ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
sequence |
|---|---|---|---|---|---|
17851_T | Hurricane (painting) | In the context of Hurricane (painting), discuss the Historical information of the Description. | Hurricane was painted the same year the Great Atlantic hurricane smashed into Maine. | [
"Great Atlantic hurricane",
"Maine"
] |
|
17851_NT | Hurricane (painting) | In the context of this artwork, discuss the Historical information of the Description. | Hurricane was painted the same year the Great Atlantic hurricane smashed into Maine. | [
"Great Atlantic hurricane",
"Maine"
] |
|
17852_T | Hurricane (painting) | In Hurricane (painting), how is the Location history of the Description elucidated? | Hurricane was first displayed in 1944 in the famous An American Place gallery. It was borrowed from the IMA to be part of a 1987 retrospective of Marin's work. In 2011, Hurricane was loaned out again for a traveling exhibit called "John Marin: Modernism at Midcentury," of which it was a highlight. This exhibition took it to the Portland Museum of Art in Portland, Maine; the Amon Carter Museum in Fort Worth, Texas, and the Addison Gallery of American Art in Andover, Massachusetts. | [
"Maine",
"John Marin",
"Andover, Massachusetts",
"Fort Worth, Texas",
"Addison Gallery of American Art",
"Amon Carter Museum",
"Portland, Maine",
"An American Place",
"Portland Museum of Art"
] |
|
17852_NT | Hurricane (painting) | In this artwork, how is the Location history of the Description elucidated? | Hurricane was first displayed in 1944 in the famous An American Place gallery. It was borrowed from the IMA to be part of a 1987 retrospective of Marin's work. In 2011, Hurricane was loaned out again for a traveling exhibit called "John Marin: Modernism at Midcentury," of which it was a highlight. This exhibition took it to the Portland Museum of Art in Portland, Maine; the Amon Carter Museum in Fort Worth, Texas, and the Addison Gallery of American Art in Andover, Massachusetts. | [
"Maine",
"John Marin",
"Andover, Massachusetts",
"Fort Worth, Texas",
"Addison Gallery of American Art",
"Amon Carter Museum",
"Portland, Maine",
"An American Place",
"Portland Museum of Art"
] |
|
17853_T | Hurricane (painting) | In the context of Hurricane (painting), analyze the Acquisition of the Description. | Caroline Marmon Fesler acquired Hurricane the same year it was painted, from Marin's long-time friend and art dealer, Alfred Stieglitz. He congratulated Fesler on her purchase, writing "The Hurricane is certainly a masterpiece, Every one agrees with every one else as to that." It was donated to the IMA as part of her estate in 1961, and was given the accession number 61.42. | [
"Caroline Marmon Fesler",
"Alfred Stieglitz"
] |
|
17853_NT | Hurricane (painting) | In the context of this artwork, analyze the Acquisition of the Description. | Caroline Marmon Fesler acquired Hurricane the same year it was painted, from Marin's long-time friend and art dealer, Alfred Stieglitz. He congratulated Fesler on her purchase, writing "The Hurricane is certainly a masterpiece, Every one agrees with every one else as to that." It was donated to the IMA as part of her estate in 1961, and was given the accession number 61.42. | [
"Caroline Marmon Fesler",
"Alfred Stieglitz"
] |
|
17854_T | Large Interior Form, 1953–54 | In Large Interior Form, 1953–54, how is the abstract discussed? | Large Interior Form, 1953–54 (LH 297b) is a sculpture by Henry Moore. | [
"sculpture",
"Henry Moore"
] |
|
17854_NT | Large Interior Form, 1953–54 | In this artwork, how is the abstract discussed? | Large Interior Form, 1953–54 (LH 297b) is a sculpture by Henry Moore. | [
"sculpture",
"Henry Moore"
] |
|
17855_T | Large Interior Form, 1953–54 | Focus on Large Interior Form, 1953–54 and explore the History. | It was produced in a bronze edition of six, which was first created as part of a larger work in the 1950s, and only cast as a separate work from 1981 onwards, and catalogued as LH 297b. It began as the interior component of the artist's Large Upright Internal/External Form (LH 297a), but Moore much later decided the piece worked well by itself. The artist's copy was lent in 2011 by the Henry Moore Foundation to the Snape Maltings, in Suffolk. Others are at the Art Institute of Chicago (illustrated), in an outdoor setting at the Nelson-Atkins Museum in Kansas City, MO. These sculptures measure 16 feet 3 inches × 561⁄4 inches × 561⁄4 inches (495.3 × 142.88 × 142.88 cm). Moore used to take pride in viewing his sculptures in the open air environment. Kunsthalle Würth at Schwabisch Hall in Germany and Trinity University in Texas are among the other locations that have Large Interior Form on public display outdoors. | [
"Art Institute of Chicago",
"bronze",
"Henry Moore Foundation",
"sculpture",
"Snape Maltings",
"Henry Moore",
"Schwabisch Hall",
"Kunsthalle Würth",
"Kansas City, MO",
"Chicago",
"Suffolk",
"Trinity University",
"Nelson-Atkins Museum"
] |
|
17855_NT | Large Interior Form, 1953–54 | Focus on this artwork and explore the History. | It was produced in a bronze edition of six, which was first created as part of a larger work in the 1950s, and only cast as a separate work from 1981 onwards, and catalogued as LH 297b. It began as the interior component of the artist's Large Upright Internal/External Form (LH 297a), but Moore much later decided the piece worked well by itself. The artist's copy was lent in 2011 by the Henry Moore Foundation to the Snape Maltings, in Suffolk. Others are at the Art Institute of Chicago (illustrated), in an outdoor setting at the Nelson-Atkins Museum in Kansas City, MO. These sculptures measure 16 feet 3 inches × 561⁄4 inches × 561⁄4 inches (495.3 × 142.88 × 142.88 cm). Moore used to take pride in viewing his sculptures in the open air environment. Kunsthalle Würth at Schwabisch Hall in Germany and Trinity University in Texas are among the other locations that have Large Interior Form on public display outdoors. | [
"Art Institute of Chicago",
"bronze",
"Henry Moore Foundation",
"sculpture",
"Snape Maltings",
"Henry Moore",
"Schwabisch Hall",
"Kunsthalle Würth",
"Kansas City, MO",
"Chicago",
"Suffolk",
"Trinity University",
"Nelson-Atkins Museum"
] |
|
17856_T | Large Interior Form, 1953–54 | Focus on Large Interior Form, 1953–54 and explain the Chicago. | The Chicago example is on display in North Stanley McCormick Memorial Court (AKA north garden) north of the Art Institute of Chicago Building in the Loop community area of Chicago, Illinois.In Chicago, Moore has a total of four public sculptures on display that are listed on the Smithsonian Institution's Research Information System (SIRIS). He also has Nuclear Energy situated at the National Historic Landmark, National Register of Historic Places, Chicago Landmark Site of First Self-Sustaining Nuclear Reaction. Moore also has a sundial installation (visible here) outside the National Historic Landmark, National Register of Historic Places Adler Planetarium called Man Enters the Cosmos. | [
"National Register of Historic Places",
"Art Institute of Chicago",
"Art Institute of Chicago Building",
"Illinois",
"community area",
"sculpture",
"Adler Planetarium",
"Nuclear Energy",
"Site of First Self-Sustaining Nuclear Reaction",
"sundial",
"Smithsonian Institution",
"Man Enters the Cosmos",
"National Historic Landmark",
"Chicago Landmark",
"here",
"Chicago",
"Loop"
] |
|
17856_NT | Large Interior Form, 1953–54 | Focus on this artwork and explain the Chicago. | The Chicago example is on display in North Stanley McCormick Memorial Court (AKA north garden) north of the Art Institute of Chicago Building in the Loop community area of Chicago, Illinois.In Chicago, Moore has a total of four public sculptures on display that are listed on the Smithsonian Institution's Research Information System (SIRIS). He also has Nuclear Energy situated at the National Historic Landmark, National Register of Historic Places, Chicago Landmark Site of First Self-Sustaining Nuclear Reaction. Moore also has a sundial installation (visible here) outside the National Historic Landmark, National Register of Historic Places Adler Planetarium called Man Enters the Cosmos. | [
"National Register of Historic Places",
"Art Institute of Chicago",
"Art Institute of Chicago Building",
"Illinois",
"community area",
"sculpture",
"Adler Planetarium",
"Nuclear Energy",
"Site of First Self-Sustaining Nuclear Reaction",
"sundial",
"Smithsonian Institution",
"Man Enters the Cosmos",
"National Historic Landmark",
"Chicago Landmark",
"here",
"Chicago",
"Loop"
] |
|
17857_T | Heller Altarpiece | Focus on Heller Altarpiece and discuss the abstract. | The Heller Altarpiece was an oil on panel triptych by German Renaissance artists Albrecht Dürer and Matthias Grünewald, executed between 1507 and 1509. The artwork was named after Jakob Heller, who ordered it. Dürer painted the interior, Grünewald the exterior.In 1615, Dürer copyist Jobst Harrich painted a duplicate, which is now at the Städel of Frankfurt. The side panels, executed by Dürer's workshop basing from his drawings, are at the Staatliche Kunsthalle of Karlsruhe. | [
"Jakob Heller",
"Frankfurt",
"Staatliche Kunsthalle",
"Städel",
"Karlsruhe",
"Matthias Grünewald",
"Jobst Harrich",
"copyist",
"oil on panel",
"Albrecht Dürer",
"triptych"
] |
|
17857_NT | Heller Altarpiece | Focus on this artwork and discuss the abstract. | The Heller Altarpiece was an oil on panel triptych by German Renaissance artists Albrecht Dürer and Matthias Grünewald, executed between 1507 and 1509. The artwork was named after Jakob Heller, who ordered it. Dürer painted the interior, Grünewald the exterior.In 1615, Dürer copyist Jobst Harrich painted a duplicate, which is now at the Städel of Frankfurt. The side panels, executed by Dürer's workshop basing from his drawings, are at the Staatliche Kunsthalle of Karlsruhe. | [
"Jakob Heller",
"Frankfurt",
"Staatliche Kunsthalle",
"Städel",
"Karlsruhe",
"Matthias Grünewald",
"Jobst Harrich",
"copyist",
"oil on panel",
"Albrecht Dürer",
"triptych"
] |
|
17858_T | Heller Altarpiece | How does Heller Altarpiece elucidate its History? | The painting was commissioned by Frankfurt merchant Jakob Heller, for the Dominican church of the city. In 1615, the central panel, the only one by Dürer alone, was sold to Maximilian I of Bavaria; a copy was ordered to replace the original in its location at the church's high altar. The central panel was destroyed by a fire in Munich in 1729. The famous drawing of two praying hands in the Albertina in Vienna is a study for one of the apostles in the central panel. The side panels, executed by Dürer's assistants, were completed by other four commissioned to Matthias Grünewald in 1510. The side shutters were detached in the 18th century, and each of the two panels composing them were separated in 1804. | [
"Jakob Heller",
"Frankfurt",
"Albertina",
"Dominican church",
"Matthias Grünewald",
"Vienna",
"drawing of two praying hands",
"Maximilian I of Bavaria"
] |
|
17858_NT | Heller Altarpiece | How does this artwork elucidate its History? | The painting was commissioned by Frankfurt merchant Jakob Heller, for the Dominican church of the city. In 1615, the central panel, the only one by Dürer alone, was sold to Maximilian I of Bavaria; a copy was ordered to replace the original in its location at the church's high altar. The central panel was destroyed by a fire in Munich in 1729. The famous drawing of two praying hands in the Albertina in Vienna is a study for one of the apostles in the central panel. The side panels, executed by Dürer's assistants, were completed by other four commissioned to Matthias Grünewald in 1510. The side shutters were detached in the 18th century, and each of the two panels composing them were separated in 1804. | [
"Jakob Heller",
"Frankfurt",
"Albertina",
"Dominican church",
"Matthias Grünewald",
"Vienna",
"drawing of two praying hands",
"Maximilian I of Bavaria"
] |
|
17859_T | The Stoning of Stephen (Skoufos) | Focus on The Stoning of Stephen (Skoufos) and analyze the abstract. | The Stoning of Stephen is a tempera and gold leaf painting by Philotheos Skoufos. Skoufos was active on the island of Crete. He traveled to Venice and eventually settled on the island Zakynthos. He was briefly a priest at the famous Greek church in Venice San Giorgio dei Greci. Nineteen of his works have survived. Skoufos created notable copies of Damaskinos's paintings namely The Stoning of Stephen and The Beheading of John the Baptist.Saint Stephen was the first martyr of Christianity and is considered a protomartyr. The protomartyr was stoned to death for following the Christian faith. The painting is a depiction of that scene. The Stoning of Stephen is a nearly identical copy of Damaskinos's work. The tempera painting is 1/3 smaller than the original masterpiece. There are four paintings that identically resemble his work created between 1640-1707 signed by master painters. Skoufos created two of them. This version is the most notable and in the best condition. Leonardo Da Vinci’s Last Supper was restored due to surviving copies of his work created by other artists. The copy of the Mona Lisa is known as the Prado Mona Lisa. The copy of Damaskinos's massive work can be found at the Metsovo Folk Art Museum in Metsovo, Ioannina, Greece. It was formerly part of the Dionysios Loverdos Collection. | [
"Skoufos",
"tempera",
"Stoning of Stephen ",
"Saint Stephen",
"San Giorgio dei Greci",
"Mona Lisa",
"Prado Mona Lisa",
"Damaskinos",
"Beheading of John the Baptist",
"Philotheos Skoufos"
] |
|
17859_NT | The Stoning of Stephen (Skoufos) | Focus on this artwork and analyze the abstract. | The Stoning of Stephen is a tempera and gold leaf painting by Philotheos Skoufos. Skoufos was active on the island of Crete. He traveled to Venice and eventually settled on the island Zakynthos. He was briefly a priest at the famous Greek church in Venice San Giorgio dei Greci. Nineteen of his works have survived. Skoufos created notable copies of Damaskinos's paintings namely The Stoning of Stephen and The Beheading of John the Baptist.Saint Stephen was the first martyr of Christianity and is considered a protomartyr. The protomartyr was stoned to death for following the Christian faith. The painting is a depiction of that scene. The Stoning of Stephen is a nearly identical copy of Damaskinos's work. The tempera painting is 1/3 smaller than the original masterpiece. There are four paintings that identically resemble his work created between 1640-1707 signed by master painters. Skoufos created two of them. This version is the most notable and in the best condition. Leonardo Da Vinci’s Last Supper was restored due to surviving copies of his work created by other artists. The copy of the Mona Lisa is known as the Prado Mona Lisa. The copy of Damaskinos's massive work can be found at the Metsovo Folk Art Museum in Metsovo, Ioannina, Greece. It was formerly part of the Dionysios Loverdos Collection. | [
"Skoufos",
"tempera",
"Stoning of Stephen ",
"Saint Stephen",
"San Giorgio dei Greci",
"Mona Lisa",
"Prado Mona Lisa",
"Damaskinos",
"Beheading of John the Baptist",
"Philotheos Skoufos"
] |
|
17860_T | The Stoning of Stephen (Skoufos) | In The Stoning of Stephen (Skoufos), how is the Description discussed? | The artwork is made of traditional egg tempera paint and gold leaf on a wood panel. The icon is almost three times smaller than the original. The height is 59 cm (23.2 in) and the width is 39 cm (15.3 in). The work of art is in very good condition and reconstructs Damaskinos’s slightly damaged painting. Jerusalem is clearly visible in the background. The Virgin Mary appears with her disciples supporting the martyr. Behind the Virgin Mary, three figures appear on a hill. Another missing component in Damaskinos’s work is the figure of Christ in the heavens. Christ sits on a cloud with an open book. He is surrounded by angels. The angels are prepared to reward the martyr.
The figures establish the middle ground. The gold background distinguishes the work of art created for religious figures. It was a sign of respect.There are slight variations between Damaskinos’s version and the Skoufos icon. Saint Stephen is slightly centered. Skoufos creates more space in the foreground. To our right, the ground and landscape take up more space. Skoufos slightly reduces the size of Saint Stephen. He also creates more space for the other figures. The military figures are clearly visible. The main authoritative seated figure has an indifferent expression on his face. The three soldiers are wearing lavish costumes with intricate ornamentation. The artist creates spatial depth. The anticipatory stance of the three stoning figures initiates tension within the scene. The three figures holding stones demonstrate three-dimensionality. The shield on the ground to our left is fuller and the landscape more visible. The stones on the ground in front of Saint Stephen clearly establish the scene. | [
"Skoufos",
"tempera",
"Saint Stephen",
"Damaskinos"
] |
|
17860_NT | The Stoning of Stephen (Skoufos) | In this artwork, how is the Description discussed? | The artwork is made of traditional egg tempera paint and gold leaf on a wood panel. The icon is almost three times smaller than the original. The height is 59 cm (23.2 in) and the width is 39 cm (15.3 in). The work of art is in very good condition and reconstructs Damaskinos’s slightly damaged painting. Jerusalem is clearly visible in the background. The Virgin Mary appears with her disciples supporting the martyr. Behind the Virgin Mary, three figures appear on a hill. Another missing component in Damaskinos’s work is the figure of Christ in the heavens. Christ sits on a cloud with an open book. He is surrounded by angels. The angels are prepared to reward the martyr.
The figures establish the middle ground. The gold background distinguishes the work of art created for religious figures. It was a sign of respect.There are slight variations between Damaskinos’s version and the Skoufos icon. Saint Stephen is slightly centered. Skoufos creates more space in the foreground. To our right, the ground and landscape take up more space. Skoufos slightly reduces the size of Saint Stephen. He also creates more space for the other figures. The military figures are clearly visible. The main authoritative seated figure has an indifferent expression on his face. The three soldiers are wearing lavish costumes with intricate ornamentation. The artist creates spatial depth. The anticipatory stance of the three stoning figures initiates tension within the scene. The three figures holding stones demonstrate three-dimensionality. The shield on the ground to our left is fuller and the landscape more visible. The stones on the ground in front of Saint Stephen clearly establish the scene. | [
"Skoufos",
"tempera",
"Saint Stephen",
"Damaskinos"
] |
|
17861_T | Balloon Man Running | Focus on Balloon Man Running and explore the abstract. | Balloon Man Running is a 12-foot (3.7 m) tall sculpture by Sean O'Meallie, installed at Denver's Central Park station, in the U.S. state of Colorado. | [
"Sean O'Meallie",
"U.S. state",
"Colorado",
"Denver",
"Central Park station"
] |
|
17861_NT | Balloon Man Running | Focus on this artwork and explore the abstract. | Balloon Man Running is a 12-foot (3.7 m) tall sculpture by Sean O'Meallie, installed at Denver's Central Park station, in the U.S. state of Colorado. | [
"Sean O'Meallie",
"U.S. state",
"Colorado",
"Denver",
"Central Park station"
] |
|
17862_T | Bust of Cuauhtémoc | Focus on Bust of Cuauhtémoc and explain the abstract. | The bust of Cuauhtémoc was created by artist Jesús Fructuoso Contreras at the end of the 19th century. It was originally conceived by the artist as part of a set of sculptures of important Mexican historical figures that were installed in the Paseo de la Reforma between the years 1895 and 1899; however, the bust went on to spend many years housed in the atrium of the Mexico City Metropolitan Cathedral and only seen by the public during commemoration ceremonies. In 2007, as part of a remodeling effort in the Centro Histórico, the bust was moved to its current location at the Plaza de la Constitucion in Mexico City, Mexico. | [
"Paseo de la Reforma",
"bust",
"Plaza de la Constitucion",
"Mexico City",
"Jesús Fructuoso Contreras",
"Mexico City Metropolitan Cathedral",
"Mexico",
"Cuauhtémoc",
"Centro Histórico"
] |
|
17862_NT | Bust of Cuauhtémoc | Focus on this artwork and explain the abstract. | The bust of Cuauhtémoc was created by artist Jesús Fructuoso Contreras at the end of the 19th century. It was originally conceived by the artist as part of a set of sculptures of important Mexican historical figures that were installed in the Paseo de la Reforma between the years 1895 and 1899; however, the bust went on to spend many years housed in the atrium of the Mexico City Metropolitan Cathedral and only seen by the public during commemoration ceremonies. In 2007, as part of a remodeling effort in the Centro Histórico, the bust was moved to its current location at the Plaza de la Constitucion in Mexico City, Mexico. | [
"Paseo de la Reforma",
"bust",
"Plaza de la Constitucion",
"Mexico City",
"Jesús Fructuoso Contreras",
"Mexico City Metropolitan Cathedral",
"Mexico",
"Cuauhtémoc",
"Centro Histórico"
] |
|
17863_T | The Watzmann | Explore the abstract of this artwork, The Watzmann. | The Watzmann (German - Der Watzmann) is an 1824-1825 oil on canvas painting by Caspar David Friedrich, showing the Watzmann mountain as seen from Berchtesgaden to the north-east. It is now on display in the Alte Nationalgalerie in Berlin.
It was acquired in 1832 by senator Carl Friedrich Pogge von Greifswald, then later by Adolf Gustav Barthold Georg von Pressentin (1814–1879), who lived in Rostock. After von Pressentin's death it was acquired by Martin Brunn, a Jewish art collector who lived in Berlin. Nazi racial laws forced him to flee Germany and he sold it to the Alte Nationalgalerie in Berlin in 1937 for 25,000 reichsmarks to fund his family's escape to the USA. Hoping to display it in the Berghof, his home at Berchtesgaden, Adolf Hitler granted 10,000 reichsmarks towards the purchase price, but the state considered the painting to be part of the 'Jewish Property Tax' or 'Judenvermögensabgabe'. In 2002 the Prussian Cultural Heritage Foundation and Brunn's heirs negotiated a compromise, whereby the DekaBank was allowed to buy the painting from his heirs for less than its market value (with the Kulturstiftung der Länder as an intermediary) and then place it back in the Nationalgalerie as a long-term loan. | [
"Adolf Hitler",
"Caspar David Friedrich",
"Prussian Cultural Heritage Foundation",
"Judenvermögensabgabe",
"Berchtesgaden",
"Berghof",
"Alte Nationalgalerie",
"DekaBank",
"Watzmann"
] |
|
17863_NT | The Watzmann | Explore the abstract of this artwork. | The Watzmann (German - Der Watzmann) is an 1824-1825 oil on canvas painting by Caspar David Friedrich, showing the Watzmann mountain as seen from Berchtesgaden to the north-east. It is now on display in the Alte Nationalgalerie in Berlin.
It was acquired in 1832 by senator Carl Friedrich Pogge von Greifswald, then later by Adolf Gustav Barthold Georg von Pressentin (1814–1879), who lived in Rostock. After von Pressentin's death it was acquired by Martin Brunn, a Jewish art collector who lived in Berlin. Nazi racial laws forced him to flee Germany and he sold it to the Alte Nationalgalerie in Berlin in 1937 for 25,000 reichsmarks to fund his family's escape to the USA. Hoping to display it in the Berghof, his home at Berchtesgaden, Adolf Hitler granted 10,000 reichsmarks towards the purchase price, but the state considered the painting to be part of the 'Jewish Property Tax' or 'Judenvermögensabgabe'. In 2002 the Prussian Cultural Heritage Foundation and Brunn's heirs negotiated a compromise, whereby the DekaBank was allowed to buy the painting from his heirs for less than its market value (with the Kulturstiftung der Länder as an intermediary) and then place it back in the Nationalgalerie as a long-term loan. | [
"Adolf Hitler",
"Caspar David Friedrich",
"Prussian Cultural Heritage Foundation",
"Judenvermögensabgabe",
"Berchtesgaden",
"Berghof",
"Alte Nationalgalerie",
"DekaBank",
"Watzmann"
] |
|
17864_T | Statue of George Canning, Parliament Square | Focus on Statue of George Canning, Parliament Square and discuss the abstract. | The statue of George Canning in Parliament Square, Westminster, London, is an 1832 work by Sir Richard Westmacott. | [
"Parliament Square",
"Westminster",
"Richard Westmacott",
"London",
"George Canning"
] |
|
17864_NT | Statue of George Canning, Parliament Square | Focus on this artwork and discuss the abstract. | The statue of George Canning in Parliament Square, Westminster, London, is an 1832 work by Sir Richard Westmacott. | [
"Parliament Square",
"Westminster",
"Richard Westmacott",
"London",
"George Canning"
] |
|
17865_T | Statue of George Canning, Parliament Square | How does Statue of George Canning, Parliament Square elucidate its Description and history? | The 3.56 metres (11.7 ft) bronze sculpture depicts George Canning (British Prime Minister during 1827) larger than life size, swathed in a long robe and a cloak, holding a scroll in his left hand, similar to a classical statue of an orator from Ancient Rome, although his legs are covered with modern trousers and he has laced shoes on his feet. The statue stands on a 4.4 metres (14 ft) granite plinth which bears the inscription "GEORGE CANNING".
The statue was first erected near St Margaret's, Westminster, overlooking Old Palace Yard. It was unveiled there on 2 May 1832, five years after Canning's death in office aged 57 in August 1827. The statue was said to be a good likeness, and was based on a bust made by Francis Chantrey for his memorial at Westminster Abbey.
The statue was moved to Parliament Square in 1867, becoming the first statue in the new square as it was laid out. It stands outside 12 Great George Street, the home of the Royal Institution of Chartered Surveyors, in an area now known as Canning Green. The statue became a Grade II listed building in 1970. | [
"St Margaret's, Westminster",
"Royal Institution of Chartered Surveyors",
"listed building",
"Parliament Square",
"Old Palace Yard",
"bronze sculpture",
"Francis Chantrey",
"Westminster Abbey",
"Ancient Rome",
"Westminster",
"Great George Street",
"British Prime Minister",
"George Canning"
] |
|
17865_NT | Statue of George Canning, Parliament Square | How does this artwork elucidate its Description and history? | The 3.56 metres (11.7 ft) bronze sculpture depicts George Canning (British Prime Minister during 1827) larger than life size, swathed in a long robe and a cloak, holding a scroll in his left hand, similar to a classical statue of an orator from Ancient Rome, although his legs are covered with modern trousers and he has laced shoes on his feet. The statue stands on a 4.4 metres (14 ft) granite plinth which bears the inscription "GEORGE CANNING".
The statue was first erected near St Margaret's, Westminster, overlooking Old Palace Yard. It was unveiled there on 2 May 1832, five years after Canning's death in office aged 57 in August 1827. The statue was said to be a good likeness, and was based on a bust made by Francis Chantrey for his memorial at Westminster Abbey.
The statue was moved to Parliament Square in 1867, becoming the first statue in the new square as it was laid out. It stands outside 12 Great George Street, the home of the Royal Institution of Chartered Surveyors, in an area now known as Canning Green. The statue became a Grade II listed building in 1970. | [
"St Margaret's, Westminster",
"Royal Institution of Chartered Surveyors",
"listed building",
"Parliament Square",
"Old Palace Yard",
"bronze sculpture",
"Francis Chantrey",
"Westminster Abbey",
"Ancient Rome",
"Westminster",
"Great George Street",
"British Prime Minister",
"George Canning"
] |
|
17866_T | Statue of Peace | Focus on Statue of Peace and analyze the abstract. | The Statue of Peace (Korean: 평화의 소녀상, Pyeonghwaui sonyeosang; Japanese: 平和の少女像, Heiwano shōjo-zō), often shortened to Sonyeosang in Korean or Shōjo-zō in Japanese (literally "statue of girl") and sometimes called the Comfort Woman Statue (慰安婦像, Ianfu-zō), is a symbol of the victims of sexual slavery, known euphemistically as comfort women, by the Japanese military during World War II (specifically, the period from the beginning of the Second Sino-Japanese War until the end of the Pacific War). The Statue of Peace was first erected in Seoul to urge the Japanese government to apologize to and honour the victims. However, it has since become a site of representational battles among different parties. | [
"Pacific War",
"Seoul",
"Second Sino-Japanese War",
"comfort women",
"sexual slavery",
"World War II"
] |
|
17866_NT | Statue of Peace | Focus on this artwork and analyze the abstract. | The Statue of Peace (Korean: 평화의 소녀상, Pyeonghwaui sonyeosang; Japanese: 平和の少女像, Heiwano shōjo-zō), often shortened to Sonyeosang in Korean or Shōjo-zō in Japanese (literally "statue of girl") and sometimes called the Comfort Woman Statue (慰安婦像, Ianfu-zō), is a symbol of the victims of sexual slavery, known euphemistically as comfort women, by the Japanese military during World War II (specifically, the period from the beginning of the Second Sino-Japanese War until the end of the Pacific War). The Statue of Peace was first erected in Seoul to urge the Japanese government to apologize to and honour the victims. However, it has since become a site of representational battles among different parties. | [
"Pacific War",
"Seoul",
"Second Sino-Japanese War",
"comfort women",
"sexual slavery",
"World War II"
] |
|
17867_T | Statue of Peace | In Statue of Peace, how is the History discussed? | The Wednesday demonstration started in 1992 and, nearly 20 years later, the idea for the Statue of Peace was proposed by the Korean Council for Women Drafted for Military Sexual Slavery by Japan. More specifically, the council proposed that a memorial stone be erected in front of the Embassy of Japan in Seoul to commemorate the pain of comfort women as the victims of sexual slavery by the Japanese imperial military. This proposal was realized on 14 December 2011, when the bronze statue was installed in front of the embassy. The Statue of Peace was designed by the couple Kim Seo-kyung and Kim Eun-sung. It depicts a girl dressed in a chima jeogori (a modified form of hanbok in the late-19th to early-20th century), with small hands and short hair, sitting and staring at the Embassy of Japan in central Seoul.Japan has repeatedly demanded that the statue be removed, but Seoul and especially the victims have rejected such demands, consistently arguing that the Japanese government has never officially admitted the direct involvement of its military in the comfort women issue. The Japanese government did in fact admit to this in 1992.Until now in South Korea, since the Statue of Peace has not been designated as a public sculpture, it has been difficult to prevent the statue from being damaged. On 30 June 2017, the civil congress of the city of Busan created a legal foundation to protect the statue by passing the relevant ordinance. For this reason, it has become difficult to move or demolish the monument. | [
"Wednesday demonstration",
"Kim Eun-sung",
"Busan",
"Embassy of Japan in Seoul",
"Kim Seo-kyung",
"hanbok",
"chima jeogori",
"Embassy of Japan",
"Seoul",
"Kim Seo-kyung and Kim Eun-sung",
"comfort women",
"sexual slavery"
] |
|
17867_NT | Statue of Peace | In this artwork, how is the History discussed? | The Wednesday demonstration started in 1992 and, nearly 20 years later, the idea for the Statue of Peace was proposed by the Korean Council for Women Drafted for Military Sexual Slavery by Japan. More specifically, the council proposed that a memorial stone be erected in front of the Embassy of Japan in Seoul to commemorate the pain of comfort women as the victims of sexual slavery by the Japanese imperial military. This proposal was realized on 14 December 2011, when the bronze statue was installed in front of the embassy. The Statue of Peace was designed by the couple Kim Seo-kyung and Kim Eun-sung. It depicts a girl dressed in a chima jeogori (a modified form of hanbok in the late-19th to early-20th century), with small hands and short hair, sitting and staring at the Embassy of Japan in central Seoul.Japan has repeatedly demanded that the statue be removed, but Seoul and especially the victims have rejected such demands, consistently arguing that the Japanese government has never officially admitted the direct involvement of its military in the comfort women issue. The Japanese government did in fact admit to this in 1992.Until now in South Korea, since the Statue of Peace has not been designated as a public sculpture, it has been difficult to prevent the statue from being damaged. On 30 June 2017, the civil congress of the city of Busan created a legal foundation to protect the statue by passing the relevant ordinance. For this reason, it has become difficult to move or demolish the monument. | [
"Wednesday demonstration",
"Kim Eun-sung",
"Busan",
"Embassy of Japan in Seoul",
"Kim Seo-kyung",
"hanbok",
"chima jeogori",
"Embassy of Japan",
"Seoul",
"Kim Seo-kyung and Kim Eun-sung",
"comfort women",
"sexual slavery"
] |
|
17868_T | Statue of Peace | Focus on Statue of Peace and explore the Diplomatic incident with Japan. | According to the Japanese Ministry of Foreign Affairs, in 2015, South Korea and Japan reached an agreement to settle the comfort women issue. As a part of this agreement, South Korea acknowledged the fact that Japan was concerned about the statue in front of the embassy of Japan in Seoul and committed to solve the issue in an appropriate manner. However, the South Korean government has never explicitly promised to remove the statue. In December 2015, Japan stated that it would not pay ¥1 billion as compensation unless the Statue of Peace was removed from its location in Seoul since South Korea agreed to address the statue issue yet failed to do so. Afterward, a second statue was erected in Busan. Japan then recalled two diplomats from South Korea and halted high-level talks. South Korea also terminated the 2015 agreement on 21 November 2018 and effectively shut down the Japanese-funded comfort women foundation that was set up to pay the agreed settlement. Japan maintains that the agreement is still legally binding and therefore, the placement of the statue is illegal. | [
"Busan",
"Seoul",
"Japanese Ministry of Foreign Affairs",
"comfort women",
"agreement"
] |
|
17868_NT | Statue of Peace | Focus on this artwork and explore the Diplomatic incident with Japan. | According to the Japanese Ministry of Foreign Affairs, in 2015, South Korea and Japan reached an agreement to settle the comfort women issue. As a part of this agreement, South Korea acknowledged the fact that Japan was concerned about the statue in front of the embassy of Japan in Seoul and committed to solve the issue in an appropriate manner. However, the South Korean government has never explicitly promised to remove the statue. In December 2015, Japan stated that it would not pay ¥1 billion as compensation unless the Statue of Peace was removed from its location in Seoul since South Korea agreed to address the statue issue yet failed to do so. Afterward, a second statue was erected in Busan. Japan then recalled two diplomats from South Korea and halted high-level talks. South Korea also terminated the 2015 agreement on 21 November 2018 and effectively shut down the Japanese-funded comfort women foundation that was set up to pay the agreed settlement. Japan maintains that the agreement is still legally binding and therefore, the placement of the statue is illegal. | [
"Busan",
"Seoul",
"Japanese Ministry of Foreign Affairs",
"comfort women",
"agreement"
] |
|
17869_T | Statue of Peace | Focus on Statue of Peace and explain the Local opposition to the Statue of Peace in the United States. | In July 2021, the city council in Aurora, Colorado voted against a proposal for a Statue of Peace to be installed on public property. After the vote, city staff wrote "The memorials have attracted a wide range of community response including peaceful and antagonistic free speech events, vandalism, Asian hate, and legal action requesting removal". The letter also states, "The City of Aurora is the most culturally diverse community in Colorado with many Asian citizens. The memorial represents an unresolved dispute between South Korea and Japan. Based on this information the Parks, Recreation, and Open Space Department believes the memorial placement on city-owned property is not a compatible use". | [
"Asian hate"
] |
|
17869_NT | Statue of Peace | Focus on this artwork and explain the Local opposition to the Statue of Peace in the United States. | In July 2021, the city council in Aurora, Colorado voted against a proposal for a Statue of Peace to be installed on public property. After the vote, city staff wrote "The memorials have attracted a wide range of community response including peaceful and antagonistic free speech events, vandalism, Asian hate, and legal action requesting removal". The letter also states, "The City of Aurora is the most culturally diverse community in Colorado with many Asian citizens. The memorial represents an unresolved dispute between South Korea and Japan. Based on this information the Parks, Recreation, and Open Space Department believes the memorial placement on city-owned property is not a compatible use". | [
"Asian hate"
] |
|
17870_T | Statue of Peace | Explore the Other statues inspired by the Statue of Peace of this artwork, Statue of Peace. | The issue of comfort women and the Statue of Peace has inspired other such monuments to be built in Seoul and in cities around the world with sizeable Korean populations. The Column of Strength, a comfort women statue in San Francisco, is the first in a major U.S. city. After the statue was revealed, Osaka, Japan ended its decades-long sister-city relationship.In May 2012, officials in Koreatown, Palisades Park, New Jersey, rejected requests by two diplomatic delegations from Japan to remove a small monument from a public park, a brass plaque on a block of stone, dedicated in 2010 to the memory of the comfort women. Days later, a South Korean delegation endorsed the borough's decision. However, in neighboring Koreatown, Fort Lee, various Korean American groups could not reach a consensus on the design and wording for such a monument as of early April 2013. In October 2012, a similar memorial was announced in nearby Hackensack, New Jersey, to be raised behind the Bergen County Courthouse, alongside memorials to the Holocaust, the Great Irish Famine, Slavery in the United States, and the Armenian genocide, and it was unveiled in March 2013. | [
"diplomatic",
"Slavery in the United States",
"Holocaust",
"Bergen County Courthouse",
"Great Irish Famine",
"Koreatown, Palisades Park",
"San Francisco",
"Korean populations",
"Osaka, Japan",
"Column of Strength",
"Hackensack, New Jersey",
"Seoul",
"Osaka",
"brass",
"comfort women",
"Koreatown, Fort Lee",
"Armenian genocide"
] |
|
17870_NT | Statue of Peace | Explore the Other statues inspired by the Statue of Peace of this artwork. | The issue of comfort women and the Statue of Peace has inspired other such monuments to be built in Seoul and in cities around the world with sizeable Korean populations. The Column of Strength, a comfort women statue in San Francisco, is the first in a major U.S. city. After the statue was revealed, Osaka, Japan ended its decades-long sister-city relationship.In May 2012, officials in Koreatown, Palisades Park, New Jersey, rejected requests by two diplomatic delegations from Japan to remove a small monument from a public park, a brass plaque on a block of stone, dedicated in 2010 to the memory of the comfort women. Days later, a South Korean delegation endorsed the borough's decision. However, in neighboring Koreatown, Fort Lee, various Korean American groups could not reach a consensus on the design and wording for such a monument as of early April 2013. In October 2012, a similar memorial was announced in nearby Hackensack, New Jersey, to be raised behind the Bergen County Courthouse, alongside memorials to the Holocaust, the Great Irish Famine, Slavery in the United States, and the Armenian genocide, and it was unveiled in March 2013. | [
"diplomatic",
"Slavery in the United States",
"Holocaust",
"Bergen County Courthouse",
"Great Irish Famine",
"Koreatown, Palisades Park",
"San Francisco",
"Korean populations",
"Osaka, Japan",
"Column of Strength",
"Hackensack, New Jersey",
"Seoul",
"Osaka",
"brass",
"comfort women",
"Koreatown, Fort Lee",
"Armenian genocide"
] |
|
17871_T | Portrait of Humphry Morice | Focus on Portrait of Humphry Morice and discuss the abstract. | Portrait of Humphry Morice is a 1761–62 oil-on-canvas painting by the Italian artist Pompeo Batoni showing the Englishman Humphry Morice. It is now in a private collection, although it is on display in the National Gallery, London. A signed 1762 autograph copy of the work entered the collection of Sir James and Lady Graham at Norton Conyers and is now on display at Basildon Park as part of National Trust collection.Morice made three trips to Italy on business and was one of Batoni's main patrons. The painting, which was produced on the second trip, depicts Morice resting in the countryside with three whippets after a hunt. In the background are the Torre Leonina and the Torre dei Venti. | [
"National Trust",
"Norton Conyers",
"National Gallery",
"Torre Leonina",
"London",
"Basildon Park",
"National Gallery, London",
"Sir James and Lady Graham",
"Torre dei Venti",
"Pompeo Batoni",
"whippet",
"Humphry Morice"
] |
|
17871_NT | Portrait of Humphry Morice | Focus on this artwork and discuss the abstract. | Portrait of Humphry Morice is a 1761–62 oil-on-canvas painting by the Italian artist Pompeo Batoni showing the Englishman Humphry Morice. It is now in a private collection, although it is on display in the National Gallery, London. A signed 1762 autograph copy of the work entered the collection of Sir James and Lady Graham at Norton Conyers and is now on display at Basildon Park as part of National Trust collection.Morice made three trips to Italy on business and was one of Batoni's main patrons. The painting, which was produced on the second trip, depicts Morice resting in the countryside with three whippets after a hunt. In the background are the Torre Leonina and the Torre dei Venti. | [
"National Trust",
"Norton Conyers",
"National Gallery",
"Torre Leonina",
"London",
"Basildon Park",
"National Gallery, London",
"Sir James and Lady Graham",
"Torre dei Venti",
"Pompeo Batoni",
"whippet",
"Humphry Morice"
] |
|
17872_T | The Reaper (Bohland) | How does The Reaper (Bohland) elucidate its abstract? | The Reaper is a public art work by artist Gustav Bohland, located on the south side of Milwaukee, Wisconsin. The bronze sculpture depicts an agricultural worker dressed in overalls and a wide-brimmed hat. One hand rests against his hip, and the other hand grasps the snath of a scythe that rests across his shoulders. The tool's toe and cline hang behind the figure's back. His boots rest on a small round base mounted on a circular flagstone pedestal. The artwork is located at the former corporate headquarters of Froedtert Malting Company which is now the US headquarters of MaltEurop. | [
"Milwaukee",
"overall",
"Gustav Bohland",
"scythe",
"MaltEurop",
"Froedtert Malting Company",
"Wisconsin",
"public art"
] |
|
17872_NT | The Reaper (Bohland) | How does this artwork elucidate its abstract? | The Reaper is a public art work by artist Gustav Bohland, located on the south side of Milwaukee, Wisconsin. The bronze sculpture depicts an agricultural worker dressed in overalls and a wide-brimmed hat. One hand rests against his hip, and the other hand grasps the snath of a scythe that rests across his shoulders. The tool's toe and cline hang behind the figure's back. His boots rest on a small round base mounted on a circular flagstone pedestal. The artwork is located at the former corporate headquarters of Froedtert Malting Company which is now the US headquarters of MaltEurop. | [
"Milwaukee",
"overall",
"Gustav Bohland",
"scythe",
"MaltEurop",
"Froedtert Malting Company",
"Wisconsin",
"public art"
] |
|
17873_T | House with Arch | Focus on House with Arch and analyze the abstract. | House with an Arch is a painting by the Russian artist Sergei I. Osipov (1915–1985), executed in 1972 during the one of his visit of Staritsa ancient town and recognized as one of his most famous works in the genre of winter cityscape. | [
"Staritsa",
"Sergei I. Osipov"
] |
|
17873_NT | House with Arch | Focus on this artwork and analyze the abstract. | House with an Arch is a painting by the Russian artist Sergei I. Osipov (1915–1985), executed in 1972 during the one of his visit of Staritsa ancient town and recognized as one of his most famous works in the genre of winter cityscape. | [
"Staritsa",
"Sergei I. Osipov"
] |
|
17874_T | Garçon à la pipe | In Garçon à la pipe, how is the abstract discussed? | Garçon à la Pipe (English: Boy with a Pipe) is an oil on canvas painting by Pablo Picasso. It was painted in 1905 when Picasso was 24 years old, during his Rose Period, soon after he settled in the Montmartre area of Paris. The painting depicts a Parisian adolescent boy who holds a pipe in his left hand and wears a garland of flowers on his head, surrounded by two floral decorations. The subject was a local boy named "P’tit Louis" who died at a young age. The painting is listed as one of the most expensive paintings, after being sold at Sotheby's auction for $104 million on 5 May 2004. It is currently the fifth highest selling painting by Picasso. | [
"most expensive paintings",
"Rose Period",
"Montmartre",
"oil on canvas",
"Sotheby's",
"auction",
"Pablo Picasso",
"Paris"
] |
|
17874_NT | Garçon à la pipe | In this artwork, how is the abstract discussed? | Garçon à la Pipe (English: Boy with a Pipe) is an oil on canvas painting by Pablo Picasso. It was painted in 1905 when Picasso was 24 years old, during his Rose Period, soon after he settled in the Montmartre area of Paris. The painting depicts a Parisian adolescent boy who holds a pipe in his left hand and wears a garland of flowers on his head, surrounded by two floral decorations. The subject was a local boy named "P’tit Louis" who died at a young age. The painting is listed as one of the most expensive paintings, after being sold at Sotheby's auction for $104 million on 5 May 2004. It is currently the fifth highest selling painting by Picasso. | [
"most expensive paintings",
"Rose Period",
"Montmartre",
"oil on canvas",
"Sotheby's",
"auction",
"Pablo Picasso",
"Paris"
] |
|
17875_T | Garçon à la pipe | Focus on Garçon à la pipe and explore the Background. | In 1905, Picasso was still a struggling artist and had settled in Montmartre in Paris. He was living in poverty in a dilapidated artist building at 13 rue Ravignan known as Le Bateau-Lavoir. Picasso had made the transition from his earlier pessimistic Blue Period and was now in a new, more optimistic phase known as his Rose Period. | [
"Bateau-Lavoir",
"Rose Period",
"Le Bateau-Lavoir",
"Blue Period",
"Montmartre",
"Paris"
] |
|
17875_NT | Garçon à la pipe | Focus on this artwork and explore the Background. | In 1905, Picasso was still a struggling artist and had settled in Montmartre in Paris. He was living in poverty in a dilapidated artist building at 13 rue Ravignan known as Le Bateau-Lavoir. Picasso had made the transition from his earlier pessimistic Blue Period and was now in a new, more optimistic phase known as his Rose Period. | [
"Bateau-Lavoir",
"Rose Period",
"Le Bateau-Lavoir",
"Blue Period",
"Montmartre",
"Paris"
] |
|
17876_T | Garçon à la pipe | Focus on Garçon à la pipe and explain the Description. | Garçon à la Pipe depicts a teenage boy who is in a seated position surrounded by two bouquets of flowers. He is dressed in blue overalls and wears a garland of roses on his head. He holds a pipe in his left hand the wrong way round. André Salmon, a friend of Picasso, described in 1912 how Picasso had created the painting, "after a delightful series of metaphysical acrobats, dancers like priestesses of Diana, delightful clowns and wistful Harlequins". In place of this, Picasso was now focusing on a simple image of a young Parisian boy, dressed in blue denim.
The boy depicted in this painting was known as "P’tit Louis", or "Little Louis". He was described by Picasso as, "one of the “local types, actors, ladies, gentlemen, delinquents” who frequented the studios in the Bateau-Lavoir. The harsh life of a street boy resulted in the subject dying at a young age.Preliminary studies for this painting show the boy in a variety of different poses, including standing, sitting, leaning against a wall, lighting a pipe or holding it in his hands. Picasso eventually chose to depict his model in the seated position shown in the finished painting, which he painstakingly worked on in a preparatory study. The studies differ from the final painting by changing the subject from a young boy to a more mature adolescent. The final effect is a depiction of a mysterious figure surrounded by masses of flowers that is reminiscent of Odilon Redon's work.
André Salmon described how Picasso had transformed what was originally a study from life to the current artwork in a sudden flash of inspiration. One night, Picasso abandoned the company of his friends and their intellectual chit-chat. He returned to his studio, took the canvas he had abandoned a month before and crowned the figure of the little apprentice lad with roses. He had made this work a masterpiece thanks to a sublime whim.Picasso's rendering of "P'tit Louis" has elements of classical art. He was particularly inspired by the work of the French Neoclassical painter Ingres. Like Picasso's Young Girl with a Flower Basket, which was painted in the same year, Garçon à la Pipe conveys conflicting imagery of innocence and experience. Picasso described the boy as an "evil angel". In this painting, the boy wears a garland of roses on his head to symbolise the blood of the Eucharist, a reference to the transition from youth to maturity. Picasso also depicts the contrast between the harsh street life that Louis endured and the innocence of his youth.The peculiar position of the pipe in the boy's hand has been the subject of interpretation. As the pipe was commonly used as a symbol of intellectual reflection in nineteenth- and twentieth-century painting, the pipe's position gains particular significance. The pipe appears as though being held from outside the painting, rather than from inside, thus suggesting a fusion of realities, where the boy is a reflection of Picasso himself.
John Richardson suggested that the painting could have been inspired by a poem entitled A Crime of Love by Paul Verlaine. One of the most poetic Rose period images is the Boy with a Pipe. It conjures up Verlaine’s poem ‘Crimen Amoris,’ about a palace in Ecbatana where ‘adolescent satans’ neglect the five senses for the seven deadly sins, except for the most handsome of all these evil angels, who is sixteen years old under his wreath of flowers… and who dreams away, his eyes full of fire and tears. | [
"André Salmon",
"Bateau-Lavoir",
"classical art",
"Young Girl with a Flower Basket",
"Eucharist",
"Odilon Redon's",
"Paul Verlaine",
"John Richardson",
"Ingres",
"Odilon Redon",
"Paris"
] |
|
17876_NT | Garçon à la pipe | Focus on this artwork and explain the Description. | Garçon à la Pipe depicts a teenage boy who is in a seated position surrounded by two bouquets of flowers. He is dressed in blue overalls and wears a garland of roses on his head. He holds a pipe in his left hand the wrong way round. André Salmon, a friend of Picasso, described in 1912 how Picasso had created the painting, "after a delightful series of metaphysical acrobats, dancers like priestesses of Diana, delightful clowns and wistful Harlequins". In place of this, Picasso was now focusing on a simple image of a young Parisian boy, dressed in blue denim.
The boy depicted in this painting was known as "P’tit Louis", or "Little Louis". He was described by Picasso as, "one of the “local types, actors, ladies, gentlemen, delinquents” who frequented the studios in the Bateau-Lavoir. The harsh life of a street boy resulted in the subject dying at a young age.Preliminary studies for this painting show the boy in a variety of different poses, including standing, sitting, leaning against a wall, lighting a pipe or holding it in his hands. Picasso eventually chose to depict his model in the seated position shown in the finished painting, which he painstakingly worked on in a preparatory study. The studies differ from the final painting by changing the subject from a young boy to a more mature adolescent. The final effect is a depiction of a mysterious figure surrounded by masses of flowers that is reminiscent of Odilon Redon's work.
André Salmon described how Picasso had transformed what was originally a study from life to the current artwork in a sudden flash of inspiration. One night, Picasso abandoned the company of his friends and their intellectual chit-chat. He returned to his studio, took the canvas he had abandoned a month before and crowned the figure of the little apprentice lad with roses. He had made this work a masterpiece thanks to a sublime whim.Picasso's rendering of "P'tit Louis" has elements of classical art. He was particularly inspired by the work of the French Neoclassical painter Ingres. Like Picasso's Young Girl with a Flower Basket, which was painted in the same year, Garçon à la Pipe conveys conflicting imagery of innocence and experience. Picasso described the boy as an "evil angel". In this painting, the boy wears a garland of roses on his head to symbolise the blood of the Eucharist, a reference to the transition from youth to maturity. Picasso also depicts the contrast between the harsh street life that Louis endured and the innocence of his youth.The peculiar position of the pipe in the boy's hand has been the subject of interpretation. As the pipe was commonly used as a symbol of intellectual reflection in nineteenth- and twentieth-century painting, the pipe's position gains particular significance. The pipe appears as though being held from outside the painting, rather than from inside, thus suggesting a fusion of realities, where the boy is a reflection of Picasso himself.
John Richardson suggested that the painting could have been inspired by a poem entitled A Crime of Love by Paul Verlaine. One of the most poetic Rose period images is the Boy with a Pipe. It conjures up Verlaine’s poem ‘Crimen Amoris,’ about a palace in Ecbatana where ‘adolescent satans’ neglect the five senses for the seven deadly sins, except for the most handsome of all these evil angels, who is sixteen years old under his wreath of flowers… and who dreams away, his eyes full of fire and tears. | [
"André Salmon",
"Bateau-Lavoir",
"classical art",
"Young Girl with a Flower Basket",
"Eucharist",
"Odilon Redon's",
"Paul Verlaine",
"John Richardson",
"Ingres",
"Odilon Redon",
"Paris"
] |
|
17877_T | Garçon à la pipe | Explore the Claim for restitution and provenance of this artwork, Garçon à la pipe. | Paul von Mendelssohn-Bartholdy probably acquired the painting c.1910. Shortly before his death in 1935, he wrote a will bequeathing it to his non-Jewish wife, Countess Else Mendelssohn-Bartholdy Kesselstett (née Lavergne-Paguilhen) who sold it to Walter Feilchenfeldt in 1949. Mr. and Mrs. John Hay Whitney then acquired the painting on 13 January 1950 for $30,000.In 2004, Professor Julius H Schoeps challenged the 1949 sale of Boy with a Pipe due to circumstances related to the Nazi persecution of the Jewish owner and his attempts to shield the painting from seizure via his non-Jewish wife.On 5 May 2004 the painting was sold for $104,168,000 at Sotheby's auction in New York City. Sotheby’s did not name the buyer though sources say that it was Guido Barilla, co-owner of the Barilla Group. At the time, it broke the record for the amount paid for an auctioned painting (when inflation is ignored). The amount, $104 million, includes the auction price of $93 million plus the auction house’s commission of about $11 million. The painting was given a pre-sale estimate of $70 million by the auction house. | [
"New York City",
"Barilla Group",
"John Hay Whitney",
"Nazi",
"Paul von Mendelssohn-Bartholdy",
"Sotheby's",
"auction",
"inflation",
"Guido Barilla"
] |
|
17877_NT | Garçon à la pipe | Explore the Claim for restitution and provenance of this artwork. | Paul von Mendelssohn-Bartholdy probably acquired the painting c.1910. Shortly before his death in 1935, he wrote a will bequeathing it to his non-Jewish wife, Countess Else Mendelssohn-Bartholdy Kesselstett (née Lavergne-Paguilhen) who sold it to Walter Feilchenfeldt in 1949. Mr. and Mrs. John Hay Whitney then acquired the painting on 13 January 1950 for $30,000.In 2004, Professor Julius H Schoeps challenged the 1949 sale of Boy with a Pipe due to circumstances related to the Nazi persecution of the Jewish owner and his attempts to shield the painting from seizure via his non-Jewish wife.On 5 May 2004 the painting was sold for $104,168,000 at Sotheby's auction in New York City. Sotheby’s did not name the buyer though sources say that it was Guido Barilla, co-owner of the Barilla Group. At the time, it broke the record for the amount paid for an auctioned painting (when inflation is ignored). The amount, $104 million, includes the auction price of $93 million plus the auction house’s commission of about $11 million. The painting was given a pre-sale estimate of $70 million by the auction house. | [
"New York City",
"Barilla Group",
"John Hay Whitney",
"Nazi",
"Paul von Mendelssohn-Bartholdy",
"Sotheby's",
"auction",
"inflation",
"Guido Barilla"
] |
|
17878_T | Garçon à la pipe | Focus on Garçon à la pipe and discuss the Significance and legacy. | In 2004, Charles Moffet, co-director of Impressionist and modern art at Sotheby's remarked on the painting's significance as a masterpiece.It has a haunting ambiguity that has ensured its status as one of Picasso's most celebrated images of adolescent beauty. It is, without question, one of the most beautiful of the artist's Rose Period paintings and one of the most important early works by Pablo Picasso. | [
"Rose Period",
"Sotheby's",
"Pablo Picasso"
] |
|
17878_NT | Garçon à la pipe | Focus on this artwork and discuss the Significance and legacy. | In 2004, Charles Moffet, co-director of Impressionist and modern art at Sotheby's remarked on the painting's significance as a masterpiece.It has a haunting ambiguity that has ensured its status as one of Picasso's most celebrated images of adolescent beauty. It is, without question, one of the most beautiful of the artist's Rose Period paintings and one of the most important early works by Pablo Picasso. | [
"Rose Period",
"Sotheby's",
"Pablo Picasso"
] |
|
17879_T | Garçon à la pipe | How does Garçon à la pipe elucidate its In popular culture? | Calvin Harris' 2017 song "Slide" contains the lyrics "I might empty my bank account and buy that boy with a pipe". Vocalist Frank Ocean explained that it is an allusion to, “a Picasso painting that sold for so much money". | [
"Frank Ocean",
"Calvin Harris",
"Slide"
] |
|
17879_NT | Garçon à la pipe | How does this artwork elucidate its In popular culture? | Calvin Harris' 2017 song "Slide" contains the lyrics "I might empty my bank account and buy that boy with a pipe". Vocalist Frank Ocean explained that it is an allusion to, “a Picasso painting that sold for so much money". | [
"Frank Ocean",
"Calvin Harris",
"Slide"
] |
|
17880_T | Large Bright Showcase | Focus on Large Bright Showcase and analyze the abstract. | Large Bright Showcase is an oil-on-canvas painting by the German artist August Macke, executed in 1912. It is held at the Sprengel Museum in Hanover. | [
"August Macke",
"Sprengel Museum",
"Hanover"
] |
|
17880_NT | Large Bright Showcase | Focus on this artwork and analyze the abstract. | Large Bright Showcase is an oil-on-canvas painting by the German artist August Macke, executed in 1912. It is held at the Sprengel Museum in Hanover. | [
"August Macke",
"Sprengel Museum",
"Hanover"
] |
|
17881_T | Large Bright Showcase | In Large Bright Showcase, how is the History discussed? | The painting was created by Macke probably in November 1912. It was created after he had seen the canvases of the Italian Futurists at the Rhine Salon of Arts, in Cologne. The Rhine Salon presented works from a traveling exhibition of Futurists that had previously had been shown in Paris, London and in Berlin, at the gallery "Sturm". Macke had visited Cologne with his friend Franz Marc. He shared his impressions of the exhibition in letter to Bernhardt Köhler, dated of October 12, 1912.
A futuristic view of the big city life turned out to be a subject that appealed to Macke. Later, in 1913, the artist developed several variations of the theme of this painting, and in 1913, in Hilterfingen, he painted Fashion Store (German:Modegeschäft). | [
"Franz Marc",
"Cologne",
"Futurists",
"Hilterfingen"
] |
|
17881_NT | Large Bright Showcase | In this artwork, how is the History discussed? | The painting was created by Macke probably in November 1912. It was created after he had seen the canvases of the Italian Futurists at the Rhine Salon of Arts, in Cologne. The Rhine Salon presented works from a traveling exhibition of Futurists that had previously had been shown in Paris, London and in Berlin, at the gallery "Sturm". Macke had visited Cologne with his friend Franz Marc. He shared his impressions of the exhibition in letter to Bernhardt Köhler, dated of October 12, 1912.
A futuristic view of the big city life turned out to be a subject that appealed to Macke. Later, in 1913, the artist developed several variations of the theme of this painting, and in 1913, in Hilterfingen, he painted Fashion Store (German:Modegeschäft). | [
"Franz Marc",
"Cologne",
"Futurists",
"Hilterfingen"
] |
|
17882_T | Large Bright Showcase | Focus on Large Bright Showcase and explore the Description. | Macke's large-format canvas is reminiscent of Umberto Boccioni's painting The Street Enters the House (Sprengel Museum, Hanover, 1912), which was also exhibited at the Salon of Rhine. Like Boccioni, Macke's composition is centered on a female figure, but instead of houses and passers-by that are repeated and seen flowing over each other, a vortex of many reflections in the showcase glass is formed around the woman. Items displayed in a sunlit display case combine with the reflections of horses harnessed to carriages and people passing by. Mirror glass, where different plans are combined, lines whimsically intersect, embodies the bright, brilliant and hectic life of a metropolis. Paint strokes, mixing chaotically, help to visualize the street noise.Like Boccioni, Macke uses the cubist technique, breaking into separate planes the wall of the house on the right, thus emphasizing the instability of the composition. Here he also shows the influence of Robert Delaunay, whose painting Simultaneous Windows he had seen in Paris at the end of October 1912. | [
"Robert Delaunay",
"Sprengel Museum",
"Umberto Boccioni",
"Hanover",
"cubist"
] |
|
17882_NT | Large Bright Showcase | Focus on this artwork and explore the Description. | Macke's large-format canvas is reminiscent of Umberto Boccioni's painting The Street Enters the House (Sprengel Museum, Hanover, 1912), which was also exhibited at the Salon of Rhine. Like Boccioni, Macke's composition is centered on a female figure, but instead of houses and passers-by that are repeated and seen flowing over each other, a vortex of many reflections in the showcase glass is formed around the woman. Items displayed in a sunlit display case combine with the reflections of horses harnessed to carriages and people passing by. Mirror glass, where different plans are combined, lines whimsically intersect, embodies the bright, brilliant and hectic life of a metropolis. Paint strokes, mixing chaotically, help to visualize the street noise.Like Boccioni, Macke uses the cubist technique, breaking into separate planes the wall of the house on the right, thus emphasizing the instability of the composition. Here he also shows the influence of Robert Delaunay, whose painting Simultaneous Windows he had seen in Paris at the end of October 1912. | [
"Robert Delaunay",
"Sprengel Museum",
"Umberto Boccioni",
"Hanover",
"cubist"
] |
|
17883_T | I and the Village | Focus on I and the Village and explain the abstract. | I and the Village is an 1911 oil-on-canvas painting by the Belarusian-French artist Marc Chagall created in 1911. It is exhibited at the Museum of Modern Art, New York.The work is Cubist in construction and contains many soft, dreamlike images overlapping one another in a continuous space. In the foreground, a cap-wearing green-faced man stares at a goat or sheep with the image of a smaller goat being milked on its cheek. In the foreground is a glowing tree held in the man's dark hand. The background features a collection of houses next to an Orthodox church, and an upside-down female violinist in front of a black-clothed man holding a scythe. The green-faced man wears a necklace with St. Andrew's cross. As the title suggests, I and the Village is influenced by memories of the artist's place of birth and his relationship to it.The significance of the painting lies in its seamless integration of various elements of Eastern European folktales and culture, both Belarusian and Yiddish. Its clearly defined semiotic elements (e.g. The Tree of Life) and daringly whimsical style were at the time considered groundbreaking. Its frenetic, fanciful style is credited to Chagall's childhood memories becoming, in the words of scholar H.W. Janson, a "cubist fairy tale" reshaped by his imagination, without regard to natural color, size or even the laws of gravity. | [
"Marc Chagall",
"The Tree of Life",
"Cubist",
"semiotic",
"H.W. Janson",
"New York",
"Orthodox",
"scythe",
"Museum of Modern Art"
] |
|
17883_NT | I and the Village | Focus on this artwork and explain the abstract. | I and the Village is an 1911 oil-on-canvas painting by the Belarusian-French artist Marc Chagall created in 1911. It is exhibited at the Museum of Modern Art, New York.The work is Cubist in construction and contains many soft, dreamlike images overlapping one another in a continuous space. In the foreground, a cap-wearing green-faced man stares at a goat or sheep with the image of a smaller goat being milked on its cheek. In the foreground is a glowing tree held in the man's dark hand. The background features a collection of houses next to an Orthodox church, and an upside-down female violinist in front of a black-clothed man holding a scythe. The green-faced man wears a necklace with St. Andrew's cross. As the title suggests, I and the Village is influenced by memories of the artist's place of birth and his relationship to it.The significance of the painting lies in its seamless integration of various elements of Eastern European folktales and culture, both Belarusian and Yiddish. Its clearly defined semiotic elements (e.g. The Tree of Life) and daringly whimsical style were at the time considered groundbreaking. Its frenetic, fanciful style is credited to Chagall's childhood memories becoming, in the words of scholar H.W. Janson, a "cubist fairy tale" reshaped by his imagination, without regard to natural color, size or even the laws of gravity. | [
"Marc Chagall",
"The Tree of Life",
"Cubist",
"semiotic",
"H.W. Janson",
"New York",
"Orthodox",
"scythe",
"Museum of Modern Art"
] |
|
17884_T | Saint Jerome (Master Theodoric) | Explore the abstract of this artwork, Saint Jerome (Master Theodoric). | Saint Jerome is one of the finest paintings by Master Theodoric in the Chapel of the Holy Cross at Karlštejn. He has an honourable place in the hierarchy of the Holy Fathers and his portrait is placed in the south window niche of the chapel together with St. Augustine, St. Ambrose and St. Gregory. It is one of the oldest and most frequently reproduced depictions of St. Jerome. The painting is exhibited in the collection of medieval art of the National Gallery in Prague. | [
"Theodoric",
"Chapel of the Holy Cross at Karlštejn",
"Chapel of the Holy Cross",
"Master Theodoric",
"St. Jerome",
"St. Gregory",
"St. Ambrose",
"St. Augustine",
"Jerome",
"Saint",
"Holy Fathers",
"Saint Jerome",
"National Gallery",
"Karlštejn",
"National Gallery in Prague",
"Prague",
"Ambrose"
] |
|
17884_NT | Saint Jerome (Master Theodoric) | Explore the abstract of this artwork. | Saint Jerome is one of the finest paintings by Master Theodoric in the Chapel of the Holy Cross at Karlštejn. He has an honourable place in the hierarchy of the Holy Fathers and his portrait is placed in the south window niche of the chapel together with St. Augustine, St. Ambrose and St. Gregory. It is one of the oldest and most frequently reproduced depictions of St. Jerome. The painting is exhibited in the collection of medieval art of the National Gallery in Prague. | [
"Theodoric",
"Chapel of the Holy Cross at Karlštejn",
"Chapel of the Holy Cross",
"Master Theodoric",
"St. Jerome",
"St. Gregory",
"St. Ambrose",
"St. Augustine",
"Jerome",
"Saint",
"Holy Fathers",
"Saint Jerome",
"National Gallery",
"Karlštejn",
"National Gallery in Prague",
"Prague",
"Ambrose"
] |
|
17885_T | Saint Jerome (Master Theodoric) | Focus on Saint Jerome (Master Theodoric) and discuss the Description and classification. | The original frame is decorated with embossed decoration. The preparatory black brushwork of the drapery is detailed and models numerous folds. In the area of the face, the drawing has been changed - compared to the original version with a three-quarter profile, the composition has been changed to a full profile, which the executed painting follows exactly. The profile of St. Jerome corresponds to one of the basic facial types used by the Master of the Luxembourg Family Tree and his workshop (Henry VII, Holy Roman Emperor). Theodoric had previously used a similar type in the mural Adoration of the Three Kings on the vault of the window niche in the Chapel of the Holy Cross.Remains of the golden halo and the relief decoration of the background of the painting survive. The squares of pastiglia alternate between the motif of an eagle and a lion in leap. The still life with the reader's and scribe's desk is missing from the preparatory drawing and was probably added by one of the painters working in Theodoric's workshop.
Jerome is depicted as a cardinal, but this ecclesiastical rank did not exist at the time he lived (347-420). The cardinal's hat and cloak symbolize his position as personal secretary to Pope Damasus I. | [
"Theodoric",
"Chapel of the Holy Cross",
"pastiglia",
"St. Jerome",
"Pope Damasus I",
"Jerome",
"Master of the Luxembourg Family Tree",
"Henry VII, Holy Roman Emperor",
"cardinal"
] |
|
17885_NT | Saint Jerome (Master Theodoric) | Focus on this artwork and discuss the Description and classification. | The original frame is decorated with embossed decoration. The preparatory black brushwork of the drapery is detailed and models numerous folds. In the area of the face, the drawing has been changed - compared to the original version with a three-quarter profile, the composition has been changed to a full profile, which the executed painting follows exactly. The profile of St. Jerome corresponds to one of the basic facial types used by the Master of the Luxembourg Family Tree and his workshop (Henry VII, Holy Roman Emperor). Theodoric had previously used a similar type in the mural Adoration of the Three Kings on the vault of the window niche in the Chapel of the Holy Cross.Remains of the golden halo and the relief decoration of the background of the painting survive. The squares of pastiglia alternate between the motif of an eagle and a lion in leap. The still life with the reader's and scribe's desk is missing from the preparatory drawing and was probably added by one of the painters working in Theodoric's workshop.
Jerome is depicted as a cardinal, but this ecclesiastical rank did not exist at the time he lived (347-420). The cardinal's hat and cloak symbolize his position as personal secretary to Pope Damasus I. | [
"Theodoric",
"Chapel of the Holy Cross",
"pastiglia",
"St. Jerome",
"Pope Damasus I",
"Jerome",
"Master of the Luxembourg Family Tree",
"Henry VII, Holy Roman Emperor",
"cardinal"
] |
|
17886_T | Bust of Costanza Bonarelli | How does Bust of Costanza Bonarelli elucidate its abstract? | The Bust of Costanza Bonarelli is a marble statue bust created by Gian Lorenzo Bernini during the 1630's. The piece is currently being shown in the Museo Nazionale del Bargello in Florence, Italy. Considered among the most personal of Bernini's works, the bust shows a figure named Costanza Piccolomini Bonarelli, the wife of Matteo Bonarelli, and one of Bernini's disciples and colleagues. | [
"Florence",
"Museo Nazionale del Bargello",
"Bargello",
"marble",
"Italy",
"Costanza Bonarelli",
"Costanza Piccolomini Bonarelli",
"Gian Lorenzo Bernini"
] |
|
17886_NT | Bust of Costanza Bonarelli | How does this artwork elucidate its abstract? | The Bust of Costanza Bonarelli is a marble statue bust created by Gian Lorenzo Bernini during the 1630's. The piece is currently being shown in the Museo Nazionale del Bargello in Florence, Italy. Considered among the most personal of Bernini's works, the bust shows a figure named Costanza Piccolomini Bonarelli, the wife of Matteo Bonarelli, and one of Bernini's disciples and colleagues. | [
"Florence",
"Museo Nazionale del Bargello",
"Bargello",
"marble",
"Italy",
"Costanza Bonarelli",
"Costanza Piccolomini Bonarelli",
"Gian Lorenzo Bernini"
] |
|
17887_T | Bust of Costanza Bonarelli | Focus on Bust of Costanza Bonarelli and analyze the Subject. | The subject of the work is Costanza Bonarelli, with whom he fell in love when her husband was working as Bernini's assistant in 1636. During his encounters with Bonarelli, Bernini decided to spend some of his free time stalking Bonarelli. Later, Bernini discovered his brother, Luigi, had also been having an affair with Costanza. With the frustration that Luigi has shown against Bonarelli during the feud, it created tension and led to Bernini assaulting his brother. Bernini then decided to barge into the home of his brother and attempt to assault and murder him; the assault involved one of his servants attacking Luigi with a knife and a blunt object. Bernini was also known to hold a sword during the attack where he willingly used it to strike his brother down.Later on, Bernini was punished and was fined three-thousand scudi for homicide against his brother during the affair; Pope Urban VIII eventually released him from his fines due to his reputation with the church and the relationship with the pope. Years after the affair, and after a conversation with the pope, Bernini decided to move on from Costanza Bonarelli and marry another woman named Caterina Tezio instead; he made sure he would commit to his work, as well as his family and faith for the remainder of his years as an artist. | [
"Costanza Bonarelli",
"Pope Urban VIII"
] |
|
17887_NT | Bust of Costanza Bonarelli | Focus on this artwork and analyze the Subject. | The subject of the work is Costanza Bonarelli, with whom he fell in love when her husband was working as Bernini's assistant in 1636. During his encounters with Bonarelli, Bernini decided to spend some of his free time stalking Bonarelli. Later, Bernini discovered his brother, Luigi, had also been having an affair with Costanza. With the frustration that Luigi has shown against Bonarelli during the feud, it created tension and led to Bernini assaulting his brother. Bernini then decided to barge into the home of his brother and attempt to assault and murder him; the assault involved one of his servants attacking Luigi with a knife and a blunt object. Bernini was also known to hold a sword during the attack where he willingly used it to strike his brother down.Later on, Bernini was punished and was fined three-thousand scudi for homicide against his brother during the affair; Pope Urban VIII eventually released him from his fines due to his reputation with the church and the relationship with the pope. Years after the affair, and after a conversation with the pope, Bernini decided to move on from Costanza Bonarelli and marry another woman named Caterina Tezio instead; he made sure he would commit to his work, as well as his family and faith for the remainder of his years as an artist. | [
"Costanza Bonarelli",
"Pope Urban VIII"
] |
|
17888_T | Bust of Costanza Bonarelli | In the context of Bust of Costanza Bonarelli, explore the Clothing of the Style. | The Bust of Costanza Bonarelli was an artwork that introduced numerous elements from the Baroque style; the bust feels light weighted, and the hair and clothing exude a presence of energy and life. Bernini managed to portray some good qualities in creating the bust, such as adding the clothed drapery on the subject. Other than The Bust of Costanza Bonarelli that was created, Bernini has incorporated similar drapery work to several other sculptures as well.
One example that has a similar emphasis towards drapery work would be The Bust of Charles. The Bust of Charles was another sculpture that not only emphasized drapery work, but the drapery also had more detail within the folds as well. The arrangement of this bust's clothing seems to give the subject more life, making the figure of the bust look more realistic. | [
"Costanza Bonarelli",
"The Bust of Charles"
] |
|
17888_NT | Bust of Costanza Bonarelli | In the context of this artwork, explore the Clothing of the Style. | The Bust of Costanza Bonarelli was an artwork that introduced numerous elements from the Baroque style; the bust feels light weighted, and the hair and clothing exude a presence of energy and life. Bernini managed to portray some good qualities in creating the bust, such as adding the clothed drapery on the subject. Other than The Bust of Costanza Bonarelli that was created, Bernini has incorporated similar drapery work to several other sculptures as well.
One example that has a similar emphasis towards drapery work would be The Bust of Charles. The Bust of Charles was another sculpture that not only emphasized drapery work, but the drapery also had more detail within the folds as well. The arrangement of this bust's clothing seems to give the subject more life, making the figure of the bust look more realistic. | [
"Costanza Bonarelli",
"The Bust of Charles"
] |
|
17889_T | Bust of Costanza Bonarelli | In the context of Bust of Costanza Bonarelli, explain the Expression of the Style. | Another aspect that Bernini has included in the Bust of Costanza Bonarelli, is the emotions evident on the face. The details within the sculpture were well developed and included multiple incisions and cuts in order to add accuracy and detail to the sculpture piece, such as folds and frills within the clothing or hair within the bust of the person. With these details added, Bernini was able to shape the facial expression of Costanza; the features that the bust has, as well as the light and darkness the statue has produced within the work, the appearance within the artwork suggests that Bernini stays true to the figure as well as an accurate representation of the figure. As Bernini put more details into the facial expression, he gave Costanza a slightly opened lip within the emotion of the sculpture's face, representing the realism within the piece, as well as how it shows the head bust exemplifying the feeling of the subject of the work. | [
"Costanza Bonarelli"
] |
|
17889_NT | Bust of Costanza Bonarelli | In the context of this artwork, explain the Expression of the Style. | Another aspect that Bernini has included in the Bust of Costanza Bonarelli, is the emotions evident on the face. The details within the sculpture were well developed and included multiple incisions and cuts in order to add accuracy and detail to the sculpture piece, such as folds and frills within the clothing or hair within the bust of the person. With these details added, Bernini was able to shape the facial expression of Costanza; the features that the bust has, as well as the light and darkness the statue has produced within the work, the appearance within the artwork suggests that Bernini stays true to the figure as well as an accurate representation of the figure. As Bernini put more details into the facial expression, he gave Costanza a slightly opened lip within the emotion of the sculpture's face, representing the realism within the piece, as well as how it shows the head bust exemplifying the feeling of the subject of the work. | [
"Costanza Bonarelli"
] |
|
17890_T | Bust of Costanza Bonarelli | Explore the Contrast about the Style of this artwork, Bust of Costanza Bonarelli. | Looking at a collection of Bernini's busts, most of them would end up having religious themes. The Bust of Costanza Bonarelli was not related to Church patronage, but instead represents someone Bernini remembered from his past; this person was related to his personal life outside his work, as well as a women he once loved. This sculpture was also not commissioned by anyone, but was created as his own personal work instead. This is what makes this bust different compared to other busts Bernini has created; the busts he would create would normally involve important figures of high class or other important people. | [
"Costanza Bonarelli"
] |
|
17890_NT | Bust of Costanza Bonarelli | Explore the Contrast about the Style of this artwork. | Looking at a collection of Bernini's busts, most of them would end up having religious themes. The Bust of Costanza Bonarelli was not related to Church patronage, but instead represents someone Bernini remembered from his past; this person was related to his personal life outside his work, as well as a women he once loved. This sculpture was also not commissioned by anyone, but was created as his own personal work instead. This is what makes this bust different compared to other busts Bernini has created; the busts he would create would normally involve important figures of high class or other important people. | [
"Costanza Bonarelli"
] |
|
17891_T | Bust of Costanza Bonarelli | In Bust of Costanza Bonarelli, how is the Memory of the Context elucidated? | Looking back at Bernini's Bust of Costanza Bonarelli, Bernini had a direction in making this particular artwork. Bernini's thoughts towards this work involves his affection for a certain women though his time. Other than his interest towards Costanza Bonarelli, the portrait bust was created by Bernini in order to shape the experience and memory of a certain person he once knew. The bust created by Bernini was made in order to remember Costanza Bonarelli, a women he had once loved, as well as preserving the life of the that specific person in time. In an accumulation of facial traits, as well as sculpting the entirety of the statue head, the artists conveys us a memory of his past time; The Bust of Costanza Bonarelli was made as a personal artwork, rather than a commission from someone else. | [
"Costanza Bonarelli"
] |
|
17891_NT | Bust of Costanza Bonarelli | In this artwork, how is the Memory of the Context elucidated? | Looking back at Bernini's Bust of Costanza Bonarelli, Bernini had a direction in making this particular artwork. Bernini's thoughts towards this work involves his affection for a certain women though his time. Other than his interest towards Costanza Bonarelli, the portrait bust was created by Bernini in order to shape the experience and memory of a certain person he once knew. The bust created by Bernini was made in order to remember Costanza Bonarelli, a women he had once loved, as well as preserving the life of the that specific person in time. In an accumulation of facial traits, as well as sculpting the entirety of the statue head, the artists conveys us a memory of his past time; The Bust of Costanza Bonarelli was made as a personal artwork, rather than a commission from someone else. | [
"Costanza Bonarelli"
] |
|
17892_T | Fruit and a Jug on a Table (Metzinger) | Focus on Fruit and a Jug on a Table (Metzinger) and analyze the abstract. | Fruit and a Jug on a Table (also titled Melon et compotier) is a Cubist painting dated 1916 by the French artist and theorist Jean Metzinger. In 1919 the painting was exhibited in Paris at Léonce Rosenberg's, Galerie de l'Effort Moderne. The painting was reproduced in the June 1924 (n. 6) issue of Bulletin de l'Effort Moderne. The work is on view at Charlotte F. and Irving W. Rabb Gallery (Europe, 1900–1960, Modernism), Museum of Fine Arts, Boston. | [
"Jean Metzinger",
"Cubist",
"Boston",
"Léonce Rosenberg",
"Museum of Fine Arts, Boston"
] |
|
17892_NT | Fruit and a Jug on a Table (Metzinger) | Focus on this artwork and analyze the abstract. | Fruit and a Jug on a Table (also titled Melon et compotier) is a Cubist painting dated 1916 by the French artist and theorist Jean Metzinger. In 1919 the painting was exhibited in Paris at Léonce Rosenberg's, Galerie de l'Effort Moderne. The painting was reproduced in the June 1924 (n. 6) issue of Bulletin de l'Effort Moderne. The work is on view at Charlotte F. and Irving W. Rabb Gallery (Europe, 1900–1960, Modernism), Museum of Fine Arts, Boston. | [
"Jean Metzinger",
"Cubist",
"Boston",
"Léonce Rosenberg",
"Museum of Fine Arts, Boston"
] |
|
17893_T | Fruit and a Jug on a Table (Metzinger) | In Fruit and a Jug on a Table (Metzinger), how is the Description discussed? | Fruit and a Jug on a Table is an oil and sand on canvas, signed JMetzinger, lower left, and inscribed on the reverse; Peint par moi / en 1916 / Metzinger. The work represents a diverse grouping of objects—a bowl of fruit, a carafe (or jug), a glass, and a bottle labelled BANYU. Banyuls-sur-Mer is a commune in the Pyrénées-Orientales department in southern France, located near Cerbère and Collioure. The foothills of Pyrenees run into the Mediterranean Sea in Banyuls-sur-Mer, creating a steep cliff line. Banyuls-sur-Mer is known for its wines, such as the sweet wine Banyuls: a fortified apéritif or dessert wine made from old vines cultivated in terraces on the slopes of the French and Catalan Pyrenees.
The style of Fruit and a Jug on a Table, its colors, the placement of objects and the background textures differ from Metzinger's earlier Crystal Cubist style of 1914–1916. According to Joann Moser, this work was most likely executed around 1917 or 1918.From 1914 through 1916 Metzinger's work was more abstract, overlapping volumetric forms were replaced with flattened surfaces, such as circles, squares, and rectangles.
Fruit and a Jug on a Table represent a more naturalistic approach expressed by the artist after 1917. Temporal and spatial effects are more subdued. The multiple perspective and Riemannian geometry seen in his 1910–1912 works is no longer to be seen overtly, yet the perspective reminiscent of Paul Cézanne—the angle of the table and the still life elements on it—are unmistakably active, still. Decorative patterns likewise present, and surface impasto, visibly thicker and more ubiquitously prevalent than previous years, are typical of Metzinger's 1917–18 works. | [
"Cubist",
"Cerbère",
"Crystal Cubist",
"Riemannian geometry",
"Collioure",
"Mediterranean Sea",
"Pyrenees",
"Banyuls-sur-Mer",
"apéritif",
"Banyuls",
"Paul Cézanne",
"fortified"
] |
|
17893_NT | Fruit and a Jug on a Table (Metzinger) | In this artwork, how is the Description discussed? | Fruit and a Jug on a Table is an oil and sand on canvas, signed JMetzinger, lower left, and inscribed on the reverse; Peint par moi / en 1916 / Metzinger. The work represents a diverse grouping of objects—a bowl of fruit, a carafe (or jug), a glass, and a bottle labelled BANYU. Banyuls-sur-Mer is a commune in the Pyrénées-Orientales department in southern France, located near Cerbère and Collioure. The foothills of Pyrenees run into the Mediterranean Sea in Banyuls-sur-Mer, creating a steep cliff line. Banyuls-sur-Mer is known for its wines, such as the sweet wine Banyuls: a fortified apéritif or dessert wine made from old vines cultivated in terraces on the slopes of the French and Catalan Pyrenees.
The style of Fruit and a Jug on a Table, its colors, the placement of objects and the background textures differ from Metzinger's earlier Crystal Cubist style of 1914–1916. According to Joann Moser, this work was most likely executed around 1917 or 1918.From 1914 through 1916 Metzinger's work was more abstract, overlapping volumetric forms were replaced with flattened surfaces, such as circles, squares, and rectangles.
Fruit and a Jug on a Table represent a more naturalistic approach expressed by the artist after 1917. Temporal and spatial effects are more subdued. The multiple perspective and Riemannian geometry seen in his 1910–1912 works is no longer to be seen overtly, yet the perspective reminiscent of Paul Cézanne—the angle of the table and the still life elements on it—are unmistakably active, still. Decorative patterns likewise present, and surface impasto, visibly thicker and more ubiquitously prevalent than previous years, are typical of Metzinger's 1917–18 works. | [
"Cubist",
"Cerbère",
"Crystal Cubist",
"Riemannian geometry",
"Collioure",
"Mediterranean Sea",
"Pyrenees",
"Banyuls-sur-Mer",
"apéritif",
"Banyuls",
"Paul Cézanne",
"fortified"
] |
|
17894_T | Fruit and a Jug on a Table (Metzinger) | Focus on Fruit and a Jug on a Table (Metzinger) and explore the Published 1920. | Fruit and a Jug on a Table was reproduced in Paul Erich Küppers, Der Kubismus; ein künstlerisches Formproblem unserer Zeit, 1920. The painting was titled Stilleben and dated 1917. | [
"Paul Erich Küppers"
] |
|
17894_NT | Fruit and a Jug on a Table (Metzinger) | Focus on this artwork and explore the Published 1920. | Fruit and a Jug on a Table was reproduced in Paul Erich Küppers, Der Kubismus; ein künstlerisches Formproblem unserer Zeit, 1920. The painting was titled Stilleben and dated 1917. | [
"Paul Erich Küppers"
] |
|
17895_T | Where Do We Come From? What Are We? Where Are We Going? | Explore the abstract of this artwork, Where Do We Come From? What Are We? Where Are We Going?. | Where Do We Come From? What Are We? Where Are We Going? (French: D'où venons-nous ? Que sommes-nous ? Où allons-nous ?) is a 1897–98 painting by French artist Paul Gauguin. The painting was created in Tahiti, and is in the Museum of Fine Arts in Boston, Massachusetts. Viewed as a masterpiece by Gauguin, the painting is considered "a philosophical work comparable to the themes of the Gospels".The painting is notable for its enigmatic subject and atmosphere. Some scholars have attributed these qualities to personal conflicts that Gauguin experienced while creating this artwork. It is an accentuation of Gauguin's trailblazing Post-Impressionistic style. | [
"French",
"Paul Gauguin",
"Boston",
"Tahiti",
"Post-Impressionistic",
"Museum of Fine Arts"
] |
|
17895_NT | Where Do We Come From? What Are We? Where Are We Going? | Explore the abstract of this artwork. | Where Do We Come From? What Are We? Where Are We Going? (French: D'où venons-nous ? Que sommes-nous ? Où allons-nous ?) is a 1897–98 painting by French artist Paul Gauguin. The painting was created in Tahiti, and is in the Museum of Fine Arts in Boston, Massachusetts. Viewed as a masterpiece by Gauguin, the painting is considered "a philosophical work comparable to the themes of the Gospels".The painting is notable for its enigmatic subject and atmosphere. Some scholars have attributed these qualities to personal conflicts that Gauguin experienced while creating this artwork. It is an accentuation of Gauguin's trailblazing Post-Impressionistic style. | [
"French",
"Paul Gauguin",
"Boston",
"Tahiti",
"Post-Impressionistic",
"Museum of Fine Arts"
] |
|
17896_T | Where Do We Come From? What Are We? Where Are We Going? | Focus on Where Do We Come From? What Are We? Where Are We Going? and discuss the Background. | Gauguin had been a student at the Petit Séminaire de La Chapelle-Saint-Mesmin, just outside Orléans, from the age of eleven to the age of sixteen. His studies there included a class in Catholic liturgy; the teacher for this class was the Bishop of Orléans, Félix-Antoine-Philibert Dupanloup. Dupanloup had devised his own catechism for students to lead them towards proper spiritual reflections on the nature of life. The three fundamental questions in this catechism were "where does humanity come from?" "where is it going to?", and "how does humanity proceed?". Although in later life Gauguin was vociferously anticlerical, these questions from Dupanloup's catechism had lodged in his mind, and "where?" became the key question that Gauguin asked in his art.Looking for a society more simple and elemental than that of his native France, Gauguin left for Tahiti in 1891. In addition to several other paintings that express his highly individualistic mythology, he completed this painting in 1897. During the process of creating this painting, Gauguin experienced a number of difficult events in his personal life. He suffered from medical conditions including eczema, syphilis, and conjunctivitis. He faced financial challenges, going into debt. He was also informed about the death of his daughter from Copenhagen. From one of many letters to his friend, Daniel de Monfreid, Gauguin disclosed his plan to commit suicide in December 1897. Before he did, however, he wanted to paint a large canvas that would be known as the grand culmination of his thoughts.
Following the completion of Where Do We Come From? What Are We? Where Are We Going?, Gauguin made a suicide attempt with arsenic. | [
"catechism",
"Félix-Antoine-Philibert Dupanloup",
"Orléans",
"nature of life",
"Tahiti",
"Bishop of Orléans",
"La Chapelle-Saint-Mesmin",
"liturgy"
] |
|
17896_NT | Where Do We Come From? What Are We? Where Are We Going? | Focus on this artwork and discuss the Background. | Gauguin had been a student at the Petit Séminaire de La Chapelle-Saint-Mesmin, just outside Orléans, from the age of eleven to the age of sixteen. His studies there included a class in Catholic liturgy; the teacher for this class was the Bishop of Orléans, Félix-Antoine-Philibert Dupanloup. Dupanloup had devised his own catechism for students to lead them towards proper spiritual reflections on the nature of life. The three fundamental questions in this catechism were "where does humanity come from?" "where is it going to?", and "how does humanity proceed?". Although in later life Gauguin was vociferously anticlerical, these questions from Dupanloup's catechism had lodged in his mind, and "where?" became the key question that Gauguin asked in his art.Looking for a society more simple and elemental than that of his native France, Gauguin left for Tahiti in 1891. In addition to several other paintings that express his highly individualistic mythology, he completed this painting in 1897. During the process of creating this painting, Gauguin experienced a number of difficult events in his personal life. He suffered from medical conditions including eczema, syphilis, and conjunctivitis. He faced financial challenges, going into debt. He was also informed about the death of his daughter from Copenhagen. From one of many letters to his friend, Daniel de Monfreid, Gauguin disclosed his plan to commit suicide in December 1897. Before he did, however, he wanted to paint a large canvas that would be known as the grand culmination of his thoughts.
Following the completion of Where Do We Come From? What Are We? Where Are We Going?, Gauguin made a suicide attempt with arsenic. | [
"catechism",
"Félix-Antoine-Philibert Dupanloup",
"Orléans",
"nature of life",
"Tahiti",
"Bishop of Orléans",
"La Chapelle-Saint-Mesmin",
"liturgy"
] |
|
17897_T | Where Do We Come From? What Are We? Where Are We Going? | How does Where Do We Come From? What Are We? Where Are We Going? elucidate its Details and analysis? | The three major groups in the painting reflect the overall themes presented in the title.
The three crouched women with a sleeping child on the right represent the beginning of life; the middle group symbolizes the daily existence of young adulthood; in the final group, according to the artist, "an old woman approaching death appears reconciled and resigned to her thoughts"; at her feet, "a strange white bird...represents the futility of words" or "the uselessness of vain words". Together, the painting from right to left suggests the cycle of "birth-sin-death". Outside of this cycle of life, there is a blue figure. The blue idol in the background represents what Gauguin described as "the Beyond."
Gauguin approaches the life cycle from a feminine perspective. The girl surrounded by kittens demonstrates the purity of "girlhood". The figure in the center is placed in a "Garden of Eden motif"; she is picking fruits from a tree. Gauguin intended to represent this woman as sin, like the allegory of Eve. Maternity is represented through the figures that surround the baby. Along with the motherhood of a woman's life, Gauguin also displays the idea of "domestic submission" through the bracelet and collar worn by the mature woman on the left and the white goat, respectively. Finally, the state of seniority can be seen through the old woman on the left.Near the blissful people are two sorrowful women by a tree who stand in contrast with their surroundings. In front of these women is a crouched figure who lifts her arm. The three women have been interpreted by one scholar as representing the contrast between enlightenment and “superstitious, irrational, even barbaric traditions”.The painting also includes a number of inscriptions. Gauguin inscribed the original French title in the upper left corner: D'où Venons Nous / Que Sommes Nous / Où Allons Nous. The inscription the artist wrote on his canvas has no question mark, no dash, and all words are capitalized. In the upper right corner he signed and dated the painting: P. Gauguin / 1897. | [
"French",
"center",
"Eve"
] |
|
17897_NT | Where Do We Come From? What Are We? Where Are We Going? | How does this artwork elucidate its Details and analysis? | The three major groups in the painting reflect the overall themes presented in the title.
The three crouched women with a sleeping child on the right represent the beginning of life; the middle group symbolizes the daily existence of young adulthood; in the final group, according to the artist, "an old woman approaching death appears reconciled and resigned to her thoughts"; at her feet, "a strange white bird...represents the futility of words" or "the uselessness of vain words". Together, the painting from right to left suggests the cycle of "birth-sin-death". Outside of this cycle of life, there is a blue figure. The blue idol in the background represents what Gauguin described as "the Beyond."
Gauguin approaches the life cycle from a feminine perspective. The girl surrounded by kittens demonstrates the purity of "girlhood". The figure in the center is placed in a "Garden of Eden motif"; she is picking fruits from a tree. Gauguin intended to represent this woman as sin, like the allegory of Eve. Maternity is represented through the figures that surround the baby. Along with the motherhood of a woman's life, Gauguin also displays the idea of "domestic submission" through the bracelet and collar worn by the mature woman on the left and the white goat, respectively. Finally, the state of seniority can be seen through the old woman on the left.Near the blissful people are two sorrowful women by a tree who stand in contrast with their surroundings. In front of these women is a crouched figure who lifts her arm. The three women have been interpreted by one scholar as representing the contrast between enlightenment and “superstitious, irrational, even barbaric traditions”.The painting also includes a number of inscriptions. Gauguin inscribed the original French title in the upper left corner: D'où Venons Nous / Que Sommes Nous / Où Allons Nous. The inscription the artist wrote on his canvas has no question mark, no dash, and all words are capitalized. In the upper right corner he signed and dated the painting: P. Gauguin / 1897. | [
"French",
"center",
"Eve"
] |
|
17898_T | Where Do We Come From? What Are We? Where Are We Going? | Focus on Where Do We Come From? What Are We? Where Are We Going? and analyze the Style. | The painting is an accentuation of Gauguin's trailblazing Post-Impressionistic style; his art stressed the vivid use of colors and thick brushstrokes, while it aimed to convey an emotional or expressionistic strength. It emerged in conjunction with other avant-garde movements of the twentieth century, including cubism and fauvism. | [
"fauvism",
"cubism",
"avant-garde",
"Post-Impressionistic"
] |
|
17898_NT | Where Do We Come From? What Are We? Where Are We Going? | Focus on this artwork and analyze the Style. | The painting is an accentuation of Gauguin's trailblazing Post-Impressionistic style; his art stressed the vivid use of colors and thick brushstrokes, while it aimed to convey an emotional or expressionistic strength. It emerged in conjunction with other avant-garde movements of the twentieth century, including cubism and fauvism. | [
"fauvism",
"cubism",
"avant-garde",
"Post-Impressionistic"
] |
|
17899_T | Where Do We Come From? What Are We? Where Are We Going? | In Where Do We Come From? What Are We? Where Are We Going?, how is the Reception and provenance discussed? | In 1898, Gauguin sent the painting to Georges-Daniel de Monfreid in Paris. Monfreid passed it to Ambroise Vollard along with eight other thematically related pictures shipped earlier. They went on view at the Galerie Vollard from November 17 to December 10 of 1898. The exhibition was a success, although D'où Venons Nous? received mixed reviews.
Charles Morice unsuccessfully tried to raise funds to purchase the painting on behalf of France. Gabriel Frizeau purchased the painting from Vollard for 2,500 francs in 1901.Subsequently, Frizeau sold the painting around 1913 to Galerie Barbazanges, which sold it before 1920 to the Norwegian ship owner and art collector Jørgen Breder Stang. He sold the painting via Alfred Gold in 1935, and it was bought by the Marie Harriman Gallery in New York City in 1936. The Museum of Fine Arts, Boston, acquired it from the Marie Harriman Gallery on 16 April 1936. | [
"New York City",
"Galerie Barbazanges",
"Gabriel Frizeau",
"Jørgen Breder Stang",
"Marie Harriman Gallery",
"Boston",
"Museum of Fine Arts",
"Paris",
"Ambroise Vollard",
"Georges-Daniel de Monfreid",
"Alfred Gold",
"Museum of Fine Arts, Boston"
] |
|
17899_NT | Where Do We Come From? What Are We? Where Are We Going? | In this artwork, how is the Reception and provenance discussed? | In 1898, Gauguin sent the painting to Georges-Daniel de Monfreid in Paris. Monfreid passed it to Ambroise Vollard along with eight other thematically related pictures shipped earlier. They went on view at the Galerie Vollard from November 17 to December 10 of 1898. The exhibition was a success, although D'où Venons Nous? received mixed reviews.
Charles Morice unsuccessfully tried to raise funds to purchase the painting on behalf of France. Gabriel Frizeau purchased the painting from Vollard for 2,500 francs in 1901.Subsequently, Frizeau sold the painting around 1913 to Galerie Barbazanges, which sold it before 1920 to the Norwegian ship owner and art collector Jørgen Breder Stang. He sold the painting via Alfred Gold in 1935, and it was bought by the Marie Harriman Gallery in New York City in 1936. The Museum of Fine Arts, Boston, acquired it from the Marie Harriman Gallery on 16 April 1936. | [
"New York City",
"Galerie Barbazanges",
"Gabriel Frizeau",
"Jørgen Breder Stang",
"Marie Harriman Gallery",
"Boston",
"Museum of Fine Arts",
"Paris",
"Ambroise Vollard",
"Georges-Daniel de Monfreid",
"Alfred Gold",
"Museum of Fine Arts, Boston"
] |
|
17900_T | Where Do We Come From? What Are We? Where Are We Going? | Focus on Where Do We Come From? What Are We? Where Are We Going? and explore the Critics and Gauguin. | Critics thought of Paul Gauguin as one of the major artists of the time, but they were unsure about the artist's intentions in this work. Thadée Natanson of La Revue Blanche expressed confusion over its meaning, describing it as "obscure".The critic André Fontainas of the Mercure de France acknowledged a grudging respect for the work but thought the allegory would be impenetrable without the inscription, and compared the painting to Inter artes et naturam (Between Art and Nature) of Pierre Puvis de Chavannes.
Although Gauguin appreciated the works of Puvis, he wanted to differentiate his works from “the great master of decorative painting”. He explained to Fontainas that the objectives of Puvis's works were predetermined and could be conveyed in words; he believed his works consist of a great "pictorial language of feelings". Gauguin believed that his paintings had abstract, inexplicable qualities that could not be expressed in literary terms. | [
"Pierre Puvis de Chavannes",
"Mercure de France",
"La Revue Blanche",
"Paul Gauguin",
"André Fontainas",
"Thadée Natanson"
] |
|
17900_NT | Where Do We Come From? What Are We? Where Are We Going? | Focus on this artwork and explore the Critics and Gauguin. | Critics thought of Paul Gauguin as one of the major artists of the time, but they were unsure about the artist's intentions in this work. Thadée Natanson of La Revue Blanche expressed confusion over its meaning, describing it as "obscure".The critic André Fontainas of the Mercure de France acknowledged a grudging respect for the work but thought the allegory would be impenetrable without the inscription, and compared the painting to Inter artes et naturam (Between Art and Nature) of Pierre Puvis de Chavannes.
Although Gauguin appreciated the works of Puvis, he wanted to differentiate his works from “the great master of decorative painting”. He explained to Fontainas that the objectives of Puvis's works were predetermined and could be conveyed in words; he believed his works consist of a great "pictorial language of feelings". Gauguin believed that his paintings had abstract, inexplicable qualities that could not be expressed in literary terms. | [
"Pierre Puvis de Chavannes",
"Mercure de France",
"La Revue Blanche",
"Paul Gauguin",
"André Fontainas",
"Thadée Natanson"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.