalha dos Guararapes, contribute to excite the interest calculated by the artist, who only thought of drawing the spectator's attention to the main characters (...) Movement in the art of composing a picture is not, nor can it be taken in the sense that our critics want to give it. The movement results from the contrast of the figures among themselves and of the groups between each other; from this contrast, in the attitudes and in the variety of expressions, as well as in the well calculated effects of the masses of shadow and of light, by the perfect intelligence of perspective, which, by graduating the planes, also gives us the due proportion between the figures in their different distances, is born the nature of movement, under the aspect of verisimilitude, and not the mark of delirium.In this way, Meirelles uses the knowledge of his artistic training, rich in doctrines of the pictorial tradition, and combines his research on the Batalha dos Guararapes, to assert that the figure is a credible representation, and not a source of his imagination. Another criticism he received was that made by Jornal do Commercio, in 1879, which accused the painter of representing models of weapons and clothing that belonged to a certain "Theater of Mr. Ferrari", and not the originals used at the time of the combat.There are no models drawn in Brazil either, and like these indispensable objects for the making of a historical picture, many others are missing (...). With these elements or, better yet, with the lack of them, Mr. Vítor Meireles painted his Batalha dos Guararapes. Now, I ask, can anyone demand in this painting: exactness in the appearance of the main characters of the painting, absolute truth in the accessories, and meticulous correction in the nude drawing, when Vítor Meireles had at his disposal neither portraits, nor museums, nor models? On what can one fairly exercise severity for this painter's painting? Composition? In response to the criticism, Rangel de Sampaio, a friend of Meirelles, recalls that the painter went to Pernambuco with the purpose of researching and, in fact, saw several artifacts from the period. Even without having them in abundance as in Europe, the Instituto Arqueológico, Histórico e Geográfico from Pernambuco stored models of the items in question. Besides the clothing and accessories, Sampaio also states that Meirelles examined the very place where the battle had taken place.What Rangel de Sampaio says about Meireles' trip to Pernambuco: Conscientious as he is, attentive to the study of topography and all the physical accidents that are connected to the subjects he tries to immortalize on his canvases, he, commissioned to commemorate the Battle of Guararapes, went to examine the theater of action. And he did it well. The famous places, as it were, lend themselves to telling us of the glorious deeds they witnessed. | [
"André Félibien's",
"Félibien",
"topography",
"Pedro Américo",
"André Félibien",
"artist",
"Victor Meirelles",
"19th century",
"Pernambuco"
] |
|
17835_NT | Batalha dos Guararapes | In the context of this artwork, explain the Verisimilitude of the scene of the Reception and criticism. | Meirelles' work was the target of several criticisms and debates because it deals with a historical moment and there are different opinions about how it really occurred and should be represented. In 1879, Meirelles was accused of producing a misleading scene about the Dutch invasion. It was alleged that this event could not have been portrayed in such a peaceful manner. Different opinions on how the scene occurred conflicted with the research the author himself had done before creating the painting, such as his meticulous work in Pernambuco, where he conducted studies and research at the Instituto Arqueológico, Histórico e Geográfico Pernambucano (IAHGP) and was able to view weapons and other props that helped him in the making of the canvas.One of the critics of the painting was the researcher Donato Mello Júnior (he was a professor, researcher, and architect, who contributed to the collection of the National Museum of Fine Arts), whose attacks on the works of Victor Meirelles and Pedro Américo were present at the 1879 exhibitions, with his publications of articles in pamphlets. Several critics specialized in plastic arts were divided in their opinions about the paintings and their authors. There were also publications by anonymous writers in newspapers, a resource allowed by the press in the 19th century, or pseudonyms, in order to destroy the artists' reputation and deny journalistic seriousness. The accusations were diverse, from plagiarism of the artists, to false or inappropriate representations of people, objects, props, scenes, alleging a lack of commitment to the painting's fidelity to the past.
Some of André Félibien's principles were adopted by Meirelles, in response to the accusation of lack of emotion in Batalha dos Guararapes, such as the theory of the principle of unity of the painting. This doctrine required an idealization in the composition so that all the figures were associated with and assisted in the characterization of the action of the hero portrayed, i.e., the entire cut should serve the central virtuous action at the same moment. This systematized rule would be applied in paintings of the historical genre, according to Félibien, a category that contributed too much to academic teaching besides enabling the painter a valuable status and social recognition.Other principles also preached by André Félibien on the theory of painting were cited by Meirelles, in defense of his work, such as the importance of perspectives, of light and dark, of the ordering of figures, of proportions.The artist felt the need to develop a chronicle with the objective of clarifying the European artistic tradition that his work followed, citing some precepts of the academic art which he followed for his production, and places as the main one the unity of composition. Meirelles says that his work brings a specific central clipping, and eliminates from his narrative anything that might confuse the understanding of the main message. Finally, he legitimizes all his production, claiming that it follows a tradition that only conceives works of art guided by the principle of unity.: p.75 The episodes, however picturesque and characteristic of a battle, whose end was only to represent the destruction or extermination of one race by another, could not, on the canvas Batalha dos Guararapes, contribute to excite the interest calculated by the artist, who only thought of drawing the spectator's attention to the main characters (...) Movement in the art of composing a picture is not, nor can it be taken in the sense that our critics want to give it. The movement results from the contrast of the figures among themselves and of the groups between each other; from this contrast, in the attitudes and in the variety of expressions, as well as in the well calculated effects of the masses of shadow and of light, by the perfect intelligence of perspective, which, by graduating the planes, also gives us the due proportion between the figures in their different distances, is born the nature of movement, under the aspect of verisimilitude, and not the mark of delirium.In this way, Meirelles uses the knowledge of his artistic training, rich in doctrines of the pictorial tradition, and combines his research on the Batalha dos Guararapes, to assert that the figure is a credible representation, and not a source of his imagination. Another criticism he received was that made by Jornal do Commercio, in 1879, which accused the painter of representing models of weapons and clothing that belonged to a certain "Theater of Mr. Ferrari", and not the originals used at the time of the combat.There are no models drawn in Brazil either, and like these indispensable objects for the making of a historical picture, many others are missing (...). With these elements or, better yet, with the lack of them, Mr. Vítor Meireles painted his Batalha dos Guararapes. Now, I ask, can anyone demand in this painting: exactness in the appearance of the main characters of the painting, absolute truth in the accessories, and meticulous correction in the nude drawing, when Vítor Meireles had at his disposal neither portraits, nor museums, nor models? On what can one fairly exercise severity for this painter's painting? Composition? In response to the criticism, Rangel de Sampaio, a friend of Meirelles, recalls that the painter went to Pernambuco with the purpose of researching and, in fact, saw several artifacts from the period. Even without having them in abundance as in Europe, the Instituto Arqueológico, Histórico e Geográfico from Pernambuco stored models of the items in question. Besides the clothing and accessories, Sampaio also states that Meirelles examined the very place where the battle had taken place.What Rangel de Sampaio says about Meireles' trip to Pernambuco: Conscientious as he is, attentive to the study of topography and all the physical accidents that are connected to the subjects he tries to immortalize on his canvases, he, commissioned to commemorate the Battle of Guararapes, went to examine the theater of action. And he did it well. The famous places, as it were, lend themselves to telling us of the glorious deeds they witnessed. | [
"André Félibien's",
"Félibien",
"topography",
"Pedro Américo",
"André Félibien",
"artist",
"Victor Meirelles",
"19th century",
"Pernambuco"
] |
|
17836_T | Batalha dos Guararapes | Explore the Representation of índio Filipe Camarão about the Reception and criticism of this artwork, Batalha dos Guararapes. | Another criticism related to Meirelles' work was the contestation of the representation of índio Filipe Camarão, who, according to the critics, was badly drawn since his image, at the time he participated in the battle, did not present the joviality portrayed in the painting. Once again, the artist used Varnhagen's História das Lutas dos Holandeses no Brasil to justify himself. In this bibliography, the historian presents an analysis of Camarão's life, such as the year in which he died, the year in which he was baptized, the same year in which there was a dispute for the Crown in Portugal between two religious men, and the name Filipe was a tribute to them. This proves that Meirelles had not erred in his portrayal, for he himself contended that he had added more age to the figure of Camarão.
Other criticisms were made about the way in which Filipe Camarão was represented, especially at the time of the painting's execution, when his work received the most varied visitors. Many of the visitors thought it was inappropriate the way one of the heroes of the battle was portrayed, because he could never be portrayed as an old man or a decadent person, as this would run away from the idea of a national hero. At this point, there was a conflict between the moral function of the painting and its commitment to fidelity to the past. The figure of a hero should not be deconstructed but rather reinforced as an example for posterity. Thus, the painter should not be bound by such historical preciousness. For those visitors, the most important function of a work was its pedagogical role, even if this compromised its verisimilitude. However, after the polemic, the painter changed the image of the character.One circumstance, however, which I thought I should not disregard, due to its respectful origin, was that it made me alter the physiognomy of the indigenous person in question, to give him the appearance that can be seen today on the Guararapes canvas and which is particularized as a defect... (...) Mr. Justice Tristão de Alencar Araripe, more than once honoring my "atelier" with his presence, also expressed his regret for seeing that character thus characterized. And I, who only want to get it right, because of the faith that the judicious observations deserved, and because it did not seem like obstinacy, understood I had to give in, modifying it in the sense in which I present it today.Before giving in, Meirelles continued the debate, now basing his arguments on the work of French naturalist Alcide d'Orbigny, The American Man of South America. In this bibliography, it was stated that the indigenous people had a different aging process, which took place more slowly, as well as the manifestation of this passage of time in their aesthetics. Even at a hundred years old, they would remain with their youthful appearance.More than one person has told me that Camarao, whom I had represented, in spite of his seventy years, could not be considered old, because he was an indigenous person, and that this northern race, so robust, only begins to show signs of old age after a hundred years, and still in support of such an assertion we have what d'Orbigny tells us in his work O homem americano da América Meridional (English: The American Man of South America).The choice to represent Camarão with a jovial image, even though he was seventy years old, was based on sources consulted by Meirelles, by his pictorial knowledge and on the theme, and also on racial theories of the time, i.e., this act followed a historical scientific content. Thus, the representation of Camarão is a mark of enunciation of the painting that marked a moment of dialogue between historical painting and the discipline of history. | [
"English",
"historical painting",
"índio",
"Varnhagen's",
"artist",
"Filipe Camarão",
"Alcide d'Orbigny"
] |
|
17836_NT | Batalha dos Guararapes | Explore the Representation of índio Filipe Camarão about the Reception and criticism of this artwork. | Another criticism related to Meirelles' work was the contestation of the representation of índio Filipe Camarão, who, according to the critics, was badly drawn since his image, at the time he participated in the battle, did not present the joviality portrayed in the painting. Once again, the artist used Varnhagen's História das Lutas dos Holandeses no Brasil to justify himself. In this bibliography, the historian presents an analysis of Camarão's life, such as the year in which he died, the year in which he was baptized, the same year in which there was a dispute for the Crown in Portugal between two religious men, and the name Filipe was a tribute to them. This proves that Meirelles had not erred in his portrayal, for he himself contended that he had added more age to the figure of Camarão.
Other criticisms were made about the way in which Filipe Camarão was represented, especially at the time of the painting's execution, when his work received the most varied visitors. Many of the visitors thought it was inappropriate the way one of the heroes of the battle was portrayed, because he could never be portrayed as an old man or a decadent person, as this would run away from the idea of a national hero. At this point, there was a conflict between the moral function of the painting and its commitment to fidelity to the past. The figure of a hero should not be deconstructed but rather reinforced as an example for posterity. Thus, the painter should not be bound by such historical preciousness. For those visitors, the most important function of a work was its pedagogical role, even if this compromised its verisimilitude. However, after the polemic, the painter changed the image of the character.One circumstance, however, which I thought I should not disregard, due to its respectful origin, was that it made me alter the physiognomy of the indigenous person in question, to give him the appearance that can be seen today on the Guararapes canvas and which is particularized as a defect... (...) Mr. Justice Tristão de Alencar Araripe, more than once honoring my "atelier" with his presence, also expressed his regret for seeing that character thus characterized. And I, who only want to get it right, because of the faith that the judicious observations deserved, and because it did not seem like obstinacy, understood I had to give in, modifying it in the sense in which I present it today.Before giving in, Meirelles continued the debate, now basing his arguments on the work of French naturalist Alcide d'Orbigny, The American Man of South America. In this bibliography, it was stated that the indigenous people had a different aging process, which took place more slowly, as well as the manifestation of this passage of time in their aesthetics. Even at a hundred years old, they would remain with their youthful appearance.More than one person has told me that Camarao, whom I had represented, in spite of his seventy years, could not be considered old, because he was an indigenous person, and that this northern race, so robust, only begins to show signs of old age after a hundred years, and still in support of such an assertion we have what d'Orbigny tells us in his work O homem americano da América Meridional (English: The American Man of South America).The choice to represent Camarão with a jovial image, even though he was seventy years old, was based on sources consulted by Meirelles, by his pictorial knowledge and on the theme, and also on racial theories of the time, i.e., this act followed a historical scientific content. Thus, the representation of Camarão is a mark of enunciation of the painting that marked a moment of dialogue between historical painting and the discipline of history. | [
"English",
"historical painting",
"índio",
"Varnhagen's",
"artist",
"Filipe Camarão",
"Alcide d'Orbigny"
] |
|
17837_T | St Sebastian between St Roch and St Peter | Focus on St Sebastian between St Roch and St Peter and discuss the abstract. | St Sebastian between St Roch and St Peter is a fragment of a fresco by Perugino, painted around 1478 in the church of Santa Maria Assunta in Cerqueto, Italy. It was his first depiction of Saint Sebastian, a subject to which he would frequently return. To the left is St Roch and to the right St Peter.
It was originally dated and signed "PETRUS PERUSINUS P[INXIT] / A[NNO DOMINI] MCCCCLVIII" (Peter of Perugia painted [this] / Year of Our Lord 1478). In 1478 he was back in Umbria after a period in Andrea del Verrocchio's studio in Florence. He began to receive important commissions, whose success was noted by pope Sixtus IV, who summoned him to Rome. That same year, the Confraternity of Mary Magdalene (confraternita della Maddalena) summoned him to Cerqueto, near Perugia, where he painted a cycle of frescoes - this is the only surviving fragment from the cycle. | [
"St Peter",
"Cerqueto",
"Umbria",
"Perugia",
"pope Sixtus IV",
"Perugino",
"Saint Sebastian",
"Andrea del Verrocchio",
"St Roch"
] |
|
17837_NT | St Sebastian between St Roch and St Peter | Focus on this artwork and discuss the abstract. | St Sebastian between St Roch and St Peter is a fragment of a fresco by Perugino, painted around 1478 in the church of Santa Maria Assunta in Cerqueto, Italy. It was his first depiction of Saint Sebastian, a subject to which he would frequently return. To the left is St Roch and to the right St Peter.
It was originally dated and signed "PETRUS PERUSINUS P[INXIT] / A[NNO DOMINI] MCCCCLVIII" (Peter of Perugia painted [this] / Year of Our Lord 1478). In 1478 he was back in Umbria after a period in Andrea del Verrocchio's studio in Florence. He began to receive important commissions, whose success was noted by pope Sixtus IV, who summoned him to Rome. That same year, the Confraternity of Mary Magdalene (confraternita della Maddalena) summoned him to Cerqueto, near Perugia, where he painted a cycle of frescoes - this is the only surviving fragment from the cycle. | [
"St Peter",
"Cerqueto",
"Umbria",
"Perugia",
"pope Sixtus IV",
"Perugino",
"Saint Sebastian",
"Andrea del Verrocchio",
"St Roch"
] |
|
17838_T | San Lorenzo Triptych | How does San Lorenzo Triptych elucidate its abstract? | The San Lorenzo Triptych is a tempera-on-panel altarpiece by the Italian Renaissance artist Giovanni Bellini and others. Its central panel of Saint Lawrence measures 127 by 48 cm, its lunette of the Madonna and Child 59 by 170 cm and its side panels of John the Baptist and Antony of Padua 103 by 45 cm each. It is now in the Gallerie dell'Accademia in Venice.
It is one of four triptychs produced between 1464 and 1470 for Santa Maria della Carità, Venice, which had been rebuilt in the 1450s, and whose altars were built between 1460 and 1464. The other three are the San Sebastiano, Madonna and Nativity Triptychs. They were probably all planned by Giovanni's father Jacopo. By the time of the Fall of the Republic of Venice all four works had been attributed to Vivarini. During the French occupation they were broken up and re-mounted before being assigned to the Gallerie dell'Accademia, which took over the church of Santa Maria della Carità | [
"Madonna",
"Giovanni Bellini",
"tempera",
"Antony of Padua",
"triptychs",
"John the Baptist",
"Fall of the Republic of Venice",
"Saint Lawrence",
"Nativity",
"San Sebastiano",
"Triptych",
"Gallerie dell'Accademia",
"Venice",
"Madonna and Child",
"lunette",
"Santa Maria della Carità, Venice",
"Jacopo",
"Vivarini"
] |
|
17838_NT | San Lorenzo Triptych | How does this artwork elucidate its abstract? | The San Lorenzo Triptych is a tempera-on-panel altarpiece by the Italian Renaissance artist Giovanni Bellini and others. Its central panel of Saint Lawrence measures 127 by 48 cm, its lunette of the Madonna and Child 59 by 170 cm and its side panels of John the Baptist and Antony of Padua 103 by 45 cm each. It is now in the Gallerie dell'Accademia in Venice.
It is one of four triptychs produced between 1464 and 1470 for Santa Maria della Carità, Venice, which had been rebuilt in the 1450s, and whose altars were built between 1460 and 1464. The other three are the San Sebastiano, Madonna and Nativity Triptychs. They were probably all planned by Giovanni's father Jacopo. By the time of the Fall of the Republic of Venice all four works had been attributed to Vivarini. During the French occupation they were broken up and re-mounted before being assigned to the Gallerie dell'Accademia, which took over the church of Santa Maria della Carità | [
"Madonna",
"Giovanni Bellini",
"tempera",
"Antony of Padua",
"triptychs",
"John the Baptist",
"Fall of the Republic of Venice",
"Saint Lawrence",
"Nativity",
"San Sebastiano",
"Triptych",
"Gallerie dell'Accademia",
"Venice",
"Madonna and Child",
"lunette",
"Santa Maria della Carità, Venice",
"Jacopo",
"Vivarini"
] |
|
17839_T | The Dictation Lesson | Focus on The Dictation Lesson and analyze the Other versions of the painting. | Cosola painted other two smaller versions of The Dictation Lesson (both oil on canvas): one dated 1890 without the teacher, ad a second one with a nun instead, titled The Kindergarten. | [] |
|
17839_NT | The Dictation Lesson | Focus on this artwork and analyze the Other versions of the painting. | Cosola painted other two smaller versions of The Dictation Lesson (both oil on canvas): one dated 1890 without the teacher, ad a second one with a nun instead, titled The Kindergarten. | [] |
|
17840_T | Temple of Dendur | In Temple of Dendur, how is the abstract discussed? | The Temple of Dendur (Dendoor in the 19th century) is a Roman Egyptian religious structure originally located in Tuzis (later Dendur), Nubia about 80 kilometres (50 mi) south of modern Aswan. Around 23 BCE, Emperor Augustus commissioned the temple dedicated to the Egyptian goddess Isis and deified brothers Pedesi and Pihor from Nubia.In 1963, as part of the International Campaign to Save the Monuments of Nubia, UNESCO helped rescue and relocate the temple from flooding caused by the Aswan High Dam. Egypt gave the temple to the Metropolitan Museum of Art in New York City, which has exhibited it since 1978. | [
"New York",
"temple",
"New York City",
"UNESCO",
"Nubia",
"Egypt",
"Aswan High Dam",
"Roman Egypt",
"Isis",
"Met",
"Aswan",
"International Campaign to Save the Monuments of Nubia",
"Augustus",
"Metropolitan Museum of Art"
] |
|
17840_NT | Temple of Dendur | In this artwork, how is the abstract discussed? | The Temple of Dendur (Dendoor in the 19th century) is a Roman Egyptian religious structure originally located in Tuzis (later Dendur), Nubia about 80 kilometres (50 mi) south of modern Aswan. Around 23 BCE, Emperor Augustus commissioned the temple dedicated to the Egyptian goddess Isis and deified brothers Pedesi and Pihor from Nubia.In 1963, as part of the International Campaign to Save the Monuments of Nubia, UNESCO helped rescue and relocate the temple from flooding caused by the Aswan High Dam. Egypt gave the temple to the Metropolitan Museum of Art in New York City, which has exhibited it since 1978. | [
"New York",
"temple",
"New York City",
"UNESCO",
"Nubia",
"Egypt",
"Aswan High Dam",
"Roman Egypt",
"Isis",
"Met",
"Aswan",
"International Campaign to Save the Monuments of Nubia",
"Augustus",
"Metropolitan Museum of Art"
] |
|
17841_T | Temple of Dendur | Focus on Temple of Dendur and explore the History. | Petronius, the Roman governor of Egypt, built the Temple of Dendur at the request of Caesar Augustus, the emperor of Rome that included Egypt at that time. Originally named Octavian, Augustus became emperor after defeating Mark Antony and Egyptian Queen Cleopatra in 31 BCE. During his reign, Augustus had Egyptian-style temples built and dedicated to Egyptian gods and goddesses. However, he only commissioned a few temples in Nubia. One of those was the Temple of Dendur which he placed on the west bank of the Nile river in Tuzis (later Dendur, about 80 kilometres (50 mi) south of modern Aswan). Construction started in 23 BCE and finished in 10 BCE.Augustus used the temple to legitimize and maintain his rule. Part of his strategy was connecting his name and image with Isis, the primary deity in Dendur, and the local cult of Pedesi and Pihor. It was more than a temple—it was also a home for the gods. When the local people visited the temple and brought traditional gifts of incense, wine, cold water, clothing, food, and milk, they nurtured their ruler, Augustus, and also ensured their community's prosperity.In the sixth century, Coptic Christians used the temple as a church.When Egypt increased the height of the Aswan Low Dam in 1933, the temple's proximity to the Nile was problematic. The temple complex began flooding for nine months each year. | [
"Aswan Low Dam",
"Caesar",
"temple",
"Caesar Augustus",
"Nile",
"Nubia",
"Egypt",
"Mark Antony",
"Isis",
"Cleopatra",
"Aswan",
"Augustus",
"Petronius"
] |
|
17841_NT | Temple of Dendur | Focus on this artwork and explore the History. | Petronius, the Roman governor of Egypt, built the Temple of Dendur at the request of Caesar Augustus, the emperor of Rome that included Egypt at that time. Originally named Octavian, Augustus became emperor after defeating Mark Antony and Egyptian Queen Cleopatra in 31 BCE. During his reign, Augustus had Egyptian-style temples built and dedicated to Egyptian gods and goddesses. However, he only commissioned a few temples in Nubia. One of those was the Temple of Dendur which he placed on the west bank of the Nile river in Tuzis (later Dendur, about 80 kilometres (50 mi) south of modern Aswan). Construction started in 23 BCE and finished in 10 BCE.Augustus used the temple to legitimize and maintain his rule. Part of his strategy was connecting his name and image with Isis, the primary deity in Dendur, and the local cult of Pedesi and Pihor. It was more than a temple—it was also a home for the gods. When the local people visited the temple and brought traditional gifts of incense, wine, cold water, clothing, food, and milk, they nurtured their ruler, Augustus, and also ensured their community's prosperity.In the sixth century, Coptic Christians used the temple as a church.When Egypt increased the height of the Aswan Low Dam in 1933, the temple's proximity to the Nile was problematic. The temple complex began flooding for nine months each year. | [
"Aswan Low Dam",
"Caesar",
"temple",
"Caesar Augustus",
"Nile",
"Nubia",
"Egypt",
"Mark Antony",
"Isis",
"Cleopatra",
"Aswan",
"Augustus",
"Petronius"
] |
|
17842_T | Temple of Dendur | Focus on Temple of Dendur and explain the Architecture. | The Temple of Dendur is a modest example of a temple from the Ptolemaic and Roman Periods, with roots in earlier Egyptian architectural style. Like the other temples in the region, it was designed by local Egyptian architects and constructed of Nubian sandstone blocks with a pink hue. These men would have worked with Augustus's men to develop the temple's inscriptions and carvings. The stone carvers and builders who created the temple used millennia-old Egyptian architectural esthetics and methods.The temple complex was on a 30 metres (98 ft) sandstone platform or terrace overlooking the Nile. A mud brick wall surrounded the temple complex, running 25 metres (82 ft) from the front gate to its rear and 8 metres (26 ft) tall. Now lost, the wall once controlled access to the temple complex. The gateway from the Nile was a monumental pylon that survives. The Egyptians called this gate "the Luminous Mountain Horizon". The pylon is decorated with relief carvings, has rounded tori at the corners and tops of its walls, and is capped with a cavetto cornice, a common design element in Egyptian buildings. A processional way or dromas led 30 feet (9.1 m) from the pylon across a wba (open court) to the temple building.The temple has a modest but well-executed design. It is 42.7 feet (13.0 m) long by 21.5 feet (6.6 m) wide by 16 feet (4.9 m) high. Because of the steep slope of the riverbank, the rear of the temple was set into the rocky bank. The tops and corners of its walls feature a rounded tori, traditional in ancient Egyptian design.The temple consists of three sections: the pronaos, the antechamber, and the sanctuary. The pronaos or porch is the front of the temple. It includes two highly decorated columns with composite tops depicting lotus blossoms, a style first used in Egypt between 664 and 525 BCE. Next is the antechamber or offering hall. Originally separated by wooden doors, the antechamber opens into the sanctuary where the Egyptians believed the gods resided. Inside the sanctuary was a repository stone for sacred bark and a statue niche. The back wall of the sanctuary has a hidden chamber that is 9.5 feet long by 6 feet long x 2.25 feet wide. The chamber is accessed by pivoting a block of stone on the outer southern wall. Its purpose is unknown.In the cliffs behind the temple, there was a small chamber cut into the rock face. It may have been where Pedesi and Pihor were buried or a representation of their tomb. | [
"antechamber",
"temple",
"pronaos",
"Roman Periods",
"lotus",
"Nile",
"Ptolemaic",
"relief",
"Nubia",
"Egypt",
"cavetto cornice",
"sanctuary",
"Augustus"
] |
|
17842_NT | Temple of Dendur | Focus on this artwork and explain the Architecture. | The Temple of Dendur is a modest example of a temple from the Ptolemaic and Roman Periods, with roots in earlier Egyptian architectural style. Like the other temples in the region, it was designed by local Egyptian architects and constructed of Nubian sandstone blocks with a pink hue. These men would have worked with Augustus's men to develop the temple's inscriptions and carvings. The stone carvers and builders who created the temple used millennia-old Egyptian architectural esthetics and methods.The temple complex was on a 30 metres (98 ft) sandstone platform or terrace overlooking the Nile. A mud brick wall surrounded the temple complex, running 25 metres (82 ft) from the front gate to its rear and 8 metres (26 ft) tall. Now lost, the wall once controlled access to the temple complex. The gateway from the Nile was a monumental pylon that survives. The Egyptians called this gate "the Luminous Mountain Horizon". The pylon is decorated with relief carvings, has rounded tori at the corners and tops of its walls, and is capped with a cavetto cornice, a common design element in Egyptian buildings. A processional way or dromas led 30 feet (9.1 m) from the pylon across a wba (open court) to the temple building.The temple has a modest but well-executed design. It is 42.7 feet (13.0 m) long by 21.5 feet (6.6 m) wide by 16 feet (4.9 m) high. Because of the steep slope of the riverbank, the rear of the temple was set into the rocky bank. The tops and corners of its walls feature a rounded tori, traditional in ancient Egyptian design.The temple consists of three sections: the pronaos, the antechamber, and the sanctuary. The pronaos or porch is the front of the temple. It includes two highly decorated columns with composite tops depicting lotus blossoms, a style first used in Egypt between 664 and 525 BCE. Next is the antechamber or offering hall. Originally separated by wooden doors, the antechamber opens into the sanctuary where the Egyptians believed the gods resided. Inside the sanctuary was a repository stone for sacred bark and a statue niche. The back wall of the sanctuary has a hidden chamber that is 9.5 feet long by 6 feet long x 2.25 feet wide. The chamber is accessed by pivoting a block of stone on the outer southern wall. Its purpose is unknown.In the cliffs behind the temple, there was a small chamber cut into the rock face. It may have been where Pedesi and Pihor were buried or a representation of their tomb. | [
"antechamber",
"temple",
"pronaos",
"Roman Periods",
"lotus",
"Nile",
"Ptolemaic",
"relief",
"Nubia",
"Egypt",
"cavetto cornice",
"sanctuary",
"Augustus"
] |
|
17843_T | Temple of Dendur | Explore the Ornamental decorations about the Architecture of this artwork, Temple of Dendur. | Amelia Edwards, an English writer who visited the temple on her 19th-century tour up the Nile, wrote:At Dendoor, when the sun is setting...we visit a tiny Temple on the western bank. It stands out above the river surrounded by a wall of enclosure...The whole thing is like an exquisite toy, so covered with sculptures, so smooth, so new-looking, so admirably built. Seeing them half by sunset, half by dusk, it matters not that these delicately-wrought bas-reliefs are of the Decadence school. The rosy half-light of an Egyptian afterglow covers a multitude of sins, and steeps the whole in an atmosphere of romance.The temple is decorated throughout with relief carvings which were originally painted in bright colors. The figures depicted include Augustus as a pharaoh interacting with goddesses and gods. Some of those divine beings are Amun of Debod, Arensnuphis, Harpocrates, Hathor of Bigga, Horus, Isis, Khnum, Osiris, Mandulis, Nephthys, Satis, Tephenis, and Thoth. The carvings also honor two heroic Nubian brothers turned demigods named Pihor and Pedesi. Pedesi means "he whom Isis has given" and, Pihor means "he who belongs to Horus."The temple base has carvings of papyrus and lotus plants growing out of the Nile, symbolizing the god Hapi. Over the pylon and above the entrance to the temple proper is the Winged sun disk of the sky god Horus, representing the sky. The vultures on the ceiling of the pronaos repeat the sky motif.The antechamber and the sanctuary are undecorated, except for the reliefs on the antechamber door frame and the back walls of the sanctuary. The latter show Pihor and Pedesi as young gods worshiping Isis and Osiris, respectively.The temple's outer walls feature sunk relief carvings of Emperor Augustus as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject repeats in raised relief carvings in the first room of the temple, showing Augustus as he prays and makes offerings. Hieroglyphs associated with the carvings refer to Augustus as Caesar, Pharaoh, and Autotrator. The latter is an alteration of Autokrator, or autocrat, the Greek equivalent of imperator. This misspelling seems deliberate to achieve greater symmetry in the hieroglyphs.The exterior south doorway features cobras wearing crowns from upper and lower Egypt. To the left is a white crown, a symbol of upper Egypt, and a red crown for lower Egypt. On the left side, there is a depiction of Isis standing and wearing a close-fitting sheath, a headpiece horn from a cow, and a winged disk representing the sun god. In one hand, she holds an ankh, a symbol of life.The scene on the inner south wall of the pronaos depicts the pharaoh and the two brothers Pihor and Pedesi with gifts of incense and water. The Egyptians believed that the pharaoh or Augustus could live forever by giving incense to the gods. The two brothers were both sitting and holding in one hand a staff called a scepter, a symbol of authority and the symbol of life. The pronaos north wall depicts Isis. The columns of the pronaos are decorated with sunk reliefs of men bringing offerings of animals and flowers to the temple.On the east side of the pylon, the relief depicts Augustus with a linen bag in his hand in front of Pedesi and Pihor. The south ramp has a relief of Augustus making an offering of a cobra (the cobra of truth) to the god Harnedotes. Here, Augustus is depicted in Egyptian attire—a kilt with a bull's tail and the white crown of Upper Egypt. | [
"ankh",
"Caesar",
"Mandulis",
"antechamber",
"pharaoh",
"papyrus",
"temple",
"Thoth",
"Winged sun",
"pronaos",
"Hapi",
"sheath",
"imperator",
"lotus",
"Amelia Edwards",
"Nile",
"lower Egypt",
"upper Egypt",
"Arensnuphis",
"scepter",
"Upper Egypt",
"relief",
"Nubia",
"Egypt",
"Pharaoh",
"Isis",
"Osiris",
"sanctuary",
"Tephenis",
"Horus",
"Nephthys",
"Khnum",
"Harnedotes",
"Augustus",
"Harpocrates",
"divine",
"Autokrator"
] |
|
17843_NT | Temple of Dendur | Explore the Ornamental decorations about the Architecture of this artwork. | Amelia Edwards, an English writer who visited the temple on her 19th-century tour up the Nile, wrote:At Dendoor, when the sun is setting...we visit a tiny Temple on the western bank. It stands out above the river surrounded by a wall of enclosure...The whole thing is like an exquisite toy, so covered with sculptures, so smooth, so new-looking, so admirably built. Seeing them half by sunset, half by dusk, it matters not that these delicately-wrought bas-reliefs are of the Decadence school. The rosy half-light of an Egyptian afterglow covers a multitude of sins, and steeps the whole in an atmosphere of romance.The temple is decorated throughout with relief carvings which were originally painted in bright colors. The figures depicted include Augustus as a pharaoh interacting with goddesses and gods. Some of those divine beings are Amun of Debod, Arensnuphis, Harpocrates, Hathor of Bigga, Horus, Isis, Khnum, Osiris, Mandulis, Nephthys, Satis, Tephenis, and Thoth. The carvings also honor two heroic Nubian brothers turned demigods named Pihor and Pedesi. Pedesi means "he whom Isis has given" and, Pihor means "he who belongs to Horus."The temple base has carvings of papyrus and lotus plants growing out of the Nile, symbolizing the god Hapi. Over the pylon and above the entrance to the temple proper is the Winged sun disk of the sky god Horus, representing the sky. The vultures on the ceiling of the pronaos repeat the sky motif.The antechamber and the sanctuary are undecorated, except for the reliefs on the antechamber door frame and the back walls of the sanctuary. The latter show Pihor and Pedesi as young gods worshiping Isis and Osiris, respectively.The temple's outer walls feature sunk relief carvings of Emperor Augustus as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject repeats in raised relief carvings in the first room of the temple, showing Augustus as he prays and makes offerings. Hieroglyphs associated with the carvings refer to Augustus as Caesar, Pharaoh, and Autotrator. The latter is an alteration of Autokrator, or autocrat, the Greek equivalent of imperator. This misspelling seems deliberate to achieve greater symmetry in the hieroglyphs.The exterior south doorway features cobras wearing crowns from upper and lower Egypt. To the left is a white crown, a symbol of upper Egypt, and a red crown for lower Egypt. On the left side, there is a depiction of Isis standing and wearing a close-fitting sheath, a headpiece horn from a cow, and a winged disk representing the sun god. In one hand, she holds an ankh, a symbol of life.The scene on the inner south wall of the pronaos depicts the pharaoh and the two brothers Pihor and Pedesi with gifts of incense and water. The Egyptians believed that the pharaoh or Augustus could live forever by giving incense to the gods. The two brothers were both sitting and holding in one hand a staff called a scepter, a symbol of authority and the symbol of life. The pronaos north wall depicts Isis. The columns of the pronaos are decorated with sunk reliefs of men bringing offerings of animals and flowers to the temple.On the east side of the pylon, the relief depicts Augustus with a linen bag in his hand in front of Pedesi and Pihor. The south ramp has a relief of Augustus making an offering of a cobra (the cobra of truth) to the god Harnedotes. Here, Augustus is depicted in Egyptian attire—a kilt with a bull's tail and the white crown of Upper Egypt. | [
"ankh",
"Caesar",
"Mandulis",
"antechamber",
"pharaoh",
"papyrus",
"temple",
"Thoth",
"Winged sun",
"pronaos",
"Hapi",
"sheath",
"imperator",
"lotus",
"Amelia Edwards",
"Nile",
"lower Egypt",
"upper Egypt",
"Arensnuphis",
"scepter",
"Upper Egypt",
"relief",
"Nubia",
"Egypt",
"Pharaoh",
"Isis",
"Osiris",
"sanctuary",
"Tephenis",
"Horus",
"Nephthys",
"Khnum",
"Harnedotes",
"Augustus",
"Harpocrates",
"divine",
"Autokrator"
] |
|
17844_T | Temple of Dendur | Focus on Temple of Dendur and discuss the Damage and graffiti. | When it was along the Nile, visitors to the temple inscribed graffiti on the structure. As early as 10 BCE, a visitor carved an oath on the north wall of the pronaos near the image of Pihor. There is also graffiti on the pylon. In the 19th century, European visitors left graffiti on the temple walls. British naval officer and later Rear Admiral Armar Lowry Corry carved the prominent inscription, "A L Corry RN 1817", on the left side as one enters the temple. Italian Egyptologist Girolamo Segato also left a graffiti inscription.Some damage was caused in the sixth century when the temple was used as a church. Presbyter Abraham documented the consecration of the building into a Christian church by carving into the walls. The Christians cut a doorway into the north wall in the pronaos, damaging the relief carving of Isis. However, they restored her lost arm by changing its angle at the elbow. They also installed a cross on the temple's roof and covered the reliefs with plaster. When Nubia became Muslim in the 13th century, the Christian Church was deserted.Many parts of the deserted structure disappeared or were damaged when the local people took stone and bricks for repurposing. By the modern era, the mud-brick walls that surrounded the entire temple complex had vanished. Archaeologists learned there were entry gates on the north and south walls because remnants matched the surviving pylon, which was to the east of the temple.In 1933, Aswan Low Dam was increased in height. As a result, the temple complex was underwater for nine months each year for the next thirty years. During this time, all traces of paint that remained on the temple's carvings were washed away.When the temple was relocated, the tomb in the rockface behind it was left in place and covered by rising water. | [
"Aswan Low Dam",
"temple",
"pronaos",
"Nile",
"Armar Lowry Corry",
"Girolamo Segato",
"relief",
"Nubia",
"Egypt",
"Isis",
"Aswan"
] |
|
17844_NT | Temple of Dendur | Focus on this artwork and discuss the Damage and graffiti. | When it was along the Nile, visitors to the temple inscribed graffiti on the structure. As early as 10 BCE, a visitor carved an oath on the north wall of the pronaos near the image of Pihor. There is also graffiti on the pylon. In the 19th century, European visitors left graffiti on the temple walls. British naval officer and later Rear Admiral Armar Lowry Corry carved the prominent inscription, "A L Corry RN 1817", on the left side as one enters the temple. Italian Egyptologist Girolamo Segato also left a graffiti inscription.Some damage was caused in the sixth century when the temple was used as a church. Presbyter Abraham documented the consecration of the building into a Christian church by carving into the walls. The Christians cut a doorway into the north wall in the pronaos, damaging the relief carving of Isis. However, they restored her lost arm by changing its angle at the elbow. They also installed a cross on the temple's roof and covered the reliefs with plaster. When Nubia became Muslim in the 13th century, the Christian Church was deserted.Many parts of the deserted structure disappeared or were damaged when the local people took stone and bricks for repurposing. By the modern era, the mud-brick walls that surrounded the entire temple complex had vanished. Archaeologists learned there were entry gates on the north and south walls because remnants matched the surviving pylon, which was to the east of the temple.In 1933, Aswan Low Dam was increased in height. As a result, the temple complex was underwater for nine months each year for the next thirty years. During this time, all traces of paint that remained on the temple's carvings were washed away.When the temple was relocated, the tomb in the rockface behind it was left in place and covered by rising water. | [
"Aswan Low Dam",
"temple",
"pronaos",
"Nile",
"Armar Lowry Corry",
"Girolamo Segato",
"relief",
"Nubia",
"Egypt",
"Isis",
"Aswan"
] |
|
17845_T | Temple of Dendur | How does Temple of Dendur elucidate its Relocations of other temples? | UNESCO assisted in relocating and donating three other temples:Temple of Kalabsha to the Ägyptisches Museum in Berlin, Germany
Temple of Taffeh to Rijksmuseum van Oudheden in Leiden, Netherlands
Temple of Ellesyia to the Museo Egizio in Turin, Italy
Temple of Debod to Madrid, Spain | [
"Temple of Ellesyia",
"Berlin",
"Turin",
"Temple of Taffeh",
"temple",
"Rijksmuseum van Oudheden",
"Leiden",
"Italy",
"Ägyptisches Museum",
"Madrid",
"Temple of Kalabsha",
"UNESCO",
"Temple of Debod",
"Museo Egizio",
"Netherlands"
] |
|
17845_NT | Temple of Dendur | How does this artwork elucidate its Relocations of other temples? | UNESCO assisted in relocating and donating three other temples:Temple of Kalabsha to the Ägyptisches Museum in Berlin, Germany
Temple of Taffeh to Rijksmuseum van Oudheden in Leiden, Netherlands
Temple of Ellesyia to the Museo Egizio in Turin, Italy
Temple of Debod to Madrid, Spain | [
"Temple of Ellesyia",
"Berlin",
"Turin",
"Temple of Taffeh",
"temple",
"Rijksmuseum van Oudheden",
"Leiden",
"Italy",
"Ägyptisches Museum",
"Madrid",
"Temple of Kalabsha",
"UNESCO",
"Temple of Debod",
"Museo Egizio",
"Netherlands"
] |
|
17846_T | Expulsion from the Garden of Eden (Cole) | Focus on Expulsion from the Garden of Eden (Cole) and analyze the abstract. | Expulsion from the Garden of Eden (or Expulsion from Paradise) was painted in 1828 by English-born American painter Thomas Cole. It belongs to the collection of the Museum of Fine Arts, Boston and is on display in their Waleska Evans James Gallery (Gallery 236). This landscape painting exemplifies the style of the Hudson River School, which was a group of American landscape painters that Thomas Cole is credited with founding. On the lower left part of the cliff, Cole signed his name as "T Cole". | [
"Garden of Eden",
"Thomas Cole",
"Eden",
"Expulsion from the Garden of Eden",
"Boston",
"Hudson River School",
"Museum of Fine Arts, Boston"
] |
|
17846_NT | Expulsion from the Garden of Eden (Cole) | Focus on this artwork and analyze the abstract. | Expulsion from the Garden of Eden (or Expulsion from Paradise) was painted in 1828 by English-born American painter Thomas Cole. It belongs to the collection of the Museum of Fine Arts, Boston and is on display in their Waleska Evans James Gallery (Gallery 236). This landscape painting exemplifies the style of the Hudson River School, which was a group of American landscape painters that Thomas Cole is credited with founding. On the lower left part of the cliff, Cole signed his name as "T Cole". | [
"Garden of Eden",
"Thomas Cole",
"Eden",
"Expulsion from the Garden of Eden",
"Boston",
"Hudson River School",
"Museum of Fine Arts, Boston"
] |
|
17847_T | Expulsion from the Garden of Eden (Cole) | In Expulsion from the Garden of Eden (Cole), how is the Painting discussed? | The title of the painting, Expulsion from the Garden of Eden, refers to the story of Adam and Eve's expulsion from Eden in the Book of Genesis, which is the founding narrative for Christian explanations of sin and evil.
Traditionally, representations of the event usually have Adam and Eve as the focal point, with their despair at their expulsion conveyed through their figures. However, as an artist of the Hudson River School, Cole emphasized the landscape rather than the figures. Dwarfed by the landscape, Adam and Eve have minimal detail. While their posture and expression indicate their disgrace in conventional terms (they cover their faces, and Eve as the more guilty party leads the way), Cole seeks to convey their despair primarily through the landscape.
Consistent with a more or less dualistic vision of good and evil espoused by many strains of Christianity, the composition is divided exactly in half. On the viewer's right is Paradise, from which Adam and Eve are forcibly thrust by a bright ray of light, which likely symbolizes God. Paradise emanates radiance and is a source of light and joy in the universe. It is vibrant, full of life with lush wildlife, and blue skies.On the left side of the picture, the outside world is portrayed as the opposite of Paradise. It is dark and ominous, as hinted in the decaying trees, volcano in the background, and the wolf devouring a deer in the bottom left corner, as a vulture flies by, hoping to scavenge some of the carcass. | [
"Garden of Eden",
"Adam and Eve",
"Eden",
"Expulsion from the Garden of Eden",
"Adam",
"Book of Genesis",
"Hudson River School",
"Eve"
] |
|
17847_NT | Expulsion from the Garden of Eden (Cole) | In this artwork, how is the Painting discussed? | The title of the painting, Expulsion from the Garden of Eden, refers to the story of Adam and Eve's expulsion from Eden in the Book of Genesis, which is the founding narrative for Christian explanations of sin and evil.
Traditionally, representations of the event usually have Adam and Eve as the focal point, with their despair at their expulsion conveyed through their figures. However, as an artist of the Hudson River School, Cole emphasized the landscape rather than the figures. Dwarfed by the landscape, Adam and Eve have minimal detail. While their posture and expression indicate their disgrace in conventional terms (they cover their faces, and Eve as the more guilty party leads the way), Cole seeks to convey their despair primarily through the landscape.
Consistent with a more or less dualistic vision of good and evil espoused by many strains of Christianity, the composition is divided exactly in half. On the viewer's right is Paradise, from which Adam and Eve are forcibly thrust by a bright ray of light, which likely symbolizes God. Paradise emanates radiance and is a source of light and joy in the universe. It is vibrant, full of life with lush wildlife, and blue skies.On the left side of the picture, the outside world is portrayed as the opposite of Paradise. It is dark and ominous, as hinted in the decaying trees, volcano in the background, and the wolf devouring a deer in the bottom left corner, as a vulture flies by, hoping to scavenge some of the carcass. | [
"Garden of Eden",
"Adam and Eve",
"Eden",
"Expulsion from the Garden of Eden",
"Adam",
"Book of Genesis",
"Hudson River School",
"Eve"
] |
|
17848_T | Expulsion from the Garden of Eden (Cole) | Focus on Expulsion from the Garden of Eden (Cole) and explore the Provenance. | Upon its completion in 1828, Expulsion from the Garden of Eden was first exhibited to the public later that year with his Garden of Eden (Amon Carter Museum). They were exhibited together at the National Academy Museum and School, which was then known as the National Academy of Design in New York. Cole was a founding member of the National Academy and exhibited his works there in the hopes of selling them or garnering commissions.
In 1829, Expulsion from the Garden of Eden was bought by the prominent doctor David Hosack, who is known as the doctor that tended to Alexander Hamilton after his fatal duel. In addition to medicine, Hosack was a patron of the arts. He was a member of the American Academy of the Fine Arts and promoted the works of Samuel Morse and Cole through purchasing their works for his own personal collection. Upon Hosack's death in 1835, Expulsion from the Garden of Eden was left to his third wife, Magdalena Coster. When Coster died in 1846, John Kearney Rodgers, the husband of Hosack's youngest daughter, Emily Hosack, inherited the painting.Eventually, in 1849, the painting was bought by James Lenox, a famed collector of paintings and books. Lenox exhibited the painting in the art gallery of his Lenox Library. Although he died in 1890, the painting remained on display in the Lenox Library, as listed in the 1892 gallery guide. However, the Lenox Library was facing financial difficulties, so in 1895, the painting along with other art of the Lenox Library was consolidated with the Astor Library and Tilden Trust to form the collection of the newly created New York Public Library (NYPL). In 1943, the NYPL sold the painting to raise money. It was auctioned at Parke-Bernet Galleries on April 16, 1943. The painting was bought by Arnold Seligmann, Rey, & Co., a New York art dealership.Maxim Karolik, an art collector, acquired the painting later that year. His wife, Martha Catherine Codman Karolik, donated the painting to the Museum of Fine Arts in Boston. The MFA officially acquired the painting on June 12, 1947. It has been in their collection ever since and can be seen on display in their galleries. | [
"Maxim Karolik",
"James Lenox",
"David Hosack",
"Garden of Eden",
"Martha Catherine Codman Karolik",
"Eden",
"New York Public Library",
"Lenox Library",
"Expulsion from the Garden of Eden",
"Alexander Hamilton",
"American Academy of the Fine Arts",
"Boston",
"Amon Carter Museum",
"John Kearney Rodgers",
"Samuel Morse",
"National Academy of Design",
"Eve",
"National Academy Museum and School"
] |
|
17848_NT | Expulsion from the Garden of Eden (Cole) | Focus on this artwork and explore the Provenance. | Upon its completion in 1828, Expulsion from the Garden of Eden was first exhibited to the public later that year with his Garden of Eden (Amon Carter Museum). They were exhibited together at the National Academy Museum and School, which was then known as the National Academy of Design in New York. Cole was a founding member of the National Academy and exhibited his works there in the hopes of selling them or garnering commissions.
In 1829, Expulsion from the Garden of Eden was bought by the prominent doctor David Hosack, who is known as the doctor that tended to Alexander Hamilton after his fatal duel. In addition to medicine, Hosack was a patron of the arts. He was a member of the American Academy of the Fine Arts and promoted the works of Samuel Morse and Cole through purchasing their works for his own personal collection. Upon Hosack's death in 1835, Expulsion from the Garden of Eden was left to his third wife, Magdalena Coster. When Coster died in 1846, John Kearney Rodgers, the husband of Hosack's youngest daughter, Emily Hosack, inherited the painting.Eventually, in 1849, the painting was bought by James Lenox, a famed collector of paintings and books. Lenox exhibited the painting in the art gallery of his Lenox Library. Although he died in 1890, the painting remained on display in the Lenox Library, as listed in the 1892 gallery guide. However, the Lenox Library was facing financial difficulties, so in 1895, the painting along with other art of the Lenox Library was consolidated with the Astor Library and Tilden Trust to form the collection of the newly created New York Public Library (NYPL). In 1943, the NYPL sold the painting to raise money. It was auctioned at Parke-Bernet Galleries on April 16, 1943. The painting was bought by Arnold Seligmann, Rey, & Co., a New York art dealership.Maxim Karolik, an art collector, acquired the painting later that year. His wife, Martha Catherine Codman Karolik, donated the painting to the Museum of Fine Arts in Boston. The MFA officially acquired the painting on June 12, 1947. It has been in their collection ever since and can be seen on display in their galleries. | [
"Maxim Karolik",
"James Lenox",
"David Hosack",
"Garden of Eden",
"Martha Catherine Codman Karolik",
"Eden",
"New York Public Library",
"Lenox Library",
"Expulsion from the Garden of Eden",
"Alexander Hamilton",
"American Academy of the Fine Arts",
"Boston",
"Amon Carter Museum",
"John Kearney Rodgers",
"Samuel Morse",
"National Academy of Design",
"Eve",
"National Academy Museum and School"
] |
|
17849_T | Hurricane (painting) | Focus on Hurricane (painting) and explain the abstract. | Hurricane is a 1944 oil painting by American artist John Marin, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. He used quick brushstrokes and thickly daubed paint to depict a turbulent ocean such as he experienced near his summer home in Maine. | [
"Maine",
"Indianapolis",
"John Marin",
"Indianapolis Museum of Art",
"Indiana",
"oil painting"
] |
|
17849_NT | Hurricane (painting) | Focus on this artwork and explain the abstract. | Hurricane is a 1944 oil painting by American artist John Marin, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. He used quick brushstrokes and thickly daubed paint to depict a turbulent ocean such as he experienced near his summer home in Maine. | [
"Maine",
"Indianapolis",
"John Marin",
"Indianapolis Museum of Art",
"Indiana",
"oil painting"
] |
|
17850_T | Hurricane (painting) | Explore the Description of this artwork, Hurricane (painting). | Although Marin is best known for his watercolors, beginning in the 1930s he developed an interest in the more expressive brushwork and rugged quality of oil paint. Marin was influenced by Cubism, with its flattened spaces and angularity. He honed a style of frenetic brushwork to create this dynamic image of water, wind, and clouds. He was so successful in his recreation of nature that a sailor purportedly declared it the first time he had "really seen a sea painted as the sea really is." | [
"Cubism",
"watercolor"
] |
|
17850_NT | Hurricane (painting) | Explore the Description of this artwork. | Although Marin is best known for his watercolors, beginning in the 1930s he developed an interest in the more expressive brushwork and rugged quality of oil paint. Marin was influenced by Cubism, with its flattened spaces and angularity. He honed a style of frenetic brushwork to create this dynamic image of water, wind, and clouds. He was so successful in his recreation of nature that a sailor purportedly declared it the first time he had "really seen a sea painted as the sea really is." | [
"Cubism",
"watercolor"
] |
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