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18001_T | Napoleon I on His Imperial Throne | In the context of Napoleon I on His Imperial Throne, analyze the Zeus of the Models and influence. | This portrait's frontality refers to the colossal Statue of Zeus at Olympia by Phidias, whose pose served as the model not only for many representations of sovereigns but also for Christian iconography. Ingres himself also used this pose for his Jupiter and Thetis. The Musée de Montauban has a chalice with an image after a Byzantine panel showing the seated emperor, which may have been Ingres' direct model. | [
"Statue of Zeus at Olympia",
"Phidias",
"Jupiter and Thetis"
] |
|
18001_NT | Napoleon I on His Imperial Throne | In the context of this artwork, analyze the Zeus of the Models and influence. | This portrait's frontality refers to the colossal Statue of Zeus at Olympia by Phidias, whose pose served as the model not only for many representations of sovereigns but also for Christian iconography. Ingres himself also used this pose for his Jupiter and Thetis. The Musée de Montauban has a chalice with an image after a Byzantine panel showing the seated emperor, which may have been Ingres' direct model. | [
"Statue of Zeus at Olympia",
"Phidias",
"Jupiter and Thetis"
] |
|
18002_T | Napoleon I on His Imperial Throne | Describe the characteristics of the Jan van Eyck in Napoleon I on His Imperial Throne's Models and influence. | For Robert Rosenblum, Ingres's model was the figure of God the Father on the Ghent Altarpiece by Jan van Eyck, which was in the Louvre at the time Ingres painted this portrait. The contemporary critic Pierre-Jean-Baptiste Chaussard compared Ingres's style in this portrait to that of Van Eyck (then known as Jean de Bruges):His Majesty the Emperor on his Throne - 9 foot by 13 foot - The author has not given an explanation of these paintings. First we consider the Portrait of the Emperor; How, with so much talent, a line so flawless, an attention to detail so thorough, has M. Ingres succeeded in painting a bad picture? The answer is that he wanted to do something singular, something extraordinary. Without doubt, one does not always follow step by step the beaten path, but one must not affect the steeper heights : There are acute minds, who, like goats, are only pleased feeding on the rocky outcrops. The good mind consists of choosing a sure and easy way to go, and it is this route that the great masters, helped by experience, have taken. In leaving it, one risks getting lost - in the same way, via a beautiful passion for the extraordinary in architecture, Borromini and Openor wholly perverted all the arts of drawing; nevertheless the inventors of this depraved taste had the masterpieces of antiquity and of Italy before their eyes : behold how, in another way that is no less detestable than it is Gothic, M Ingres does nothing less than regress the art of four centuries to put us back in our infancy, to resuscitate the manner of Jean de Bruges. But in this infancy of art, there is at least naivety and truth, and this system was the only one that artists knew how to paint by; they could do no better etc.... We heard what was being said in the Salon, and we observed that feelings were unanimous, both among those who knew the arts and among the vulgar. At first, the first viewing warned against the painting, some cry out, some mock its composition and arrangement; but then, when they approach it, they admired its precious finish, and the exact truth of the [depiction of the] fabrics; but one then returns to it again discontented, regretting that the artist had researched the most bizarre effects. Why at first having faced the portrait of the Emperor: it's the most difficult thing to do well... This throne is heavy and massive, the hand which holds the sceptre is not happily executed. It is said that the artist has taken this attitude, as well as in the rest, in the Gothic medallion. As for the emperor's head, it is too heavy, a poor resemblance, of a colour that is false and too : despite the fineness of the brush, the preciousness of the finish, the melting hues, it is dry in manner, makes no effect, and does not leap off the canvas.
However, Ingres himself stated:I think much of Jean de Bruges, I would wish to resemble him in many ways; but still, he is not my painter and I believe that [the critics] cited him at random. | [
"Ghent Altarpiece",
"Robert Rosenblum",
"Openor",
"Jan van Eyck",
"Chaussard",
"Borromini",
"God the Father",
"Louvre",
"Pierre-Jean-Baptiste Chaussard",
"Jean de Bruges"
] |
|
18002_NT | Napoleon I on His Imperial Throne | Describe the characteristics of the Jan van Eyck in this artwork's Models and influence. | For Robert Rosenblum, Ingres's model was the figure of God the Father on the Ghent Altarpiece by Jan van Eyck, which was in the Louvre at the time Ingres painted this portrait. The contemporary critic Pierre-Jean-Baptiste Chaussard compared Ingres's style in this portrait to that of Van Eyck (then known as Jean de Bruges):His Majesty the Emperor on his Throne - 9 foot by 13 foot - The author has not given an explanation of these paintings. First we consider the Portrait of the Emperor; How, with so much talent, a line so flawless, an attention to detail so thorough, has M. Ingres succeeded in painting a bad picture? The answer is that he wanted to do something singular, something extraordinary. Without doubt, one does not always follow step by step the beaten path, but one must not affect the steeper heights : There are acute minds, who, like goats, are only pleased feeding on the rocky outcrops. The good mind consists of choosing a sure and easy way to go, and it is this route that the great masters, helped by experience, have taken. In leaving it, one risks getting lost - in the same way, via a beautiful passion for the extraordinary in architecture, Borromini and Openor wholly perverted all the arts of drawing; nevertheless the inventors of this depraved taste had the masterpieces of antiquity and of Italy before their eyes : behold how, in another way that is no less detestable than it is Gothic, M Ingres does nothing less than regress the art of four centuries to put us back in our infancy, to resuscitate the manner of Jean de Bruges. But in this infancy of art, there is at least naivety and truth, and this system was the only one that artists knew how to paint by; they could do no better etc.... We heard what was being said in the Salon, and we observed that feelings were unanimous, both among those who knew the arts and among the vulgar. At first, the first viewing warned against the painting, some cry out, some mock its composition and arrangement; but then, when they approach it, they admired its precious finish, and the exact truth of the [depiction of the] fabrics; but one then returns to it again discontented, regretting that the artist had researched the most bizarre effects. Why at first having faced the portrait of the Emperor: it's the most difficult thing to do well... This throne is heavy and massive, the hand which holds the sceptre is not happily executed. It is said that the artist has taken this attitude, as well as in the rest, in the Gothic medallion. As for the emperor's head, it is too heavy, a poor resemblance, of a colour that is false and too : despite the fineness of the brush, the preciousness of the finish, the melting hues, it is dry in manner, makes no effect, and does not leap off the canvas.
However, Ingres himself stated:I think much of Jean de Bruges, I would wish to resemble him in many ways; but still, he is not my painter and I believe that [the critics] cited him at random. | [
"Ghent Altarpiece",
"Robert Rosenblum",
"Openor",
"Jan van Eyck",
"Chaussard",
"Borromini",
"God the Father",
"Louvre",
"Pierre-Jean-Baptiste Chaussard",
"Jean de Bruges"
] |
|
18003_T | Napoleon I on His Imperial Throne | In the context of Napoleon I on His Imperial Throne, explore the Raphael of the Models and influence. | In the left border of the carpet, among medallions of the zodiac, is a medallion with a version of the Madonna della seggiola by Raphael, the artist Ingres most admired. Ingres pays tribute to Raphael by including this painting in the background of many of his works, such as Henri IV playing with his children and Raphael and La Fornarina and on the table in front of the subject in his Portrait of monsieur Rivière. | [
"zodiac",
"Raphael",
"Raphael and La Fornarina",
"Madonna della seggiola",
"left"
] |
|
18003_NT | Napoleon I on His Imperial Throne | In the context of this artwork, explore the Raphael of the Models and influence. | In the left border of the carpet, among medallions of the zodiac, is a medallion with a version of the Madonna della seggiola by Raphael, the artist Ingres most admired. Ingres pays tribute to Raphael by including this painting in the background of many of his works, such as Henri IV playing with his children and Raphael and La Fornarina and on the table in front of the subject in his Portrait of monsieur Rivière. | [
"zodiac",
"Raphael",
"Raphael and La Fornarina",
"Madonna della seggiola",
"left"
] |
|
18004_T | Napoleon I on His Imperial Throne | Focus on Napoleon I on His Imperial Throne and explain the Reception. | At the Salon, it produced a disturbing impression on the public, due not only to Ingres's stylistic idiosyncrasies but also to his depiction of the Carolingian imagery worn by Napoleon at his coronation. David (who finished his own The Coronation of Napoleon the following year) delivered a severe judgement, and the critics were uniformly hostile, finding fault with the strange discordances of colour, the want of sculptural relief, the chilly precision of contour, and the self-consciously archaic quality. As shown above, Chaussard (Le Pausanias Français, 1806) condemned Ingres's style as gothic (the troubadour style was beginning at this time). As art historian Marjorie Cohn has written: "At the time, art history as a scholarly enquiry was brand new. Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments." The Louvre, newly filled with booty seized by Napoleon in his campaigns in Belgium, the Netherlands, and Italy, provided French artists of the early nineteenth century with an unprecedented opportunity to study, compare, and copy masterworks from antiquity and from the entire history of European painting. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the historical style appropriate to his subject, leading critics to charge him with plundering the past. | [
"Napoleon",
"Carolingian",
"The Coronation of Napoleon",
"troubadour style",
"Chaussard",
"Louvre"
] |
|
18004_NT | Napoleon I on His Imperial Throne | Focus on this artwork and explain the Reception. | At the Salon, it produced a disturbing impression on the public, due not only to Ingres's stylistic idiosyncrasies but also to his depiction of the Carolingian imagery worn by Napoleon at his coronation. David (who finished his own The Coronation of Napoleon the following year) delivered a severe judgement, and the critics were uniformly hostile, finding fault with the strange discordances of colour, the want of sculptural relief, the chilly precision of contour, and the self-consciously archaic quality. As shown above, Chaussard (Le Pausanias Français, 1806) condemned Ingres's style as gothic (the troubadour style was beginning at this time). As art historian Marjorie Cohn has written: "At the time, art history as a scholarly enquiry was brand new. Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments." The Louvre, newly filled with booty seized by Napoleon in his campaigns in Belgium, the Netherlands, and Italy, provided French artists of the early nineteenth century with an unprecedented opportunity to study, compare, and copy masterworks from antiquity and from the entire history of European painting. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the historical style appropriate to his subject, leading critics to charge him with plundering the past. | [
"Napoleon",
"Carolingian",
"The Coronation of Napoleon",
"troubadour style",
"Chaussard",
"Louvre"
] |
|
18005_T | Imperia (statue) | Explore the abstract of this artwork, Imperia (statue). | Imperia is a statue at the entrance of the harbour of Konstanz, Germany, commemorating the Council of Constance that took place there between 1414 and 1418. The concrete statue is 9 metres (30 ft) high, weighs 18 tonnes (18 long tons; 20 short tons), and stands on a pedestal that rotates around its axis once every four minutes. It was created by Peter Lenk and clandestinely erected in 1993. The erection of the statue caused controversy, but it was on the private property of a rail company that did not object to its presence. Eventually, it became a widely-known landmark of Konstanz.Imperia shows a woman holding two men on her hands. Although the two men resemble Pope Martin V (elected during the council) and Emperor Sigismund (who called the council), and they wear the papal tiara and imperial crown, Lenk has stated that these figures "are not the Pope and not the Emperor, but fools who have acquired the insignia of secular and spiritual power. And to what extent the real popes and emperors were also fools, I leave to the historical education of the viewer."The statue refers to a short story by Balzac, "La Belle Impéria". The story is a harsh satire of the Catholic clergy's morals, where Imperia seduces cardinals and princes at the Council of Constance and has power over them all. The historical Imperia that served as the source material of Balzac's story was a well-educated Italian courtesan who died in 1512, nearly 100 years after the council, and never visited Konstanz. | [
"Pope Martin V",
"Council of Constance",
"historical Imperia",
"Sigismund",
"La Belle Impéria",
"Balzac",
"Peter Lenk",
"Konstanz",
"imperial crown",
"papal tiara",
"fools",
"courtesan",
"Germany"
] |
|
18005_NT | Imperia (statue) | Explore the abstract of this artwork. | Imperia is a statue at the entrance of the harbour of Konstanz, Germany, commemorating the Council of Constance that took place there between 1414 and 1418. The concrete statue is 9 metres (30 ft) high, weighs 18 tonnes (18 long tons; 20 short tons), and stands on a pedestal that rotates around its axis once every four minutes. It was created by Peter Lenk and clandestinely erected in 1993. The erection of the statue caused controversy, but it was on the private property of a rail company that did not object to its presence. Eventually, it became a widely-known landmark of Konstanz.Imperia shows a woman holding two men on her hands. Although the two men resemble Pope Martin V (elected during the council) and Emperor Sigismund (who called the council), and they wear the papal tiara and imperial crown, Lenk has stated that these figures "are not the Pope and not the Emperor, but fools who have acquired the insignia of secular and spiritual power. And to what extent the real popes and emperors were also fools, I leave to the historical education of the viewer."The statue refers to a short story by Balzac, "La Belle Impéria". The story is a harsh satire of the Catholic clergy's morals, where Imperia seduces cardinals and princes at the Council of Constance and has power over them all. The historical Imperia that served as the source material of Balzac's story was a well-educated Italian courtesan who died in 1512, nearly 100 years after the council, and never visited Konstanz. | [
"Pope Martin V",
"Council of Constance",
"historical Imperia",
"Sigismund",
"La Belle Impéria",
"Balzac",
"Peter Lenk",
"Konstanz",
"imperial crown",
"papal tiara",
"fools",
"courtesan",
"Germany"
] |
|
18006_T | Saint Jerome in His Study (Ghirlandaio) | Focus on Saint Jerome in His Study (Ghirlandaio) and discuss the abstract. | Saint Jerome in His Study is a fresco by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1480 and located in the church of Ognissanti, Florence.
The work was commissioned by the Vespucci family together with a Saint Augustine in His Study by Sandro Botticelli (1480). Both depicted two Doctors of the Church in their studies, with a number of objects which should mark their role as precursors of humanism. They decorated the area next to the choir, which was demolished in the 18th century. In that occasion the two frescoes were removed and placed in the nave. Part of the annexed frame and the inscriptions were lost. | [
"Florence",
"church of Ognissanti",
"Sandro Botticelli",
"Domenico Ghirlandaio",
"humanism",
"Saint Augustine in His Study",
"Saint Augustine",
"Jerome",
"Saint Jerome in His Study",
"Saint Jerome",
"Ghirla",
"Vespucci",
"fresco"
] |
|
18006_NT | Saint Jerome in His Study (Ghirlandaio) | Focus on this artwork and discuss the abstract. | Saint Jerome in His Study is a fresco by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1480 and located in the church of Ognissanti, Florence.
The work was commissioned by the Vespucci family together with a Saint Augustine in His Study by Sandro Botticelli (1480). Both depicted two Doctors of the Church in their studies, with a number of objects which should mark their role as precursors of humanism. They decorated the area next to the choir, which was demolished in the 18th century. In that occasion the two frescoes were removed and placed in the nave. Part of the annexed frame and the inscriptions were lost. | [
"Florence",
"church of Ognissanti",
"Sandro Botticelli",
"Domenico Ghirlandaio",
"humanism",
"Saint Augustine in His Study",
"Saint Augustine",
"Jerome",
"Saint Jerome in His Study",
"Saint Jerome",
"Ghirla",
"Vespucci",
"fresco"
] |
|
18007_T | Saint Jerome in His Study (Ghirlandaio) | How does Saint Jerome in His Study (Ghirlandaio) elucidate its Description? | While Botticelli adopted a more expressive composition in his Saint Augustine (inspired by Andrea del Castagno's works), Ghirlandaio created a more serene and conventional figure, concentrating instead on the still life of the objects exposed on the writing desk and the shelves behind Jerome. In this, he was perhaps inspired by northern European models, such as Jan van Eyck's Saint Jerome in His Study which was in the collections of Lorenzo de' Medici.
Jerome is portrayed with his head resting on one hand, while writing with the other. This was the same posture chosen by Jan van Eyck. The open books and the cartouches, with Greek and Hebrew letters, correspond to his activity as translator of the Bible. On the writing desk is the date (MCCCCLXXX), as well as a sealed letter, glasses, two inkwells (with drops of ink near them), scissors and a candle holder. The desk is covered by an oriental carpet, a luxurious object often depicted by Ghirlandaio, and perhaps also inspired by Netherlandish painters. The objects on the shelves include a cardinal hat, two pharmacist vases, a cylindrical case, a necklace, a purse, some fruit, two transparent glass bottles and an hourglass.
The light comes from the upper right corner, producing a well defined shadow of the saint on the drapery behind him; but also from the foreground, illuminating the objects on the desk. | [
"still life",
"Bible",
"Andrea del Castagno",
"cardinal hat",
"Jan van Eyck",
"Saint Augustine",
"Jerome",
"Netherlandish painters",
"Saint Jerome in His Study",
"Lorenzo de' Medici",
"Saint Jerome",
"Hebrew",
"Ghirla",
"Greek"
] |
|
18007_NT | Saint Jerome in His Study (Ghirlandaio) | How does this artwork elucidate its Description? | While Botticelli adopted a more expressive composition in his Saint Augustine (inspired by Andrea del Castagno's works), Ghirlandaio created a more serene and conventional figure, concentrating instead on the still life of the objects exposed on the writing desk and the shelves behind Jerome. In this, he was perhaps inspired by northern European models, such as Jan van Eyck's Saint Jerome in His Study which was in the collections of Lorenzo de' Medici.
Jerome is portrayed with his head resting on one hand, while writing with the other. This was the same posture chosen by Jan van Eyck. The open books and the cartouches, with Greek and Hebrew letters, correspond to his activity as translator of the Bible. On the writing desk is the date (MCCCCLXXX), as well as a sealed letter, glasses, two inkwells (with drops of ink near them), scissors and a candle holder. The desk is covered by an oriental carpet, a luxurious object often depicted by Ghirlandaio, and perhaps also inspired by Netherlandish painters. The objects on the shelves include a cardinal hat, two pharmacist vases, a cylindrical case, a necklace, a purse, some fruit, two transparent glass bottles and an hourglass.
The light comes from the upper right corner, producing a well defined shadow of the saint on the drapery behind him; but also from the foreground, illuminating the objects on the desk. | [
"still life",
"Bible",
"Andrea del Castagno",
"cardinal hat",
"Jan van Eyck",
"Saint Augustine",
"Jerome",
"Netherlandish painters",
"Saint Jerome in His Study",
"Lorenzo de' Medici",
"Saint Jerome",
"Hebrew",
"Ghirla",
"Greek"
] |
|
18008_T | Summer Landscape with Harvesters | Focus on Summer Landscape with Harvesters and analyze the abstract. | Summer Landscape with Harvesters is an oil-on-canvas painting by Flemish artists Joos de Momper and Jan Brueghel the Elder. It was painted in the first quarter of the 17th century, probably around 1610, and is currently housed at the Museum of Art in Toledo, Ohio. After having been exposed in Toledo as an "anonymous loan," the Museum directory opted for the purchase, influenced by the reaction of the public. The painting was acquired by the Toledo Museum of Art in 2003.Summer Landscape with Harvesters might be part of one of the series dedicated to the four seasons started by de Momper in 1615, of which Landscape with Skaters is part. | [
"Toledo Museum of Art",
"Jan Brueghel the Elder",
"Joos de Momper",
"Museum of Art",
"Ohio",
"Toledo, Ohio",
"Flemish",
"Landscape with Skaters",
"oil-on-canvas",
"Toledo"
] |
|
18008_NT | Summer Landscape with Harvesters | Focus on this artwork and analyze the abstract. | Summer Landscape with Harvesters is an oil-on-canvas painting by Flemish artists Joos de Momper and Jan Brueghel the Elder. It was painted in the first quarter of the 17th century, probably around 1610, and is currently housed at the Museum of Art in Toledo, Ohio. After having been exposed in Toledo as an "anonymous loan," the Museum directory opted for the purchase, influenced by the reaction of the public. The painting was acquired by the Toledo Museum of Art in 2003.Summer Landscape with Harvesters might be part of one of the series dedicated to the four seasons started by de Momper in 1615, of which Landscape with Skaters is part. | [
"Toledo Museum of Art",
"Jan Brueghel the Elder",
"Joos de Momper",
"Museum of Art",
"Ohio",
"Toledo, Ohio",
"Flemish",
"Landscape with Skaters",
"oil-on-canvas",
"Toledo"
] |
|
18009_T | Summer Landscape with Harvesters | In Summer Landscape with Harvesters, how is the Painting discussed? | The picture is an earthy depiction of nature and humanity, both at ease and engaged in physical exertion. Some people are working hard in the fields, others are having a picnic, others still are in the middle of a romantic encounter. Over seventy figures are depicted in the painting, and their activities reveal a cohesive and studied narrative. Some farmers are cutting off the grain, while others roll it into sheaves. Wagons are carrying the harvest to town, where it will be shipped to overseas markets, as indicated by the ships sailing in the faraway sea.To the left, people are relaxing in the shade of the crop. They are eating food and drinking at a picnic. On the road, a dog greets a man walking up in front of his empty wagon to the viewer, and a woman sets the basket she is carrying on the ground, to rest a while on her way home.The painting is a large vista of fields that recede to the background, giving way to a gulf and the ocean. By using a "mutually reinforcing geometry of diagonals that intersect with three distinct color bands [yellow, green, blue]," de Momper allowed his composition to "convincingly lead the eye deep into the picture."Summer Landscape with Harvesters is considered one of many collaborations between de Momper of Jan Brueghel the Elder. The two collaborated on several occasions, with de Momper always painting the landscape and Brueghel taking care of the staffage, usually the animated figures. | [
"Jan Brueghel the Elder"
] |
|
18009_NT | Summer Landscape with Harvesters | In this artwork, how is the Painting discussed? | The picture is an earthy depiction of nature and humanity, both at ease and engaged in physical exertion. Some people are working hard in the fields, others are having a picnic, others still are in the middle of a romantic encounter. Over seventy figures are depicted in the painting, and their activities reveal a cohesive and studied narrative. Some farmers are cutting off the grain, while others roll it into sheaves. Wagons are carrying the harvest to town, where it will be shipped to overseas markets, as indicated by the ships sailing in the faraway sea.To the left, people are relaxing in the shade of the crop. They are eating food and drinking at a picnic. On the road, a dog greets a man walking up in front of his empty wagon to the viewer, and a woman sets the basket she is carrying on the ground, to rest a while on her way home.The painting is a large vista of fields that recede to the background, giving way to a gulf and the ocean. By using a "mutually reinforcing geometry of diagonals that intersect with three distinct color bands [yellow, green, blue]," de Momper allowed his composition to "convincingly lead the eye deep into the picture."Summer Landscape with Harvesters is considered one of many collaborations between de Momper of Jan Brueghel the Elder. The two collaborated on several occasions, with de Momper always painting the landscape and Brueghel taking care of the staffage, usually the animated figures. | [
"Jan Brueghel the Elder"
] |
|
18010_T | Summer Landscape with Harvesters | Focus on Summer Landscape with Harvesters and explore the Provenance. | The painting was acquired by the Toledo Museum of Art in March 2003 at an yearly old master fair in Maastricht. The painting previously was part of private collections in Spain, and was possibly part of the collection decorating the Torre de la Reina in the Alcázar de Madrid, which reached Madrid from Flanders in the early 17th century. | [
"Toledo Museum of Art",
"Maastricht",
"Museum of Art",
"old master",
"Alcázar de Madrid",
"Toledo",
"Madrid"
] |
|
18010_NT | Summer Landscape with Harvesters | Focus on this artwork and explore the Provenance. | The painting was acquired by the Toledo Museum of Art in March 2003 at an yearly old master fair in Maastricht. The painting previously was part of private collections in Spain, and was possibly part of the collection decorating the Torre de la Reina in the Alcázar de Madrid, which reached Madrid from Flanders in the early 17th century. | [
"Toledo Museum of Art",
"Maastricht",
"Museum of Art",
"old master",
"Alcázar de Madrid",
"Toledo",
"Madrid"
] |
|
18011_T | The Spirit of Detroit | Focus on The Spirit of Detroit and explain the Description. | The Spirit of Detroit is a monument with a large bronze statue created by Marshall Fredericks and located at the Coleman A. Young Municipal Center on Woodward Avenue in Detroit, Michigan. Fredericks also designed the seal of Wayne County at the time he was designing The Spirit of Detroit, as it was a part of the work and the county had no seal at the time. The seal is still used today and is also featured on the county's flag. Cast in Oslo, Norway, the 26-foot (7.9 m), 9-ton sculpture sits on a 60-ton marble base and it was the largest cast bronze statue since the Renaissance.In its left hand, the large seated figure holds a gilt bronze sphere emanating rays to symbolize God. The people in the figure's right hand are a family group symbolizing all human relationships.Fredericks did not originally name the sculpture and the name came from the citizens of Detroit based on an inscription from 2 Corinthians (3:17) on the marble wall behind it, underneath the seals of Wayne County and the City of Detroit:The 36 x 45 foot semicircular wall includes the seals of the City of Detroit and Wayne County. A plaque in front of the sculpture bears the following inscription: "The artist expresses the concept that God, through the spirit of man, is manifested in the family, the noblest human relationship." | [
"Detroit",
"bronze statue",
"bronze",
"God",
"Renaissance",
"Corinth",
"Wayne County",
"Marshall Fredericks",
"Detroit, Michigan",
"Coleman A. Young Municipal Center",
"2 Corinthians",
"Woodward Avenue",
"Michigan"
] |
|
18011_NT | The Spirit of Detroit | Focus on this artwork and explain the Description. | The Spirit of Detroit is a monument with a large bronze statue created by Marshall Fredericks and located at the Coleman A. Young Municipal Center on Woodward Avenue in Detroit, Michigan. Fredericks also designed the seal of Wayne County at the time he was designing The Spirit of Detroit, as it was a part of the work and the county had no seal at the time. The seal is still used today and is also featured on the county's flag. Cast in Oslo, Norway, the 26-foot (7.9 m), 9-ton sculpture sits on a 60-ton marble base and it was the largest cast bronze statue since the Renaissance.In its left hand, the large seated figure holds a gilt bronze sphere emanating rays to symbolize God. The people in the figure's right hand are a family group symbolizing all human relationships.Fredericks did not originally name the sculpture and the name came from the citizens of Detroit based on an inscription from 2 Corinthians (3:17) on the marble wall behind it, underneath the seals of Wayne County and the City of Detroit:The 36 x 45 foot semicircular wall includes the seals of the City of Detroit and Wayne County. A plaque in front of the sculpture bears the following inscription: "The artist expresses the concept that God, through the spirit of man, is manifested in the family, the noblest human relationship." | [
"Detroit",
"bronze statue",
"bronze",
"God",
"Renaissance",
"Corinth",
"Wayne County",
"Marshall Fredericks",
"Detroit, Michigan",
"Coleman A. Young Municipal Center",
"2 Corinthians",
"Woodward Avenue",
"Michigan"
] |
|
18012_T | The Spirit of Detroit | Explore the History of this artwork, The Spirit of Detroit. | The sculpture was commissioned on August 2, 1955 for a cost of $58,000 (equivalent to $415,000 in 2022). Fredericks considered the statue to be part of his civic responsibility and waived the commissioning cost. As part of the design of the divine elements of the sculpture, Fredericks met with several religious groups. Fredericks shipped a scale model from the United States to Oslo, Norway for casting. After casting, the sculpture underwent acidic treatments for several weeks to oxidize the bronze and to create the warm, aged green color. The thickness of the bronze is 3/8 inches up to 1.5 inches. Steel framework was constructed to protect the sculpture during transport. Additional protection for the sculpture was provided using wooden beams, wooden platforms, and burlap covering, for a total shipping weight of 12 tons. For shipping, the sculpture was placed facedown onto a wooden platform. The sculpture was transported by the Fjell Line, who chartered the German freighter Thomas Schulte. After the 4,800 mile journey across the Atlantic Ocean and through the Saint Lawrence Seaway, the freighter arrived at the Port of Detroit on September 20, 1958. The Thomas Schulte was the only freighter with sufficient below deck storage space to accommodate the sculpture while still being able to navigate the Saint Lawrence Seaway. As part of the shipment, four miniature scale models of the sculpture were included to aid with customs clearance. The sculpture was delivered to the Detroit City-County Building (now the Coleman A. Young Municipal Center) and installed onto the marble base for the September 23, 1958 dedication ceremony.The Marshall M. Fredericks Sculpture Museum has the original plaster head for The Spirit of Detroit, as well as a quarter-scale plaster model.The sculpture has regular maintenance, as well as restorations. Once a year, the sculpture is cleaned with non-ionic, biogradable detergents and customized petroleum-based waxes are used for protection. The annual maintenance also includes applying heat to the bronze surface and cupric nitrate in order to preserve the green color and patina. In 1984, the sculpture was covered in plastic while the marble panels behind the statue were replaced. The statue underwent a restoration in 2006, funded by foundations and other private donations. For the sculpture's 50th anniversary, funds from operational savings and energy conservation totalling $170,000 were used for restoration improvements. In 2018, the sculpture had routine maintenance completed which involved touching up the green patina, as well as the gold figures and sphere. On September 21, 2018, the City of Detroit had a ceremony to celebrate the 60th anniversary of the sculpture.In 2017, Spirit Plaza was initially constructed and subsequent upgrades completed in 2019 and paid for by $800,000 in bond funds have yielded a 20,000 square-foot plaza with a playground, stationary musical instruments, tables, chairs, vehicle charging stations, and drinking fountains.In 2013 art dealer and art historian Eric Ian Hornak Spoutz was quoted in The Detroit News stating that the value of the statue is in excess of $1 million. In 2017, the Detroit-Wayne Joint Building Authority said that based on the most recent appraisal of the sculpture, it would cost $6 million to repair significant damage. | [
"Detroit",
"Saint Lawrence Seaway",
"bronze",
"The Detroit News",
"Coleman A. Young Municipal Center",
"Eric Ian Hornak Spoutz",
"Marshall M. Fredericks Sculpture Museum"
] |
|
18012_NT | The Spirit of Detroit | Explore the History of this artwork. | The sculpture was commissioned on August 2, 1955 for a cost of $58,000 (equivalent to $415,000 in 2022). Fredericks considered the statue to be part of his civic responsibility and waived the commissioning cost. As part of the design of the divine elements of the sculpture, Fredericks met with several religious groups. Fredericks shipped a scale model from the United States to Oslo, Norway for casting. After casting, the sculpture underwent acidic treatments for several weeks to oxidize the bronze and to create the warm, aged green color. The thickness of the bronze is 3/8 inches up to 1.5 inches. Steel framework was constructed to protect the sculpture during transport. Additional protection for the sculpture was provided using wooden beams, wooden platforms, and burlap covering, for a total shipping weight of 12 tons. For shipping, the sculpture was placed facedown onto a wooden platform. The sculpture was transported by the Fjell Line, who chartered the German freighter Thomas Schulte. After the 4,800 mile journey across the Atlantic Ocean and through the Saint Lawrence Seaway, the freighter arrived at the Port of Detroit on September 20, 1958. The Thomas Schulte was the only freighter with sufficient below deck storage space to accommodate the sculpture while still being able to navigate the Saint Lawrence Seaway. As part of the shipment, four miniature scale models of the sculpture were included to aid with customs clearance. The sculpture was delivered to the Detroit City-County Building (now the Coleman A. Young Municipal Center) and installed onto the marble base for the September 23, 1958 dedication ceremony.The Marshall M. Fredericks Sculpture Museum has the original plaster head for The Spirit of Detroit, as well as a quarter-scale plaster model.The sculpture has regular maintenance, as well as restorations. Once a year, the sculpture is cleaned with non-ionic, biogradable detergents and customized petroleum-based waxes are used for protection. The annual maintenance also includes applying heat to the bronze surface and cupric nitrate in order to preserve the green color and patina. In 1984, the sculpture was covered in plastic while the marble panels behind the statue were replaced. The statue underwent a restoration in 2006, funded by foundations and other private donations. For the sculpture's 50th anniversary, funds from operational savings and energy conservation totalling $170,000 were used for restoration improvements. In 2018, the sculpture had routine maintenance completed which involved touching up the green patina, as well as the gold figures and sphere. On September 21, 2018, the City of Detroit had a ceremony to celebrate the 60th anniversary of the sculpture.In 2017, Spirit Plaza was initially constructed and subsequent upgrades completed in 2019 and paid for by $800,000 in bond funds have yielded a 20,000 square-foot plaza with a playground, stationary musical instruments, tables, chairs, vehicle charging stations, and drinking fountains.In 2013 art dealer and art historian Eric Ian Hornak Spoutz was quoted in The Detroit News stating that the value of the statue is in excess of $1 million. In 2017, the Detroit-Wayne Joint Building Authority said that based on the most recent appraisal of the sculpture, it would cost $6 million to repair significant damage. | [
"Detroit",
"Saint Lawrence Seaway",
"bronze",
"The Detroit News",
"Coleman A. Young Municipal Center",
"Eric Ian Hornak Spoutz",
"Marshall M. Fredericks Sculpture Museum"
] |
|
18013_T | The Spirit of Detroit | Focus on The Spirit of Detroit and discuss the Uses as a community symbol. | As one of Detroit's most easily identifiable landmarks, a sketch or depiction of the statue appears as the central element of most of the logos of Detroit's city departments and services. During the late 20th century, a facsimile of the statue was featured on the Detroit Police Department's insignia and on the sides of its police cars. An image of the statue appears on the "Spirit of Detroit Award" certificate, which is issued by the Detroit City Council to a person, event, or organization deemed to have performed an outstanding achievement or service to the citizens of Detroit. The sculpture is the main image on Detroit Community Scrip.The Spirit of Detroit represents local sports teams, such as when it is dressed in sports jerseys to celebrate local professional teams competing in the playoffs. As the number of sports and non-sports requests for the sculpture to wear jerseys increased, there began to be concerns about damage to the sculpture and starting in 2017, the Detroit-Wayne Joint Building Authority began new rules for having a jersey displayed on the statue, including winning a championship and paying $25,000. The payment was intended to cover the restoration costs after a jersey is removed, including cleaning, reapplying the patina, and reapplying the wax. Another example of local sports team representation is the use of an image of the sculpture as part of the crest of the Detroit City Football Club.The sculpture has also been involved with arts events, such as being dressed in a tuxedo in 1999 during a visit by the Three Tenors. The ceremonial naming of the section of the John C. Lodge Freeway running from Livernois to I-94 in honor of Aretha Franklin was held in front of the sculpture in 2019. Spirit Plaza was the site of a floral tribute, which included 3,000 roses, that commemorated Big Sean's Detroit 2 album release on September 4, 2020.The Spirit of Detroit represents Detroit in media and video games, such as the 2011 Chrysler 200 Super Bowl commercial, "Born of Fire", which featured rapper Eminem along with Detroit landmarks, and the 2018 video game Detroit: Become Human.In 2020, The Spirit of Detroit wore a blue-green shirt and a white ribbon to commemorate medical and "essential" workers during the COVID-19 pandemic. Two people installed the 420 square foot polyester poplin shirt and three foot ribbon. | [
"Detroit",
"Big Sean's",
"John C. Lodge Freeway",
"COVID-19",
"local professional teams",
"Detroit City Football Club",
"Super Bowl",
"Born of Fire",
"Big Sean",
"Detroit Police Department",
"Aretha Franklin",
"Chrysler 200",
"Detroit: Become Human",
"Detroit Community Scrip",
"Detroit 2",
"Eminem",
"Three Tenors"
] |
|
18013_NT | The Spirit of Detroit | Focus on this artwork and discuss the Uses as a community symbol. | As one of Detroit's most easily identifiable landmarks, a sketch or depiction of the statue appears as the central element of most of the logos of Detroit's city departments and services. During the late 20th century, a facsimile of the statue was featured on the Detroit Police Department's insignia and on the sides of its police cars. An image of the statue appears on the "Spirit of Detroit Award" certificate, which is issued by the Detroit City Council to a person, event, or organization deemed to have performed an outstanding achievement or service to the citizens of Detroit. The sculpture is the main image on Detroit Community Scrip.The Spirit of Detroit represents local sports teams, such as when it is dressed in sports jerseys to celebrate local professional teams competing in the playoffs. As the number of sports and non-sports requests for the sculpture to wear jerseys increased, there began to be concerns about damage to the sculpture and starting in 2017, the Detroit-Wayne Joint Building Authority began new rules for having a jersey displayed on the statue, including winning a championship and paying $25,000. The payment was intended to cover the restoration costs after a jersey is removed, including cleaning, reapplying the patina, and reapplying the wax. Another example of local sports team representation is the use of an image of the sculpture as part of the crest of the Detroit City Football Club.The sculpture has also been involved with arts events, such as being dressed in a tuxedo in 1999 during a visit by the Three Tenors. The ceremonial naming of the section of the John C. Lodge Freeway running from Livernois to I-94 in honor of Aretha Franklin was held in front of the sculpture in 2019. Spirit Plaza was the site of a floral tribute, which included 3,000 roses, that commemorated Big Sean's Detroit 2 album release on September 4, 2020.The Spirit of Detroit represents Detroit in media and video games, such as the 2011 Chrysler 200 Super Bowl commercial, "Born of Fire", which featured rapper Eminem along with Detroit landmarks, and the 2018 video game Detroit: Become Human.In 2020, The Spirit of Detroit wore a blue-green shirt and a white ribbon to commemorate medical and "essential" workers during the COVID-19 pandemic. Two people installed the 420 square foot polyester poplin shirt and three foot ribbon. | [
"Detroit",
"Big Sean's",
"John C. Lodge Freeway",
"COVID-19",
"local professional teams",
"Detroit City Football Club",
"Super Bowl",
"Born of Fire",
"Big Sean",
"Detroit Police Department",
"Aretha Franklin",
"Chrysler 200",
"Detroit: Become Human",
"Detroit Community Scrip",
"Detroit 2",
"Eminem",
"Three Tenors"
] |
|
18014_T | Cimabue's Celebrated Madonna | How does Cimabue's Celebrated Madonna elucidate its abstract? | Cimabue's Celebrated Madonna, originally called Cimabue's [Celebrated] Madonna [is] Carried in Procession through the Streets of Florence, is an oil painting by English artist Frederic Leighton. Measuring more than two metres tall and more than five metres wide, the canvas was painted by Leighton from 1853 to 1855 in Rome as his first major work.Since 1988 the work has been displayed in the National Gallery, London, on long-term loan from the Royal Collection, where it was long hung prominently, high above the main vestibule, directly beyond the entrance to the gallery, but more recently it has been in Room 45. In 2018 it was displayed at the top of the Sainsbury Wing staircase.Leighton House has an oil sketch for the painting, and several preparatory drawings. | [
"Florence",
"National Gallery, London",
"Cimabue",
"canvas",
"oil sketch",
"oil painting",
"Royal Collection",
"National Gallery",
"Leighton House",
"Frederic Leighton"
] |
|
18014_NT | Cimabue's Celebrated Madonna | How does this artwork elucidate its abstract? | Cimabue's Celebrated Madonna, originally called Cimabue's [Celebrated] Madonna [is] Carried in Procession through the Streets of Florence, is an oil painting by English artist Frederic Leighton. Measuring more than two metres tall and more than five metres wide, the canvas was painted by Leighton from 1853 to 1855 in Rome as his first major work.Since 1988 the work has been displayed in the National Gallery, London, on long-term loan from the Royal Collection, where it was long hung prominently, high above the main vestibule, directly beyond the entrance to the gallery, but more recently it has been in Room 45. In 2018 it was displayed at the top of the Sainsbury Wing staircase.Leighton House has an oil sketch for the painting, and several preparatory drawings. | [
"Florence",
"National Gallery, London",
"Cimabue",
"canvas",
"oil sketch",
"oil painting",
"Royal Collection",
"National Gallery",
"Leighton House",
"Frederic Leighton"
] |
|
18015_T | Cimabue's Celebrated Madonna | Focus on Cimabue's Celebrated Madonna and analyze the Description. | The picture shows a scene from the 16th century art historian Giorgio Vasari's description of the 13th century procession of an altarpiece of the Madonna and Child through the streets of Florence. The Madonna is being carried from the studio of the Florentine artist Cimabue to the church of Santa Maria Novella. Cimabue himself is depicted immediately in front of the Madonna wearing a laurel wreath upon his head. He is followed by a group including several leading Florentine artistic figures of the day, including his pupil Giotto, the poet Dante Alighieri (leaning on the wall at right), the architect Arnolfo di Cambio, the painters Gaddo Gaddi, Andrea Tafi, Buonamico Buffalmacco and Simone Memmi; the sculptor Nicola Pisano, and on horseback at the right edge of the image, the King of Naples, Charles of Anjou.The Madonna depicted, seen at a very narrow angle in the centre of the painting, is actually not by Cimabue, but instead it is the Rucellai Madonna by Sienese artist Duccio di Buoninsegna. This error is the result of the misattribution of this altarpiece by Vasari which lasted into Leighton's time, an error which was not corrected until 1889 by Franz Wickhoff. Both the Rucellai Madonna and a similar work that is correctly attributed to Cimabue, the Santa Trinita Maestà, are displayed at the Uffizi Gallery in Florence. | [
"Nicola Pisano",
"Santa Maria Novella",
"Florentine artist",
"Giorgio Vasari",
"Dante Alighieri",
"Florence",
"Franz Wickhoff",
"Uffizi",
"Cimabue",
"Duccio",
"King of Naples",
"Buonamico Buffalmacco",
"Sienese artist",
"Duccio di Buoninsegna",
"Santa Trinita Maestà",
"Simone Memmi",
"Uffizi Gallery",
"Gaddo Gaddi",
"Giotto",
"Charles of Anjou",
"Arnolfo di Cambio",
"Madonna and Child",
"altarpiece",
"Andrea Tafi",
"laurel wreath",
"Rucellai Madonna",
"art historian"
] |
|
18015_NT | Cimabue's Celebrated Madonna | Focus on this artwork and analyze the Description. | The picture shows a scene from the 16th century art historian Giorgio Vasari's description of the 13th century procession of an altarpiece of the Madonna and Child through the streets of Florence. The Madonna is being carried from the studio of the Florentine artist Cimabue to the church of Santa Maria Novella. Cimabue himself is depicted immediately in front of the Madonna wearing a laurel wreath upon his head. He is followed by a group including several leading Florentine artistic figures of the day, including his pupil Giotto, the poet Dante Alighieri (leaning on the wall at right), the architect Arnolfo di Cambio, the painters Gaddo Gaddi, Andrea Tafi, Buonamico Buffalmacco and Simone Memmi; the sculptor Nicola Pisano, and on horseback at the right edge of the image, the King of Naples, Charles of Anjou.The Madonna depicted, seen at a very narrow angle in the centre of the painting, is actually not by Cimabue, but instead it is the Rucellai Madonna by Sienese artist Duccio di Buoninsegna. This error is the result of the misattribution of this altarpiece by Vasari which lasted into Leighton's time, an error which was not corrected until 1889 by Franz Wickhoff. Both the Rucellai Madonna and a similar work that is correctly attributed to Cimabue, the Santa Trinita Maestà, are displayed at the Uffizi Gallery in Florence. | [
"Nicola Pisano",
"Santa Maria Novella",
"Florentine artist",
"Giorgio Vasari",
"Dante Alighieri",
"Florence",
"Franz Wickhoff",
"Uffizi",
"Cimabue",
"Duccio",
"King of Naples",
"Buonamico Buffalmacco",
"Sienese artist",
"Duccio di Buoninsegna",
"Santa Trinita Maestà",
"Simone Memmi",
"Uffizi Gallery",
"Gaddo Gaddi",
"Giotto",
"Charles of Anjou",
"Arnolfo di Cambio",
"Madonna and Child",
"altarpiece",
"Andrea Tafi",
"laurel wreath",
"Rucellai Madonna",
"art historian"
] |
|
18016_T | Cimabue's Celebrated Madonna | In Cimabue's Celebrated Madonna, how is the Reception discussed? | The painting was an immediate success for Leighton when he presented it at the 1855 summer exhibition of the Royal Academy of Arts in London where it received near-universal acclaim. Queen Victoria purchased it on the first day of the exhibition for 600 guineas. The National Gallery notes Victoria's diary entry about the painting: "There was a very big picture by a man called Leighton. It is a beautiful painting, quite reminding one of a Paul Veronese, so bright and full of light. Albert was enchanted with it—so much so that he made me buy it." The English artist Dante Gabriel Rossetti wrote that the work proved Leighton's "great power of rich arrangement." His brother, the art critic and writer William Rossetti, was not as enchanted: "His picture has largeness, but not greatness; style, but not intensity; design rather than thought; arrangement rather than conception: it is individual, not specially original." | [
"Royal Academy of Arts",
"Paul Veronese",
"Dante Gabriel Rossetti",
"Albert",
"National Gallery",
"William Rossetti",
"Queen Victoria"
] |
|
18016_NT | Cimabue's Celebrated Madonna | In this artwork, how is the Reception discussed? | The painting was an immediate success for Leighton when he presented it at the 1855 summer exhibition of the Royal Academy of Arts in London where it received near-universal acclaim. Queen Victoria purchased it on the first day of the exhibition for 600 guineas. The National Gallery notes Victoria's diary entry about the painting: "There was a very big picture by a man called Leighton. It is a beautiful painting, quite reminding one of a Paul Veronese, so bright and full of light. Albert was enchanted with it—so much so that he made me buy it." The English artist Dante Gabriel Rossetti wrote that the work proved Leighton's "great power of rich arrangement." His brother, the art critic and writer William Rossetti, was not as enchanted: "His picture has largeness, but not greatness; style, but not intensity; design rather than thought; arrangement rather than conception: it is individual, not specially original." | [
"Royal Academy of Arts",
"Paul Veronese",
"Dante Gabriel Rossetti",
"Albert",
"National Gallery",
"William Rossetti",
"Queen Victoria"
] |
|
18017_T | Shakuntala Patra-lekhan | Focus on Shakuntala Patra-lekhan and explore the abstract. | Shakuntala Patra-lekhan is an 1876 painting by Raja Ravi Varma. The work depicts Shakuntala laying on grass, writing a letter to her lover Dushyanta. The work had won praise for Ravi Varma when it was presented at the Madras Fine Arts Exhibition of 1876. Later acquired by the Duke of Buckingham, the painting was subsequently used in the English translation of Kalidasa's Shakuntalam. | [
"Kalidasa",
"Shakuntala",
"Dushyanta",
"Raja Ravi Varma",
"Duke of Buckingham",
"Shakuntalam"
] |
|
18017_NT | Shakuntala Patra-lekhan | Focus on this artwork and explore the abstract. | Shakuntala Patra-lekhan is an 1876 painting by Raja Ravi Varma. The work depicts Shakuntala laying on grass, writing a letter to her lover Dushyanta. The work had won praise for Ravi Varma when it was presented at the Madras Fine Arts Exhibition of 1876. Later acquired by the Duke of Buckingham, the painting was subsequently used in the English translation of Kalidasa's Shakuntalam. | [
"Kalidasa",
"Shakuntala",
"Dushyanta",
"Raja Ravi Varma",
"Duke of Buckingham",
"Shakuntalam"
] |
|
18018_T | Crown Hotel (Mona Lisa Black Background) | Focus on Crown Hotel (Mona Lisa Black Background) and explain the abstract. | Crown Hotel (Mona Lisa Black Background) is a 1982 painting created by American artist Jean-Michel Basquiat in 1982. The artwork cites Leonardo da Vinci's Mona Lisa and Édouard Manet's Olympia, two canonical works of western art. In June 2013, it sold for $7.4 million at Sotheby’s. | [
"Jean-Michel Basquiat",
"Sotheby’s",
"Olympia",
"western art",
"Mona Lisa",
"Leonardo da Vinci",
"Édouard Manet"
] |
|
18018_NT | Crown Hotel (Mona Lisa Black Background) | Focus on this artwork and explain the abstract. | Crown Hotel (Mona Lisa Black Background) is a 1982 painting created by American artist Jean-Michel Basquiat in 1982. The artwork cites Leonardo da Vinci's Mona Lisa and Édouard Manet's Olympia, two canonical works of western art. In June 2013, it sold for $7.4 million at Sotheby’s. | [
"Jean-Michel Basquiat",
"Sotheby’s",
"Olympia",
"western art",
"Mona Lisa",
"Leonardo da Vinci",
"Édouard Manet"
] |
|
18019_T | Crown Hotel (Mona Lisa Black Background) | Explore the History of this artwork, Crown Hotel (Mona Lisa Black Background). | The artwork was painted in 1982, which is considered Jean-Michel Basquiat's most valuable year. It was first shown by his art dealer Bruno Bischofberger, the Zurich gallery-owner. It was later shown at the Mary Boone Gallery in New York in 1999, and then it was acquired by Comtesse Viviane de Witt. Comtesse Viviane de Witt is married to Jerome de Witt—a descendant of Napoleon's brother Jerome, King of Westphalia. She became one of France's first female auctioneers in 1978.In 2013, Crown Hotel (Mona Lisa Black Background) sold for $7.4 million at Sotheby’s sale of Contemporary Art in Paris and set a record price in France for a Basquiat artwork. Sotheby's said: "It is a powerful yet coherent work of tremendous depth and complexity—the most important Basquiat ever to appear at auction in France." In 2017, that record was surpassed by Jim Crow (1986), which sold for $17.7 million at Christie's in Paris. | [
"Bruno Bischofberger",
"Napoleon",
"Mary Boone Gallery",
"Jean-Michel Basquiat",
"Sotheby’s",
"Jerome, King of Westphalia",
"Mary Boone",
"Jim Crow",
"Christie's",
"Mona Lisa",
"Sotheby's"
] |
|
18019_NT | Crown Hotel (Mona Lisa Black Background) | Explore the History of this artwork. | The artwork was painted in 1982, which is considered Jean-Michel Basquiat's most valuable year. It was first shown by his art dealer Bruno Bischofberger, the Zurich gallery-owner. It was later shown at the Mary Boone Gallery in New York in 1999, and then it was acquired by Comtesse Viviane de Witt. Comtesse Viviane de Witt is married to Jerome de Witt—a descendant of Napoleon's brother Jerome, King of Westphalia. She became one of France's first female auctioneers in 1978.In 2013, Crown Hotel (Mona Lisa Black Background) sold for $7.4 million at Sotheby’s sale of Contemporary Art in Paris and set a record price in France for a Basquiat artwork. Sotheby's said: "It is a powerful yet coherent work of tremendous depth and complexity—the most important Basquiat ever to appear at auction in France." In 2017, that record was surpassed by Jim Crow (1986), which sold for $17.7 million at Christie's in Paris. | [
"Bruno Bischofberger",
"Napoleon",
"Mary Boone Gallery",
"Jean-Michel Basquiat",
"Sotheby’s",
"Jerome, King of Westphalia",
"Mary Boone",
"Jim Crow",
"Christie's",
"Mona Lisa",
"Sotheby's"
] |
|
18020_T | Crown Hotel (Mona Lisa Black Background) | Focus on Crown Hotel (Mona Lisa Black Background) and discuss the Analysis. | Author Jana Evans Braziel describes Crown Hotel (Mona Lisa Black Background) as "a cacophonic visual screen onto which he casts his (and American culture's) anxieties about art, race, class, and commoditization." Basquiat studied the anatomical drawings of Leonardo da Vinci, who was his favorite artist. He references Leonardo's Mona Lisa in the painting with captions like "MONA LISA – SEVENTEEN PERCENT MONA LISA FOR FOOLS."
Basquiat contrasts a black background with a centered frontal figure of a nude white woman surrounded by colorful texts and cartoon heads. The female figure may be a nod to Édouard Manet's Olympia. To the left of the figure, Basquiat directly references Manet's Olympia, a reoccurring subject tackled by Basquiat in his works during that period such as Three quarters of Olympia minus the Servant (1982) and Untitled (Detail of Maid from Olympia) (1982). Author Leonard Emmerling noted that "if a black woman is a rarity in European painting, it is all the more indicative of an underlying racism when one does appear, as Manet's work, merely as the servant of a naked, white-skinned beauty."Above the oval-framed word "OLYMPIA" is a golden crown. The three-pointed crown was Basquiat's signature artistic motif. Although the crown is a sign of royalty and honor, written below is the commodity value: "SIX AMERICAN DOLLARS." Given the title of the painting, Crown Hotel, "the price may be a nightly rate...Is this a hotel or gallery? Are the severed cartoon heads those of dealers? Or pimps?" | [
"Olympia",
"anatomical",
"Mona Lisa",
"commoditization",
"Leonardo da Vinci",
"Édouard Manet",
"motif"
] |
|
18020_NT | Crown Hotel (Mona Lisa Black Background) | Focus on this artwork and discuss the Analysis. | Author Jana Evans Braziel describes Crown Hotel (Mona Lisa Black Background) as "a cacophonic visual screen onto which he casts his (and American culture's) anxieties about art, race, class, and commoditization." Basquiat studied the anatomical drawings of Leonardo da Vinci, who was his favorite artist. He references Leonardo's Mona Lisa in the painting with captions like "MONA LISA – SEVENTEEN PERCENT MONA LISA FOR FOOLS."
Basquiat contrasts a black background with a centered frontal figure of a nude white woman surrounded by colorful texts and cartoon heads. The female figure may be a nod to Édouard Manet's Olympia. To the left of the figure, Basquiat directly references Manet's Olympia, a reoccurring subject tackled by Basquiat in his works during that period such as Three quarters of Olympia minus the Servant (1982) and Untitled (Detail of Maid from Olympia) (1982). Author Leonard Emmerling noted that "if a black woman is a rarity in European painting, it is all the more indicative of an underlying racism when one does appear, as Manet's work, merely as the servant of a naked, white-skinned beauty."Above the oval-framed word "OLYMPIA" is a golden crown. The three-pointed crown was Basquiat's signature artistic motif. Although the crown is a sign of royalty and honor, written below is the commodity value: "SIX AMERICAN DOLLARS." Given the title of the painting, Crown Hotel, "the price may be a nightly rate...Is this a hotel or gallery? Are the severed cartoon heads those of dealers? Or pimps?" | [
"Olympia",
"anatomical",
"Mona Lisa",
"commoditization",
"Leonardo da Vinci",
"Édouard Manet",
"motif"
] |
|
18021_T | Crown Hotel (Mona Lisa Black Background) | How does Crown Hotel (Mona Lisa Black Background) elucidate its Exhibitions? | The painting has been exhibited at the following art institutions:Jean-Michel Basquiat at Galerie Bruno Bischofberger in Zurich, September 11–October 9, 1982.
Jean-Michel Basquiat at FAE Musée d'Art Contemporain in Pully/Lausanne, July 10–November 7, 1993. | [
"Bruno Bischofberger",
"Jean-Michel Basquiat"
] |
|
18021_NT | Crown Hotel (Mona Lisa Black Background) | How does this artwork elucidate its Exhibitions? | The painting has been exhibited at the following art institutions:Jean-Michel Basquiat at Galerie Bruno Bischofberger in Zurich, September 11–October 9, 1982.
Jean-Michel Basquiat at FAE Musée d'Art Contemporain in Pully/Lausanne, July 10–November 7, 1993. | [
"Bruno Bischofberger",
"Jean-Michel Basquiat"
] |
|
18022_T | Tomb of Karl Marx | Focus on Tomb of Karl Marx and analyze the abstract. | The Tomb of Karl Marx stands in the Eastern cemetery of Highgate Cemetery, North London, England. It commemorates the burial sites of Marx, of his wife, Jenny von Westphalen, and other members of his family. Originally buried in a different part of the Eastern cemetery, the bodies were disinterred and reburied at their present location in 1954. The tomb was designed by Laurence Bradshaw and was unveiled in 1956, in a ceremony led by Harry Pollitt, the General Secretary of the Communist Party of Great Britain, which funded the memorial.
The tomb consists of a large bust of Marx in bronze set on a marble pedestal. The pedestal is inscribed with quotes from Marx's works including, on the front, the final words of The Communist Manifesto, "Workers of all lands unite". Since its construction, the tomb has become a place of pilgrimage for followers of Marxist theory. It has also been a target for Marx's opponents, suffering vandalism, and two bomb attacks in the 1970s. It is a Grade I listed structure, the highest listing reserved for buildings and structures of "exceptional interest". | [
"Harry Pollitt",
"Jenny von Westphalen",
"Grade I listed structure",
"North London",
"marble",
"Workers of all lands unite",
"Laurence Bradshaw",
"Communist Party of Great Britain",
"bronze",
"Karl Marx",
"The Communist Manifesto",
"London",
"Highgate Cemetery",
"Marxist theory",
"Marx",
"bust"
] |
|
18022_NT | Tomb of Karl Marx | Focus on this artwork and analyze the abstract. | The Tomb of Karl Marx stands in the Eastern cemetery of Highgate Cemetery, North London, England. It commemorates the burial sites of Marx, of his wife, Jenny von Westphalen, and other members of his family. Originally buried in a different part of the Eastern cemetery, the bodies were disinterred and reburied at their present location in 1954. The tomb was designed by Laurence Bradshaw and was unveiled in 1956, in a ceremony led by Harry Pollitt, the General Secretary of the Communist Party of Great Britain, which funded the memorial.
The tomb consists of a large bust of Marx in bronze set on a marble pedestal. The pedestal is inscribed with quotes from Marx's works including, on the front, the final words of The Communist Manifesto, "Workers of all lands unite". Since its construction, the tomb has become a place of pilgrimage for followers of Marxist theory. It has also been a target for Marx's opponents, suffering vandalism, and two bomb attacks in the 1970s. It is a Grade I listed structure, the highest listing reserved for buildings and structures of "exceptional interest". | [
"Harry Pollitt",
"Jenny von Westphalen",
"Grade I listed structure",
"North London",
"marble",
"Workers of all lands unite",
"Laurence Bradshaw",
"Communist Party of Great Britain",
"bronze",
"Karl Marx",
"The Communist Manifesto",
"London",
"Highgate Cemetery",
"Marxist theory",
"Marx",
"bust"
] |
|
18023_T | Tomb of Karl Marx | In Tomb of Karl Marx, how is the History discussed? | Marx moved to London as a political exile in June 1849. Living originally in Soho, he moved in 1875 to Maitland Park Road, in the north London area of Belsize Park, and this remained his home until his death in 1883. During this period, Marx wrote some of his most notable works, including The Eighteenth Brumaire of Louis Napoleon and Das Kapital. Throughout his time in London, Marx lived in financially straitened circumstances and was heavily reliant on the support of his friend and collaborator Friedrich Engels. Marx died on the afternoon of 14 March 1883 from a combination of bronchitis and pleurisy, exacerbated by an abscess on his lung. He was buried on the following Saturday, at Highgate Cemetery, in the grave prepared for his wife who had died eighteen months previously. Engels spoke the eulogy at the funeral.At least thirteen named individuals attended the funeral. They were, apart from Engels, Eleanor Marx, Edward Aveling, Paul Lafargue, Charles Longuet, Helene Demuth, Wilhelm Liebknecht, Gottlieb Lemke, Frederich Lessner, Georg Lochner, Sir Ray Lankester, Carl Schorlemmer and Ernest Radford. A contemporary newspaper account claims that 25 to 30 relatives and friends attended the funeral. A writer in The Graphic noted that, 'By a strange blunder ...his death was not announced for two days, and then as having taken place at Paris. Next day the correction came from Paris; and when his friends and followers hastened to his house in Haverstock Hill, to learn the time and place of burial, they learned that he was already in the cold ground. But for this secresy [sic] and haste, a great popular demonstration would undoubtedly have been held over his grave'.In 1954, the Marx Memorial Committee, with the agreement of Frederick and Robert-Jean Longuet, Marx's great-grandsons, applied to the Home Office for an exhumation licence allowing the bodies of Marx, his wife, other family members and the Marxs’ housekeeper Helene Demuth to be disinterred and reburied at a new site, some 100 yards from the original graves. The reburials took place during the night of 26/27 November 1954. The reburials were the precursor to the construction of the Karl Marx tomb, designed by Laurence Bradshaw and funded by the Communist Party of Great Britain. The unveiling ceremony on 15 March 1956 was led by the Party's General Secretary, Harry Pollit.Since its construction, the tomb has become a place of veneration for Marx's followers, including some, such as the anti-apartheid activist Yusuf Dadoo and the founder of the Notting Hill Carnival Claudia Jones, who have been buried nearby.The tomb is owned by the Marx Grave Trust. The Friends of Highgate Cemetery Trust, which owns the cemetery, charges an entrance fee to the cemetery to cover the costs of upkeep and maintenance; this has generated some controversy. Marx's grave is among the most visited sites at Highgate and has been described as "one of the most recognisable graves in the world". | [
"Charles Longuet",
"Friedrich Engels",
"Notting Hill Carnival",
"Paul Lafargue",
"The Eighteenth Brumaire of Louis Napoleon",
"Eleanor",
"Helene Demuth",
"anti-apartheid",
"abscess",
"Robert-Jean Longuet",
"Claudia Jones",
"Ray Lankester",
"Gottlieb Lemke",
"Ernest Radford",
"exhumation",
"Carl Schorlemmer",
"The Graphic",
"Laurence Bradshaw",
"Communist Party of Great Britain",
"Edward Aveling",
"Wilhelm Liebknecht",
"Karl Marx",
"Belsize Park",
"Frederich Lessner",
"London",
"Georg Lochner",
"Highgate Cemetery",
"Haverstock",
"Haverstock Hill",
"bronchitis",
"Das Kapital",
"Yusuf Dadoo",
"Marx",
"Eleanor Marx",
"Home Office",
"Soho",
"pleurisy"
] |
|
18023_NT | Tomb of Karl Marx | In this artwork, how is the History discussed? | Marx moved to London as a political exile in June 1849. Living originally in Soho, he moved in 1875 to Maitland Park Road, in the north London area of Belsize Park, and this remained his home until his death in 1883. During this period, Marx wrote some of his most notable works, including The Eighteenth Brumaire of Louis Napoleon and Das Kapital. Throughout his time in London, Marx lived in financially straitened circumstances and was heavily reliant on the support of his friend and collaborator Friedrich Engels. Marx died on the afternoon of 14 March 1883 from a combination of bronchitis and pleurisy, exacerbated by an abscess on his lung. He was buried on the following Saturday, at Highgate Cemetery, in the grave prepared for his wife who had died eighteen months previously. Engels spoke the eulogy at the funeral.At least thirteen named individuals attended the funeral. They were, apart from Engels, Eleanor Marx, Edward Aveling, Paul Lafargue, Charles Longuet, Helene Demuth, Wilhelm Liebknecht, Gottlieb Lemke, Frederich Lessner, Georg Lochner, Sir Ray Lankester, Carl Schorlemmer and Ernest Radford. A contemporary newspaper account claims that 25 to 30 relatives and friends attended the funeral. A writer in The Graphic noted that, 'By a strange blunder ...his death was not announced for two days, and then as having taken place at Paris. Next day the correction came from Paris; and when his friends and followers hastened to his house in Haverstock Hill, to learn the time and place of burial, they learned that he was already in the cold ground. But for this secresy [sic] and haste, a great popular demonstration would undoubtedly have been held over his grave'.In 1954, the Marx Memorial Committee, with the agreement of Frederick and Robert-Jean Longuet, Marx's great-grandsons, applied to the Home Office for an exhumation licence allowing the bodies of Marx, his wife, other family members and the Marxs’ housekeeper Helene Demuth to be disinterred and reburied at a new site, some 100 yards from the original graves. The reburials took place during the night of 26/27 November 1954. The reburials were the precursor to the construction of the Karl Marx tomb, designed by Laurence Bradshaw and funded by the Communist Party of Great Britain. The unveiling ceremony on 15 March 1956 was led by the Party's General Secretary, Harry Pollit.Since its construction, the tomb has become a place of veneration for Marx's followers, including some, such as the anti-apartheid activist Yusuf Dadoo and the founder of the Notting Hill Carnival Claudia Jones, who have been buried nearby.The tomb is owned by the Marx Grave Trust. The Friends of Highgate Cemetery Trust, which owns the cemetery, charges an entrance fee to the cemetery to cover the costs of upkeep and maintenance; this has generated some controversy. Marx's grave is among the most visited sites at Highgate and has been described as "one of the most recognisable graves in the world". | [
"Charles Longuet",
"Friedrich Engels",
"Notting Hill Carnival",
"Paul Lafargue",
"The Eighteenth Brumaire of Louis Napoleon",
"Eleanor",
"Helene Demuth",
"anti-apartheid",
"abscess",
"Robert-Jean Longuet",
"Claudia Jones",
"Ray Lankester",
"Gottlieb Lemke",
"Ernest Radford",
"exhumation",
"Carl Schorlemmer",
"The Graphic",
"Laurence Bradshaw",
"Communist Party of Great Britain",
"Edward Aveling",
"Wilhelm Liebknecht",
"Karl Marx",
"Belsize Park",
"Frederich Lessner",
"London",
"Georg Lochner",
"Highgate Cemetery",
"Haverstock",
"Haverstock Hill",
"bronchitis",
"Das Kapital",
"Yusuf Dadoo",
"Marx",
"Eleanor Marx",
"Home Office",
"Soho",
"pleurisy"
] |
|
18024_T | Tomb of Karl Marx | In the context of Tomb of Karl Marx, explore the Vandalism of the History. | In 1960, a pair of yellow swastikas were painted on the tomb, as well as slogans in German supporting Nazi SS officer Adolf Eichmann, who was then in custody in Israel. The tomb was the subject of two bombing attempts in the 1970s. The tomb was daubed in blue paint in 2011, but no lasting damage was done.
In February 2019, it was discovered that the marble plaque from the original grave was damaged in an attack "seemingly with a hammer". A few days later, the monument was vandalised again, the attacker daubing it with the words "doctrine of hate" and "architect of genocide" in red paint. As a result, the Marx Grave Trust decided to install 24-hour video surveillance around the grave to deter further vandalism. | [
"marble",
"Adolf Eichmann",
"Israel",
"Marx",
"Nazi",
"swastika"
] |
|
18024_NT | Tomb of Karl Marx | In the context of this artwork, explore the Vandalism of the History. | In 1960, a pair of yellow swastikas were painted on the tomb, as well as slogans in German supporting Nazi SS officer Adolf Eichmann, who was then in custody in Israel. The tomb was the subject of two bombing attempts in the 1970s. The tomb was daubed in blue paint in 2011, but no lasting damage was done.
In February 2019, it was discovered that the marble plaque from the original grave was damaged in an attack "seemingly with a hammer". A few days later, the monument was vandalised again, the attacker daubing it with the words "doctrine of hate" and "architect of genocide" in red paint. As a result, the Marx Grave Trust decided to install 24-hour video surveillance around the grave to deter further vandalism. | [
"marble",
"Adolf Eichmann",
"Israel",
"Marx",
"Nazi",
"swastika"
] |
|
18025_T | Tomb of Karl Marx | Focus on Tomb of Karl Marx and explain the Architecture and description. | The tomb was designed by Laurence Bradshaw, an artist, sculptor and a member of the Communist Party since the 1930s. On obtaining the commission, Bradshaw wrote that the challenge was to create, "not a monument to a man only but to a great mind and a great philosopher". The tomb comprises a large bronze bust of Marx's head and shoulders, set on a marble plinth.Bradshaw was responsible for the entire design, including the choice of inscribed texts, and their calligraphy. The texts on the front of the memorial are the closing words of "The Communist Manifesto", "Workers of all lands unite", and those which conclude the Theses on Feuerbach, "The philosophers have only interpreted the world in various ways • the point however is to change it". The sides of the memorial each have three projecting lugs, the top two of which support sculpted wreaths. A central panel records the dates of the births and deaths of Marx, of his wife, of their daughter Eleanor, of their grandson Harry Longuet and of their housekeeper Helene Demuth.Pevsner, which records the pedestal as being constructed "of granite", describes the head as "colossal". Bradshaw wrote that he wanted the bust to convey the "dynamic force of [Marx's] intellect" and for it to appear at eye-level rather than "towering over the people". The architectural writer Clive Aslet considers the tomb "overwheening" and "the least aesthetically pleasing" monument in Highgate Cemetery. The tomb was listed by Historic England in 1974, and its designation raised to the highest grade, Grade I, in 1999. | [
"Pevsner",
"lugs",
"Eleanor",
"Helene Demuth",
"marble",
"Theses on Feuerbach",
"Workers of all lands unite",
"Laurence Bradshaw",
"wreaths",
"bronze",
"Clive Aslet",
"The Communist Manifesto",
"Historic England",
"calligraphy",
"Highgate Cemetery",
"granite",
"Marx",
"bust"
] |
|
18025_NT | Tomb of Karl Marx | Focus on this artwork and explain the Architecture and description. | The tomb was designed by Laurence Bradshaw, an artist, sculptor and a member of the Communist Party since the 1930s. On obtaining the commission, Bradshaw wrote that the challenge was to create, "not a monument to a man only but to a great mind and a great philosopher". The tomb comprises a large bronze bust of Marx's head and shoulders, set on a marble plinth.Bradshaw was responsible for the entire design, including the choice of inscribed texts, and their calligraphy. The texts on the front of the memorial are the closing words of "The Communist Manifesto", "Workers of all lands unite", and those which conclude the Theses on Feuerbach, "The philosophers have only interpreted the world in various ways • the point however is to change it". The sides of the memorial each have three projecting lugs, the top two of which support sculpted wreaths. A central panel records the dates of the births and deaths of Marx, of his wife, of their daughter Eleanor, of their grandson Harry Longuet and of their housekeeper Helene Demuth.Pevsner, which records the pedestal as being constructed "of granite", describes the head as "colossal". Bradshaw wrote that he wanted the bust to convey the "dynamic force of [Marx's] intellect" and for it to appear at eye-level rather than "towering over the people". The architectural writer Clive Aslet considers the tomb "overwheening" and "the least aesthetically pleasing" monument in Highgate Cemetery. The tomb was listed by Historic England in 1974, and its designation raised to the highest grade, Grade I, in 1999. | [
"Pevsner",
"lugs",
"Eleanor",
"Helene Demuth",
"marble",
"Theses on Feuerbach",
"Workers of all lands unite",
"Laurence Bradshaw",
"wreaths",
"bronze",
"Clive Aslet",
"The Communist Manifesto",
"Historic England",
"calligraphy",
"Highgate Cemetery",
"granite",
"Marx",
"bust"
] |
|
18026_T | A,A | Explore the abstract of this artwork, A,A. | The A,A is a sculpture by artist Jim Sanborn, located on the campus of the University of Houston, adjacent to the M.D. Anderson Library.
Completed in 2004, it was installed on campus at a reported cost of $240,000. The work of art took the sculptor a year to complete.
The A,A is composed of portions of poems, novels, and prose from a number of different languages from different parts of the world. Some languages included on the art includes Arabic, Russian, Spanish, and Chinese. At night, a built-in light projector casts light through the sculpture. This causes the effect of illuminating the sculpture's text onto the outside of the library's walls.In addition to the sculpture in front of the M.D. Anderson Library, there are two additions from Sanborn inside the library. These include a 24-foot-long (7.3 m) bronze scroll detailing the history of papermaking that hangs from the ceiling of the first floor and bronze panels along some of the guardrails containing portions of poems and other literature. | [
"Houston",
"Jim Sanborn",
"University of Houston",
"M.D. Anderson Library"
] |
|
18026_NT | A,A | Explore the abstract of this artwork. | The A,A is a sculpture by artist Jim Sanborn, located on the campus of the University of Houston, adjacent to the M.D. Anderson Library.
Completed in 2004, it was installed on campus at a reported cost of $240,000. The work of art took the sculptor a year to complete.
The A,A is composed of portions of poems, novels, and prose from a number of different languages from different parts of the world. Some languages included on the art includes Arabic, Russian, Spanish, and Chinese. At night, a built-in light projector casts light through the sculpture. This causes the effect of illuminating the sculpture's text onto the outside of the library's walls.In addition to the sculpture in front of the M.D. Anderson Library, there are two additions from Sanborn inside the library. These include a 24-foot-long (7.3 m) bronze scroll detailing the history of papermaking that hangs from the ceiling of the first floor and bronze panels along some of the guardrails containing portions of poems and other literature. | [
"Houston",
"Jim Sanborn",
"University of Houston",
"M.D. Anderson Library"
] |
|
18027_T | Catherine of Alexandria (Palladas) | Focus on Catherine of Alexandria (Palladas) and discuss the abstract. | Catherine of Alexandria is a tempera painting created by Ieremias Palladas. Palladas was a monk associated with Saint Catherine's sacred monastery in Egypt also known as Mount Sinai. He was a painter and teacher. His nephew became the Patriarch of Alexandria. His name was Gerasimos Palladas. Ieremias was a Sinaitic monk because of his association with Saint Catherine's monastery on Mount Sinai. The monastery encloses the site where it is assumed by Christians that Moses saw the burning bush. Ieremias was one of the most influential figures of his time. The Patriarch of Jerusalem Nectarius wrote about the painter in his archives.Saint Catherine was an educated woman and princess from Alexandria, Egypt. She was alive from 287 to 305. She died seven years before Constantine recognized the new Christian religion. She was tortured by Emperor Maxentius because she converted hundreds of people to the new Christian faith. She was almost put to death by a spiked wheel. She is often depicted in art as an educated woman with a spiked wheel. Palladas finished one of the most influential paintings of the figure for the iconostasis of Saint Catherine's Monastery in Mount Sinai, Egypt. It became the prototype for Catherine of Alexandria. During the same period, another Sinaitic monk named Theocharis Silvestros painted several versions of the prototype. Countless artists copied the work namely, Emmanuel Lambardos, Victor and Philotheos Skoufos. | [
"Emmanuel Lambardos",
"spiked wheel",
"Catherine",
"Theocharis Silvestros",
"Patriarch of Alexandria",
"Ieremias",
"Moses",
"Mount Sinai",
"Gerasimos Palladas",
"Saint Catherine",
"Palladas",
"Maxentius",
"Constantine",
"Saint Catherine's Monastery",
"burning bush",
"Patriarch of Jerusalem Nectarius",
"Catherine of Alexandria",
"Victor",
"Philotheos Skoufos",
"Ieremias Palladas"
] |
|
18027_NT | Catherine of Alexandria (Palladas) | Focus on this artwork and discuss the abstract. | Catherine of Alexandria is a tempera painting created by Ieremias Palladas. Palladas was a monk associated with Saint Catherine's sacred monastery in Egypt also known as Mount Sinai. He was a painter and teacher. His nephew became the Patriarch of Alexandria. His name was Gerasimos Palladas. Ieremias was a Sinaitic monk because of his association with Saint Catherine's monastery on Mount Sinai. The monastery encloses the site where it is assumed by Christians that Moses saw the burning bush. Ieremias was one of the most influential figures of his time. The Patriarch of Jerusalem Nectarius wrote about the painter in his archives.Saint Catherine was an educated woman and princess from Alexandria, Egypt. She was alive from 287 to 305. She died seven years before Constantine recognized the new Christian religion. She was tortured by Emperor Maxentius because she converted hundreds of people to the new Christian faith. She was almost put to death by a spiked wheel. She is often depicted in art as an educated woman with a spiked wheel. Palladas finished one of the most influential paintings of the figure for the iconostasis of Saint Catherine's Monastery in Mount Sinai, Egypt. It became the prototype for Catherine of Alexandria. During the same period, another Sinaitic monk named Theocharis Silvestros painted several versions of the prototype. Countless artists copied the work namely, Emmanuel Lambardos, Victor and Philotheos Skoufos. | [
"Emmanuel Lambardos",
"spiked wheel",
"Catherine",
"Theocharis Silvestros",
"Patriarch of Alexandria",
"Ieremias",
"Moses",
"Mount Sinai",
"Gerasimos Palladas",
"Saint Catherine",
"Palladas",
"Maxentius",
"Constantine",
"Saint Catherine's Monastery",
"burning bush",
"Patriarch of Jerusalem Nectarius",
"Catherine of Alexandria",
"Victor",
"Philotheos Skoufos",
"Ieremias Palladas"
] |
|
18028_T | Catherine of Alexandria (Palladas) | How does Catherine of Alexandria (Palladas) elucidate its Description? | The materials used were egg tempera on gold leaf and wood panel. The height is 158.7 cm (62.2 in) and the width is 117.8 cm (46.4 in). The painting is over 5 feet tall, it was completed in 1612. It was part of a large group of paintings completed for the iconostasis of Saint Catherine's Monastery in Mount Sinai, Egypt. The icon features Catherine of Alexandria. The princess sits in a position similar to Palladas's earlier work depicting Saint Catherine. The artist created an advanced version of his earlier work.Palladas integrates Michael Damaskinos's Virgin of the Burning Bush in the middle ground. The artist clearly attempts to escape the traditional maniera greca and incorporates the prevalent Cretan style. The painting exhibits deeper space and enhanced three-dimensionality. The artist clearly superimposes Damaskinos's work in the background. The mountains are painted in the traditional Cretan style. The mountains are Jebel Mousa featuring Moses and Theotokos as the burning bush and Jebel Katrin with the tomb of Saint Catherine accompanied by two angels. The gilded background fits into the three-dimensional space. The artist also creates a natural scene with green valleys.
Palladas aimed to construct a figure with substance and dimensionality. He integrated academic themes in the foreground. Symbols of wisdom are present. Books, square and compasses, a gnomon, an inkwell with quills, and an astrolabe are all present. In her right hand, she holds the martyr's palm. Her left-hand rests on a spiked wheel. In the same hand, she also holds a cross. She looks at the cross indicating a connection with Jesus. Her stance is very similar to a painting by Venetian painter Lorenzo Lotto. His Saint Catherine resembles the pose of Palladas's work. Her head is shifted to our right. Her waist and legs are shifted towards our left.
She is enthroned and dressed in royal attire. The model was an elaborate Venetian garment. Her cape-like Pellegrina is draped over her dress. It follows the traditional Greek Italian Byzantine style where the stole is draped over her left arm. The cape-like garment also features two eagles. To our left, a book rests on an ornamented Venetian style lectern. Below the books, there is a Greek inscription:Αἰκατερίνα καὶ σοφὴ καὶ παρθένος, ἐκ δὲ ξίφους καὶ μάρτυς, ὢ καλὰ τρία (The three virtues of Catherine, wise, pure and martyred by the sword. His signature is also on the painting ΧΕΙΡ ΙΕΡΕΜΙΟΥ (by the hand of Jeremiah). | [
"spiked wheel",
"Catherine",
"astrolabe",
"Moses",
"Mount Sinai",
"stole",
"lectern",
"Pellegrina",
"Saint Catherine",
"Palladas",
"left",
"Lorenzo Lotto",
"Theotokos",
"Virgin of the Burning Bush",
"Saint Catherine's Monastery",
"burning bush",
"Catherine of Alexandria",
"Jebel Katrin",
"Lotto",
"square and compasses",
"gnomon",
"Jebel Mousa",
"Michael Damaskinos"
] |
|
18028_NT | Catherine of Alexandria (Palladas) | How does this artwork elucidate its Description? | The materials used were egg tempera on gold leaf and wood panel. The height is 158.7 cm (62.2 in) and the width is 117.8 cm (46.4 in). The painting is over 5 feet tall, it was completed in 1612. It was part of a large group of paintings completed for the iconostasis of Saint Catherine's Monastery in Mount Sinai, Egypt. The icon features Catherine of Alexandria. The princess sits in a position similar to Palladas's earlier work depicting Saint Catherine. The artist created an advanced version of his earlier work.Palladas integrates Michael Damaskinos's Virgin of the Burning Bush in the middle ground. The artist clearly attempts to escape the traditional maniera greca and incorporates the prevalent Cretan style. The painting exhibits deeper space and enhanced three-dimensionality. The artist clearly superimposes Damaskinos's work in the background. The mountains are painted in the traditional Cretan style. The mountains are Jebel Mousa featuring Moses and Theotokos as the burning bush and Jebel Katrin with the tomb of Saint Catherine accompanied by two angels. The gilded background fits into the three-dimensional space. The artist also creates a natural scene with green valleys.
Palladas aimed to construct a figure with substance and dimensionality. He integrated academic themes in the foreground. Symbols of wisdom are present. Books, square and compasses, a gnomon, an inkwell with quills, and an astrolabe are all present. In her right hand, she holds the martyr's palm. Her left-hand rests on a spiked wheel. In the same hand, she also holds a cross. She looks at the cross indicating a connection with Jesus. Her stance is very similar to a painting by Venetian painter Lorenzo Lotto. His Saint Catherine resembles the pose of Palladas's work. Her head is shifted to our right. Her waist and legs are shifted towards our left.
She is enthroned and dressed in royal attire. The model was an elaborate Venetian garment. Her cape-like Pellegrina is draped over her dress. It follows the traditional Greek Italian Byzantine style where the stole is draped over her left arm. The cape-like garment also features two eagles. To our left, a book rests on an ornamented Venetian style lectern. Below the books, there is a Greek inscription:Αἰκατερίνα καὶ σοφὴ καὶ παρθένος, ἐκ δὲ ξίφους καὶ μάρτυς, ὢ καλὰ τρία (The three virtues of Catherine, wise, pure and martyred by the sword. His signature is also on the painting ΧΕΙΡ ΙΕΡΕΜΙΟΥ (by the hand of Jeremiah). | [
"spiked wheel",
"Catherine",
"astrolabe",
"Moses",
"Mount Sinai",
"stole",
"lectern",
"Pellegrina",
"Saint Catherine",
"Palladas",
"left",
"Lorenzo Lotto",
"Theotokos",
"Virgin of the Burning Bush",
"Saint Catherine's Monastery",
"burning bush",
"Catherine of Alexandria",
"Jebel Katrin",
"Lotto",
"square and compasses",
"gnomon",
"Jebel Mousa",
"Michael Damaskinos"
] |
|
18029_T | Catherine of Alexandria (Palladas) | Focus on Catherine of Alexandria (Palladas) and analyze the Scientific Element. | Countless researchers have studied the painting due to its scientific component. Historian Flora Vafea wrote a detailed analysis of the painting in her paper entitled The Astronomical Instruments in Saint Catherine’s iconography at the Holy Monastery of Sinai. The paper details the intricate scientific element within the painting. In front of the spiked wheel on top of two books, the painter adds an astronomical instrument. Palladas painted intricate details on the device. The astronomical instrument was the pictorial representation of astronomical scientific knowledge at that time.The instrument was called System of the Universe (Σύστημα τοῦ Παντός). The instrument is a solid globe. It contains detailed inscriptions relating to astronomy. It offers five parallel segments the arctic circle, summer colure or (summer tropic), equator, winter colure or (winter tropic), and the antarctic circle. It also features two depictions of the zodiac. The circle turns either left or right. It features unequal divisions of zodiac signs. There are unequal divisions of ecliptic symbols longer at the center and shorter at the sides.The celestial spheres are drawn from the Ptolemaic system. Earth is depicted as a blue sphere with circles of geographic coordinates. The line representing the axis of the Earth covers the entire instrument. The Earth casts a bluish shadow on the opposite side of the Sun, and the Moon turns its illuminated part towards the Sun. There are twelve more spheres. The spheres are named in Greek: Selene (moon), Hermes (Mercury), Aphrodite (Venus), Helios (Sun), Ares (Mars), Zeus (Jupiter), and Chronos (Saturn). They are also represented by unique symbols. Fixed stars are also present, they are painted as red and white spots. The depiction of the stars and the five circles on the celestial globes was observed by astronomers Geminus and Leontios Mechanikos.The five parallel celestial circles outline six zones. A greek phrase is written on the outer circle outlining the different phases of the sun. The instrument features attributes of the sun written in Greek. In the north, it outlines: frigid, temperate, and torrid. In the south, it outlines: torrid, temperate and frigid. The painter also adds a zodiac circle on the slanted line of the instrument. It also features the symbols for Libra, Scorpio, Sagittarius, Capricorn, Aquarius and Pisces. The lines are separated by degrees. The instrument also features a calendar and a meridian ring. The instrument closely resembles an astrolabe. His contemporaries added an armillary sphere or a celestial globe in their versions of his painting. | [
"spiked wheel",
"Hermes",
"Catherine",
"Selene",
"astrolabe",
"Astronomical Instrument",
"colure",
"Aphrodite",
"armillary sphere",
"Chronos",
"Saint Catherine",
"Palladas",
"left",
"Ares",
"celestial globe",
"Zeus",
"Geminus",
"Helios"
] |
|
18029_NT | Catherine of Alexandria (Palladas) | Focus on this artwork and analyze the Scientific Element. | Countless researchers have studied the painting due to its scientific component. Historian Flora Vafea wrote a detailed analysis of the painting in her paper entitled The Astronomical Instruments in Saint Catherine’s iconography at the Holy Monastery of Sinai. The paper details the intricate scientific element within the painting. In front of the spiked wheel on top of two books, the painter adds an astronomical instrument. Palladas painted intricate details on the device. The astronomical instrument was the pictorial representation of astronomical scientific knowledge at that time.The instrument was called System of the Universe (Σύστημα τοῦ Παντός). The instrument is a solid globe. It contains detailed inscriptions relating to astronomy. It offers five parallel segments the arctic circle, summer colure or (summer tropic), equator, winter colure or (winter tropic), and the antarctic circle. It also features two depictions of the zodiac. The circle turns either left or right. It features unequal divisions of zodiac signs. There are unequal divisions of ecliptic symbols longer at the center and shorter at the sides.The celestial spheres are drawn from the Ptolemaic system. Earth is depicted as a blue sphere with circles of geographic coordinates. The line representing the axis of the Earth covers the entire instrument. The Earth casts a bluish shadow on the opposite side of the Sun, and the Moon turns its illuminated part towards the Sun. There are twelve more spheres. The spheres are named in Greek: Selene (moon), Hermes (Mercury), Aphrodite (Venus), Helios (Sun), Ares (Mars), Zeus (Jupiter), and Chronos (Saturn). They are also represented by unique symbols. Fixed stars are also present, they are painted as red and white spots. The depiction of the stars and the five circles on the celestial globes was observed by astronomers Geminus and Leontios Mechanikos.The five parallel celestial circles outline six zones. A greek phrase is written on the outer circle outlining the different phases of the sun. The instrument features attributes of the sun written in Greek. In the north, it outlines: frigid, temperate, and torrid. In the south, it outlines: torrid, temperate and frigid. The painter also adds a zodiac circle on the slanted line of the instrument. It also features the symbols for Libra, Scorpio, Sagittarius, Capricorn, Aquarius and Pisces. The lines are separated by degrees. The instrument also features a calendar and a meridian ring. The instrument closely resembles an astrolabe. His contemporaries added an armillary sphere or a celestial globe in their versions of his painting. | [
"spiked wheel",
"Hermes",
"Catherine",
"Selene",
"astrolabe",
"Astronomical Instrument",
"colure",
"Aphrodite",
"armillary sphere",
"Chronos",
"Saint Catherine",
"Palladas",
"left",
"Ares",
"celestial globe",
"Zeus",
"Geminus",
"Helios"
] |
|
18030_T | A Nude Woman Doing Her Hair Before a Mirror | In A Nude Woman Doing Her Hair Before a Mirror, how is the Analysis discussed? | The image of the back-facing woman occupied by her toilet is an intimate everyday scene. The private atmosphere of the image is emphasised by the muted colors, as well as the effective way in which Eckersberg manages to both reveal and cover the woman's intimacy using the mirror edge and the cloth wrapped around her hips. One senses that the woman feels that she is alone and may see the viewer through the keyhole in the door behind her.The model's position goes back to ancient Greek ideals, as seen in the sculpture Venus de Milo .
The painting has also been called the "Hirschsprung Venus",
and in Marianne Saabye's words shows "[classic] calm and grace". Venus de Milo was found in 1820,
and the Academy had acquired a casting in the late 1820s.The absence of eye contact with the viewer in A Nude Woman Doing Her Hair Before a Mirror is seen in several of Eckersberg's other nude paintings.
This applies to Female model study: Florentine (1840), Naked Woman in the Process of Pulling On Her Slippers (1843), A Young Girl Undressing (1844), and the Academy of Fine Arts' five nude paintings from 1837.
In the study of Florentine from 1840, she is seen uncovered from the front and the absent eye contact has been interpreted as "a pronounced discretion" on Eckersberg's part towards the female model.
Another common feature of Eckersberg's model studies from the 1830s and 1840s is the incidence of light from the left side of the image, regardless of how the model is posed.
Neela Struck has noticed geometric patterns in the picture. In addition to the upright rectangular format, there is the oval shape of the mirror and the triangle that is formed by the left arm and its shadow on the body, as well as the triangle by the bent right hand.
She believes that "nowhere is it clearer than in this picture how Eckersberg connected his interest in the laws of the picture, in mathematics and geometry, with his interest in the study of the naked female body."Eckersberg's picture is not the only popular Danish painting of a woman with her back turned.
Later painters also used the motif.
Perhaps best known is Vilhelm Hammershøi's pictures of his wife Ida Hammershøi.
Here, the painter, like Eckersberg, shows the woman in the process of everyday chores; however, the woman is only a small part of the interior painting and she is fully clothed.
Examples are Interior with Young Woman Seen from the Back (c. 1903–04) and Living Room in Strandgade with Sunshine on the Floor.
For Interior with Young Woman Seen from the Back the woman stands close to the wall, her head is turned and her hair is done up so that the neck is visible and parts of the wall panel are visible.
Anna Ancher's Girl in the Kitchen (c. 1886) and Interior also have the back-turned woman as a motif.
Finally, there is Poul Ekelund's painting Standing figure: Woman seen from the back 1/2 figure (1974) showing strong inspiration from Eckersberg's painting. Ekelund's painting is part of the National Gallery of Denmark's collection. | [
"Marianne Saabye",
"Anna Ancher",
"nude",
"National Gallery",
"National Gallery of Denmark",
"Poul Ekelund",
"Greek",
" left ",
"casting",
"Vilhelm Hammershøi",
"discretion",
"Interior with Young Woman Seen from the Back",
"left",
"Venus de Milo"
] |
|
18030_NT | A Nude Woman Doing Her Hair Before a Mirror | In this artwork, how is the Analysis discussed? | The image of the back-facing woman occupied by her toilet is an intimate everyday scene. The private atmosphere of the image is emphasised by the muted colors, as well as the effective way in which Eckersberg manages to both reveal and cover the woman's intimacy using the mirror edge and the cloth wrapped around her hips. One senses that the woman feels that she is alone and may see the viewer through the keyhole in the door behind her.The model's position goes back to ancient Greek ideals, as seen in the sculpture Venus de Milo .
The painting has also been called the "Hirschsprung Venus",
and in Marianne Saabye's words shows "[classic] calm and grace". Venus de Milo was found in 1820,
and the Academy had acquired a casting in the late 1820s.The absence of eye contact with the viewer in A Nude Woman Doing Her Hair Before a Mirror is seen in several of Eckersberg's other nude paintings.
This applies to Female model study: Florentine (1840), Naked Woman in the Process of Pulling On Her Slippers (1843), A Young Girl Undressing (1844), and the Academy of Fine Arts' five nude paintings from 1837.
In the study of Florentine from 1840, she is seen uncovered from the front and the absent eye contact has been interpreted as "a pronounced discretion" on Eckersberg's part towards the female model.
Another common feature of Eckersberg's model studies from the 1830s and 1840s is the incidence of light from the left side of the image, regardless of how the model is posed.
Neela Struck has noticed geometric patterns in the picture. In addition to the upright rectangular format, there is the oval shape of the mirror and the triangle that is formed by the left arm and its shadow on the body, as well as the triangle by the bent right hand.
She believes that "nowhere is it clearer than in this picture how Eckersberg connected his interest in the laws of the picture, in mathematics and geometry, with his interest in the study of the naked female body."Eckersberg's picture is not the only popular Danish painting of a woman with her back turned.
Later painters also used the motif.
Perhaps best known is Vilhelm Hammershøi's pictures of his wife Ida Hammershøi.
Here, the painter, like Eckersberg, shows the woman in the process of everyday chores; however, the woman is only a small part of the interior painting and she is fully clothed.
Examples are Interior with Young Woman Seen from the Back (c. 1903–04) and Living Room in Strandgade with Sunshine on the Floor.
For Interior with Young Woman Seen from the Back the woman stands close to the wall, her head is turned and her hair is done up so that the neck is visible and parts of the wall panel are visible.
Anna Ancher's Girl in the Kitchen (c. 1886) and Interior also have the back-turned woman as a motif.
Finally, there is Poul Ekelund's painting Standing figure: Woman seen from the back 1/2 figure (1974) showing strong inspiration from Eckersberg's painting. Ekelund's painting is part of the National Gallery of Denmark's collection. | [
"Marianne Saabye",
"Anna Ancher",
"nude",
"National Gallery",
"National Gallery of Denmark",
"Poul Ekelund",
"Greek",
" left ",
"casting",
"Vilhelm Hammershøi",
"discretion",
"Interior with Young Woman Seen from the Back",
"left",
"Venus de Milo"
] |
|
18031_T | A Nude Woman Doing Her Hair Before a Mirror | Focus on A Nude Woman Doing Her Hair Before a Mirror and explore the Provenance. | Eckersberg sold the painting in 1843, when Bertel Thorvaldsen visited Eckersberg's studio at Charlottenborg with Baroness Christine Stampe on 9 February. She bought it for 20 daler. "Mrs. Stampe got the little half-naked figure of Florentine" wrote Eckersberg in his diary and the day after "Mrs. Stampe sent 20 daler for the small Figure with bare back at her Toilet." Later it came into the ownership of merchant Heinrich Hirschsprung, and was registered in the Emil Hannover catalogue of Eckersberg's works from 1898.
This was after Hirschsprung had acquired it in 1895 from Mrs Nanna Holtum. | [
"Bertel Thorvaldsen",
"Charlottenborg",
"Christine Stampe",
"Heinrich Hirschsprung",
"studio"
] |
|
18031_NT | A Nude Woman Doing Her Hair Before a Mirror | Focus on this artwork and explore the Provenance. | Eckersberg sold the painting in 1843, when Bertel Thorvaldsen visited Eckersberg's studio at Charlottenborg with Baroness Christine Stampe on 9 February. She bought it for 20 daler. "Mrs. Stampe got the little half-naked figure of Florentine" wrote Eckersberg in his diary and the day after "Mrs. Stampe sent 20 daler for the small Figure with bare back at her Toilet." Later it came into the ownership of merchant Heinrich Hirschsprung, and was registered in the Emil Hannover catalogue of Eckersberg's works from 1898.
This was after Hirschsprung had acquired it in 1895 from Mrs Nanna Holtum. | [
"Bertel Thorvaldsen",
"Charlottenborg",
"Christine Stampe",
"Heinrich Hirschsprung",
"studio"
] |
|
18032_T | A Nude Woman Doing Her Hair Before a Mirror | Focus on A Nude Woman Doing Her Hair Before a Mirror and explain the Exhibition history. | The painting has been exhibited several times and catalogued: Eckersberg in 1895 (catalogue number 293), Hirschsprung 1902 (969) and London 1907 (166). It was part of the exhibition The Naked Golden Age which was shown at the Hirschsprung Collection from 8 September to 27 November 1994.
Here it was exhibited with the accompanying sketch and L.A. Smith's contemporaneous painting.
The preface of the exhibition catalogue mentions that the seeds for the exhibition lay in questions that arose from the uncertainty of the dating and the absence of Eckersberg's signature.
In 2013, the painting, along with 69 other works from the Hirschsprung Collection, was lent to the Hamburger Kunsthalle
for the exhibition Denmark's Breakthrough to Modernism: The Hirschsprung Collection from Eckersberg to Hammershøi. It was not part of the National Gallery of Denmark's large Eckersberg exhibition in 2015, Eckersberg – A Beautiful Lie, but was, however, reproduced and analysed in the exhibition's accompanying book.
In certain written works the painting is dated to about 1837. The reason is apparently that Emil Hannover in his book The Painter C. W. Eckersberg: A Study in Danish Art History, wrote about the painting: "Seems to have been painted around the time of the female model studies (...) belonging to the Academy of Art." Recent authoritative works from the Hirschsprung Collection indicate, however, the year 1841. The correction came about after examination of Eckersberg's diaries and material from the Academy's archives.His student Ludvig August Smith's contemporaneous painting Female Model in Front of a Mirror is in the Loeb Danish Art Collection. Eckersberg's study in pencil and watercolour is in the National Gallery in Oslo, while the drawing from 1850 with the female model standing in Florentine's posture has been in private ownership since it was catalogued for the exhibition The Naked Golden Age. | [
"Ludvig August Smith",
"National Gallery",
"Hirschsprung Collection",
"National Gallery of Denmark",
"The Hirschsprung Collection",
"Hamburger Kunsthalle"
] |
|
18032_NT | A Nude Woman Doing Her Hair Before a Mirror | Focus on this artwork and explain the Exhibition history. | The painting has been exhibited several times and catalogued: Eckersberg in 1895 (catalogue number 293), Hirschsprung 1902 (969) and London 1907 (166). It was part of the exhibition The Naked Golden Age which was shown at the Hirschsprung Collection from 8 September to 27 November 1994.
Here it was exhibited with the accompanying sketch and L.A. Smith's contemporaneous painting.
The preface of the exhibition catalogue mentions that the seeds for the exhibition lay in questions that arose from the uncertainty of the dating and the absence of Eckersberg's signature.
In 2013, the painting, along with 69 other works from the Hirschsprung Collection, was lent to the Hamburger Kunsthalle
for the exhibition Denmark's Breakthrough to Modernism: The Hirschsprung Collection from Eckersberg to Hammershøi. It was not part of the National Gallery of Denmark's large Eckersberg exhibition in 2015, Eckersberg – A Beautiful Lie, but was, however, reproduced and analysed in the exhibition's accompanying book.
In certain written works the painting is dated to about 1837. The reason is apparently that Emil Hannover in his book The Painter C. W. Eckersberg: A Study in Danish Art History, wrote about the painting: "Seems to have been painted around the time of the female model studies (...) belonging to the Academy of Art." Recent authoritative works from the Hirschsprung Collection indicate, however, the year 1841. The correction came about after examination of Eckersberg's diaries and material from the Academy's archives.His student Ludvig August Smith's contemporaneous painting Female Model in Front of a Mirror is in the Loeb Danish Art Collection. Eckersberg's study in pencil and watercolour is in the National Gallery in Oslo, while the drawing from 1850 with the female model standing in Florentine's posture has been in private ownership since it was catalogued for the exhibition The Naked Golden Age. | [
"Ludvig August Smith",
"National Gallery",
"Hirschsprung Collection",
"National Gallery of Denmark",
"The Hirschsprung Collection",
"Hamburger Kunsthalle"
] |
|
18033_T | A Nude Woman Doing Her Hair Before a Mirror | Explore the Rating of this artwork, A Nude Woman Doing Her Hair Before a Mirror. | The painting is now part of the Hirschsprung Collection, where it is on the list of the museum's 20 main works.
The museum's former director, Marianne Saabye, has called it "one of the most internationally famous Danish works of art".
Others who have rated the work of art highly are
Hans Edvard Nørregård-Nielsen, who considers it one of the period's Danish masterpieces,
and Uwe Max Jensen has called it "the most popular Golden Age painting in existence and one of the masterpieces of Danish painting".
The travel guide The Rough Guide to Copenhagen mentions the painting as one amongst four paintings in the book's description of the Hirschsprung Collection.Sally Henrique's much lesser known painting with the same motif as Eckersberg's painting was sold at Bruun Rasmussen Art Auctions for DKK 520,000 in 2002. The auction house wrote a few years later that Eckersberg's painting was "not only Eckersberg's most famous nude model study, but one of the artist's most famous works in general". | [
"Marianne Saabye",
"nude",
"Hirschsprung Collection",
"Copenhagen"
] |
|
18033_NT | A Nude Woman Doing Her Hair Before a Mirror | Explore the Rating of this artwork. | The painting is now part of the Hirschsprung Collection, where it is on the list of the museum's 20 main works.
The museum's former director, Marianne Saabye, has called it "one of the most internationally famous Danish works of art".
Others who have rated the work of art highly are
Hans Edvard Nørregård-Nielsen, who considers it one of the period's Danish masterpieces,
and Uwe Max Jensen has called it "the most popular Golden Age painting in existence and one of the masterpieces of Danish painting".
The travel guide The Rough Guide to Copenhagen mentions the painting as one amongst four paintings in the book's description of the Hirschsprung Collection.Sally Henrique's much lesser known painting with the same motif as Eckersberg's painting was sold at Bruun Rasmussen Art Auctions for DKK 520,000 in 2002. The auction house wrote a few years later that Eckersberg's painting was "not only Eckersberg's most famous nude model study, but one of the artist's most famous works in general". | [
"Marianne Saabye",
"nude",
"Hirschsprung Collection",
"Copenhagen"
] |
|
18034_T | A Nude Woman Doing Her Hair Before a Mirror | Focus on A Nude Woman Doing Her Hair Before a Mirror and discuss the In Popular Culture. | The popular painting has been used for several book covers. Both Patricia G. Berman's Danish New Light on 19th Century Danish Painting and English In Another Light: Danish Painting in the Nineteenth Century use the image.
The painting is also reproduced on the front page of The Naked Golden Age , the catalogue published in connection with the Hirschsprung Collection's exhibition in 1994, where pictures from Eckersberg and his students were shown.The artwork has been called "a painting with understated eroticism", and its erotic hints meant that it was initially banned on Facebook when a tourism organisation in 2015 wanted to use an image of the painting in an advertisement on social media. Facebook stated as a reason for the censorship: "We do not allow images or videos that suggest nudity through, for example, blurring or cropping. Such ads are sensitive and typically provoke negative reactions from viewers."
However, Facebook later admitted that the censorship was a mistake and allowed the image to be used in an ad on the site.The Hirschsprung Collection sells a reproduction of the painting, which is larger than the original. | [
"Hirschsprung Collection",
"The Hirschsprung Collection"
] |
|
18034_NT | A Nude Woman Doing Her Hair Before a Mirror | Focus on this artwork and discuss the In Popular Culture. | The popular painting has been used for several book covers. Both Patricia G. Berman's Danish New Light on 19th Century Danish Painting and English In Another Light: Danish Painting in the Nineteenth Century use the image.
The painting is also reproduced on the front page of The Naked Golden Age , the catalogue published in connection with the Hirschsprung Collection's exhibition in 1994, where pictures from Eckersberg and his students were shown.The artwork has been called "a painting with understated eroticism", and its erotic hints meant that it was initially banned on Facebook when a tourism organisation in 2015 wanted to use an image of the painting in an advertisement on social media. Facebook stated as a reason for the censorship: "We do not allow images or videos that suggest nudity through, for example, blurring or cropping. Such ads are sensitive and typically provoke negative reactions from viewers."
However, Facebook later admitted that the censorship was a mistake and allowed the image to be used in an ad on the site.The Hirschsprung Collection sells a reproduction of the painting, which is larger than the original. | [
"Hirschsprung Collection",
"The Hirschsprung Collection"
] |
|
18035_T | Worker and Kolkhoz Woman | How does Worker and Kolkhoz Woman elucidate its abstract? | Worker and Kolkhoz Woman (Russian: Рабочий и колхозница, tr. Rabochiy i kolkhoznitsa) is a sculpture of two figures with a sickle and a hammer raised over their heads. The concept and compositional design belong to the architect Boris Iofan. It is 24.5 metres (78 feet) high, made from stainless steel by Vera Mukhina for the 1937 World's Fair in Paris, and subsequently moved to Moscow. The sculpture is an example of socialist realism in an Art Deco aesthetic. The worker holds aloft a hammer and the kolkhoz woman a sickle to form the hammer and sickle symbol. | [
"Moscow",
"socialist realism",
"Art Deco",
"Vera Mukhina",
"1937 World's Fair",
"hammer and sickle",
"Boris Iofan",
"Worker and Kolkhoz Woman",
"stainless steel",
"Paris",
"sickle and a hammer",
"kolkhoz",
"Kolkhoz"
] |
|
18035_NT | Worker and Kolkhoz Woman | How does this artwork elucidate its abstract? | Worker and Kolkhoz Woman (Russian: Рабочий и колхозница, tr. Rabochiy i kolkhoznitsa) is a sculpture of two figures with a sickle and a hammer raised over their heads. The concept and compositional design belong to the architect Boris Iofan. It is 24.5 metres (78 feet) high, made from stainless steel by Vera Mukhina for the 1937 World's Fair in Paris, and subsequently moved to Moscow. The sculpture is an example of socialist realism in an Art Deco aesthetic. The worker holds aloft a hammer and the kolkhoz woman a sickle to form the hammer and sickle symbol. | [
"Moscow",
"socialist realism",
"Art Deco",
"Vera Mukhina",
"1937 World's Fair",
"hammer and sickle",
"Boris Iofan",
"Worker and Kolkhoz Woman",
"stainless steel",
"Paris",
"sickle and a hammer",
"kolkhoz",
"Kolkhoz"
] |
|
18036_T | Worker and Kolkhoz Woman | Focus on Worker and Kolkhoz Woman and analyze the History. | The sculpture was originally created to crown the Soviet pavilion of the 1937 World's Fair. The organisers had placed the Soviet and German pavilions facing each other across the main pedestrian boulevard at the Trocadéro on the north bank of the Seine.Mukhina was inspired by her study of the classical Harmodius and Aristogeiton, the Winged Victory of Samothrace and La Marseillaise, François Rude's sculptural group for the Arc de Triomphe, to bring a monumental composition of socialist realist confidence to the heart of Paris. The symbolism of the two figures striding from West to East, as determined by the layout of the pavilion, was also not lost on the spectators.Mukhina said that her sculpture was intended "to continue the idea inherent in the building, and this sculpture was to be an inseparable part of the whole structure", but after the fair, the Rabochiy i Kolkhoznitsa was relocated to Moscow where it was placed just outside the All-Russia Exhibition Centre.
In 1941, the sculpture earned Mukhina one of the initial batch of Stalin Prizes.The sculpture was removed for restoration in autumn of 2003 during the city's Expo 2010 bid.The plan during this process was that the sculpture could be back at their place in 2005, who what not happening due two factors: one was that the city lost the bidding process to Shanghai, and a many financial problems and re-installation was delayed.
At the end of 2009 the monument returned to its place at VDNKh after 6 years of restorations. The revealing of the restored monument was held on the evening of December 4, 2009, accompanied by fireworks and a light show. The restored statue uses a new pavilion as pedestal, increasing its total height from 34.5 metres (the old pedestal was 10 metres tall) to 60 metres (the new pavilion is 34.5 metres tall plus the 24.5 metres of the statue itself). | [
"Stalin Prize",
"Shanghai",
"Moscow",
"1937 World's Fair",
"La Marseillaise",
"François Rude",
"Seine",
"VDNKh",
"All-Russia Exhibition Centre",
"Trocadéro",
"Arc de Triomphe",
"Paris",
"Expo 2010",
"Winged Victory of Samothrace",
"Kolkhoz",
"Harmodius and Aristogeiton"
] |
|
18036_NT | Worker and Kolkhoz Woman | Focus on this artwork and analyze the History. | The sculpture was originally created to crown the Soviet pavilion of the 1937 World's Fair. The organisers had placed the Soviet and German pavilions facing each other across the main pedestrian boulevard at the Trocadéro on the north bank of the Seine.Mukhina was inspired by her study of the classical Harmodius and Aristogeiton, the Winged Victory of Samothrace and La Marseillaise, François Rude's sculptural group for the Arc de Triomphe, to bring a monumental composition of socialist realist confidence to the heart of Paris. The symbolism of the two figures striding from West to East, as determined by the layout of the pavilion, was also not lost on the spectators.Mukhina said that her sculpture was intended "to continue the idea inherent in the building, and this sculpture was to be an inseparable part of the whole structure", but after the fair, the Rabochiy i Kolkhoznitsa was relocated to Moscow where it was placed just outside the All-Russia Exhibition Centre.
In 1941, the sculpture earned Mukhina one of the initial batch of Stalin Prizes.The sculpture was removed for restoration in autumn of 2003 during the city's Expo 2010 bid.The plan during this process was that the sculpture could be back at their place in 2005, who what not happening due two factors: one was that the city lost the bidding process to Shanghai, and a many financial problems and re-installation was delayed.
At the end of 2009 the monument returned to its place at VDNKh after 6 years of restorations. The revealing of the restored monument was held on the evening of December 4, 2009, accompanied by fireworks and a light show. The restored statue uses a new pavilion as pedestal, increasing its total height from 34.5 metres (the old pedestal was 10 metres tall) to 60 metres (the new pavilion is 34.5 metres tall plus the 24.5 metres of the statue itself). | [
"Stalin Prize",
"Shanghai",
"Moscow",
"1937 World's Fair",
"La Marseillaise",
"François Rude",
"Seine",
"VDNKh",
"All-Russia Exhibition Centre",
"Trocadéro",
"Arc de Triomphe",
"Paris",
"Expo 2010",
"Winged Victory of Samothrace",
"Kolkhoz",
"Harmodius and Aristogeiton"
] |
|
18037_T | Worker and Kolkhoz Woman | In Worker and Kolkhoz Woman, how is the Manufacturing and installation discussed? | The main structure of the monument was made at The Moscow factory of aggregate machine tools and automatic lines (called "Stankoagregat"), while the smaller components of the outer covering were created at the pilot plant of the Central Research Institute of Mechanical Engineering and Metalworking, overseen by Professor Pyotr Nikolayevich Lvov. He suggested using stainless chrome-nickel steel for the sculpture, despite initial doubts from Vera Mukhina and the rest of the team. The main reason steel was chosen over bronze and copper was because it had a better ability to reflect light. The goal was for the monument to shine brighter than the eagle on the German pavilion and the Eiffel Tower. Lvov invented resistance spot welding, a technique that was used to skin airplanes since the 1930s. Instead of using the traditional riveting method, the decision was made to use this technology for assembling the sculpture.
At the start of the project, the workers had four plaster models to use, with the tallest one being 95 cm. They assembled the monument in the factory courtyard using a crane that was 35 meters high with a 15-meter boom. The templates for the plating parts were made of wood, and the carpenters used 15 cm thick boards. The molded parts were then shaped from inside the monument. People involved in the project remembered these details: "Working in February was particularly challenging due to the cold weather and strong winds. The only respite from the wind was inside the frame or "under the skirt of the Kolkhoznitsa". To keep warm, we relied on a fire that was built in a cauldron dug into the ground. Additionally, we had to manually weld the sheathing sheets".
A different approach was needed to create the hands and heads of the sculpture. Instead of using wooden templates, clay was used to fill in the damaged wooden blanks for the heads, which were then molded with steel. The creation of the scarf posed challenges, as it was a large and heavy piece that needed to be supported without external help. During the creation of this artwork, factory director S. P. Tambovtsev criticized Mukhina for causing delays with numerous revisions and claimed that the scarf she had designed could potentially damage the sculpture during windy weather. Tambovtsev even stated that Lev Trotsky, who was considered an "enemy of the people", could be seen in certain angles of the frame. However, his complaints were ignored, and engineers B.A. Dzerzhkovich and A.A. Prikhozhan managed to create a truss to support the scarf, allowing it to appear as if it was floating behind two figures.
During this time period, the sculpture was created and it was supported by a heavy frame weighing 63 tons. The outer shells of the sculpture, made from thin sheets of 0.5 mm steel, only weighed 12 tons. The entire process took three and a half months. Once the sculpture was assembled, it was visited by a government commission led by Kliment Voroshilov, the People's Commissar of Defense. Later that evening, Joseph Stalin, the leader of the USSR, inspected the finished monument. Shortly after, the sculpture was dismantled for transportation to Paris. | [
"Moscow",
"Eiffel Tower",
"Vera Mukhina",
"enemy of the people",
"Joseph Stalin",
"right",
"Kliment Voroshilov",
"bronze",
"Lev Trotsky",
"Paris",
"Kolkhoz",
"spot welding",
"copper"
] |
|
18037_NT | Worker and Kolkhoz Woman | In this artwork, how is the Manufacturing and installation discussed? | The main structure of the monument was made at The Moscow factory of aggregate machine tools and automatic lines (called "Stankoagregat"), while the smaller components of the outer covering were created at the pilot plant of the Central Research Institute of Mechanical Engineering and Metalworking, overseen by Professor Pyotr Nikolayevich Lvov. He suggested using stainless chrome-nickel steel for the sculpture, despite initial doubts from Vera Mukhina and the rest of the team. The main reason steel was chosen over bronze and copper was because it had a better ability to reflect light. The goal was for the monument to shine brighter than the eagle on the German pavilion and the Eiffel Tower. Lvov invented resistance spot welding, a technique that was used to skin airplanes since the 1930s. Instead of using the traditional riveting method, the decision was made to use this technology for assembling the sculpture.
At the start of the project, the workers had four plaster models to use, with the tallest one being 95 cm. They assembled the monument in the factory courtyard using a crane that was 35 meters high with a 15-meter boom. The templates for the plating parts were made of wood, and the carpenters used 15 cm thick boards. The molded parts were then shaped from inside the monument. People involved in the project remembered these details: "Working in February was particularly challenging due to the cold weather and strong winds. The only respite from the wind was inside the frame or "under the skirt of the Kolkhoznitsa". To keep warm, we relied on a fire that was built in a cauldron dug into the ground. Additionally, we had to manually weld the sheathing sheets".
A different approach was needed to create the hands and heads of the sculpture. Instead of using wooden templates, clay was used to fill in the damaged wooden blanks for the heads, which were then molded with steel. The creation of the scarf posed challenges, as it was a large and heavy piece that needed to be supported without external help. During the creation of this artwork, factory director S. P. Tambovtsev criticized Mukhina for causing delays with numerous revisions and claimed that the scarf she had designed could potentially damage the sculpture during windy weather. Tambovtsev even stated that Lev Trotsky, who was considered an "enemy of the people", could be seen in certain angles of the frame. However, his complaints were ignored, and engineers B.A. Dzerzhkovich and A.A. Prikhozhan managed to create a truss to support the scarf, allowing it to appear as if it was floating behind two figures.
During this time period, the sculpture was created and it was supported by a heavy frame weighing 63 tons. The outer shells of the sculpture, made from thin sheets of 0.5 mm steel, only weighed 12 tons. The entire process took three and a half months. Once the sculpture was assembled, it was visited by a government commission led by Kliment Voroshilov, the People's Commissar of Defense. Later that evening, Joseph Stalin, the leader of the USSR, inspected the finished monument. Shortly after, the sculpture was dismantled for transportation to Paris. | [
"Moscow",
"Eiffel Tower",
"Vera Mukhina",
"enemy of the people",
"Joseph Stalin",
"right",
"Kliment Voroshilov",
"bronze",
"Lev Trotsky",
"Paris",
"Kolkhoz",
"spot welding",
"copper"
] |
|
18038_T | Worker and Kolkhoz Woman | Focus on Worker and Kolkhoz Woman and explore the Renovation. | In 2003, plans were made to restore the monument, and it was supposed to be finished by 2005. The Moscow government provided a budget of 35 million rubles for the dismantling process, including 5 million US dollars for scaffolding to meet safety regulations. However, the project was put on hold due to suspected embezzlement, and it was not resumed until 2007 after several inspections.
On December 31, 2008, the government announced a new tender for the restoration with a maximum contract amount of 2.395 billion rubles. The only company to participate and win the tender that same day was SK Strategia, a subsidiary of Inteko owned by Yelena Baturina, the wife of former Moscow mayor Yuri Luzhkov. The contract amount was increased to 2.905 billion rubles. Finally, the restoration was completed in November 2009.
The sculpture project was led by Vadim Tserkovnikov and the materials were made by the Vladimir Kucherenko Central Research Institute of Steel Structures. The casting and installation were done at the Energomash plant in Belgorod. The Melnikov Central Research Institute of Steel Structures worked on new calculations and designs for the frame, as the original documentation was not available and the new materials have different properties. The employees at the All-Russian Institute Of Aviation Materials (VIAM), under the leadership of E.N. Kablov, developed coatings and materials that are highly resistant to corrosion in order to restore the sculpture.
The sculpture was taken apart into 40 pieces and each piece was photographed to assess the level of damage caused by corrosion. Only 10% of the pieces needed to be replaced completely, while the rest could be restored. Additionally, the welding points were examined through radiography, with over one million points being checked. The sculpture had design flaws that made it not airtight, resulting in moisture buildup and pigeons nesting inside.
The second step in the reconstruction process involved cleaning the sculpture. The contaminants, particularly in the scarf and skirt areas, had accumulated over 70 years and resembled stalactites. Technobior developed a highly toxic and fluid substance to dissolve these contaminants and fully clean the surface. VIAM created an anti-corrosion paste specifically for the restoration of this sculpture, which won an award at an international exhibition. This paste can be applied at any angle, prevents spreading, enhances adhesion, and increases resistance to environmental damage. A ton of paste was used to treat the sculpture parts, and an additional protective compound was applied on top.
Under Tserkovnikov's guidance, a new triple frame was calculated and designed for the monument. This frame is divided into a load-bearing frame, an intermediate frame, and a structural frame that connects the shell and load-bearing frame. As a result of the reconstruction, the weight of the support increased by 2.5 times to account for the load of hurricane wind. The total weight of the monument now stands at 200 tons. The sculpture was placed on the pavilion, following the general design of Iofan's original project from 1937. The length of the building is 66 meters, and the original coat of arms created for the exhibition in 1937 is installed on the facade.
The monument was installed on November 28, 2009, using a specialized crane from Finland, of which there are only three in existence. The official unveiling of the monument occurred on December 4, 2009.
The total cost of dismantling, storing, and restoring the sculpture was 2.9 billion rubles. However, experts believe that this amount is at least twice as high as it should be. Vadim Tserkovnikov mentioned in an interview that the actual restoration expenses were much lower compared to the additional costs, such as constructing a 60-meter high scaffolding and hiring a crane from Finland, which cost several tens of millions of rubles. | [
"Moscow",
"All-Russian Institute Of Aviation Materials",
"Yuri Luzhkov",
"Belgorod",
"Yelena Baturina"
] |
|
18038_NT | Worker and Kolkhoz Woman | Focus on this artwork and explore the Renovation. | In 2003, plans were made to restore the monument, and it was supposed to be finished by 2005. The Moscow government provided a budget of 35 million rubles for the dismantling process, including 5 million US dollars for scaffolding to meet safety regulations. However, the project was put on hold due to suspected embezzlement, and it was not resumed until 2007 after several inspections.
On December 31, 2008, the government announced a new tender for the restoration with a maximum contract amount of 2.395 billion rubles. The only company to participate and win the tender that same day was SK Strategia, a subsidiary of Inteko owned by Yelena Baturina, the wife of former Moscow mayor Yuri Luzhkov. The contract amount was increased to 2.905 billion rubles. Finally, the restoration was completed in November 2009.
The sculpture project was led by Vadim Tserkovnikov and the materials were made by the Vladimir Kucherenko Central Research Institute of Steel Structures. The casting and installation were done at the Energomash plant in Belgorod. The Melnikov Central Research Institute of Steel Structures worked on new calculations and designs for the frame, as the original documentation was not available and the new materials have different properties. The employees at the All-Russian Institute Of Aviation Materials (VIAM), under the leadership of E.N. Kablov, developed coatings and materials that are highly resistant to corrosion in order to restore the sculpture.
The sculpture was taken apart into 40 pieces and each piece was photographed to assess the level of damage caused by corrosion. Only 10% of the pieces needed to be replaced completely, while the rest could be restored. Additionally, the welding points were examined through radiography, with over one million points being checked. The sculpture had design flaws that made it not airtight, resulting in moisture buildup and pigeons nesting inside.
The second step in the reconstruction process involved cleaning the sculpture. The contaminants, particularly in the scarf and skirt areas, had accumulated over 70 years and resembled stalactites. Technobior developed a highly toxic and fluid substance to dissolve these contaminants and fully clean the surface. VIAM created an anti-corrosion paste specifically for the restoration of this sculpture, which won an award at an international exhibition. This paste can be applied at any angle, prevents spreading, enhances adhesion, and increases resistance to environmental damage. A ton of paste was used to treat the sculpture parts, and an additional protective compound was applied on top.
Under Tserkovnikov's guidance, a new triple frame was calculated and designed for the monument. This frame is divided into a load-bearing frame, an intermediate frame, and a structural frame that connects the shell and load-bearing frame. As a result of the reconstruction, the weight of the support increased by 2.5 times to account for the load of hurricane wind. The total weight of the monument now stands at 200 tons. The sculpture was placed on the pavilion, following the general design of Iofan's original project from 1937. The length of the building is 66 meters, and the original coat of arms created for the exhibition in 1937 is installed on the facade.
The monument was installed on November 28, 2009, using a specialized crane from Finland, of which there are only three in existence. The official unveiling of the monument occurred on December 4, 2009.
The total cost of dismantling, storing, and restoring the sculpture was 2.9 billion rubles. However, experts believe that this amount is at least twice as high as it should be. Vadim Tserkovnikov mentioned in an interview that the actual restoration expenses were much lower compared to the additional costs, such as constructing a 60-meter high scaffolding and hiring a crane from Finland, which cost several tens of millions of rubles. | [
"Moscow",
"All-Russian Institute Of Aviation Materials",
"Yuri Luzhkov",
"Belgorod",
"Yelena Baturina"
] |
|
18039_T | Worker and Kolkhoz Woman | Focus on Worker and Kolkhoz Woman and explain the Use in media. | In Soviet cinema, the sculpture was chosen in 1947 to serve as the logo for the film studio Mosfilm. It can be seen in the opening credits of the film Red Heat, as well as many of the Russian films released by the Mosfilm studio itself.
A giant moving reproduction of the statue was featured in the opening ceremony of the 2014 Winter Olympics in Sochi, Russia, symbolizing post-World War II Soviet society, particularly in Moscow. | [
"Red Heat",
"Moscow",
"Mosfilm",
"film studio",
"opening ceremony",
"2014 Winter Olympics in Sochi, Russia",
"2014 Winter Olympics"
] |
|
18039_NT | Worker and Kolkhoz Woman | Focus on this artwork and explain the Use in media. | In Soviet cinema, the sculpture was chosen in 1947 to serve as the logo for the film studio Mosfilm. It can be seen in the opening credits of the film Red Heat, as well as many of the Russian films released by the Mosfilm studio itself.
A giant moving reproduction of the statue was featured in the opening ceremony of the 2014 Winter Olympics in Sochi, Russia, symbolizing post-World War II Soviet society, particularly in Moscow. | [
"Red Heat",
"Moscow",
"Mosfilm",
"film studio",
"opening ceremony",
"2014 Winter Olympics in Sochi, Russia",
"2014 Winter Olympics"
] |
|
18040_T | Statue of Charles Sumner (Cambridge, Massachusetts) | Explore the abstract of this artwork, Statue of Charles Sumner (Cambridge, Massachusetts). | A bronze statue of Charles Sumner, by sculptor Anne Whitney, is installed in General MacArthur Square in Cambridge, Massachusetts. The plaster model for the statue is on display indoors at the Watertown public library. The sculpture of Sumner, a popular local statesman, was commissioned by the Boston Art Committee shortly after his death in 1874. | [
"Watertown",
"sculpture",
"Anne Whitney",
"Cambridge, Massachusetts",
"Charles Sumner",
"General MacArthur Square"
] |
|
18040_NT | Statue of Charles Sumner (Cambridge, Massachusetts) | Explore the abstract of this artwork. | A bronze statue of Charles Sumner, by sculptor Anne Whitney, is installed in General MacArthur Square in Cambridge, Massachusetts. The plaster model for the statue is on display indoors at the Watertown public library. The sculpture of Sumner, a popular local statesman, was commissioned by the Boston Art Committee shortly after his death in 1874. | [
"Watertown",
"sculpture",
"Anne Whitney",
"Cambridge, Massachusetts",
"Charles Sumner",
"General MacArthur Square"
] |
|
18041_T | Statue of Charles Sumner (Cambridge, Massachusetts) | Focus on Statue of Charles Sumner (Cambridge, Massachusetts) and discuss the History. | In 1875, the Boston Art Committee hosted a blind competition for model sculptures of Sumner. Whitney knew Sumner, a senator and abolitionist, through her brother Alexander, who had been a classmate of Sumner's. She depicted him seated in a chair, in part because of the artistic practice of portraying people seated to "represent dignity and something of state." She won the contest, including some prize money, however when the judges realized they had selected a work made by a woman, they decided it would be inappropriate for a woman to sculpt a man's legs, and rejected it for installation. They selected a different sculpture by Thomas Ball, which was installed in the Boston Public Garden.Both the Sumners and the Whitneys were disappointed by this turn of events, but Whitney wrote in a letter, "Bury your grievance; it will take more than the Boston Art committee to quench me." She exhibited the model of Sumner at the Centennial Exposition of 1876 in Philadelphia, and elsewhere around the country. Following an 1879 exhibit of the model, the New York Evening Post wrote of the judge's decision, "Think of a woman bringing her mind to bear on the legs of a man-even if those legs were inside a pair of stone trousers!" The New York Evening Telegram wrote a verse which starts:
In 1902, an anonymous donor funded the casting of the statue, and friends arranged for its installation in General MacArthur Square, by Harvard Square. | [
"sculpture",
"Thomas Ball",
"Philadelphia",
"New York Evening Telegram",
"Boston Public Garden",
"Harvard Square",
"New York Evening Post",
"Centennial Exposition",
"General MacArthur Square"
] |
|
18041_NT | Statue of Charles Sumner (Cambridge, Massachusetts) | Focus on this artwork and discuss the History. | In 1875, the Boston Art Committee hosted a blind competition for model sculptures of Sumner. Whitney knew Sumner, a senator and abolitionist, through her brother Alexander, who had been a classmate of Sumner's. She depicted him seated in a chair, in part because of the artistic practice of portraying people seated to "represent dignity and something of state." She won the contest, including some prize money, however when the judges realized they had selected a work made by a woman, they decided it would be inappropriate for a woman to sculpt a man's legs, and rejected it for installation. They selected a different sculpture by Thomas Ball, which was installed in the Boston Public Garden.Both the Sumners and the Whitneys were disappointed by this turn of events, but Whitney wrote in a letter, "Bury your grievance; it will take more than the Boston Art committee to quench me." She exhibited the model of Sumner at the Centennial Exposition of 1876 in Philadelphia, and elsewhere around the country. Following an 1879 exhibit of the model, the New York Evening Post wrote of the judge's decision, "Think of a woman bringing her mind to bear on the legs of a man-even if those legs were inside a pair of stone trousers!" The New York Evening Telegram wrote a verse which starts:
In 1902, an anonymous donor funded the casting of the statue, and friends arranged for its installation in General MacArthur Square, by Harvard Square. | [
"sculpture",
"Thomas Ball",
"Philadelphia",
"New York Evening Telegram",
"Boston Public Garden",
"Harvard Square",
"New York Evening Post",
"Centennial Exposition",
"General MacArthur Square"
] |
|
18042_T | Portrait of Alphonse Leroy | How does Portrait of Alphonse Leroy elucidate its abstract? | Portrait of Alphonse Leroy is a 1783 portrait of doctor and man-midwife Alphonse Leroy by Jacques-Louis David, now in the Musée Fabre in Montpellier, which bought it in 1829.
It shows its subject looking towards the spectator and leaning on a closed copy of Hippocrates' Morbi mulierum, a work on women's illnesses. On the desk is a 'lampe à quinquet', invented by Leroy himself. Together the lamp and book make reference to Cesare Ripa's Iconologia, which states these are the attributes of a study.
The naturalistic attention to detail and its bright tonality show how David was influenced by Flemish painters during his 1781 stay in Flanders. One of his pupils, Jean-François Garneray, assisted in painting the hands and fabrics. It was first exhibited at the Paris Salon of 1783. | [
"Cesare Ripa",
"Alphonse Leroy",
"Montpellier",
"Paris Salon",
"Musée Fabre",
"Jacques-Louis David",
"Hippocrates",
"Jean-François Garneray"
] |
|
18042_NT | Portrait of Alphonse Leroy | How does this artwork elucidate its abstract? | Portrait of Alphonse Leroy is a 1783 portrait of doctor and man-midwife Alphonse Leroy by Jacques-Louis David, now in the Musée Fabre in Montpellier, which bought it in 1829.
It shows its subject looking towards the spectator and leaning on a closed copy of Hippocrates' Morbi mulierum, a work on women's illnesses. On the desk is a 'lampe à quinquet', invented by Leroy himself. Together the lamp and book make reference to Cesare Ripa's Iconologia, which states these are the attributes of a study.
The naturalistic attention to detail and its bright tonality show how David was influenced by Flemish painters during his 1781 stay in Flanders. One of his pupils, Jean-François Garneray, assisted in painting the hands and fabrics. It was first exhibited at the Paris Salon of 1783. | [
"Cesare Ripa",
"Alphonse Leroy",
"Montpellier",
"Paris Salon",
"Musée Fabre",
"Jacques-Louis David",
"Hippocrates",
"Jean-François Garneray"
] |
|
18043_T | Head of a Faun | Focus on Head of a Faun and analyze the abstract. | Head of a Faun is a lost sculpture by Italian Renaissance master Michelangelo, dating from c. 1489. His first known work of sculpture in marble, it was sculpted when he was 15 or 16 as a copy of an antique work with some minor alterations. According to Giorgio Vasari's biography of the artist, it was the creation of this work that secured the young Michelangelo the patronage of Lorenzo de' Medici. | [
"Michelangelo",
"Giorgio Vasari",
"Lorenzo de' Medici"
] |
|
18043_NT | Head of a Faun | Focus on this artwork and analyze the abstract. | Head of a Faun is a lost sculpture by Italian Renaissance master Michelangelo, dating from c. 1489. His first known work of sculpture in marble, it was sculpted when he was 15 or 16 as a copy of an antique work with some minor alterations. According to Giorgio Vasari's biography of the artist, it was the creation of this work that secured the young Michelangelo the patronage of Lorenzo de' Medici. | [
"Michelangelo",
"Giorgio Vasari",
"Lorenzo de' Medici"
] |
|
18044_T | Virgin Annunciate (Antonello da Messina, Palermo) | In Virgin Annunciate (Antonello da Messina, Palermo), how is the abstract discussed? | The Virgin Annunciate is a painting by the Italian Renaissance artist Antonello da Messina, housed in the Palazzo Abatellis, Palermo, region of Sicily, Italy. Probably painted in Sicily in 1476, it shows Mary interrupted at her reading by the Angel of the Annunciation. It is painted in oil on panel, a technique introduced to Italy by its artist, who had learned it from North European artists such as Petrus Christus - by thus abandoning tempera technique he was able to produce the finely-detailed works typical of him."The painting was bequeathed to the Museo Nazionale (later, the Palazzo Abatellis) in 1906 by the Cavaliere Di Giovanni, who had purchased it from the Colluzio family in Palermo..." | [
"Petrus Christus",
"Annunciation",
"Sicily",
"Mary",
"Renaissance",
"Antonello da Messina",
"Palermo",
"Palazzo Abatellis"
] |
|
18044_NT | Virgin Annunciate (Antonello da Messina, Palermo) | In this artwork, how is the abstract discussed? | The Virgin Annunciate is a painting by the Italian Renaissance artist Antonello da Messina, housed in the Palazzo Abatellis, Palermo, region of Sicily, Italy. Probably painted in Sicily in 1476, it shows Mary interrupted at her reading by the Angel of the Annunciation. It is painted in oil on panel, a technique introduced to Italy by its artist, who had learned it from North European artists such as Petrus Christus - by thus abandoning tempera technique he was able to produce the finely-detailed works typical of him."The painting was bequeathed to the Museo Nazionale (later, the Palazzo Abatellis) in 1906 by the Cavaliere Di Giovanni, who had purchased it from the Colluzio family in Palermo..." | [
"Petrus Christus",
"Annunciation",
"Sicily",
"Mary",
"Renaissance",
"Antonello da Messina",
"Palermo",
"Palazzo Abatellis"
] |
|
18045_T | Virgin Annunciate (Antonello da Messina, Palermo) | Focus on Virgin Annunciate (Antonello da Messina, Palermo) and explore the Analysis. | As is typical in individual portraits by the same artist, Mary is shown three-quarter-length. He had used the blue cloak in the shape of two triangles a year earlier in another work on the same subject now in Munich's Alte Pinakothek. Mary is shown looking out of the picture, not at the viewer but an unseen archangel Gabriel out of frame to the left, thus allowing the painter to dispense with also painting Gabriel.
The unusually simple depiction of Mary dispenses with the lush brocade folds in Antonello's later works and the gold background used by earlier artists, showing her simply as a young Jewish woman surprised by the archangel's words. With its few heavy folds, her simple woollen garment anticipates the High Renaissance, whilst the diagonally-placed lectern seems to break out of the picture plane and open up to the viewer.The image's symmetrical rigour draws on Piero della Francesca, whose works Antonello had seen in Urbino in the 1460s. The restrained palette and simple background are also notable, focussing the viewer's attention on Mary's emotions. | [
"Mary",
"Renaissance",
"High Renaissance",
"Piero della Francesca",
"Urbino",
"archangel Gabriel",
"Alte Pinakothek"
] |
|
18045_NT | Virgin Annunciate (Antonello da Messina, Palermo) | Focus on this artwork and explore the Analysis. | As is typical in individual portraits by the same artist, Mary is shown three-quarter-length. He had used the blue cloak in the shape of two triangles a year earlier in another work on the same subject now in Munich's Alte Pinakothek. Mary is shown looking out of the picture, not at the viewer but an unseen archangel Gabriel out of frame to the left, thus allowing the painter to dispense with also painting Gabriel.
The unusually simple depiction of Mary dispenses with the lush brocade folds in Antonello's later works and the gold background used by earlier artists, showing her simply as a young Jewish woman surprised by the archangel's words. With its few heavy folds, her simple woollen garment anticipates the High Renaissance, whilst the diagonally-placed lectern seems to break out of the picture plane and open up to the viewer.The image's symmetrical rigour draws on Piero della Francesca, whose works Antonello had seen in Urbino in the 1460s. The restrained palette and simple background are also notable, focussing the viewer's attention on Mary's emotions. | [
"Mary",
"Renaissance",
"High Renaissance",
"Piero della Francesca",
"Urbino",
"archangel Gabriel",
"Alte Pinakothek"
] |
|
18046_T | Capitoline Wolf | Focus on Capitoline Wolf and explain the abstract. | The Capitoline Wolf (Italian: Lupa Capitolina) is a bronze sculpture depicting a scene from the legend of the founding of Rome. The sculpture shows a she-wolf suckling the mythical twin founders of Rome, Romulus and Remus. According to the legend, when King Numitor, grandfather of the twins, was overthrown by his brother Amulius in Alba Longa, the usurper ordered them to be cast into the Tiber River. They were rescued by a she-wolf that cared for them until a herdsman, Faustulus, found and raised them.
The age and origin of the Capitoline Wolf are controversial. The statue was long thought to be an Etruscan work of the fifth century BC, with the twins added in the late 15th century AD, probably by sculptor Antonio del Pollaiuolo. However, though radiocarbon and thermoluminescence dating suggested that the wolf portion of the statue may have been cast between 1021 and 1153, the results are inconsistent, and there is yet no consensus for a revised dating. In a conference on this theme, most academics continued to support an ancient Etruscan origin. An analysis of the metal suggests that it contains lead from a source not known to have operated during medieval times.The image of the she-wolf suckling Romulus and Remus is a symbol of Rome since ancient times, and one of the most recognizable icons of ancient mythology. The sculpture has been housed since 1471 in the Palazzo dei Conservatori on the Campidoglio (the ancient Capitoline Hill), Rome, Italy, and many replicas are in various places around the world. | [
"Capitoline Hill",
"Rome",
"Alba Longa",
"Amulius",
"Palazzo dei Conservatori",
"radiocarbon",
"Wolf",
"Italy",
"Italian",
"Etruscan",
"Numitor",
"bronze",
"Romulus and Remus",
"she-wolf",
"Faustulus",
"Campidoglio",
"Tiber",
"Tiber River",
"Antonio del Pollaiuolo",
"founding of Rome",
"many replicas",
"thermoluminescence"
] |
|
18046_NT | Capitoline Wolf | Focus on this artwork and explain the abstract. | The Capitoline Wolf (Italian: Lupa Capitolina) is a bronze sculpture depicting a scene from the legend of the founding of Rome. The sculpture shows a she-wolf suckling the mythical twin founders of Rome, Romulus and Remus. According to the legend, when King Numitor, grandfather of the twins, was overthrown by his brother Amulius in Alba Longa, the usurper ordered them to be cast into the Tiber River. They were rescued by a she-wolf that cared for them until a herdsman, Faustulus, found and raised them.
The age and origin of the Capitoline Wolf are controversial. The statue was long thought to be an Etruscan work of the fifth century BC, with the twins added in the late 15th century AD, probably by sculptor Antonio del Pollaiuolo. However, though radiocarbon and thermoluminescence dating suggested that the wolf portion of the statue may have been cast between 1021 and 1153, the results are inconsistent, and there is yet no consensus for a revised dating. In a conference on this theme, most academics continued to support an ancient Etruscan origin. An analysis of the metal suggests that it contains lead from a source not known to have operated during medieval times.The image of the she-wolf suckling Romulus and Remus is a symbol of Rome since ancient times, and one of the most recognizable icons of ancient mythology. The sculpture has been housed since 1471 in the Palazzo dei Conservatori on the Campidoglio (the ancient Capitoline Hill), Rome, Italy, and many replicas are in various places around the world. | [
"Capitoline Hill",
"Rome",
"Alba Longa",
"Amulius",
"Palazzo dei Conservatori",
"radiocarbon",
"Wolf",
"Italy",
"Italian",
"Etruscan",
"Numitor",
"bronze",
"Romulus and Remus",
"she-wolf",
"Faustulus",
"Campidoglio",
"Tiber",
"Tiber River",
"Antonio del Pollaiuolo",
"founding of Rome",
"many replicas",
"thermoluminescence"
] |
|
18047_T | Capitoline Wolf | Explore the Description of this artwork, Capitoline Wolf. | The sculpture is somewhat larger than life-size, standing 75 cm (30 in) high and 114 cm (45 in) long. The wolf is depicted in a tense, watchful pose, with alert ears and glaring eyes, which are watching for danger. By contrast, the human twins – executed in a completely different style – are oblivious to their surroundings, absorbed by their suckling. | [] |
|
18047_NT | Capitoline Wolf | Explore the Description of this artwork. | The sculpture is somewhat larger than life-size, standing 75 cm (30 in) high and 114 cm (45 in) long. The wolf is depicted in a tense, watchful pose, with alert ears and glaring eyes, which are watching for danger. By contrast, the human twins – executed in a completely different style – are oblivious to their surroundings, absorbed by their suckling. | [] |
|
18048_T | Capitoline Wolf | Focus on Capitoline Wolf and discuss the History of the sculpture. | When the sculpture was first erected is unclear, but a number of medieval references mention a "wolf" standing in the Pope's Lateran Palace. In the 10th-century Chronicon of Benedict of Soracte, the monk chronicler writes of the institution of a supreme court of justice "in the Lateran Palace, in the place called the Wolf, viz, the mother of the Romans." Trials and executions "at the Wolf" are recorded from time to time until 1438.The 12th-century English cleric Magister Gregorius wrote a descriptive essay De Mirabilibus Urbis Romae and recorded in an appendix three pieces of sculpture he had neglected; one was the wolf in the portico, at the principal entrance to the Lateran Palace. He mentions no twins, for he noted that she was set up as if stalking a bronze ram that was nearby, which served as a fountain. The wolf had also served as a fountain, Magister Gregorius thought, but it had been broken off at the feet and moved to where he saw it.The present-day Capitoline Wolf could not have been the sculpture seen by Benedict and Gregorius, if its newly attributed age is accepted, though it could have been a replacement for an earlier (now lost) depiction of the Roman wolf. In December 1471, Pope Sixtus IV ordered the present sculpture to be transferred to the Palazzo dei Conservatori on the Capitoline Hill, and the twins were added some time around then. The Capitoline Wolf joined a number of other genuinely ancient sculptures transferred at the same time, to form the nucleus of the Capitoline Museum. | [
"Capitoline Hill",
"Benedict of Soracte",
"fountain",
"Lateran Palace",
"Palazzo dei Conservatori",
"Wolf",
"portico",
"bronze",
"Magister Gregorius",
"Chronicon",
"Pope Sixtus IV",
"Capitoline Museum"
] |
|
18048_NT | Capitoline Wolf | Focus on this artwork and discuss the History of the sculpture. | When the sculpture was first erected is unclear, but a number of medieval references mention a "wolf" standing in the Pope's Lateran Palace. In the 10th-century Chronicon of Benedict of Soracte, the monk chronicler writes of the institution of a supreme court of justice "in the Lateran Palace, in the place called the Wolf, viz, the mother of the Romans." Trials and executions "at the Wolf" are recorded from time to time until 1438.The 12th-century English cleric Magister Gregorius wrote a descriptive essay De Mirabilibus Urbis Romae and recorded in an appendix three pieces of sculpture he had neglected; one was the wolf in the portico, at the principal entrance to the Lateran Palace. He mentions no twins, for he noted that she was set up as if stalking a bronze ram that was nearby, which served as a fountain. The wolf had also served as a fountain, Magister Gregorius thought, but it had been broken off at the feet and moved to where he saw it.The present-day Capitoline Wolf could not have been the sculpture seen by Benedict and Gregorius, if its newly attributed age is accepted, though it could have been a replacement for an earlier (now lost) depiction of the Roman wolf. In December 1471, Pope Sixtus IV ordered the present sculpture to be transferred to the Palazzo dei Conservatori on the Capitoline Hill, and the twins were added some time around then. The Capitoline Wolf joined a number of other genuinely ancient sculptures transferred at the same time, to form the nucleus of the Capitoline Museum. | [
"Capitoline Hill",
"Benedict of Soracte",
"fountain",
"Lateran Palace",
"Palazzo dei Conservatori",
"Wolf",
"portico",
"bronze",
"Magister Gregorius",
"Chronicon",
"Pope Sixtus IV",
"Capitoline Museum"
] |
|
18049_T | Capitoline Wolf | How does Capitoline Wolf elucidate its Modern use and symbolism? | The governments of Italy and the mayors of Rome donated copies of the statue to various places around the world. Benito Mussolini continued this practice and especially favoured the image. To encourage American goodwill, he sent several copies of the Capitoline Wolf to U.S. cities. In 1929 he sent one replica for a Sons of Italy national convention in Cincinnati, Ohio. It was switched for another one in 1931, which still stands in Eden Park, Cincinnati. Another replica was given to the city of Rome, Georgia, the same year. A third copy went to Rome, New York, in 1956 by Alfonso Felici, a veteran of World War II. Another ended up at North-Eastern Normal University, China, where ancient Greek and Roman history is studied.The Capitoline Wolf was used on both the emblem and the poster for the 1960 Summer Olympics in Rome. The Roman football club A.S. Roma uses it in its emblem as well.
It was used as the logo for Artie Ripp's record label Family Productions, which in 1971 released Billy Joel's first album as a solo artist, Cold Spring Harbor. Due to contractual obligations, it continued to appear on numerous Joel albums even after he was subsequently signed to Columbia Records.The programme of conservation undertaken in the 1990s resulted in an exhibition devoted to the Lupa Capitolina and her iconography.Anthony Mann's 1964 epic film The Fall of the Roman Empire prominently features an enlarged replica prop of the Capitoline Wolf as a republican symbol at the back of the Senate House, where, historically, the altar and statue of Victory would have stood.The 1976 TV series I, Claudius also features the statue in its depiction of the interior of the Senate House.
In the 2009 film Agora, set in 5th-century Alexandria, the Capitoline Wolf—complete with the del Pollaiolo twins—can be seen in the prefect's palace. This is visible in the scene before Hypatia's capture, directly behind her character.
In Rick Riordan's The Son of Neptune, Lupa is the wolf that trains all demigods who wish to enter Camp Jupiter. She trains Percy Jackson and is mentioned that she trained Jason Grace also. It is also possible that she trained Frank Zhang, Hazel Levesque, and Reyna Avila Ramirez-Arellano. Although she is stern and tough, she still has a soft side.
In the first episode of the American television programme The Addams Family, a mirror-image sculpture of the Capitoline Wolf is on display in the Addams's living room. It can be seen standing atop a table, just to the right of the main staircase.
The Boston Latin School uses an image on the cover of their agenda book as well as being the official school emblem.
The Capitoline Wolf is used in Romania and Moldova as a symbol of the Latin origin of its inhabitants and in some major cities there are replicas of the original statue given as a gift from Italy at the beginning of the 20th century.
The Capitoline Wolf is reimagined in Look at Me (new Capitoline Wolf), a 2011 installation by Polish artist Paweł Wocial. | [
"copies of the statue to various places",
"Percy Jackson",
"Paweł Wocial",
"Rome",
"Rome, New York",
"Anthony Mann",
"Frank Zhang",
"Sons of Italy",
"The Fall of the Roman Empire",
"Jason Grace",
"right",
"The Addams Family",
"Cold Spring Harbor",
"Wolf",
"Italy",
"Rome, Georgia",
"Polish",
"one replica",
"1960 Summer Olympics",
"A.S. Roma",
"Look at Me (new Capitoline Wolf)",
"American",
"Family Productions",
"Artie Ripp's",
"Alexandria",
"The Son of Neptune",
"Artie Ripp",
"Reyna Avila Ramirez-Arellano",
"Billy Joel's",
"installation",
"emblem",
"poster",
"Columbia Records",
"Cincinnati",
"Agora",
"Roman history",
"Hypatia",
"Victory",
"Billy Joel",
"Eden Park, Cincinnati",
"I, Claudius",
"Hazel Levesque",
"Benito Mussolini",
"Boston Latin School",
"Cincinnati, Ohio"
] |
|
18049_NT | Capitoline Wolf | How does this artwork elucidate its Modern use and symbolism? | The governments of Italy and the mayors of Rome donated copies of the statue to various places around the world. Benito Mussolini continued this practice and especially favoured the image. To encourage American goodwill, he sent several copies of the Capitoline Wolf to U.S. cities. In 1929 he sent one replica for a Sons of Italy national convention in Cincinnati, Ohio. It was switched for another one in 1931, which still stands in Eden Park, Cincinnati. Another replica was given to the city of Rome, Georgia, the same year. A third copy went to Rome, New York, in 1956 by Alfonso Felici, a veteran of World War II. Another ended up at North-Eastern Normal University, China, where ancient Greek and Roman history is studied.The Capitoline Wolf was used on both the emblem and the poster for the 1960 Summer Olympics in Rome. The Roman football club A.S. Roma uses it in its emblem as well.
It was used as the logo for Artie Ripp's record label Family Productions, which in 1971 released Billy Joel's first album as a solo artist, Cold Spring Harbor. Due to contractual obligations, it continued to appear on numerous Joel albums even after he was subsequently signed to Columbia Records.The programme of conservation undertaken in the 1990s resulted in an exhibition devoted to the Lupa Capitolina and her iconography.Anthony Mann's 1964 epic film The Fall of the Roman Empire prominently features an enlarged replica prop of the Capitoline Wolf as a republican symbol at the back of the Senate House, where, historically, the altar and statue of Victory would have stood.The 1976 TV series I, Claudius also features the statue in its depiction of the interior of the Senate House.
In the 2009 film Agora, set in 5th-century Alexandria, the Capitoline Wolf—complete with the del Pollaiolo twins—can be seen in the prefect's palace. This is visible in the scene before Hypatia's capture, directly behind her character.
In Rick Riordan's The Son of Neptune, Lupa is the wolf that trains all demigods who wish to enter Camp Jupiter. She trains Percy Jackson and is mentioned that she trained Jason Grace also. It is also possible that she trained Frank Zhang, Hazel Levesque, and Reyna Avila Ramirez-Arellano. Although she is stern and tough, she still has a soft side.
In the first episode of the American television programme The Addams Family, a mirror-image sculpture of the Capitoline Wolf is on display in the Addams's living room. It can be seen standing atop a table, just to the right of the main staircase.
The Boston Latin School uses an image on the cover of their agenda book as well as being the official school emblem.
The Capitoline Wolf is used in Romania and Moldova as a symbol of the Latin origin of its inhabitants and in some major cities there are replicas of the original statue given as a gift from Italy at the beginning of the 20th century.
The Capitoline Wolf is reimagined in Look at Me (new Capitoline Wolf), a 2011 installation by Polish artist Paweł Wocial. | [
"copies of the statue to various places",
"Percy Jackson",
"Paweł Wocial",
"Rome",
"Rome, New York",
"Anthony Mann",
"Frank Zhang",
"Sons of Italy",
"The Fall of the Roman Empire",
"Jason Grace",
"right",
"The Addams Family",
"Cold Spring Harbor",
"Wolf",
"Italy",
"Rome, Georgia",
"Polish",
"one replica",
"1960 Summer Olympics",
"A.S. Roma",
"Look at Me (new Capitoline Wolf)",
"American",
"Family Productions",
"Artie Ripp's",
"Alexandria",
"The Son of Neptune",
"Artie Ripp",
"Reyna Avila Ramirez-Arellano",
"Billy Joel's",
"installation",
"emblem",
"poster",
"Columbia Records",
"Cincinnati",
"Agora",
"Roman history",
"Hypatia",
"Victory",
"Billy Joel",
"Eden Park, Cincinnati",
"I, Claudius",
"Hazel Levesque",
"Benito Mussolini",
"Boston Latin School",
"Cincinnati, Ohio"
] |
|
18050_T | The Intercepted Love Letter | Focus on The Intercepted Love Letter and analyze the abstract. | The Intercepted Love Letter (German: Der abgefangene Liebesbrief) is an oil-on-canvas painting by German painter Carl Spitzweg. It was painted c. 1860 and its now housed at the Museum Georg Schäfer, in Schweinfurt, Germany. | [
"Carl Spitzweg",
"Museum Georg Schäfer",
"Schweinfurt",
"Germany"
] |
|
18050_NT | The Intercepted Love Letter | Focus on this artwork and analyze the abstract. | The Intercepted Love Letter (German: Der abgefangene Liebesbrief) is an oil-on-canvas painting by German painter Carl Spitzweg. It was painted c. 1860 and its now housed at the Museum Georg Schäfer, in Schweinfurt, Germany. | [
"Carl Spitzweg",
"Museum Georg Schäfer",
"Schweinfurt",
"Germany"
] |
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