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|---|---|---|---|---|---|
17951_T | Surrender of General Burgoyne | Focus on Surrender of General Burgoyne and discuss the Other versions. | Trumbull created a smaller, substantially similar version of the painting that now belongs to the Yale University Art Gallery. The rotunda version was used as the basis for a commemorative stamp issued in 1994. | [
"Yale University Art Gallery"
] |
|
17951_NT | Surrender of General Burgoyne | Focus on this artwork and discuss the Other versions. | Trumbull created a smaller, substantially similar version of the painting that now belongs to the Yale University Art Gallery. The rotunda version was used as the basis for a commemorative stamp issued in 1994. | [
"Yale University Art Gallery"
] |
|
17952_T | Surrender of General Burgoyne | How does Surrender of General Burgoyne elucidate its People depicted? | Weir provided this list, p. 69. The people depicted are listed approximately from left to right.Major Lithgow
Colonel Joseph Cilley
Brigadier General John Stark
Captain Seymour
Major William Hull
Colonel Greaton
Major Henry Dearborn
Colonel Alexander Scammell
Colonel Lewis
Brigadier General William Phillips
Lieutenant General John Burgoyne
Lieutenant General Baron Friedrich Adolph Riedesel
Colonel James Wilkinson
Major General Horatio Gates
Colonel William Prescott
Colonel Daniel Morgan
Brigadier General Rufus Putnam
Lieutenant Colonel John Brooks
Reverend Mr. Hitchcock
Major Robert Troup
Major Haskell
Major Armstrong
Major General Philip Schuyler
Brigadier General John Glover
Brigadier General William Whipple
Major Matthew Clarkson
Major Ebenezer Stevens | [
"Henry Dearborn",
"Rufus Putnam",
"John Glover",
"William Whipple",
"Matthew Clarkson",
"John Burgoyne",
"Friedrich Adolph Riedesel",
"Ebenezer Stevens",
"William Phillips",
"Philip Schuyler",
"Alexander Scammell",
"John Brooks",
"John Stark",
"William Hull",
"Joseph Cilley",
"Horatio Gates",
"William Prescott",
"Daniel Morgan",
"Robert Troup",
"James Wilkinson"
] |
|
17952_NT | Surrender of General Burgoyne | How does this artwork elucidate its People depicted? | Weir provided this list, p. 69. The people depicted are listed approximately from left to right.Major Lithgow
Colonel Joseph Cilley
Brigadier General John Stark
Captain Seymour
Major William Hull
Colonel Greaton
Major Henry Dearborn
Colonel Alexander Scammell
Colonel Lewis
Brigadier General William Phillips
Lieutenant General John Burgoyne
Lieutenant General Baron Friedrich Adolph Riedesel
Colonel James Wilkinson
Major General Horatio Gates
Colonel William Prescott
Colonel Daniel Morgan
Brigadier General Rufus Putnam
Lieutenant Colonel John Brooks
Reverend Mr. Hitchcock
Major Robert Troup
Major Haskell
Major Armstrong
Major General Philip Schuyler
Brigadier General John Glover
Brigadier General William Whipple
Major Matthew Clarkson
Major Ebenezer Stevens | [
"Henry Dearborn",
"Rufus Putnam",
"John Glover",
"William Whipple",
"Matthew Clarkson",
"John Burgoyne",
"Friedrich Adolph Riedesel",
"Ebenezer Stevens",
"William Phillips",
"Philip Schuyler",
"Alexander Scammell",
"John Brooks",
"John Stark",
"William Hull",
"Joseph Cilley",
"Horatio Gates",
"William Prescott",
"Daniel Morgan",
"Robert Troup",
"James Wilkinson"
] |
|
17953_T | Naked Dave | Focus on Naked Dave and analyze the abstract. | Naked Dave (The Naked Dave Project) refers to a series of paintings created by Laura Molina, inspired by her relationship with illustrator and Rocketeer creator Dave Stevens (1955-2008). A five-month-long relationship between the artists ended in early December 1978 after she miscarried their child at eleven weeks. Molina started the series in 1993 after an attempted reconciliation initiated by Stevens failed to settle things between them.Stevens protested the use of his likeness, but Molina argued in her website commentary that she was protected from legal ramifications, citing Polydoros v. Twentieth Century Fox Film (67 Cal. App.4th 318, 1997), in which Michael Polydoros contended that David Mickey Evans, the writer-director of the movie The Sandlot had violated his privacy by including a character based on him. The courts ruled in favor of Twentieth Century Fox, stating the film was protected free speech. | [
"free speech",
"David Mickey Evans",
"Rocketeer",
"illustrator",
"Laura Molina",
"The Sandlot",
"Dave Stevens"
] |
|
17953_NT | Naked Dave | Focus on this artwork and analyze the abstract. | Naked Dave (The Naked Dave Project) refers to a series of paintings created by Laura Molina, inspired by her relationship with illustrator and Rocketeer creator Dave Stevens (1955-2008). A five-month-long relationship between the artists ended in early December 1978 after she miscarried their child at eleven weeks. Molina started the series in 1993 after an attempted reconciliation initiated by Stevens failed to settle things between them.Stevens protested the use of his likeness, but Molina argued in her website commentary that she was protected from legal ramifications, citing Polydoros v. Twentieth Century Fox Film (67 Cal. App.4th 318, 1997), in which Michael Polydoros contended that David Mickey Evans, the writer-director of the movie The Sandlot had violated his privacy by including a character based on him. The courts ruled in favor of Twentieth Century Fox, stating the film was protected free speech. | [
"free speech",
"David Mickey Evans",
"Rocketeer",
"illustrator",
"Laura Molina",
"The Sandlot",
"Dave Stevens"
] |
|
17954_T | Naked Dave | In Naked Dave, how is the Overview discussed? | Stevens appears as the objectified subject of six paintings in an internet art presentation called NakedDave.com. It uses male iconography, including Greek gods, cowboys and astronauts to create an idealized depiction of Stevens. In 1998 the paintings were presented on the web with commentary from the artist and her audience. The series, the artist, and website have been the subject of Dora Ramirez's 2005, 33 page essay "The Cyberborderland: Surfing the Web for Xicanidad" in the academic journal Chicana/Latina Studies (journal of Mujeres Activas en Letras y Cambio Social), and were reported by Heidi MacDonald on her weblog, "The Beat - The News Blog of Comics Culture", February 18, 2005. In 2004 film makers Alex Schaffert and David Callaghan made a documentary short film about the project.A quote from Molina from "NakedDave.com" - There's something I've realized about why these paintings make people so uncomfortable. Dave Stevens is a "male muse", and an unwilling one at that. The traditional gender roles have been reversed. This upsets the order of things. Women are not supposed to have my technical skill or use it to toy with and objectify a male subject. I do this for the same reason that Dave and other male artists continue to paint and draw naked women....Because I can.
A painting from the series was featured in The New York Times Art & Design section August 25, 2017 For Latino Artists in Sci-Fi Show, Everyone’s an Alien by Jori Finkel.Laura Molina’s 2004 painting “Amor Alien” playfully takes on the challenges of interracial romance with a beautiful, green-skinned woman draped across the lap of a dashing white man. She looks asleep but as Mr. Hernández points out, the man is even more disempowered — encased in a helmet that suggests he cannot breathe on his own while “the alien queen can survive on her own planet. | [
"muse",
"Jori Finkel",
"The New York Times",
"Laura Molina",
"Dave Stevens",
"Heidi MacDonald"
] |
|
17954_NT | Naked Dave | In this artwork, how is the Overview discussed? | Stevens appears as the objectified subject of six paintings in an internet art presentation called NakedDave.com. It uses male iconography, including Greek gods, cowboys and astronauts to create an idealized depiction of Stevens. In 1998 the paintings were presented on the web with commentary from the artist and her audience. The series, the artist, and website have been the subject of Dora Ramirez's 2005, 33 page essay "The Cyberborderland: Surfing the Web for Xicanidad" in the academic journal Chicana/Latina Studies (journal of Mujeres Activas en Letras y Cambio Social), and were reported by Heidi MacDonald on her weblog, "The Beat - The News Blog of Comics Culture", February 18, 2005. In 2004 film makers Alex Schaffert and David Callaghan made a documentary short film about the project.A quote from Molina from "NakedDave.com" - There's something I've realized about why these paintings make people so uncomfortable. Dave Stevens is a "male muse", and an unwilling one at that. The traditional gender roles have been reversed. This upsets the order of things. Women are not supposed to have my technical skill or use it to toy with and objectify a male subject. I do this for the same reason that Dave and other male artists continue to paint and draw naked women....Because I can.
A painting from the series was featured in The New York Times Art & Design section August 25, 2017 For Latino Artists in Sci-Fi Show, Everyone’s an Alien by Jori Finkel.Laura Molina’s 2004 painting “Amor Alien” playfully takes on the challenges of interracial romance with a beautiful, green-skinned woman draped across the lap of a dashing white man. She looks asleep but as Mr. Hernández points out, the man is even more disempowered — encased in a helmet that suggests he cannot breathe on his own while “the alien queen can survive on her own planet. | [
"muse",
"Jori Finkel",
"The New York Times",
"Laura Molina",
"Dave Stevens",
"Heidi MacDonald"
] |
|
17955_T | Mary McLeod Bethune Memorial | Focus on Mary McLeod Bethune Memorial and explore the abstract. | Mary McLeod Bethune Memorial is a bronze statue honoring educator and activist Mary McLeod Bethune, by Robert Berks.The monument is the first statue erected on public land in Washington, D.C. to honor an African American and a woman. The statue features an elderly Mrs. Bethune handing a copy of her legacy to two young black children. Mrs. Bethune is supporting herself by a cane given to her by President Franklin D. Roosevelt. The statue was unveiled on the anniversary of her 99th birthday, July 10, 1974, before a crowd of over 18,000 people. The funds for the monument were raised by the National Council of Negro Women, the organization Mrs. Bethune founded in 1935. It is located in Lincoln Park, at East Capitol Street and 12th Street N.E. Washington, D.C.The inscription reads:
(Front bottom of Bethune's dress:)
(copyright symbol)
73
Berks
(Front of base:)
MARY McLEOD BETHUNE
1875 1955
(Front of base, in script:)
Let her works praise her
(Bronze plaque, front of base:)
ERECTED
JULY 10, 1974
BY THE
NATIONAL COUNCIL OF NEGRO WOMEN, INC.
DOROTHY I. HEIGHT
PRESIDENT
(Bronze plaque running around sides of base:)
I LEAVE YOU LOVE. I LEAVE YOU HOPE. I LEAVE YOU THE CHALLENGE OF DEVELOPING CONFIDENCE IN ONE ANOTHER. I LEAVE YOU A THIRST FOR EDUCATION. I LEAVE YOU A RESPECT FOR THE USE OF POWER. I LEAVE YOU FAITH. I LEAVE YOU RACIAL DIGNITY. I LEAVE YOU A DESIRE TO LIVE HARMONIOUSLY WITH YOUR FELLOW MEN. I LEAVE YOU FINALLY, A RESPONSIBILITY TO OUR YOUNG PEOPLE.
Mary McLeod Bethune (in script) | [
"Washington, D.C.",
"Lincoln Park",
"Franklin D. Roosevelt",
"National Council of Negro Women",
"Mary McLeod Bethune",
"Robert Berks",
"East Capitol Street"
] |
|
17955_NT | Mary McLeod Bethune Memorial | Focus on this artwork and explore the abstract. | Mary McLeod Bethune Memorial is a bronze statue honoring educator and activist Mary McLeod Bethune, by Robert Berks.The monument is the first statue erected on public land in Washington, D.C. to honor an African American and a woman. The statue features an elderly Mrs. Bethune handing a copy of her legacy to two young black children. Mrs. Bethune is supporting herself by a cane given to her by President Franklin D. Roosevelt. The statue was unveiled on the anniversary of her 99th birthday, July 10, 1974, before a crowd of over 18,000 people. The funds for the monument were raised by the National Council of Negro Women, the organization Mrs. Bethune founded in 1935. It is located in Lincoln Park, at East Capitol Street and 12th Street N.E. Washington, D.C.The inscription reads:
(Front bottom of Bethune's dress:)
(copyright symbol)
73
Berks
(Front of base:)
MARY McLEOD BETHUNE
1875 1955
(Front of base, in script:)
Let her works praise her
(Bronze plaque, front of base:)
ERECTED
JULY 10, 1974
BY THE
NATIONAL COUNCIL OF NEGRO WOMEN, INC.
DOROTHY I. HEIGHT
PRESIDENT
(Bronze plaque running around sides of base:)
I LEAVE YOU LOVE. I LEAVE YOU HOPE. I LEAVE YOU THE CHALLENGE OF DEVELOPING CONFIDENCE IN ONE ANOTHER. I LEAVE YOU A THIRST FOR EDUCATION. I LEAVE YOU A RESPECT FOR THE USE OF POWER. I LEAVE YOU FAITH. I LEAVE YOU RACIAL DIGNITY. I LEAVE YOU A DESIRE TO LIVE HARMONIOUSLY WITH YOUR FELLOW MEN. I LEAVE YOU FINALLY, A RESPONSIBILITY TO OUR YOUNG PEOPLE.
Mary McLeod Bethune (in script) | [
"Washington, D.C.",
"Lincoln Park",
"Franklin D. Roosevelt",
"National Council of Negro Women",
"Mary McLeod Bethune",
"Robert Berks",
"East Capitol Street"
] |
|
17956_T | Floating Figure | Focus on Floating Figure and explain the abstract. | Floating Figure is a 1927 sculpture by Gaston Lachaise. | [
"Gaston Lachaise"
] |
|
17956_NT | Floating Figure | Focus on this artwork and explain the abstract. | Floating Figure is a 1927 sculpture by Gaston Lachaise. | [
"Gaston Lachaise"
] |
|
17957_T | Floating Figure | Explore the Casts of this artwork, Floating Figure. | According to the National Gallery of Australia, seven bronze casts were made at Modern Art Foundry in Long Island City, New York, and are located at the Museum of Modern Art, the Society Hill Project in Philadelphia, the Ray Stark Collection in Beverly Hills, California, the Sheldon Museum of Art at the University of Nebraska–Lincoln in Lincoln, Nebraska, the Putnam Collection of Sculpture at Princeton University in New Jersey, and the National Gallery of Australia in Canberra. | [
"Putnam Collection of Sculpture",
"Princeton University",
"Long Island City",
"Sheldon Museum of Art",
"Modern Art Foundry",
"National Gallery of Australia",
"University of Nebraska–Lincoln",
"Museum of Modern Art"
] |
|
17957_NT | Floating Figure | Explore the Casts of this artwork. | According to the National Gallery of Australia, seven bronze casts were made at Modern Art Foundry in Long Island City, New York, and are located at the Museum of Modern Art, the Society Hill Project in Philadelphia, the Ray Stark Collection in Beverly Hills, California, the Sheldon Museum of Art at the University of Nebraska–Lincoln in Lincoln, Nebraska, the Putnam Collection of Sculpture at Princeton University in New Jersey, and the National Gallery of Australia in Canberra. | [
"Putnam Collection of Sculpture",
"Princeton University",
"Long Island City",
"Sheldon Museum of Art",
"Modern Art Foundry",
"National Gallery of Australia",
"University of Nebraska–Lincoln",
"Museum of Modern Art"
] |
|
17958_T | Twist for Max | Focus on Twist for Max and discuss the abstract. | Twist for Max is a public art work by artist Bernard Kirschenbaum located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The abstract sculpture is a column of twisting aluminum; it is installed on the lawn. | [
"Milwaukee",
"abstract",
"Lynden Sculpture Garden",
"Bernard Kirschenbaum",
"aluminum",
"Wisconsin",
"public art"
] |
|
17958_NT | Twist for Max | Focus on this artwork and discuss the abstract. | Twist for Max is a public art work by artist Bernard Kirschenbaum located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The abstract sculpture is a column of twisting aluminum; it is installed on the lawn. | [
"Milwaukee",
"abstract",
"Lynden Sculpture Garden",
"Bernard Kirschenbaum",
"aluminum",
"Wisconsin",
"public art"
] |
|
17959_T | Christ Driving the Money Changers from the Temple (El Greco, New York) | How does Christ Driving the Money Changers from the Temple (El Greco, New York) elucidate its abstract? | Christ Driving the Money Changers from the Temple is a 1595-1600 Christian art painting by El Greco, now in the Frick Collection. It depicts the Cleansing of the Temple, an event in the Life of Christ.
There exist three other copies of the painting and also a faithful reproduction in the National Gallery in London, which has recently been considered as authentic by scholars in the field of visual arts. Two versions and that other on loan from Madrid are titled Purification of the Temple. The one at the National Gallery in Washington is called Christ Cleansing the Temple. | [
"National Gallery",
"London",
"Frick Collection",
"El Greco",
"Life of Christ",
"Christian art",
"Cleansing of the Temple"
] |
|
17959_NT | Christ Driving the Money Changers from the Temple (El Greco, New York) | How does this artwork elucidate its abstract? | Christ Driving the Money Changers from the Temple is a 1595-1600 Christian art painting by El Greco, now in the Frick Collection. It depicts the Cleansing of the Temple, an event in the Life of Christ.
There exist three other copies of the painting and also a faithful reproduction in the National Gallery in London, which has recently been considered as authentic by scholars in the field of visual arts. Two versions and that other on loan from Madrid are titled Purification of the Temple. The one at the National Gallery in Washington is called Christ Cleansing the Temple. | [
"National Gallery",
"London",
"Frick Collection",
"El Greco",
"Life of Christ",
"Christian art",
"Cleansing of the Temple"
] |
|
17960_T | Bathers (Metzinger) | Focus on Bathers (Metzinger) and analyze the Description. | Baigneuses, likely an oil painting on canvas (as practically all Metzingers' works of the period), was painted in a vertical format with unknown dimensions.
The work represents at least four nude women (or bathers) relaxing in a highly abstract landscape with vegetation and a small body of water visible through reflections and from the woman on the left whose legs are submerged from the knees down. The central figure holds the trunk of a tree with her left arm and a woman with her right, forming a tight central mass. The two nudes at the center, treated in a light color, stand-out against a darker background. They are flanked on both sides by a standing and a sitting nude.
The colors of the painting, as its dimensions and whereabouts, are unknown | [
"abstract",
"right"
] |
|
17960_NT | Bathers (Metzinger) | Focus on this artwork and analyze the Description. | Baigneuses, likely an oil painting on canvas (as practically all Metzingers' works of the period), was painted in a vertical format with unknown dimensions.
The work represents at least four nude women (or bathers) relaxing in a highly abstract landscape with vegetation and a small body of water visible through reflections and from the woman on the left whose legs are submerged from the knees down. The central figure holds the trunk of a tree with her left arm and a woman with her right, forming a tight central mass. The two nudes at the center, treated in a light color, stand-out against a darker background. They are flanked on both sides by a standing and a sitting nude.
The colors of the painting, as its dimensions and whereabouts, are unknown | [
"abstract",
"right"
] |
|
17961_T | Bathers (Metzinger) | In Bathers (Metzinger), how is the The Wild Men of Paris discussed? | Leading up to 1910, the draftsman, illustrator and poet Gelett Burgess interviewed and wrote about artists and artworks in and around Paris. The result of Burgess' investigation was published after his visit to the 1910 Salon des Indépendants, the massive anti-establishment art exhibition in Paris, and one year before the scandalous group exhibition that brought Cubism to the attention of the general public. At the 1910 Indépendants Jean Metzinger showed his Portrait of Apollinaire (the first Cubist portrait according to Guillaume Apollinaire); Albert Gleizes showed his Portrait de René Arcos and L'Arbre (The Tree), paintings in which the emphasis on simplified geometric form overwhelms representational interests. Louis Vauxcelles in his review of the 1910 Salon des Indépendants made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes." The works of Metzinger, Le Fauconnier and Delaunay were exhibited together. Le Fauconnier showed the geometrically simplified Ploumanac'h landscapes: Le Ravin and Village dans les Montagne, along with Femme à l'éventail and Portrait of Maroussia. In the same exhibition hung the works of Henri Matisse, Maurice de Vlaminck, Raoul Dufy, Marie Laurencin, Kees van Dongen and Henri Rousseau.Gelett Burgess writes in The Wild Men of Paris of the same exhibition:There were no limits to the audacity and the ugliness of the canvasses. Still-life sketches of round, round apples and yellow, yellow oranges, on square, square tables, seen in impossible perspective; landscapes of squirming trees, with blobs of virgin color gone wrong, fierce greens and coruscating yellows, violent purples, sickening reds and shuddering blues.
But the nudes! They looked like flayed Martians, like pathological charts—hideous old women, patched with gruesome hues, lopsided, with arms like the arms of a Swastika, sprawling on vivid backgrounds, or frozen stiffly upright, glaring through misshapen eyes, with noses or fingers missing. They defied anatomy, physiology, almost geometry itself!
After the death of Paul Cézanne in 1906, his paintings were exhibited in Paris in the form of several large exhibitions and a retrospective at the Salon d'Automne of 1907, greatly affecting the direction taken by the avant-garde artists in Paris. Prior to the advent of Cubism, Cézanne's geometric simplifications and optical phenomena inspired not just Metzinger, Matisse, Derain and Braque, but the other artists who earlier exhibited with the Fauves. Those who had not transited through a Fauve stage, such as Picasso, also experimented with the complex fracturing of form. Cézanne had thus sparked a wholesale transformation in the area of artistic investigation that would profoundly affect the development modern art.
The Fauvism of Metzinger, Matisse and Derain was virtually over by the spring of 1907. And by the Salon d'Automne of 1907 it had ended for many others as well. The shift from bright pure colors loosely applied to the canvas gave way to a more calculated geometric approach. The priority of simplified form began to overtake the representational aspect of the works. The simplification of representational form gave way to a new complexity; the subject matter of the paintings progressively became dominated by a network of interconnected geometric planes, the distinction between foreground and background no longer sharply delineated, and the depth of field limited.
Burgess continues:Though the school was new to me, it was already an old story in Paris. It had been a nine-days’ wonder. Violent discussions had raged over it; it had taken its place as a revolt and held it, despite the fulmination of critics and the contempt of academicians. The school was increasing in numbers, in importance. By many it was taken seriously. At first, the beginners had been called "The Invertebrates." In the Salon of 1905 they were named "The Incoherents." But by 1906, when they grew more perfervid, more audacious, more crazed with theories, they received their present appellation of "Les Fauves"—the Wild Beasts. And so, and so, a-hunting I would go!
Turning his attention to Metzinger's abode, Burgess writes in The Architectural Record:Metzinger once did gorgeous mosaics of pure pigment, each little square of color not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair, even as the women upon the boulevards fair. But now, translated into the idiom of subjective beauty, into this strange Neo-Classic language, those same women, redrawn, appear in stiff, crude, nervous lines in patches of fierce color. Surely, Metzinger should know what such things mean. Picasso never painted a pretty woman, though we have noticed that he likes to associate with them. Czobel sees them through the bars of his cage, and roars out tones of mauve and cinnabar. Derain sees them as cones and prisms, and Braque as if they had been sawn out of blocks of wood by carpenters’ apprentices. But Metzinger is more tender towards the sex. He arranges them as flowers are arranged on tapestry and wall paper; he simplifies them to mere patterns, and he carries them gently past the frontier of Poster Land to the world of the Ugly so tenderly that they are not much damaged—only more faint, more vegetable, more anaemic.What’s Metzinger? A scrupulously polite, well-dressed gentleman as ever was, in a scrupulously neat chamber, with a scrupulously well-ordered mind. He is complete as a wax figure, with long brown eyelashes and a clean-cut face. He affects no idiosyncrasies of manners or dress. One cannot question his earnestness and seriousness or sincerity. He is, perhaps, the most articulate of them all. Let us not call him prim."Instead of copying Nature," [Metzinger] says, "we create a milieu of our own, wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy with literature and music. Your own Edgar Poe (he pronounced it ‘Ed Carpoe’) did not attempt to reproduce Nature realistically. Some phase of life suggested an emotion, as that of horror in ‘The Fall of the House of Ushur.’ That subjective idea he translated into art. He made a composition of it."
"So, music does not attempt to imitate Nature’s sounds, but it does interpret and embody emotions awakened by Nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking out hint from Nature, construct decoratively pleasing harmonies and symphonies of color expression of our sentiment." (Jean Metzinger, circa 1909) | [
"Raoul Dufy",
"Louis Vauxcelles",
"Guillaume Apollinaire",
"Delaunay",
"Albert Gleizes",
"Paul Cézanne",
"modern art",
"Fauvism",
"Marie Laurencin",
"right",
"Maurice de Vlaminck",
"Cubism",
"Salon d'Automne",
"Léger",
"depth of field",
"Derain",
"Henri Rousseau",
"Henri Matisse",
"Jean Metzinger",
"Le Fauconnier",
"Kees van Dongen",
"L'Arbre (The Tree)",
"Gelett Burgess",
"Architectural Record",
"Salon des Indépendants",
"Fauves",
"Braque"
] |
|
17961_NT | Bathers (Metzinger) | In this artwork, how is the The Wild Men of Paris discussed? | Leading up to 1910, the draftsman, illustrator and poet Gelett Burgess interviewed and wrote about artists and artworks in and around Paris. The result of Burgess' investigation was published after his visit to the 1910 Salon des Indépendants, the massive anti-establishment art exhibition in Paris, and one year before the scandalous group exhibition that brought Cubism to the attention of the general public. At the 1910 Indépendants Jean Metzinger showed his Portrait of Apollinaire (the first Cubist portrait according to Guillaume Apollinaire); Albert Gleizes showed his Portrait de René Arcos and L'Arbre (The Tree), paintings in which the emphasis on simplified geometric form overwhelms representational interests. Louis Vauxcelles in his review of the 1910 Salon des Indépendants made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes." The works of Metzinger, Le Fauconnier and Delaunay were exhibited together. Le Fauconnier showed the geometrically simplified Ploumanac'h landscapes: Le Ravin and Village dans les Montagne, along with Femme à l'éventail and Portrait of Maroussia. In the same exhibition hung the works of Henri Matisse, Maurice de Vlaminck, Raoul Dufy, Marie Laurencin, Kees van Dongen and Henri Rousseau.Gelett Burgess writes in The Wild Men of Paris of the same exhibition:There were no limits to the audacity and the ugliness of the canvasses. Still-life sketches of round, round apples and yellow, yellow oranges, on square, square tables, seen in impossible perspective; landscapes of squirming trees, with blobs of virgin color gone wrong, fierce greens and coruscating yellows, violent purples, sickening reds and shuddering blues.
But the nudes! They looked like flayed Martians, like pathological charts—hideous old women, patched with gruesome hues, lopsided, with arms like the arms of a Swastika, sprawling on vivid backgrounds, or frozen stiffly upright, glaring through misshapen eyes, with noses or fingers missing. They defied anatomy, physiology, almost geometry itself!
After the death of Paul Cézanne in 1906, his paintings were exhibited in Paris in the form of several large exhibitions and a retrospective at the Salon d'Automne of 1907, greatly affecting the direction taken by the avant-garde artists in Paris. Prior to the advent of Cubism, Cézanne's geometric simplifications and optical phenomena inspired not just Metzinger, Matisse, Derain and Braque, but the other artists who earlier exhibited with the Fauves. Those who had not transited through a Fauve stage, such as Picasso, also experimented with the complex fracturing of form. Cézanne had thus sparked a wholesale transformation in the area of artistic investigation that would profoundly affect the development modern art.
The Fauvism of Metzinger, Matisse and Derain was virtually over by the spring of 1907. And by the Salon d'Automne of 1907 it had ended for many others as well. The shift from bright pure colors loosely applied to the canvas gave way to a more calculated geometric approach. The priority of simplified form began to overtake the representational aspect of the works. The simplification of representational form gave way to a new complexity; the subject matter of the paintings progressively became dominated by a network of interconnected geometric planes, the distinction between foreground and background no longer sharply delineated, and the depth of field limited.
Burgess continues:Though the school was new to me, it was already an old story in Paris. It had been a nine-days’ wonder. Violent discussions had raged over it; it had taken its place as a revolt and held it, despite the fulmination of critics and the contempt of academicians. The school was increasing in numbers, in importance. By many it was taken seriously. At first, the beginners had been called "The Invertebrates." In the Salon of 1905 they were named "The Incoherents." But by 1906, when they grew more perfervid, more audacious, more crazed with theories, they received their present appellation of "Les Fauves"—the Wild Beasts. And so, and so, a-hunting I would go!
Turning his attention to Metzinger's abode, Burgess writes in The Architectural Record:Metzinger once did gorgeous mosaics of pure pigment, each little square of color not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair, even as the women upon the boulevards fair. But now, translated into the idiom of subjective beauty, into this strange Neo-Classic language, those same women, redrawn, appear in stiff, crude, nervous lines in patches of fierce color. Surely, Metzinger should know what such things mean. Picasso never painted a pretty woman, though we have noticed that he likes to associate with them. Czobel sees them through the bars of his cage, and roars out tones of mauve and cinnabar. Derain sees them as cones and prisms, and Braque as if they had been sawn out of blocks of wood by carpenters’ apprentices. But Metzinger is more tender towards the sex. He arranges them as flowers are arranged on tapestry and wall paper; he simplifies them to mere patterns, and he carries them gently past the frontier of Poster Land to the world of the Ugly so tenderly that they are not much damaged—only more faint, more vegetable, more anaemic.What’s Metzinger? A scrupulously polite, well-dressed gentleman as ever was, in a scrupulously neat chamber, with a scrupulously well-ordered mind. He is complete as a wax figure, with long brown eyelashes and a clean-cut face. He affects no idiosyncrasies of manners or dress. One cannot question his earnestness and seriousness or sincerity. He is, perhaps, the most articulate of them all. Let us not call him prim."Instead of copying Nature," [Metzinger] says, "we create a milieu of our own, wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy with literature and music. Your own Edgar Poe (he pronounced it ‘Ed Carpoe’) did not attempt to reproduce Nature realistically. Some phase of life suggested an emotion, as that of horror in ‘The Fall of the House of Ushur.’ That subjective idea he translated into art. He made a composition of it."
"So, music does not attempt to imitate Nature’s sounds, but it does interpret and embody emotions awakened by Nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking out hint from Nature, construct decoratively pleasing harmonies and symphonies of color expression of our sentiment." (Jean Metzinger, circa 1909) | [
"Raoul Dufy",
"Louis Vauxcelles",
"Guillaume Apollinaire",
"Delaunay",
"Albert Gleizes",
"Paul Cézanne",
"modern art",
"Fauvism",
"Marie Laurencin",
"right",
"Maurice de Vlaminck",
"Cubism",
"Salon d'Automne",
"Léger",
"depth of field",
"Derain",
"Henri Rousseau",
"Henri Matisse",
"Jean Metzinger",
"Le Fauconnier",
"Kees van Dongen",
"L'Arbre (The Tree)",
"Gelett Burgess",
"Architectural Record",
"Salon des Indépendants",
"Fauves",
"Braque"
] |
|
17962_T | Bathers (Metzinger) | Focus on Bathers (Metzinger) and explore the Metzinger, Picasso, and Braque. | There is a close association between Metzinger's Baigneuses (Bathers) and Picasso's 1908 Paysage aux deux figures (Landscape with Two Figures). Both stances are verbalized with the same abstract vocabulary. In both cases, the figures are camouflaged or blended with the background, their bodies forming part of the landscape. These works were completed at a time when Metzinger frequented the Bateau Lavoir in Montmartre, where he may have seen Picasso's painting. There are differences, too, worth noting between the two works (aside from the size and colors which are unknown in the Metzinger case). While the dominant feature of Picasso's painting is the landscape, Metzinger chose to highlight the figures; the landscape playing only a secondary role in the overall composition. Metzinger's figures are much larger relative to the canvas. They are prominently and symmetrically displayed, and of lighter color contrast relative to Picasso's asymmetrical juxtaposition and subdued contrasting. Two of Metzinger's nudes—to the right and left of the dominant central figures—are quite inconspicuous, as in Picasso's piece. In both paintings the nudes and landscape have become unified, not presuming a representation of reality.
They are the product of a reductive abstracting process, of an open, freewheeling process of synthesis—where a dialogue between components lead to the liberation from any particular classical foundation. They are combined harmoniously though pictographic imagery rendered in residuum abstractions of apparent mathematical codes. In the case of Metzinger, his prowess in mathematics is well documented. In the case of Picasso, the mathematical association with his paintings has been made through Maurice Princet.Metzinger's early interests in mathematics is well documented. He was familiar with the works of Gauss, Riemann and Jules Henri Poincaré (and perhaps Galilean relativity) prior to the development of Cubism: something that reflects in his pre-1907 works. The French mathematician Maurice Princet promoted the work of Poincaré, along with the concept of the fourth spatial dimension, to artists at the Bateau-Lavoir. He was a close associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Marcel Duchamp and Jean Metzinger. Princet is known as "le mathématicien du cubisme." He brought to the attention of these artists a book entitled Traité élémentaire de géométrie à quatre dimensions by Esprit Jouffret (1903) a popularization of Poincaré's Science and Hypothesis. In this book Jouffret described hypercubes and complex polyhedra in four dimensions projected onto a two-dimensional page. Princet became estranged from the group after his wife left him for André Derain. However, Princet would remain close to Metzinger and participate in meetings of the Section d'Or in Puteaux. He gave informal lectures to the artists, many of whom were passionate about mathematical order. In 1910, Metzinger said of him, "[Picasso] lays out a free, mobile perspective, from which that ingenious mathematician Maurice Princet has deduced a whole geometry".Picasso's Landscape with Two Figures is almost entirely Cézannian, in its color, in its reduction to simplified forms and in its loose brushwork. Picasso still shows a sense of depth perspective through shading, despite some flattening of the surface. Metzinger's painting is less influenced by Cézanne in its brushstrokes, hardly visible in this photograph. Its quasi-Nabis post-Symbolist treatment can be observed, but Metzinger vacates all depth of field. The background and foreground have become one. The only devices that indicate depth are (1) elevation in the picture plane; lower is closer and further is higher, and (2) objects in front of others obscure the object in the background, such as the central nude appears in front of the nude she holds with her right hand.
In both paintings, the faces of the models have been left out, featureless, reduced to their simplest spherical form.
In light of the fact that Metzinger frequented the Bateau Lavoir since 1908 and exhibited with Georges Braque at Berthe Weill's gallery, introduced to Picasso by Max Jacob and Guillaume Krotowsky (who already signed his works Guillaume Apollinaire), and in view of the similarities between the two works, it is probable that Metzinger's Bathers was painted the same year; 1908. The differences between the two paintings suggest that, while Metzinger may have been influenced by Picasso (unlike Albert Gleizes), his intention was certainly not to copy or even resemble the Spaniard, as would soon Braque (or visa versa). His intention was to create his own brand of art, dependent on his own lived experience.
Then the kingdom of the Fauves whose civilization had appeared so new, so powerful, so startling, took on suddenly the aspect of a deserted village.
It was then that Jean Metzinger, joining Picasso and Braque, founded the Cubist City. (Guillaume Apolllinaire, 1913)
Whether in advanced non-objective mathematical workings or abstract geometrical form, along with his non-representative dislocated outward appearance, Metzinger creates a pure image—"the total image".
By 1908–09, in such studies as Baigneuses (Bathers), it is apparent that Metzinger was not following the lead of Picasso or Braque in their hermetic approach to painting—he had little interest in imitating, whether it be "an orb on a vertical plane" or anything else—Metzinger was on a path leading to abstraction and to the almost total disintegration of recognizable form. | [
"Bateau-Lavoir",
"Nabis",
"Georges Braque",
"Bateau Lavoir",
"polyhedra",
"Guillaume Apollinaire",
"Albert Gleizes",
"hypercubes",
"abstract",
"right",
"Cubism",
"Marcel Duchamp",
"André Derain",
"Puteaux",
"Pablo Picasso",
"depth of field",
"Riemann",
"Symbolist",
"Derain",
"Berthe Weill",
"Jules Henri Poincaré",
"Esprit Jouffret",
"Jean Metzinger",
"Henri Poincaré",
"Maurice Princet",
"Section d'Or",
"Max Jacob",
"Montmartre",
"Gauss",
"Fauves",
"Braque",
"fourth spatial dimension"
] |
|
17962_NT | Bathers (Metzinger) | Focus on this artwork and explore the Metzinger, Picasso, and Braque. | There is a close association between Metzinger's Baigneuses (Bathers) and Picasso's 1908 Paysage aux deux figures (Landscape with Two Figures). Both stances are verbalized with the same abstract vocabulary. In both cases, the figures are camouflaged or blended with the background, their bodies forming part of the landscape. These works were completed at a time when Metzinger frequented the Bateau Lavoir in Montmartre, where he may have seen Picasso's painting. There are differences, too, worth noting between the two works (aside from the size and colors which are unknown in the Metzinger case). While the dominant feature of Picasso's painting is the landscape, Metzinger chose to highlight the figures; the landscape playing only a secondary role in the overall composition. Metzinger's figures are much larger relative to the canvas. They are prominently and symmetrically displayed, and of lighter color contrast relative to Picasso's asymmetrical juxtaposition and subdued contrasting. Two of Metzinger's nudes—to the right and left of the dominant central figures—are quite inconspicuous, as in Picasso's piece. In both paintings the nudes and landscape have become unified, not presuming a representation of reality.
They are the product of a reductive abstracting process, of an open, freewheeling process of synthesis—where a dialogue between components lead to the liberation from any particular classical foundation. They are combined harmoniously though pictographic imagery rendered in residuum abstractions of apparent mathematical codes. In the case of Metzinger, his prowess in mathematics is well documented. In the case of Picasso, the mathematical association with his paintings has been made through Maurice Princet.Metzinger's early interests in mathematics is well documented. He was familiar with the works of Gauss, Riemann and Jules Henri Poincaré (and perhaps Galilean relativity) prior to the development of Cubism: something that reflects in his pre-1907 works. The French mathematician Maurice Princet promoted the work of Poincaré, along with the concept of the fourth spatial dimension, to artists at the Bateau-Lavoir. He was a close associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Marcel Duchamp and Jean Metzinger. Princet is known as "le mathématicien du cubisme." He brought to the attention of these artists a book entitled Traité élémentaire de géométrie à quatre dimensions by Esprit Jouffret (1903) a popularization of Poincaré's Science and Hypothesis. In this book Jouffret described hypercubes and complex polyhedra in four dimensions projected onto a two-dimensional page. Princet became estranged from the group after his wife left him for André Derain. However, Princet would remain close to Metzinger and participate in meetings of the Section d'Or in Puteaux. He gave informal lectures to the artists, many of whom were passionate about mathematical order. In 1910, Metzinger said of him, "[Picasso] lays out a free, mobile perspective, from which that ingenious mathematician Maurice Princet has deduced a whole geometry".Picasso's Landscape with Two Figures is almost entirely Cézannian, in its color, in its reduction to simplified forms and in its loose brushwork. Picasso still shows a sense of depth perspective through shading, despite some flattening of the surface. Metzinger's painting is less influenced by Cézanne in its brushstrokes, hardly visible in this photograph. Its quasi-Nabis post-Symbolist treatment can be observed, but Metzinger vacates all depth of field. The background and foreground have become one. The only devices that indicate depth are (1) elevation in the picture plane; lower is closer and further is higher, and (2) objects in front of others obscure the object in the background, such as the central nude appears in front of the nude she holds with her right hand.
In both paintings, the faces of the models have been left out, featureless, reduced to their simplest spherical form.
In light of the fact that Metzinger frequented the Bateau Lavoir since 1908 and exhibited with Georges Braque at Berthe Weill's gallery, introduced to Picasso by Max Jacob and Guillaume Krotowsky (who already signed his works Guillaume Apollinaire), and in view of the similarities between the two works, it is probable that Metzinger's Bathers was painted the same year; 1908. The differences between the two paintings suggest that, while Metzinger may have been influenced by Picasso (unlike Albert Gleizes), his intention was certainly not to copy or even resemble the Spaniard, as would soon Braque (or visa versa). His intention was to create his own brand of art, dependent on his own lived experience.
Then the kingdom of the Fauves whose civilization had appeared so new, so powerful, so startling, took on suddenly the aspect of a deserted village.
It was then that Jean Metzinger, joining Picasso and Braque, founded the Cubist City. (Guillaume Apolllinaire, 1913)
Whether in advanced non-objective mathematical workings or abstract geometrical form, along with his non-representative dislocated outward appearance, Metzinger creates a pure image—"the total image".
By 1908–09, in such studies as Baigneuses (Bathers), it is apparent that Metzinger was not following the lead of Picasso or Braque in their hermetic approach to painting—he had little interest in imitating, whether it be "an orb on a vertical plane" or anything else—Metzinger was on a path leading to abstraction and to the almost total disintegration of recognizable form. | [
"Bateau-Lavoir",
"Nabis",
"Georges Braque",
"Bateau Lavoir",
"polyhedra",
"Guillaume Apollinaire",
"Albert Gleizes",
"hypercubes",
"abstract",
"right",
"Cubism",
"Marcel Duchamp",
"André Derain",
"Puteaux",
"Pablo Picasso",
"depth of field",
"Riemann",
"Symbolist",
"Derain",
"Berthe Weill",
"Jules Henri Poincaré",
"Esprit Jouffret",
"Jean Metzinger",
"Henri Poincaré",
"Maurice Princet",
"Section d'Or",
"Max Jacob",
"Montmartre",
"Gauss",
"Fauves",
"Braque",
"fourth spatial dimension"
] |
|
17963_T | Bathers (Metzinger) | Focus on Bathers (Metzinger) and explain the New York Times, 1911. | Metzinger's Baigneuses was reproduced in the 8 October 1911 issue of The New York Times. This article was published a year after The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article, a review of the 1911 Salon d'Automne, portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article is titled: "The 'Cubists' Dominate Paris' Fall Salon" and subtitled, "Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do."
"Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school. In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition. [...]In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable. Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger—these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement.What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows?" | [
"Georges Braque",
"Futurism",
"Fauvism",
"Cubism",
"Salon d'Automne",
"André Derain",
"Derain",
"Armory Show",
"Braque"
] |
|
17963_NT | Bathers (Metzinger) | Focus on this artwork and explain the New York Times, 1911. | Metzinger's Baigneuses was reproduced in the 8 October 1911 issue of The New York Times. This article was published a year after The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article, a review of the 1911 Salon d'Automne, portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article is titled: "The 'Cubists' Dominate Paris' Fall Salon" and subtitled, "Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do."
"Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school. In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition. [...]In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable. Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger—these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement.What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows?" | [
"Georges Braque",
"Futurism",
"Fauvism",
"Cubism",
"Salon d'Automne",
"André Derain",
"Derain",
"Armory Show",
"Braque"
] |
|
17964_T | Bathers (Metzinger) | Explore the Proto-Cubism of this artwork, Bathers (Metzinger). | According to Metzinger, in his Cubism was Born, published years later, Cubism had been born out of the "need not for an intellectual art but for an art that would be something other than a systematic absurdity"; the idiocies of reproducing or copying nature in trompe-l'œil on a surface that is rigorously flat. With this type of illusion other artist of his generation such as Gleizes and Picasso wanted nothing to do. "Quite clearly" Metzinger notes, "nature and the painting make up two different worlds which have nothing in common ..." Already, in 1906, "it could be said that a good portrait led one to think about the painter not the model".In his Le Cubisme était Né: Souvernirs, Metzinger writes:As for Picasso ... the tradition he came from had prepared him better than ours for a problem to do with structure. And Berthe Weil was right when she treated those who compared him/confused him with, a Steinlen or a Lautrec as idiots. He had already rejected them in their own century, a century we had no intention of prolonging. Whether or not the Universe was endowed with another dimension, art was going to move into a different field.
The illusion had been maintained up to 1906 or 1907 through the negligence of those whose job it was to clear away the rubbish, but the break was achieved in 1908. No-one would again dare to look at a Puvis de Chavannes or read Balzac. No-one, I mean, among those who walked above the Moulin Rouge, which they would never even have thought of entering.
Metzinger continues:I had measured the difference that separated art prior to 1900 from the art which I felt was being born. I knew that all instruction was at an end. The age of personal expression had finally begun. The value of an artist was no longer to be judged by the finish of his execution, or by the analogies his work suggested with such-and-such an archetype. It would be judged – exclusively – by what distinguished this artist from all the others. The age of the master and pupil was finally over; I could see about me only a handful of creators and whole colonies of monkeys. (Jean Metzinger, Cubism was Born)
From his Montmartre studio on the rue Lamarck to Picasso's Bateau Lavoir studio on the rue Ravignan, writes Metzinger, "the attempt [prétention] to imitate an orb on a vertical plane, or to indicate by a horizontal straight line the circular hole of a vase placed at the height of the eyes was considered as the artifice of an illusionistic trickery that belonged to another age."
I wanted an art that was faithful to itself and would have nothing to do with the business of creating illusions. I dreamed of painting glasses from which no-one would ever think of drinking, beaches that would be quite unsuitable for bathing, nudes who would be definitively chaste. I wanted an art which in the first place would appear as a representation of the impossible. (Metzinger)
It was the search for beauty that had attracted Metzinger to the abstract. Beauty depends not only on geometrical forms or simplified colors, but plainly beauty as it exists in itself. It wasn't just the simple result of a reductive approach to the elements of all the parts. It wasn't either just a dialectic view of everything that led him just as simply to treat each object as opposed to the other, and therefore thoroughly distinct. The blurring of differences was against the entire tenor of the whole.The narrative of Metzinger outlined by his Bathers schematic geometric arrangements was the result of an abstracting process not solely based on "axiomatics". These axiomatic abstractions, however, by themselves contain no assertions as to the reality that can be experienced, not in a logical sense deduced from experience, but free inventions of the human mind, abstractions, construed by mathematical means. With works such as Bathers had emerged a growing accent on the power of the mind to create for itself, a growing spirit of abstraction, of invention, fabrication.As one would expect, Metzinger’s concept of painting was both more sophisticated and perceptive than Cézanne, but fundamentally the shape of the misunderstandings that were to follow Cubism were the same as Cézanne's, and so too were the implications. Metzinger had seen painting as rooted in the experience of nature: four-dimensional and geometric. He stressed this heavily, and at the same time brought out the flatness and dislocations of Cézanne’s transformations of nature—with the conceptual aspect of multiple perspectives and non-Euclidean spacetime. The importance of Cubism, he accepted, was to emphasize the idea that everything visible (objects) and invisible (consciousness) has an n-dimensional geometric basis (an idea he associated with ‘construct an infinite number of different spaces for the use of painters’).
Nearly conscious in someone like Michelangelo, or Paolo Uccello, quite intuitive in painters such as Ingres, or Corot, it works on the basis of numbers which belong to the painting itself, not to whatever it represents. (Metzinger)
My conviction was justified: art, that which lasts, is based on mathematics. | [
"trompe-l'œil",
"Bateau Lavoir",
"abstract",
"right",
"Cubism",
"Jean Metzinger",
"Proto-Cubism",
"Montmartre"
] |
|
17964_NT | Bathers (Metzinger) | Explore the Proto-Cubism of this artwork. | According to Metzinger, in his Cubism was Born, published years later, Cubism had been born out of the "need not for an intellectual art but for an art that would be something other than a systematic absurdity"; the idiocies of reproducing or copying nature in trompe-l'œil on a surface that is rigorously flat. With this type of illusion other artist of his generation such as Gleizes and Picasso wanted nothing to do. "Quite clearly" Metzinger notes, "nature and the painting make up two different worlds which have nothing in common ..." Already, in 1906, "it could be said that a good portrait led one to think about the painter not the model".In his Le Cubisme était Né: Souvernirs, Metzinger writes:As for Picasso ... the tradition he came from had prepared him better than ours for a problem to do with structure. And Berthe Weil was right when she treated those who compared him/confused him with, a Steinlen or a Lautrec as idiots. He had already rejected them in their own century, a century we had no intention of prolonging. Whether or not the Universe was endowed with another dimension, art was going to move into a different field.
The illusion had been maintained up to 1906 or 1907 through the negligence of those whose job it was to clear away the rubbish, but the break was achieved in 1908. No-one would again dare to look at a Puvis de Chavannes or read Balzac. No-one, I mean, among those who walked above the Moulin Rouge, which they would never even have thought of entering.
Metzinger continues:I had measured the difference that separated art prior to 1900 from the art which I felt was being born. I knew that all instruction was at an end. The age of personal expression had finally begun. The value of an artist was no longer to be judged by the finish of his execution, or by the analogies his work suggested with such-and-such an archetype. It would be judged – exclusively – by what distinguished this artist from all the others. The age of the master and pupil was finally over; I could see about me only a handful of creators and whole colonies of monkeys. (Jean Metzinger, Cubism was Born)
From his Montmartre studio on the rue Lamarck to Picasso's Bateau Lavoir studio on the rue Ravignan, writes Metzinger, "the attempt [prétention] to imitate an orb on a vertical plane, or to indicate by a horizontal straight line the circular hole of a vase placed at the height of the eyes was considered as the artifice of an illusionistic trickery that belonged to another age."
I wanted an art that was faithful to itself and would have nothing to do with the business of creating illusions. I dreamed of painting glasses from which no-one would ever think of drinking, beaches that would be quite unsuitable for bathing, nudes who would be definitively chaste. I wanted an art which in the first place would appear as a representation of the impossible. (Metzinger)
It was the search for beauty that had attracted Metzinger to the abstract. Beauty depends not only on geometrical forms or simplified colors, but plainly beauty as it exists in itself. It wasn't just the simple result of a reductive approach to the elements of all the parts. It wasn't either just a dialectic view of everything that led him just as simply to treat each object as opposed to the other, and therefore thoroughly distinct. The blurring of differences was against the entire tenor of the whole.The narrative of Metzinger outlined by his Bathers schematic geometric arrangements was the result of an abstracting process not solely based on "axiomatics". These axiomatic abstractions, however, by themselves contain no assertions as to the reality that can be experienced, not in a logical sense deduced from experience, but free inventions of the human mind, abstractions, construed by mathematical means. With works such as Bathers had emerged a growing accent on the power of the mind to create for itself, a growing spirit of abstraction, of invention, fabrication.As one would expect, Metzinger’s concept of painting was both more sophisticated and perceptive than Cézanne, but fundamentally the shape of the misunderstandings that were to follow Cubism were the same as Cézanne's, and so too were the implications. Metzinger had seen painting as rooted in the experience of nature: four-dimensional and geometric. He stressed this heavily, and at the same time brought out the flatness and dislocations of Cézanne’s transformations of nature—with the conceptual aspect of multiple perspectives and non-Euclidean spacetime. The importance of Cubism, he accepted, was to emphasize the idea that everything visible (objects) and invisible (consciousness) has an n-dimensional geometric basis (an idea he associated with ‘construct an infinite number of different spaces for the use of painters’).
Nearly conscious in someone like Michelangelo, or Paolo Uccello, quite intuitive in painters such as Ingres, or Corot, it works on the basis of numbers which belong to the painting itself, not to whatever it represents. (Metzinger)
My conviction was justified: art, that which lasts, is based on mathematics. | [
"trompe-l'œil",
"Bateau Lavoir",
"abstract",
"right",
"Cubism",
"Jean Metzinger",
"Proto-Cubism",
"Montmartre"
] |
|
17965_T | Red Cavalry (painting) | Focus on Red Cavalry (painting) and analyze the abstract. | Red Cavalry is an oil on canvas painting of 1932 by the Russian avant-garde artist Kazimir Malevich. It depicts Red Cavalry horsemen racing across a plain, the ground beneath them illustrated with Suprematist stripings of color. It is considered Malevich's only contribution into the pantheon of Soviet art; Malevich intentionally dated the work to 1918, and added the blurb “From the capital of the October Revolution, the Red Cavalry rides to defend the Soviet frontier” on the back. | [
"oil on canvas",
"Red Cavalry",
"Suprematist",
"Kazimir Malevich",
"Soviet art"
] |
|
17965_NT | Red Cavalry (painting) | Focus on this artwork and analyze the abstract. | Red Cavalry is an oil on canvas painting of 1932 by the Russian avant-garde artist Kazimir Malevich. It depicts Red Cavalry horsemen racing across a plain, the ground beneath them illustrated with Suprematist stripings of color. It is considered Malevich's only contribution into the pantheon of Soviet art; Malevich intentionally dated the work to 1918, and added the blurb “From the capital of the October Revolution, the Red Cavalry rides to defend the Soviet frontier” on the back. | [
"oil on canvas",
"Red Cavalry",
"Suprematist",
"Kazimir Malevich",
"Soviet art"
] |
|
17966_T | Self-Portrait (Titian, Berlin) | In Self-Portrait (Titian, Berlin), how is the abstract discussed? | Self-Portrait is an oil on canvas self-portrait by the Venetian painter Titian, dated c. 1546–47. While he painted a number of independent self-portraits in various formats, this is one of only two painted examples to survive. The other is in Madrid, dated c. 1560. Both share a somber and reserved palette, although this example is richer in tonal variation and colour harmonisation.It is unfinished, with his left hand, areas of his clothing only sketched and only roughly sketched. It has been suggested that the canvas is a modello, or study, for another now lost work. Another theory is that it was painted for family members for his memory after he died.
Thematically and stylistically, the work can be associated with his 1545 Portrait of Pietro Aretino. A number of versions or variants exist, including drawings from his own hand, and paintings attributed to his workshop. | [
"Portrait of Pietro Aretino",
"Self-Portrait",
"The other",
"modello",
"Titian",
"Venetian"
] |
|
17966_NT | Self-Portrait (Titian, Berlin) | In this artwork, how is the abstract discussed? | Self-Portrait is an oil on canvas self-portrait by the Venetian painter Titian, dated c. 1546–47. While he painted a number of independent self-portraits in various formats, this is one of only two painted examples to survive. The other is in Madrid, dated c. 1560. Both share a somber and reserved palette, although this example is richer in tonal variation and colour harmonisation.It is unfinished, with his left hand, areas of his clothing only sketched and only roughly sketched. It has been suggested that the canvas is a modello, or study, for another now lost work. Another theory is that it was painted for family members for his memory after he died.
Thematically and stylistically, the work can be associated with his 1545 Portrait of Pietro Aretino. A number of versions or variants exist, including drawings from his own hand, and paintings attributed to his workshop. | [
"Portrait of Pietro Aretino",
"Self-Portrait",
"The other",
"modello",
"Titian",
"Venetian"
] |
|
17967_T | Self-Portrait (Titian, Berlin) | Focus on Self-Portrait (Titian, Berlin) and explore the Origin and purpose. | Parts of the canvas are unfinished, especially the hands, the dark area around his face, and the drapery. It remained in Titian's studio in the Biri Grande, Venice, until his death, which some art historian see as evidence that it was intended as a study, although it may just have been simply because it was unfinished.The Italian painter, architect, and writer Giorgio Vasari wrote in 1568 that Titian had made a number of self-portraits for his family to remember him by, and it is likely that this was one, given that it was not sold in his lifetime. However Vasari dates the portrait to c. 1562–64, this work more closely corresponds to a records of a version of a portrait given to Paolo Giovio in 1549. | [
"Giorgio Vasari",
"Titian",
"Venice",
"Paolo Giovio"
] |
|
17967_NT | Self-Portrait (Titian, Berlin) | Focus on this artwork and explore the Origin and purpose. | Parts of the canvas are unfinished, especially the hands, the dark area around his face, and the drapery. It remained in Titian's studio in the Biri Grande, Venice, until his death, which some art historian see as evidence that it was intended as a study, although it may just have been simply because it was unfinished.The Italian painter, architect, and writer Giorgio Vasari wrote in 1568 that Titian had made a number of self-portraits for his family to remember him by, and it is likely that this was one, given that it was not sold in his lifetime. However Vasari dates the portrait to c. 1562–64, this work more closely corresponds to a records of a version of a portrait given to Paolo Giovio in 1549. | [
"Giorgio Vasari",
"Titian",
"Venice",
"Paolo Giovio"
] |
|
17968_T | Self-Portrait (Titian, Berlin) | Focus on Self-Portrait (Titian, Berlin) and explain the Description. | The painting's style is reminiscent of Titian's work of around 1560, especially the thick and irregular application of white paint in large sections. He seems to be around 60 years old, giving credence to the earlier dating. He wears the golden chain of the Order of the Golden Spur, wrapped in three strands, which was given to him by the Emperor Charles V in 1533. The chain is intended to signify his knighthood and elevated social status. He wears a black cap in both paintings; a motif seen a number of other of his later works. While the origins of the motif are unknown, it is probably intended to connect him with scholarship; similar headgear is often associated with Aristotle and St Jerome. A further explanation is that he sought to cover up a bald spot.
The portrait is in half length, with Titian in three-quarters profile view, seated behind a table, looking out into the distance. Although his expression is complex and hard to properly interpret, it can be viewed as a more outward looking and optimistic expression than the 1567 Madrid self-portrait, and a number of art historians note the aging and physical decline he had undergone by the time of the later work. As with all of his independent self-portraits, he is looking to the side, avoiding the viewer, possibly out of humility, but in a dignified pose. He is shown with strong shoulders and a keen, alert gaze, in which some detect an air "of combativeness...disquietude...and misgiving".Unlike the Madrid canvas, the portrait does not refer to his occupation as a painter, although art historian David Rosand believes that "instead of an implement of his craft, however, the open brushwork itself declares the painter's art". Further, the emphasis on his hands may reference that as a painter his talent derived from them.That the canvas is unfinished gives insight into Titian's working methods and techniques. | [
"Emperor Charles V",
"Aristotle",
"St Jerome",
"Titian",
"Jerome",
"bald spot"
] |
|
17968_NT | Self-Portrait (Titian, Berlin) | Focus on this artwork and explain the Description. | The painting's style is reminiscent of Titian's work of around 1560, especially the thick and irregular application of white paint in large sections. He seems to be around 60 years old, giving credence to the earlier dating. He wears the golden chain of the Order of the Golden Spur, wrapped in three strands, which was given to him by the Emperor Charles V in 1533. The chain is intended to signify his knighthood and elevated social status. He wears a black cap in both paintings; a motif seen a number of other of his later works. While the origins of the motif are unknown, it is probably intended to connect him with scholarship; similar headgear is often associated with Aristotle and St Jerome. A further explanation is that he sought to cover up a bald spot.
The portrait is in half length, with Titian in three-quarters profile view, seated behind a table, looking out into the distance. Although his expression is complex and hard to properly interpret, it can be viewed as a more outward looking and optimistic expression than the 1567 Madrid self-portrait, and a number of art historians note the aging and physical decline he had undergone by the time of the later work. As with all of his independent self-portraits, he is looking to the side, avoiding the viewer, possibly out of humility, but in a dignified pose. He is shown with strong shoulders and a keen, alert gaze, in which some detect an air "of combativeness...disquietude...and misgiving".Unlike the Madrid canvas, the portrait does not refer to his occupation as a painter, although art historian David Rosand believes that "instead of an implement of his craft, however, the open brushwork itself declares the painter's art". Further, the emphasis on his hands may reference that as a painter his talent derived from them.That the canvas is unfinished gives insight into Titian's working methods and techniques. | [
"Emperor Charles V",
"Aristotle",
"St Jerome",
"Titian",
"Jerome",
"bald spot"
] |
|
17969_T | Self-Portrait (Titian, Berlin) | Explore the Provenance of this artwork, Self-Portrait (Titian, Berlin). | Painting was preserved in the Casa Barbarigo in Venice, presumably since 1581, when Titian’s son Pomponio Vecellio sold his house with its entire inventory, to Cristoforo Barbarigo. In 1815, it was purchased by Leopoldo Cicognara. And almost immediately afterward it was sold to Solly collection. The painting was acquired by the Gemäldegalerie, Berlin from the Solly in the early 1820s. | [
"Berlin",
"Gemäldegalerie, Berlin",
"Cristoforo Barbarigo",
"Titian",
"Casa Barbarigo",
"Gemäldegalerie",
"Pomponio Vecellio",
"Solly collection",
"Venice"
] |
|
17969_NT | Self-Portrait (Titian, Berlin) | Explore the Provenance of this artwork. | Painting was preserved in the Casa Barbarigo in Venice, presumably since 1581, when Titian’s son Pomponio Vecellio sold his house with its entire inventory, to Cristoforo Barbarigo. In 1815, it was purchased by Leopoldo Cicognara. And almost immediately afterward it was sold to Solly collection. The painting was acquired by the Gemäldegalerie, Berlin from the Solly in the early 1820s. | [
"Berlin",
"Gemäldegalerie, Berlin",
"Cristoforo Barbarigo",
"Titian",
"Casa Barbarigo",
"Gemäldegalerie",
"Pomponio Vecellio",
"Solly collection",
"Venice"
] |
|
17970_T | Bust of Hercules | How does Bust of Hercules elucidate its abstract? | Bust of Hercules is a terracotta sculpture by Lucas Faydherbe (1617–1619) and makes part of the Van Herck Collection acquired by the King Baudouin Foundation in 1966. | [
"sculpture",
"King Baudouin Foundation",
"Lucas Faydherbe",
"Hercules"
] |
|
17970_NT | Bust of Hercules | How does this artwork elucidate its abstract? | Bust of Hercules is a terracotta sculpture by Lucas Faydherbe (1617–1619) and makes part of the Van Herck Collection acquired by the King Baudouin Foundation in 1966. | [
"sculpture",
"King Baudouin Foundation",
"Lucas Faydherbe",
"Hercules"
] |
|
17971_T | The Fable (El Greco) | Focus on The Fable (El Greco) and analyze the abstract. | The Fable (Spanish - La Fábula) is a 1580 allegorical painting by El Greco, produced early in his Toledan period and now in the Museo del Prado in Madrid.The light effects and use of colour show the influence of Jacopo Bassano, which the painter had picked up in Italy. It shows a monkey and a rogue flanking a boy blowing on an ember or taper. The central figure was a frequent theme for the artist (he had painted it a few years earlier as El Soplón for example), drawn from a story in Pliny the Elder's Naturalis Historia.
The painting is probably a moralising warning about the consequences of lust, the ember bursting into flame symbolising sexual arousal, and the monkey and the buffoon the ever-present twin dangers of vice and folly. | [
"Naturalis Historia",
"Jacopo Bassano",
"El Greco",
"Museo del Prado",
"El Soplón",
"Toledan"
] |
|
17971_NT | The Fable (El Greco) | Focus on this artwork and analyze the abstract. | The Fable (Spanish - La Fábula) is a 1580 allegorical painting by El Greco, produced early in his Toledan period and now in the Museo del Prado in Madrid.The light effects and use of colour show the influence of Jacopo Bassano, which the painter had picked up in Italy. It shows a monkey and a rogue flanking a boy blowing on an ember or taper. The central figure was a frequent theme for the artist (he had painted it a few years earlier as El Soplón for example), drawn from a story in Pliny the Elder's Naturalis Historia.
The painting is probably a moralising warning about the consequences of lust, the ember bursting into flame symbolising sexual arousal, and the monkey and the buffoon the ever-present twin dangers of vice and folly. | [
"Naturalis Historia",
"Jacopo Bassano",
"El Greco",
"Museo del Prado",
"El Soplón",
"Toledan"
] |
|
17972_T | Veronica Veronese | Focus on Veronica Veronese and explore the abstract. | Veronica Veronese is an oil painting by Dante Gabriel Rossetti painted in 1872 with Alexa Wilding as the model. The painting was conceived as a companion to Lady Lilith. Rossetti sold the painting to one of his best clients, shipping magnate Frederick Richards Leyland. In 1923 it was acquired by the estate of Samuel Bancroft which donated it in 1935 to the Delaware Art Museum. | [
"Samuel Bancroft",
"Dante Gabriel Rossetti",
"Delaware Art Museum",
"Frederick Richards Leyland",
"Alexa Wilding",
"oil painting",
"Lady Lilith",
"Veronica Veronese"
] |
|
17972_NT | Veronica Veronese | Focus on this artwork and explore the abstract. | Veronica Veronese is an oil painting by Dante Gabriel Rossetti painted in 1872 with Alexa Wilding as the model. The painting was conceived as a companion to Lady Lilith. Rossetti sold the painting to one of his best clients, shipping magnate Frederick Richards Leyland. In 1923 it was acquired by the estate of Samuel Bancroft which donated it in 1935 to the Delaware Art Museum. | [
"Samuel Bancroft",
"Dante Gabriel Rossetti",
"Delaware Art Museum",
"Frederick Richards Leyland",
"Alexa Wilding",
"oil painting",
"Lady Lilith",
"Veronica Veronese"
] |
|
17973_T | Veronica Veronese | Focus on Veronica Veronese and explain the Painting. | Like much of Rossetti's work of the 1860s and 1870s, Veronica Veronese was inspired by Venetian painting. It is believed to represent "the artistic soul in the act of creation". This theme is expounded by the fictitious quote inscribed on the frame of the painting. Though the quote is attributed on the frame to "The Letters of Girolamo Ridolfi," critics believe that Algernon Charles Swinburne or Rossetti actually wrote it.
Suddenly leaning forward, the Lady Veronica rapidly wrote the first notes on the virgin page. Then she took the bow of her violin to make her dream reality; but before commencing to play the instrument hanging from her hand, she remained quiet a few moments, listening to the inspiring bird, while her left hand strayed over the strings searching for the supreme melody, still elusive. It was the marriage of the voices of nature and the soul—the dawn of a mystic creation.
The symbolism in the painting includes the uncaged bird, which may represent "the marriage of the voices of nature and the soul" and overt flower symbolism. The camomile in the bird cage may represent "energy in adversity", the primroses youth, and the daffodils reflection.Jane Morris lent the green dress in the picture. The violin was part of Rossetti's collection of musical instruments, and the fan also appeared in Monna Vanna. The few bars of musical composition on the manuscript may have been borrowed from George Boyce. | [
"primrose",
"Jane Morris",
"George Boyce",
"Monna Vanna",
"camomile",
"Algernon Charles Swinburne",
"daffodil",
"Veronica Veronese"
] |
|
17973_NT | Veronica Veronese | Focus on this artwork and explain the Painting. | Like much of Rossetti's work of the 1860s and 1870s, Veronica Veronese was inspired by Venetian painting. It is believed to represent "the artistic soul in the act of creation". This theme is expounded by the fictitious quote inscribed on the frame of the painting. Though the quote is attributed on the frame to "The Letters of Girolamo Ridolfi," critics believe that Algernon Charles Swinburne or Rossetti actually wrote it.
Suddenly leaning forward, the Lady Veronica rapidly wrote the first notes on the virgin page. Then she took the bow of her violin to make her dream reality; but before commencing to play the instrument hanging from her hand, she remained quiet a few moments, listening to the inspiring bird, while her left hand strayed over the strings searching for the supreme melody, still elusive. It was the marriage of the voices of nature and the soul—the dawn of a mystic creation.
The symbolism in the painting includes the uncaged bird, which may represent "the marriage of the voices of nature and the soul" and overt flower symbolism. The camomile in the bird cage may represent "energy in adversity", the primroses youth, and the daffodils reflection.Jane Morris lent the green dress in the picture. The violin was part of Rossetti's collection of musical instruments, and the fan also appeared in Monna Vanna. The few bars of musical composition on the manuscript may have been borrowed from George Boyce. | [
"primrose",
"Jane Morris",
"George Boyce",
"Monna Vanna",
"camomile",
"Algernon Charles Swinburne",
"daffodil",
"Veronica Veronese"
] |
|
17974_T | Veronica Veronese | Explore the Provenance and exhibitions of this artwork, Veronica Veronese. | Leyland bought the painting from Rossetti in 1872 for £840 and it was sold at Leyland's estate sale, held at Christie's on 28 May 1892.
The painting hung in Leyland's drawing room with five other Rossetti paintings that Leyland called "stunners."After Leyland's estate sale, the painting changed hands three times until it was bought by Charles Fairfax Murray, another Pre-Raphaelite artist. Murray's son, John Edward Murray, sold it to the estate of Samuel Bancroft in 1923. Bancroft and his estate accumulated one of the largest collections of Pre-Raphaelite art outside of the United Kingdom and donated the collection in 1935 to the Delaware Art Museum.The painting was exhibited in London in 1883, and in Washington, D.C. (1977), Richmond, Virginia (1982), London (1997), and Birmingham and Williamstown (2000). | [
"Samuel Bancroft",
"Birmingham",
"Delaware Art Museum",
"Richmond, Virginia",
"Christie's",
"Charles Fairfax Murray",
"Williamstown",
"Pre-Raphaelite"
] |
|
17974_NT | Veronica Veronese | Explore the Provenance and exhibitions of this artwork. | Leyland bought the painting from Rossetti in 1872 for £840 and it was sold at Leyland's estate sale, held at Christie's on 28 May 1892.
The painting hung in Leyland's drawing room with five other Rossetti paintings that Leyland called "stunners."After Leyland's estate sale, the painting changed hands three times until it was bought by Charles Fairfax Murray, another Pre-Raphaelite artist. Murray's son, John Edward Murray, sold it to the estate of Samuel Bancroft in 1923. Bancroft and his estate accumulated one of the largest collections of Pre-Raphaelite art outside of the United Kingdom and donated the collection in 1935 to the Delaware Art Museum.The painting was exhibited in London in 1883, and in Washington, D.C. (1977), Richmond, Virginia (1982), London (1997), and Birmingham and Williamstown (2000). | [
"Samuel Bancroft",
"Birmingham",
"Delaware Art Museum",
"Richmond, Virginia",
"Christie's",
"Charles Fairfax Murray",
"Williamstown",
"Pre-Raphaelite"
] |
|
17975_T | Two Figures | Focus on Two Figures and discuss the abstract. | Two Figures is a bronze sculpture by the English sculptor Barbara Hepworth, which was cast in an edition of seven copies. One of these is located at Newfields, the campus that also houses the Indianapolis Museum of Art in Indianapolis, Indiana. Other casts are at Southampton University (on loan from the Hepworth Estate), the Fred Jones Jr. Museum of Art at the University of Oklahoma, Commonwealth Park in Canberra Australia, and the Hakone Open-Air Museum, Hakone, Japan. The series were cast at the Morris Singer Foundry in London from 1968 onwards. Another cast of this work could also be found at the University of Birmingham Vale site, but is no longer present as of January 2, 2012. | [
"Southampton University",
"bronze",
"Hakone Open-Air Museum",
"Indianapolis",
"Indianapolis Museum of Art",
"University of Oklahoma",
"Hakone",
"Indiana",
"University of Birmingham",
"Commonwealth Park",
"Morris Singer",
"Barbara Hepworth",
"Fred Jones Jr. Museum of Art",
"London",
"Canberra Australia",
"Canberra"
] |
|
17975_NT | Two Figures | Focus on this artwork and discuss the abstract. | Two Figures is a bronze sculpture by the English sculptor Barbara Hepworth, which was cast in an edition of seven copies. One of these is located at Newfields, the campus that also houses the Indianapolis Museum of Art in Indianapolis, Indiana. Other casts are at Southampton University (on loan from the Hepworth Estate), the Fred Jones Jr. Museum of Art at the University of Oklahoma, Commonwealth Park in Canberra Australia, and the Hakone Open-Air Museum, Hakone, Japan. The series were cast at the Morris Singer Foundry in London from 1968 onwards. Another cast of this work could also be found at the University of Birmingham Vale site, but is no longer present as of January 2, 2012. | [
"Southampton University",
"bronze",
"Hakone Open-Air Museum",
"Indianapolis",
"Indianapolis Museum of Art",
"University of Oklahoma",
"Hakone",
"Indiana",
"University of Birmingham",
"Commonwealth Park",
"Morris Singer",
"Barbara Hepworth",
"Fred Jones Jr. Museum of Art",
"London",
"Canberra Australia",
"Canberra"
] |
|
17976_T | Two Figures | How does Two Figures elucidate its Description? | Upon the rectilinear base stand two highly stylized figures. Each figure is somewhat lozenge-shaped and rises vertically. Each has a frontal, symmetrical, flat surface that contrasts with the gentle curve of the surfaces on the other sides. These flat surfaces are not quite parallel to the front edge of the base but instead slightly angle in toward each other. Both figures have narrow bases compared to the widths higher up, and they terminate on top with a flat, horizontal panel perpendicular to the front. The front of each figure has deep, circular holes, characteristic of Hepworth’s sculptures.Generally the bronze is smooth, with texture in the form of low-lying patches (a difference in depth similar to a thick layer of paint). It is patinated a rich dark brown color. The sculpture is seated on a limestone base.
There are subtle differences between the two figures. The one on the proper right (PR) is slightly shorter than its partner on the proper left (PL). PR’s shape bows outward just above the midpoint of the figure, more than doubling its base width before tapering in again toward the top to approximately the same width as the base. The figure is filled out on the back as though the silhouette of the front face were rotated on its vertical axis, so that any given horizontal cross section would be semicircular. There are two important circular holes cut into the front surface. The higher one, placed a little less than ¾ up the height of the figure, is diametrically larger and pierces cylindrically through the entire sculpture, creating a window to the other side. The inner surface of the hole was originally patinated a dusty light green. Below it, just below ½ the height of the figure, is a slightly smaller hole that only goes about halfway through the bronze in a cylindrical fashion. This hole is lined with a bright blue paint.
PL bows gently outward from its base and reaches a maximum width at approximately the height of PR’s upper hole, two thirds of the height of PL. Its upper surface is similarly flat and horizontal but is much wider than the base (in contrast to PR). PL’s back side is not a uniform semicircular curve; instead it has two curving sides that meet at an acute angle to provide the figure with an overall roughly triangular horizontal cross-section. PL has three circular, cylindrical holes instead of two. The lowest, at about 1/3 of its height, does not pierce the bronze. It does not appear to have been painted or patinated. The second, at a height approximately halfway between the two holes of PR, is another non-penetrating hole painted in the same bright blue paint. The third, just above the top of the upper hole of LR, goes through all the way to the point where the cylinder intersects the sides of the sculpture but not so far as to take out the angular edge opposite the front face. The effect is that though there is only one large, round hole on the front, there are two smaller oval holes on the back, one on each surface. The interior of this hole was likewise once patinated light green. On each back surface of PL there is etched a circle roughly corresponding to the height and size of the cylindrical holes. The circle on the proper left back panel corresponds to the lowest hole, and the one on the proper right back panel lines up with the middle hole.
The first instance on record of Hepworth’s Two Figures theme was a wooden artwork from 1947-1948. Artworks done in this theme she considered to represent a relationship between two living things, as opposed to her solo figures which represent a human standing in a landscape. Hepworth’s bronze castings were often made from wooden originals, and even within large additions there was often intentional color variation. | [
"bronze"
] |
|
17976_NT | Two Figures | How does this artwork elucidate its Description? | Upon the rectilinear base stand two highly stylized figures. Each figure is somewhat lozenge-shaped and rises vertically. Each has a frontal, symmetrical, flat surface that contrasts with the gentle curve of the surfaces on the other sides. These flat surfaces are not quite parallel to the front edge of the base but instead slightly angle in toward each other. Both figures have narrow bases compared to the widths higher up, and they terminate on top with a flat, horizontal panel perpendicular to the front. The front of each figure has deep, circular holes, characteristic of Hepworth’s sculptures.Generally the bronze is smooth, with texture in the form of low-lying patches (a difference in depth similar to a thick layer of paint). It is patinated a rich dark brown color. The sculpture is seated on a limestone base.
There are subtle differences between the two figures. The one on the proper right (PR) is slightly shorter than its partner on the proper left (PL). PR’s shape bows outward just above the midpoint of the figure, more than doubling its base width before tapering in again toward the top to approximately the same width as the base. The figure is filled out on the back as though the silhouette of the front face were rotated on its vertical axis, so that any given horizontal cross section would be semicircular. There are two important circular holes cut into the front surface. The higher one, placed a little less than ¾ up the height of the figure, is diametrically larger and pierces cylindrically through the entire sculpture, creating a window to the other side. The inner surface of the hole was originally patinated a dusty light green. Below it, just below ½ the height of the figure, is a slightly smaller hole that only goes about halfway through the bronze in a cylindrical fashion. This hole is lined with a bright blue paint.
PL bows gently outward from its base and reaches a maximum width at approximately the height of PR’s upper hole, two thirds of the height of PL. Its upper surface is similarly flat and horizontal but is much wider than the base (in contrast to PR). PL’s back side is not a uniform semicircular curve; instead it has two curving sides that meet at an acute angle to provide the figure with an overall roughly triangular horizontal cross-section. PL has three circular, cylindrical holes instead of two. The lowest, at about 1/3 of its height, does not pierce the bronze. It does not appear to have been painted or patinated. The second, at a height approximately halfway between the two holes of PR, is another non-penetrating hole painted in the same bright blue paint. The third, just above the top of the upper hole of LR, goes through all the way to the point where the cylinder intersects the sides of the sculpture but not so far as to take out the angular edge opposite the front face. The effect is that though there is only one large, round hole on the front, there are two smaller oval holes on the back, one on each surface. The interior of this hole was likewise once patinated light green. On each back surface of PL there is etched a circle roughly corresponding to the height and size of the cylindrical holes. The circle on the proper left back panel corresponds to the lowest hole, and the one on the proper right back panel lines up with the middle hole.
The first instance on record of Hepworth’s Two Figures theme was a wooden artwork from 1947-1948. Artworks done in this theme she considered to represent a relationship between two living things, as opposed to her solo figures which represent a human standing in a landscape. Hepworth’s bronze castings were often made from wooden originals, and even within large additions there was often intentional color variation. | [
"bronze"
] |
|
17977_T | Two Figures | Describe the characteristics of the Identifying Marks in Two Figures's Copy at Newfields. | The signature on the back reads "Barbara Hepworth 1968 6/7." | [
"Barbara Hepworth"
] |
|
17977_NT | Two Figures | Describe the characteristics of the Identifying Marks in this artwork's Copy at Newfields. | The signature on the back reads "Barbara Hepworth 1968 6/7." | [
"Barbara Hepworth"
] |
|
17978_T | Two Figures | In the context of Two Figures, explore the Historical information of the Copy at Newfields. | As indicated by the signature on the artwork, the IMA's version of Two Figures is the sixth of seven castings. It was produced through the Morris Singer foundry in London. It was cast in 3 pieces that were then bolted together at the base. Two Figures has been on view since its arrival at the IMA. The artwork has been featured in various locations in front of the museum's main entrance, and it is currently displayed on the Sutphin Mall, facing the Sutphin Fountain and the museum building. | [
"Sutphin Fountain",
"Morris Singer",
"London"
] |
|
17978_NT | Two Figures | In the context of this artwork, explore the Historical information of the Copy at Newfields. | As indicated by the signature on the artwork, the IMA's version of Two Figures is the sixth of seven castings. It was produced through the Morris Singer foundry in London. It was cast in 3 pieces that were then bolted together at the base. Two Figures has been on view since its arrival at the IMA. The artwork has been featured in various locations in front of the museum's main entrance, and it is currently displayed on the Sutphin Mall, facing the Sutphin Fountain and the museum building. | [
"Sutphin Fountain",
"Morris Singer",
"London"
] |
|
17979_T | Two Figures | In the context of Two Figures, explain the Acquisition of the Copy at Newfields. | Previous to its purchase by the IMA, Two Figures was kept in the artist's collection in London. Marlborough Gallery in New York represented the Hepworth's work in the United States and sold the artwork to the IMA in 1980. It was accessioned that same year through the Henry F. and Katherine DeBoest Fund in memory of Henry F. DeBoest. | [
"London"
] |
|
17979_NT | Two Figures | In the context of this artwork, explain the Acquisition of the Copy at Newfields. | Previous to its purchase by the IMA, Two Figures was kept in the artist's collection in London. Marlborough Gallery in New York represented the Hepworth's work in the United States and sold the artwork to the IMA in 1980. It was accessioned that same year through the Henry F. and Katherine DeBoest Fund in memory of Henry F. DeBoest. | [
"London"
] |
|
17980_T | Two Figures | Explore the Condition about the Copy at Newfields of this artwork, Two Figures. | The bronze sculpture is monitored, cleaned, and treated regularly by the IMA art conservation staff. The surface of the bronze is protected from deterioration and corrosion by the yearly application of a fresh coat of hard wax. This sculpture was surveyed in July 1993 of as part of the Smithsonian American Art Museum's Inventories of American Painting and Sculpture database, and it was considered to be well maintained. | [
"bronze"
] |
|
17980_NT | Two Figures | Explore the Condition about the Copy at Newfields of this artwork. | The bronze sculpture is monitored, cleaned, and treated regularly by the IMA art conservation staff. The surface of the bronze is protected from deterioration and corrosion by the yearly application of a fresh coat of hard wax. This sculpture was surveyed in July 1993 of as part of the Smithsonian American Art Museum's Inventories of American Painting and Sculpture database, and it was considered to be well maintained. | [
"bronze"
] |
|
17981_T | Crossroads (mural) | Focus on Crossroads (mural) and discuss the abstract. | Crossroads is a 2013 mural that consists of two acrylic on canvas paintings (Crossroads I and Crossroads II) by the artist Ismael Muhammud Nieves. It is located within the Eskenazi Outpatient Care Center on the Sidney and Lois Eskenazi Hospital campus, near downtown Indianapolis, Indiana, USA, and is part of the Eskenazi Health Art Collection. | [
"Eskenazi Health Art Collection",
"Indianapolis",
"campus",
"Sidney and Lois Eskenazi Hospital",
"Indianapolis, Indiana",
"Indiana",
"Eskenazi Health",
"acrylic"
] |
|
17981_NT | Crossroads (mural) | Focus on this artwork and discuss the abstract. | Crossroads is a 2013 mural that consists of two acrylic on canvas paintings (Crossroads I and Crossroads II) by the artist Ismael Muhammud Nieves. It is located within the Eskenazi Outpatient Care Center on the Sidney and Lois Eskenazi Hospital campus, near downtown Indianapolis, Indiana, USA, and is part of the Eskenazi Health Art Collection. | [
"Eskenazi Health Art Collection",
"Indianapolis",
"campus",
"Sidney and Lois Eskenazi Hospital",
"Indianapolis, Indiana",
"Indiana",
"Eskenazi Health",
"acrylic"
] |
|
17982_T | Crossroads (mural) | How does Crossroads (mural) elucidate its Description? | Each framed work measures 158 x 49.5 inches. Inspired by sitting on a porch or gazing out a window, letting the mind wander across the landscape, Nieves created a bright composition of Indiana native flowers and plants by incorporating emblematic images from the Eskenazi Health Art Collection together with Native American and Indiana state symbols incorporated with graffiti shapes, as Ismael Muhammad Nieves comments below:Indiana’s landscape is beautiful year-round. The landscape has been enjoyed through contemporary eyes as well as the Native Americans who call this land home. Throughout the mural are woodland scenes directly inspired from the Eskenazi Health Art Collection. The animals, trees, and foliage in the murals are native to Indiana. Incorporating graffiti shapes and palette, in my opinion, creates a fun atmosphere for the waiting area. There are parts of my painting that were inspired by Eskenazi Health’s existing art collection. I challenge the viewers to identify them. | [
"Eskenazi Health Art Collection",
"Native American",
"Indiana",
"Eskenazi Health",
"Indiana state symbols",
"graffiti"
] |
|
17982_NT | Crossroads (mural) | How does this artwork elucidate its Description? | Each framed work measures 158 x 49.5 inches. Inspired by sitting on a porch or gazing out a window, letting the mind wander across the landscape, Nieves created a bright composition of Indiana native flowers and plants by incorporating emblematic images from the Eskenazi Health Art Collection together with Native American and Indiana state symbols incorporated with graffiti shapes, as Ismael Muhammad Nieves comments below:Indiana’s landscape is beautiful year-round. The landscape has been enjoyed through contemporary eyes as well as the Native Americans who call this land home. Throughout the mural are woodland scenes directly inspired from the Eskenazi Health Art Collection. The animals, trees, and foliage in the murals are native to Indiana. Incorporating graffiti shapes and palette, in my opinion, creates a fun atmosphere for the waiting area. There are parts of my painting that were inspired by Eskenazi Health’s existing art collection. I challenge the viewers to identify them. | [
"Eskenazi Health Art Collection",
"Native American",
"Indiana",
"Eskenazi Health",
"Indiana state symbols",
"graffiti"
] |
|
17983_T | Crossroads (mural) | Describe the characteristics of the Acquisition in Crossroads (mural)'s Historical information. | Crossroads was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Crossroads is credited as "Dedicated with gratitude, The Ruthelen and Andrew Burns Family". | [
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
17983_NT | Crossroads (mural) | Describe the characteristics of the Acquisition in this artwork's Historical information. | Crossroads was commissioned by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. Crossroads is credited as "Dedicated with gratitude, The Ruthelen and Andrew Burns Family". | [
"campus",
"historical art collection",
"Eskenazi Health"
] |
|
17984_T | Crossroads (mural) | In the context of Crossroads (mural), explore the Location of the Historical information. | Crossroads is located in the Special Medicine and Infusion Center waiting room on the 4th level of the Eskenazi Outpatient Care Center on the Sidney and Lois Eskenazi Hospital campus. | [
"campus",
"Sidney and Lois Eskenazi Hospital"
] |
|
17984_NT | Crossroads (mural) | In the context of this artwork, explore the Location of the Historical information. | Crossroads is located in the Special Medicine and Infusion Center waiting room on the 4th level of the Eskenazi Outpatient Care Center on the Sidney and Lois Eskenazi Hospital campus. | [
"campus",
"Sidney and Lois Eskenazi Hospital"
] |
|
17985_T | Crossroads (mural) | Focus on Crossroads (mural) and explain the Artist. | Ismeal Muhammud Nieves spent his early years in New York City before moving to Indiana as a teen. After serving in the U.S. military, he attended Purdue University, where he received a B.S. in electrical engineering. A self-taught artist, Nieves' work has been exhibited at South Shore Arts, the Indianapolis Museum of Contemporary Art, the Indiana University Northwest Gallery for Contemporary Art, Sheldon Swope Art Museum in Terre Haute, 2612 Space and Supreme Gallery in Chicago and Crewest Gallery in Los Angeles, among others. Nieves has completed several public mural commissions and has been involved closely with Subsurface, a graffiti event in Indianapolis. He is based in Hammond, Indiana. | [
"Indianapolis",
"Purdue University",
"Swope Art Museum",
"Sheldon Swope Art Museum",
"Indiana University Northwest",
"Indiana",
"Terre Haute",
"Hammond, Indiana",
"Ismeal Muhammud Nieves",
"graffiti",
"Indianapolis Museum of Contemporary Art"
] |
|
17985_NT | Crossroads (mural) | Focus on this artwork and explain the Artist. | Ismeal Muhammud Nieves spent his early years in New York City before moving to Indiana as a teen. After serving in the U.S. military, he attended Purdue University, where he received a B.S. in electrical engineering. A self-taught artist, Nieves' work has been exhibited at South Shore Arts, the Indianapolis Museum of Contemporary Art, the Indiana University Northwest Gallery for Contemporary Art, Sheldon Swope Art Museum in Terre Haute, 2612 Space and Supreme Gallery in Chicago and Crewest Gallery in Los Angeles, among others. Nieves has completed several public mural commissions and has been involved closely with Subsurface, a graffiti event in Indianapolis. He is based in Hammond, Indiana. | [
"Indianapolis",
"Purdue University",
"Swope Art Museum",
"Sheldon Swope Art Museum",
"Indiana University Northwest",
"Indiana",
"Terre Haute",
"Hammond, Indiana",
"Ismeal Muhammud Nieves",
"graffiti",
"Indianapolis Museum of Contemporary Art"
] |
|
17986_T | Head on a Green Sofa | Explore the abstract of this artwork, Head on a Green Sofa. | Head on a Green Sofa is an oil painting by Lucian Freud executed in 1960-1961. It is a portrait of the late Lady Lambton, wife of Antony Lambton, Viscount Lambton, 6th Earl of Durham. It was sold at Sotheby's, London, 12 February 2014 by its then owner Edward Lambton, 7th Earl of Durham, for £2,994,500. | [
"Lucian Freud",
"Antony Lambton",
"Edward Lambton, 7th Earl of Durham",
"Sotheby's"
] |
|
17986_NT | Head on a Green Sofa | Explore the abstract of this artwork. | Head on a Green Sofa is an oil painting by Lucian Freud executed in 1960-1961. It is a portrait of the late Lady Lambton, wife of Antony Lambton, Viscount Lambton, 6th Earl of Durham. It was sold at Sotheby's, London, 12 February 2014 by its then owner Edward Lambton, 7th Earl of Durham, for £2,994,500. | [
"Lucian Freud",
"Antony Lambton",
"Edward Lambton, 7th Earl of Durham",
"Sotheby's"
] |
|
17987_T | The Fiancée of Belus | How does The Fiancée of Belus elucidate its abstract? | The Fiancée of Belus (French: La fiancée de Bélus) is a painting by French artist Henri-Paul Motte based on a fanciful Babylonian ritual associated with the deity Belus (Bel). According to that ritual, Bel was offered a girl who sat on the lap of the Bel's statue overnight, and then was replaced by another, all of whom were the winners of daily beauty contests. Motte cited as a reference the Greek historian Herodotus, but the related quote was later found to be invented. The Fiancee of Belus features oversized, Academic style. To recreate the interior of the Babylonian temple, Motte copied the Greek temple in Olympia, while the sculpture is inspired by Lamassu.In 2013, the painting was acquired by the Musée d'Orsay where it is presently kept. It was previously housed in Galerie Vincent Lecuyer, near Musée d’Orsay and was exhibited at the BRAFA (BRussels Art FAir) and PAD Paris design and art fair. | [
"Babylonia",
"Academic style",
"Musée d'Orsay",
"Lamassu",
"Henri-Paul Motte",
"BRAFA",
"Herodotus",
"Belus",
"Paris",
"Galerie Vincent Lecuyer",
"PAD Paris"
] |
|
17987_NT | The Fiancée of Belus | How does this artwork elucidate its abstract? | The Fiancée of Belus (French: La fiancée de Bélus) is a painting by French artist Henri-Paul Motte based on a fanciful Babylonian ritual associated with the deity Belus (Bel). According to that ritual, Bel was offered a girl who sat on the lap of the Bel's statue overnight, and then was replaced by another, all of whom were the winners of daily beauty contests. Motte cited as a reference the Greek historian Herodotus, but the related quote was later found to be invented. The Fiancee of Belus features oversized, Academic style. To recreate the interior of the Babylonian temple, Motte copied the Greek temple in Olympia, while the sculpture is inspired by Lamassu.In 2013, the painting was acquired by the Musée d'Orsay where it is presently kept. It was previously housed in Galerie Vincent Lecuyer, near Musée d’Orsay and was exhibited at the BRAFA (BRussels Art FAir) and PAD Paris design and art fair. | [
"Babylonia",
"Academic style",
"Musée d'Orsay",
"Lamassu",
"Henri-Paul Motte",
"BRAFA",
"Herodotus",
"Belus",
"Paris",
"Galerie Vincent Lecuyer",
"PAD Paris"
] |
|
17988_T | Bust of Georg Solti | Focus on Bust of Georg Solti and analyze the abstract. | The bust of Georg Solti is an outdoor bronze sculpture by Elisabeth Frink, installed in Chicago, in the U.S. state of Illinois. | [
"Elisabeth Frink",
"Illinois",
"bronze sculpture",
"U.S. state",
"Chicago",
"Georg Solti"
] |
|
17988_NT | Bust of Georg Solti | Focus on this artwork and analyze the abstract. | The bust of Georg Solti is an outdoor bronze sculpture by Elisabeth Frink, installed in Chicago, in the U.S. state of Illinois. | [
"Elisabeth Frink",
"Illinois",
"bronze sculpture",
"U.S. state",
"Chicago",
"Georg Solti"
] |
|
17989_T | Bust of Georg Solti | In Bust of Georg Solti, how is the History discussed? | A bronze bust of Sir Georg Solti by Elisabeth Frink was dedicated in Lincoln Park, Chicago, outside the Lincoln Park Conservatory on October 10, 1987, commemorating the conductor's seventy-fifth birthday. It was first displayed temporarily at the Royal Opera House in London. The sculpture was moved to Grant Park and rededicated in October 2006 in the Sir Georg Solti Garden, near Symphony Center, home of the Chicago Symphony Orchestra. | [
"Elisabeth Frink",
"Lincoln Park",
"Chicago Symphony Orchestra",
"Symphony Center",
"Chicago",
"Grant Park",
"Georg Solti",
"Lincoln Park Conservatory"
] |
|
17989_NT | Bust of Georg Solti | In this artwork, how is the History discussed? | A bronze bust of Sir Georg Solti by Elisabeth Frink was dedicated in Lincoln Park, Chicago, outside the Lincoln Park Conservatory on October 10, 1987, commemorating the conductor's seventy-fifth birthday. It was first displayed temporarily at the Royal Opera House in London. The sculpture was moved to Grant Park and rededicated in October 2006 in the Sir Georg Solti Garden, near Symphony Center, home of the Chicago Symphony Orchestra. | [
"Elisabeth Frink",
"Lincoln Park",
"Chicago Symphony Orchestra",
"Symphony Center",
"Chicago",
"Grant Park",
"Georg Solti",
"Lincoln Park Conservatory"
] |
|
17990_T | Count István Széchenyi (Friedrich von Amerling) | Focus on Count István Széchenyi (Friedrich von Amerling) and explore the abstract. | The portrait of Count István Széchenyi (Hungarian: Gróf Széchenyi István) is a monumental painting by Austrian painter Friedrich von Amerling. It belongs to the Art Collection of the Hungarian Academy of Sciences in Budapest, where it portrays the founder of the institution. It has the same elaborate Rococo frame as the contemporary painting of From Darkness, the Light by Johann Ender. The painting is probably the most famous portrait of Széchenyi, the greatest statesman of the Hungarian Reform Era. | [
"Hungarian Reform Era",
"Friedrich von Amerling",
"Johann Ender",
"Hungarian Academy of Sciences",
"Budapest",
"Hungarian",
"Rococo",
"From Darkness, the Light"
] |
|
17990_NT | Count István Széchenyi (Friedrich von Amerling) | Focus on this artwork and explore the abstract. | The portrait of Count István Széchenyi (Hungarian: Gróf Széchenyi István) is a monumental painting by Austrian painter Friedrich von Amerling. It belongs to the Art Collection of the Hungarian Academy of Sciences in Budapest, where it portrays the founder of the institution. It has the same elaborate Rococo frame as the contemporary painting of From Darkness, the Light by Johann Ender. The painting is probably the most famous portrait of Széchenyi, the greatest statesman of the Hungarian Reform Era. | [
"Hungarian Reform Era",
"Friedrich von Amerling",
"Johann Ender",
"Hungarian Academy of Sciences",
"Budapest",
"Hungarian",
"Rococo",
"From Darkness, the Light"
] |
|
17991_T | Count István Széchenyi (Friedrich von Amerling) | Focus on Count István Széchenyi (Friedrich von Amerling) and explain the History. | The painting was created by Friedrich von Amerling, a Viennese artist who was the most popular portraitist of the Austrian and Hungarian aristocracy in the Biedermeier period. Count István Széchenyi donated the full annual income of his estates to establish the Hungarian Society of Learning in 1825. The scientific society came into being in 1830 and Széchenyi tried to further it during the initial period of its existence.
The painting was commissioned by the brothers of the count, Lajos and Pál Széchényi who donated it to the Academy in 1836. Their donation letter articulated the wish that "even our grandchildren, when they look at the features of this painting, let them feel the most noble emotions! let them inspire to do the most beautiful deeds for the delight of their country and nation!" Several members of the society wished to hang the painting in the general meeting room despite a rule that banned the placement of the portraits of living persons there. Eventually the rule prevailed and the painting was placed in the library. | [
"Biedermeier",
"Friedrich von Amerling",
"Hungarian"
] |
|
17991_NT | Count István Széchenyi (Friedrich von Amerling) | Focus on this artwork and explain the History. | The painting was created by Friedrich von Amerling, a Viennese artist who was the most popular portraitist of the Austrian and Hungarian aristocracy in the Biedermeier period. Count István Széchenyi donated the full annual income of his estates to establish the Hungarian Society of Learning in 1825. The scientific society came into being in 1830 and Széchenyi tried to further it during the initial period of its existence.
The painting was commissioned by the brothers of the count, Lajos and Pál Széchényi who donated it to the Academy in 1836. Their donation letter articulated the wish that "even our grandchildren, when they look at the features of this painting, let them feel the most noble emotions! let them inspire to do the most beautiful deeds for the delight of their country and nation!" Several members of the society wished to hang the painting in the general meeting room despite a rule that banned the placement of the portraits of living persons there. Eventually the rule prevailed and the painting was placed in the library. | [
"Biedermeier",
"Friedrich von Amerling",
"Hungarian"
] |
|
17992_T | Count István Széchenyi (Friedrich von Amerling) | Explore the Description of this artwork, Count István Széchenyi (Friedrich von Amerling). | The painting belongs to the type of monumental portraiture generally associated with royalty. At the time István Széchenyi was 45 years old and he reached the zenith of his career. He was a very wealthy landowner, a leading politician of the Habsburg monarchy, successful writer and reformer. Amerling placed him on the terrace of a fictional building with view to the landscape beyond. His feathered hat is on the balustrade, and he is seen holding one of his white gloves in his hand. He wears díszmagyar, the elaborate court dress of Hungarian aristocracy with a sword, medals on his chest and yellow boots. | [
"Habsburg monarchy",
"Hungarian"
] |
|
17992_NT | Count István Széchenyi (Friedrich von Amerling) | Explore the Description of this artwork. | The painting belongs to the type of monumental portraiture generally associated with royalty. At the time István Széchenyi was 45 years old and he reached the zenith of his career. He was a very wealthy landowner, a leading politician of the Habsburg monarchy, successful writer and reformer. Amerling placed him on the terrace of a fictional building with view to the landscape beyond. His feathered hat is on the balustrade, and he is seen holding one of his white gloves in his hand. He wears díszmagyar, the elaborate court dress of Hungarian aristocracy with a sword, medals on his chest and yellow boots. | [
"Habsburg monarchy",
"Hungarian"
] |
|
17993_T | Handcart Pioneers (sculpture) | Focus on Handcart Pioneers (sculpture) and discuss the abstract. | Handcart Pioneers (also known as the Handcart Pioneers Monument) is a 1926 bronze sculpture by Torleif S. Knaphus, installed in Salt Lake City’s Temple Square, in the U.S. state of Utah. | [
"U.S. state",
"bronze sculpture",
"Salt Lake City",
"Torleif S. Knaphus",
"Utah",
"Temple Square"
] |
|
17993_NT | Handcart Pioneers (sculpture) | Focus on this artwork and discuss the abstract. | Handcart Pioneers (also known as the Handcart Pioneers Monument) is a 1926 bronze sculpture by Torleif S. Knaphus, installed in Salt Lake City’s Temple Square, in the U.S. state of Utah. | [
"U.S. state",
"bronze sculpture",
"Salt Lake City",
"Torleif S. Knaphus",
"Utah",
"Temple Square"
] |
|
17994_T | Handcart Pioneers (sculpture) | How does Handcart Pioneers (sculpture) elucidate its Description? | The sculpture measures approximately 6 x 4 x 10 feet and rests on a stone base which measures approximately 1 x 5 x 12 feet. It depicts people moving a handcart; most are pulling the loaded cart, apart from one young boy who is pushing from the rear. A nearby plaque reads: Handcart Pioneer Monument / The Handcart Pioneer Monument is a / tribute to the thousands of hardy Mormon / pioneers who, because they could not / afford the larger ox-drawn wagons, walked / across the rugged plains in the 1850s / pulling and pushing all their posses / sions in handmade all-wood handcarts. / Some 250 died on the journey, but nearly / 3,000, mostly British converts, completed the 1,350-mile trek from Iowa City, Iowa, to / the Salt Lake Valley. Many Latter-Day Saints / today proudly recount the trials and the triumphs of their ancestors who were among the Mormon handcart pioneers. | [] |
|
17994_NT | Handcart Pioneers (sculpture) | How does this artwork elucidate its Description? | The sculpture measures approximately 6 x 4 x 10 feet and rests on a stone base which measures approximately 1 x 5 x 12 feet. It depicts people moving a handcart; most are pulling the loaded cart, apart from one young boy who is pushing from the rear. A nearby plaque reads: Handcart Pioneer Monument / The Handcart Pioneer Monument is a / tribute to the thousands of hardy Mormon / pioneers who, because they could not / afford the larger ox-drawn wagons, walked / across the rugged plains in the 1850s / pulling and pushing all their posses / sions in handmade all-wood handcarts. / Some 250 died on the journey, but nearly / 3,000, mostly British converts, completed the 1,350-mile trek from Iowa City, Iowa, to / the Salt Lake Valley. Many Latter-Day Saints / today proudly recount the trials and the triumphs of their ancestors who were among the Mormon handcart pioneers. | [] |
|
17995_T | Handcart Pioneers (sculpture) | Focus on Handcart Pioneers (sculpture) and analyze the History. | The artwork is administered by the Church of Jesus Christ of the Latter-day Saints' Museum of Church History and Art. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture" program in 1993. | [
"Smithsonian Institution",
"Save Outdoor Sculpture"
] |
|
17995_NT | Handcart Pioneers (sculpture) | Focus on this artwork and analyze the History. | The artwork is administered by the Church of Jesus Christ of the Latter-day Saints' Museum of Church History and Art. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture" program in 1993. | [
"Smithsonian Institution",
"Save Outdoor Sculpture"
] |
|
17996_T | The Imperial Pleasure Palace Schönbrunn, Courtyard Side | In The Imperial Pleasure Palace Schönbrunn, Courtyard Side, how is the abstract discussed? | The Imperial Pleasure Palace Schönbrunn, Courtyard Side, in German: Das kaiserliche Lustschloß Schönbrunn, Ehrenhofseite, is a painting dating back to the years of 1759 and 1760 by the Italian painter Bernardo Bellotto, depicting the palace of Schönbrunn in Vienna, after a renovation in 1744-49 by Nicolò Pacassi. It measures 135 cm × 235 cm in size and is located at the Kunsthistorisches Museum in Vienna, Austria. The work captures the historic moment on August 16, 1759, when empress Maria Theresa received the message that the Austrian army had won in battle against the Prussians at Kunersdorf. | [
"Schönbrunn",
"Kunersdorf",
"battle",
"Maria Theresa",
"Kunsthistorisches Museum",
"Nicolò Pacassi",
"Bernardo Bellotto",
"Vienna"
] |
|
17996_NT | The Imperial Pleasure Palace Schönbrunn, Courtyard Side | In this artwork, how is the abstract discussed? | The Imperial Pleasure Palace Schönbrunn, Courtyard Side, in German: Das kaiserliche Lustschloß Schönbrunn, Ehrenhofseite, is a painting dating back to the years of 1759 and 1760 by the Italian painter Bernardo Bellotto, depicting the palace of Schönbrunn in Vienna, after a renovation in 1744-49 by Nicolò Pacassi. It measures 135 cm × 235 cm in size and is located at the Kunsthistorisches Museum in Vienna, Austria. The work captures the historic moment on August 16, 1759, when empress Maria Theresa received the message that the Austrian army had won in battle against the Prussians at Kunersdorf. | [
"Schönbrunn",
"Kunersdorf",
"battle",
"Maria Theresa",
"Kunsthistorisches Museum",
"Nicolò Pacassi",
"Bernardo Bellotto",
"Vienna"
] |
|
17997_T | The Scholar at the Lectern | Focus on The Scholar at the Lectern and explore the abstract. | The Scholar at the Lectern or The Father of the Jewish Bride is a 1641 oil on panel painting by the Dutch artist Rembrandt. With The Girl in a Picture Frame (also known as The Jewish Bride) and Landscape with the Good Samaritan, it is one of only three Rembrandt paintings in Polish collections. It is currently located at the Royal Castle in Warsaw. | [
"Warsaw",
"Royal Castle",
"Rembrandt",
"1641",
"oil on panel",
"The Girl in a Picture Frame",
"Landscape with the Good Samaritan",
"The Jewish Bride"
] |
|
17997_NT | The Scholar at the Lectern | Focus on this artwork and explore the abstract. | The Scholar at the Lectern or The Father of the Jewish Bride is a 1641 oil on panel painting by the Dutch artist Rembrandt. With The Girl in a Picture Frame (also known as The Jewish Bride) and Landscape with the Good Samaritan, it is one of only three Rembrandt paintings in Polish collections. It is currently located at the Royal Castle in Warsaw. | [
"Warsaw",
"Royal Castle",
"Rembrandt",
"1641",
"oil on panel",
"The Girl in a Picture Frame",
"Landscape with the Good Samaritan",
"The Jewish Bride"
] |
|
17998_T | The Scholar at the Lectern | Focus on The Scholar at the Lectern and explain the Description. | The sitter wears a black hat, a grey-brown cloak with a hint of green, lined with dark brown fur, and a gold chain. The subject of old scholars and philosophers is popular in Rembrandt's oeuvre. The face of the man in picture is distinctive because of specific details such as the wart on the left cheek and the red nose, suggesting a concrete sitter.
The picture is painted on poplar panel. The Royal Castle paintings are therefore two of five examples where Rembrandt or his workshop might have used poplar panels. Rembrandt probably bought a small batch of such panels c. 1639–41 and experimented with them. | [
"Royal Castle",
"Rembrandt"
] |
|
17998_NT | The Scholar at the Lectern | Focus on this artwork and explain the Description. | The sitter wears a black hat, a grey-brown cloak with a hint of green, lined with dark brown fur, and a gold chain. The subject of old scholars and philosophers is popular in Rembrandt's oeuvre. The face of the man in picture is distinctive because of specific details such as the wart on the left cheek and the red nose, suggesting a concrete sitter.
The picture is painted on poplar panel. The Royal Castle paintings are therefore two of five examples where Rembrandt or his workshop might have used poplar panels. Rembrandt probably bought a small batch of such panels c. 1639–41 and experimented with them. | [
"Royal Castle",
"Rembrandt"
] |
|
17999_T | Napoleon I on His Imperial Throne | Explore the abstract of this artwork, Napoleon I on His Imperial Throne. | Napoleon I on his Imperial Throne (French: Napoléon Ier sur le trône impérial) is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-Auguste-Dominique Ingres. | [
"Napoleon",
"Jean-Auguste-Dominique Ingres",
"Napoleon I of France"
] |
|
17999_NT | Napoleon I on His Imperial Throne | Explore the abstract of this artwork. | Napoleon I on his Imperial Throne (French: Napoléon Ier sur le trône impérial) is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-Auguste-Dominique Ingres. | [
"Napoleon",
"Jean-Auguste-Dominique Ingres",
"Napoleon I of France"
] |
|
18000_T | Napoleon I on His Imperial Throne | Focus on Napoleon I on His Imperial Throne and discuss the Description. | The painting shows Napoleon as emperor, in the costume he wore for his coronation, seated on a circular-backed throne with armrests adorned with ivory balls. In his right hand, he holds the scepter of Charlemagne. In his left hand, that of justice. On his head is a golden laurel wreath, similar to one worn by Julius Caesar. He also wears an ermine hood under the great collar of the Légion d'honneur, a gold-embroidered satin tunic and an ermine-lined purple velvet cloak decorated with gold bees. The coronation sword is in its scabbard and held up by a silk scarf. The subject wears white shoes embroidered in gold and resting on a cushion. The carpet under the throne displays an imperial eagle. The signature INGRES P xit is in the bottom left, and ANNO 1806 in the bottom right. | [
"Napoleon",
"scepter of Charlemagne",
"left",
"Julius Caesar",
"Légion d'honneur"
] |
|
18000_NT | Napoleon I on His Imperial Throne | Focus on this artwork and discuss the Description. | The painting shows Napoleon as emperor, in the costume he wore for his coronation, seated on a circular-backed throne with armrests adorned with ivory balls. In his right hand, he holds the scepter of Charlemagne. In his left hand, that of justice. On his head is a golden laurel wreath, similar to one worn by Julius Caesar. He also wears an ermine hood under the great collar of the Légion d'honneur, a gold-embroidered satin tunic and an ermine-lined purple velvet cloak decorated with gold bees. The coronation sword is in its scabbard and held up by a silk scarf. The subject wears white shoes embroidered in gold and resting on a cushion. The carpet under the throne displays an imperial eagle. The signature INGRES P xit is in the bottom left, and ANNO 1806 in the bottom right. | [
"Napoleon",
"scepter of Charlemagne",
"left",
"Julius Caesar",
"Légion d'honneur"
] |
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