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18151_T | Tulip to Life | Focus on Tulip to Life and explain the Description. | The sculpture depicts an oversized leaf of the American tulip tree, Indiana's state tree. The sculpture consists of two main segments: the leaf, which forms the main body and majority of the piece, and the petiole-and-bowl segment, which houses the drinking fountain. Measured diagonally from the foremost tips of the leaf segment to the back of the fountain bowl, it is about 207 inches (530 cm) long.
The leaf segment is approximately 172 inches (440 cm) at the widest point and rises about 16 inches (41 cm) off the ground at its highest point. It is made from sections of sheeted stainless steel, overlapped and bolted together using brass bolts and acorn nuts, supported by rib-like structures on the underside, and curled to mimic the organic shape of a leaf. It is completed by a long piece of stainless steel which forms the midrib of the leaf. The entire leaf segment is held slightly off the ground on support bars of varying length. A series of small electric lights is arranged under it in order to produce a glow from underneath at night.
The petiole-and-bowl segment stands independently of the leaf section, but is positioned to give the impression that the midrib continues into the petiole. It rises approximately 42 inches (110 cm) off the ground, not including the water spigot. The stainless steel petiole structure stands atop a small stone base and supports the main bowl structure, which is made of copper. A thick, slightly irregular, oblong ring of limestone forms the lip of the drinking fountain basin. The spigot itself is an ordinary manufactured fixture; it is attached to the central copper portion of the bowl. | [
"midrib",
"acorn nuts",
"spigot",
"sculpture",
"bolts",
"drinking fountain",
"electric",
"Indiana's state tree",
"leaf",
"petiole",
"Indiana",
"limestone",
"stainless steel",
"American tulip tree",
"brass",
"copper"
] |
|
18151_NT | Tulip to Life | Focus on this artwork and explain the Description. | The sculpture depicts an oversized leaf of the American tulip tree, Indiana's state tree. The sculpture consists of two main segments: the leaf, which forms the main body and majority of the piece, and the petiole-and-bowl segment, which houses the drinking fountain. Measured diagonally from the foremost tips of the leaf segment to the back of the fountain bowl, it is about 207 inches (530 cm) long.
The leaf segment is approximately 172 inches (440 cm) at the widest point and rises about 16 inches (41 cm) off the ground at its highest point. It is made from sections of sheeted stainless steel, overlapped and bolted together using brass bolts and acorn nuts, supported by rib-like structures on the underside, and curled to mimic the organic shape of a leaf. It is completed by a long piece of stainless steel which forms the midrib of the leaf. The entire leaf segment is held slightly off the ground on support bars of varying length. A series of small electric lights is arranged under it in order to produce a glow from underneath at night.
The petiole-and-bowl segment stands independently of the leaf section, but is positioned to give the impression that the midrib continues into the petiole. It rises approximately 42 inches (110 cm) off the ground, not including the water spigot. The stainless steel petiole structure stands atop a small stone base and supports the main bowl structure, which is made of copper. A thick, slightly irregular, oblong ring of limestone forms the lip of the drinking fountain basin. The spigot itself is an ordinary manufactured fixture; it is attached to the central copper portion of the bowl. | [
"midrib",
"acorn nuts",
"spigot",
"sculpture",
"bolts",
"drinking fountain",
"electric",
"Indiana's state tree",
"leaf",
"petiole",
"Indiana",
"limestone",
"stainless steel",
"American tulip tree",
"brass",
"copper"
] |
|
18152_T | Tulip to Life | Explore the Historical information of this artwork, Tulip to Life. | Installed in 1991, the piece was conceptualized and designed by Eric Ernstberger of Rundell Ernstberger Associates, an urban design and landscape architecture firm based in Muncie, Indiana. It was fabricated under the direction of Jan R. Martin of Tarpenning-LaFollette, a custom sheet metal products contractor based in Indianapolis. | [
"Indianapolis",
"landscape architecture",
"urban design",
"contractor",
"Indiana",
"sheet metal",
"Muncie, Indiana",
"Eric Ernstberger",
"Muncie"
] |
|
18152_NT | Tulip to Life | Explore the Historical information of this artwork. | Installed in 1991, the piece was conceptualized and designed by Eric Ernstberger of Rundell Ernstberger Associates, an urban design and landscape architecture firm based in Muncie, Indiana. It was fabricated under the direction of Jan R. Martin of Tarpenning-LaFollette, a custom sheet metal products contractor based in Indianapolis. | [
"Indianapolis",
"landscape architecture",
"urban design",
"contractor",
"Indiana",
"sheet metal",
"Muncie, Indiana",
"Eric Ernstberger",
"Muncie"
] |
|
18153_T | Tulip to Life | Focus on Tulip to Life and discuss the Condition. | A 1993 survey by the Smithsonian American Art Museum's "Save Outdoor Sculpture!" initiative described the piece as "well maintained." | [
"Smithsonian American Art Museum",
"Save Outdoor Sculpture!",
"Sculpture"
] |
|
18153_NT | Tulip to Life | Focus on this artwork and discuss the Condition. | A 1993 survey by the Smithsonian American Art Museum's "Save Outdoor Sculpture!" initiative described the piece as "well maintained." | [
"Smithsonian American Art Museum",
"Save Outdoor Sculpture!",
"Sculpture"
] |
|
18154_T | Crucifixion (Mantegna) | How does Crucifixion (Mantegna) elucidate its abstract? | The Crucifixion is a panel in the central part of the predella (see image below) of a large altarpiece painted by Andrea Mantegna between 1457 and 1459 for the high altar of San Zeno, Verona (Italy). It was commissioned by Gregorio Correr, the abbot of that monastery. | [
"Verona",
"Mantegna",
"Gregorio Correr",
"high altar",
"Italy",
"San Zeno",
"Andrea Mantegna",
"altarpiece",
"predella"
] |
|
18154_NT | Crucifixion (Mantegna) | How does this artwork elucidate its abstract? | The Crucifixion is a panel in the central part of the predella (see image below) of a large altarpiece painted by Andrea Mantegna between 1457 and 1459 for the high altar of San Zeno, Verona (Italy). It was commissioned by Gregorio Correr, the abbot of that monastery. | [
"Verona",
"Mantegna",
"Gregorio Correr",
"high altar",
"Italy",
"San Zeno",
"Andrea Mantegna",
"altarpiece",
"predella"
] |
|
18155_T | St. Bernardino of Siena between Two Angels | Focus on St. Bernardino of Siena between Two Angels and analyze the abstract. | St. Bernardino of Siena between Two Angels is a painting attributed to the Italian Renaissance artist Andrea Mantegna and his assistants, dated to 1460 and housed in the Pinacoteca di Brera of Milan.
The painting was located in the funerary chapel of marquis Ludovico III Gonzaga, dedicated to St. Bernardino and situated in church of San Francesco in Mantua. It was acquired by the Milanese gallery in 1811. | [
"Milan",
"Ludovico III Gonzaga",
"Pinacoteca di Brera",
"Renaissance",
"Mantua",
"San Francesco",
"Andrea Mantegna"
] |
|
18155_NT | St. Bernardino of Siena between Two Angels | Focus on this artwork and analyze the abstract. | St. Bernardino of Siena between Two Angels is a painting attributed to the Italian Renaissance artist Andrea Mantegna and his assistants, dated to 1460 and housed in the Pinacoteca di Brera of Milan.
The painting was located in the funerary chapel of marquis Ludovico III Gonzaga, dedicated to St. Bernardino and situated in church of San Francesco in Mantua. It was acquired by the Milanese gallery in 1811. | [
"Milan",
"Ludovico III Gonzaga",
"Pinacoteca di Brera",
"Renaissance",
"Mantua",
"San Francesco",
"Andrea Mantegna"
] |
|
18156_T | St. Bernardino of Siena between Two Angels | In St. Bernardino of Siena between Two Angels, how is the Description discussed? | The painting portrays the saint in a central position. He holds the IHS monogram (referring to the name of Jesus) on a gold plate, which he usually displayed at the end of his sermons. He stands on a platform covered with an oriental carpet. At his sides are two angels, and, above the architrave over his head, are four sitting or kneeling cherubs.
The architrave carries the inscription "Huius lingua salus hominum", meaning "His word is the safety of men". The arch is decorated with festoons with flowers and fruit, a typical element of Mantegna's paintings in Padua, influenced by Francesco Squarcione. The basement has a cartouche with the date 1460 (according to others, 1468 or 1469).
It is currently disputed if the painting was executed by Mantegna and his assistants, or by the latter alone. | [
"Francesco Squarcione",
"architrave",
"Padua",
"cherub",
"IHS monogram",
"cartouche"
] |
|
18156_NT | St. Bernardino of Siena between Two Angels | In this artwork, how is the Description discussed? | The painting portrays the saint in a central position. He holds the IHS monogram (referring to the name of Jesus) on a gold plate, which he usually displayed at the end of his sermons. He stands on a platform covered with an oriental carpet. At his sides are two angels, and, above the architrave over his head, are four sitting or kneeling cherubs.
The architrave carries the inscription "Huius lingua salus hominum", meaning "His word is the safety of men". The arch is decorated with festoons with flowers and fruit, a typical element of Mantegna's paintings in Padua, influenced by Francesco Squarcione. The basement has a cartouche with the date 1460 (according to others, 1468 or 1469).
It is currently disputed if the painting was executed by Mantegna and his assistants, or by the latter alone. | [
"Francesco Squarcione",
"architrave",
"Padua",
"cherub",
"IHS monogram",
"cartouche"
] |
|
18157_T | A Scene from the Life of John Chrysostom (Ventouras) | Focus on A Scene from the Life of John Chrysostom (Ventouras) and explore the abstract. | A Scene from the Life of John Chrysostom is an oil painting created by Greek Painter Spyridon Ventouras. He was a representative of the Heptanese School. He was active on the Ionian island Lefkada. He traveled to Venice and studied painting at the Accademia di Belle Arti di Venezia. He had an active career for approximately fifty-five years. His activity ranged from 1780 to 1835.
The Institute of Neohellenic Research cataloged over sixty of his paintings. Five of them were portraits.Painters from the island of Lefkada adopted a theme related to the life of John Chrysostom the Patriarch of Constantinople and the feud he had with the Roman Empress Aelia Eudoxia. He was one of the church clergy that disliked paganism and destroyed priceless historical ancient Greek monuments. He inadvertently roused a mob that destroyed one of the Seven Wonders of the Ancient World, for the second and final time. The monument was the Temple of Artemis. Ironically he appears in countless works of art. He accused Aelia Eudoxia of paganism. He was exiled several times.He was one of the founders of the early Christian Church and one of the most important authors.
He wrote over 700 sermons, biblical commentaries, moral discourses, and theological treatises. Numerous artists have depicted his feud with Aelia Eudoxia. Painters from the island of Lefkada adopted the theme. Three Greek painters created similar works. Makarios Lefkas, Spyridon Venturas, and Stylianos Devaris. The actual event is John Criticizing Empress Eudoxia. In this version, the empress is not present but a messenger communicates with John. The same messenger holding an umbrella was behind her in earlier versions of the painting from which she appears. The work was sold by Sotheby's in London on November 11, 2008, to a private collector. | [
"Heptanese School",
"Institute of Neohellenic Research",
"Makarios Lefkas",
" Heptanese School",
"Devaris",
"Ventouras",
"Spyridon Ventouras",
"Eudoxia",
"John Chrysostom",
"Accademia di Belle Arti di Venezia",
"Seven Wonders of the Ancient World",
"Lefkada",
"Aelia Eudoxia",
"Stylianos Devaris",
"Spyridon Venturas",
"Temple of Artemis",
"Chrysostom"
] |
|
18157_NT | A Scene from the Life of John Chrysostom (Ventouras) | Focus on this artwork and explore the abstract. | A Scene from the Life of John Chrysostom is an oil painting created by Greek Painter Spyridon Ventouras. He was a representative of the Heptanese School. He was active on the Ionian island Lefkada. He traveled to Venice and studied painting at the Accademia di Belle Arti di Venezia. He had an active career for approximately fifty-five years. His activity ranged from 1780 to 1835.
The Institute of Neohellenic Research cataloged over sixty of his paintings. Five of them were portraits.Painters from the island of Lefkada adopted a theme related to the life of John Chrysostom the Patriarch of Constantinople and the feud he had with the Roman Empress Aelia Eudoxia. He was one of the church clergy that disliked paganism and destroyed priceless historical ancient Greek monuments. He inadvertently roused a mob that destroyed one of the Seven Wonders of the Ancient World, for the second and final time. The monument was the Temple of Artemis. Ironically he appears in countless works of art. He accused Aelia Eudoxia of paganism. He was exiled several times.He was one of the founders of the early Christian Church and one of the most important authors.
He wrote over 700 sermons, biblical commentaries, moral discourses, and theological treatises. Numerous artists have depicted his feud with Aelia Eudoxia. Painters from the island of Lefkada adopted the theme. Three Greek painters created similar works. Makarios Lefkas, Spyridon Venturas, and Stylianos Devaris. The actual event is John Criticizing Empress Eudoxia. In this version, the empress is not present but a messenger communicates with John. The same messenger holding an umbrella was behind her in earlier versions of the painting from which she appears. The work was sold by Sotheby's in London on November 11, 2008, to a private collector. | [
"Heptanese School",
"Institute of Neohellenic Research",
"Makarios Lefkas",
" Heptanese School",
"Devaris",
"Ventouras",
"Spyridon Ventouras",
"Eudoxia",
"John Chrysostom",
"Accademia di Belle Arti di Venezia",
"Seven Wonders of the Ancient World",
"Lefkada",
"Aelia Eudoxia",
"Stylianos Devaris",
"Spyridon Venturas",
"Temple of Artemis",
"Chrysostom"
] |
|
18158_T | Temptation of St. Thomas (Velázquez) | Focus on Temptation of St. Thomas (Velázquez) and explain the abstract. | The Temptation of St. Thomas is a painting by the Spanish Baroque painter Diego Velázquez, executed in 1632 and housed in the Museum of Sacred Art of Orihuela Cathedral, southern Spain.
The work, for a period, was attributed to Murcian painter Nicolás de Villacis, until it was recognized as Velázquez's in the 1920s. It portrays the episode of the life of Saint Thomas Aquinas when, as a novice, he resisted the temptation represented by a prostitute, who is visible in the background door. The saint is held by an angel, while another is preparing to dress him with a white ribbon, representing chastity.
Temptation of St. Thomas is among Velázquez's better-known paintings. | [
"Saint Thomas Aquinas",
"Orihuela",
"Orihuela Cathedral",
"Baroque painter",
"Nicolás de Villacis",
"Thomas Aquinas",
"Spain",
"Diego Velázquez",
"Murcia"
] |
|
18158_NT | Temptation of St. Thomas (Velázquez) | Focus on this artwork and explain the abstract. | The Temptation of St. Thomas is a painting by the Spanish Baroque painter Diego Velázquez, executed in 1632 and housed in the Museum of Sacred Art of Orihuela Cathedral, southern Spain.
The work, for a period, was attributed to Murcian painter Nicolás de Villacis, until it was recognized as Velázquez's in the 1920s. It portrays the episode of the life of Saint Thomas Aquinas when, as a novice, he resisted the temptation represented by a prostitute, who is visible in the background door. The saint is held by an angel, while another is preparing to dress him with a white ribbon, representing chastity.
Temptation of St. Thomas is among Velázquez's better-known paintings. | [
"Saint Thomas Aquinas",
"Orihuela",
"Orihuela Cathedral",
"Baroque painter",
"Nicolás de Villacis",
"Thomas Aquinas",
"Spain",
"Diego Velázquez",
"Murcia"
] |
|
18159_T | Camille Lemonnier in the Artist's Studio | Explore the Description of this artwork, Camille Lemonnier in the Artist's Studio. | The work depicts Belgian author Camille Lemonnier in the artis's studio. He is reading a book while standing up. The studio's interior contains numerous peculiar objects including a reproduction of a drawing by Albrecht Dürer, a terracotta horse, a Noh theater mask on the wall, a fan, a paper umbrella, peacock feathers, and stalks of pampas grass by the window. | [
"Belgian",
"Noh",
"Camille Lemonnier",
"Albrecht Dürer"
] |
|
18159_NT | Camille Lemonnier in the Artist's Studio | Explore the Description of this artwork. | The work depicts Belgian author Camille Lemonnier in the artis's studio. He is reading a book while standing up. The studio's interior contains numerous peculiar objects including a reproduction of a drawing by Albrecht Dürer, a terracotta horse, a Noh theater mask on the wall, a fan, a paper umbrella, peacock feathers, and stalks of pampas grass by the window. | [
"Belgian",
"Noh",
"Camille Lemonnier",
"Albrecht Dürer"
] |
|
18160_T | Camille Lemonnier in the Artist's Studio | Focus on Camille Lemonnier in the Artist's Studio and discuss the History. | The painting was executed by Alfred Stevens at the end of the 19th century.The painting passed through several art collections, including that of the Parisian antiquarian André Fabius. In 2014, the Heritage Fund of the King Baudouin Foundation purchased the artwork.In 2015, having been purchased by the Foundation, the painting was given on long-term loan to the Royal Museums of Fine Arts of Belgium in Brussels. | [
"King Baudouin Foundation",
"Brussels",
"Royal Museums of Fine Arts of Belgium",
"Royal Museums of Fine Arts",
"Paris",
"Alfred Stevens"
] |
|
18160_NT | Camille Lemonnier in the Artist's Studio | Focus on this artwork and discuss the History. | The painting was executed by Alfred Stevens at the end of the 19th century.The painting passed through several art collections, including that of the Parisian antiquarian André Fabius. In 2014, the Heritage Fund of the King Baudouin Foundation purchased the artwork.In 2015, having been purchased by the Foundation, the painting was given on long-term loan to the Royal Museums of Fine Arts of Belgium in Brussels. | [
"King Baudouin Foundation",
"Brussels",
"Royal Museums of Fine Arts of Belgium",
"Royal Museums of Fine Arts",
"Paris",
"Alfred Stevens"
] |
|
18161_T | Cloud Column | How does Cloud Column elucidate its abstract? | Cloud Column is a monumental stainless steel 2006 sculpture by Anish Kapoor, installed outside Glassell School of Art in Houston, Texas, in 2018.The sculpture was completed in England and transported to its current location, The Brown Foundation, Inc. Plaza, on March 27, 2018.Some locals have given the artwork the nickname "El Frijol". In Spanish, "frijol" means "bean", which is the English nickname for Kapoor's Chicago sculpture Cloud Gate (2006).
Its dimensions are 351 × 130 × 80 in. (891.5 × 330.2 × 203.2 cm). Kapoor began working on the sculpture in 1998, completing it in 2006. | [
"Houston",
"sculpture",
"Cloud Gate",
"Texas",
"Anish Kapoor"
] |
|
18161_NT | Cloud Column | How does this artwork elucidate its abstract? | Cloud Column is a monumental stainless steel 2006 sculpture by Anish Kapoor, installed outside Glassell School of Art in Houston, Texas, in 2018.The sculpture was completed in England and transported to its current location, The Brown Foundation, Inc. Plaza, on March 27, 2018.Some locals have given the artwork the nickname "El Frijol". In Spanish, "frijol" means "bean", which is the English nickname for Kapoor's Chicago sculpture Cloud Gate (2006).
Its dimensions are 351 × 130 × 80 in. (891.5 × 330.2 × 203.2 cm). Kapoor began working on the sculpture in 1998, completing it in 2006. | [
"Houston",
"sculpture",
"Cloud Gate",
"Texas",
"Anish Kapoor"
] |
|
18162_T | Three Women with Parasols | Focus on Three Women with Parasols and analyze the abstract. | Three Women with Parasols (French: Trois femmes aux ombrelles), also known as The Three Graces, is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. The painting depicts three women wearing the then fashionable style of ruffled dresses with high bodices. The woman in the middle holds a fan in the popular style of Japonisme. Marie's half-sister Louise Quivoron was the model for the two figures on each side while Bracquemond based the central figure on her own likeness. Bracquemond produced several studies for the work, and one may have been shown in 1886 at the eighth Impressionist exhibition. The work is often known by the moniker of The Three Graces, referring to the three goddesses of the Charites (the Gratiae or "Graces") from Roman mythology who appear as a common theme in Western art. Art historians refer to the painting as one of the most impressionistic works Bracquemond produced during this period. French art critic Gustave Geffroy was so taken with the work that he purchased it from Bracquemond and hung it in the Luxembourg Palace. The work was received by the Musée du Luxembourg through the bequest of Geffroy in 1926, where it appeared for the next ten years. In 1936, it was moved to Chemillé City Hall where it stayed until 2013 when it was acquired by the Musée d’Orsay. | [
"Marie Bracquemond",
"Charites",
"Japonisme",
"Luxembourg Palace",
"Musée d’Orsay",
"Gustave Geffroy"
] |
|
18162_NT | Three Women with Parasols | Focus on this artwork and analyze the abstract. | Three Women with Parasols (French: Trois femmes aux ombrelles), also known as The Three Graces, is an 1880 oil-on-canvas painting by French artist Marie Bracquemond. The painting depicts three women wearing the then fashionable style of ruffled dresses with high bodices. The woman in the middle holds a fan in the popular style of Japonisme. Marie's half-sister Louise Quivoron was the model for the two figures on each side while Bracquemond based the central figure on her own likeness. Bracquemond produced several studies for the work, and one may have been shown in 1886 at the eighth Impressionist exhibition. The work is often known by the moniker of The Three Graces, referring to the three goddesses of the Charites (the Gratiae or "Graces") from Roman mythology who appear as a common theme in Western art. Art historians refer to the painting as one of the most impressionistic works Bracquemond produced during this period. French art critic Gustave Geffroy was so taken with the work that he purchased it from Bracquemond and hung it in the Luxembourg Palace. The work was received by the Musée du Luxembourg through the bequest of Geffroy in 1926, where it appeared for the next ten years. In 1936, it was moved to Chemillé City Hall where it stayed until 2013 when it was acquired by the Musée d’Orsay. | [
"Marie Bracquemond",
"Charites",
"Japonisme",
"Luxembourg Palace",
"Musée d’Orsay",
"Gustave Geffroy"
] |
|
18163_T | Cornard Wood, near Sudbury, Suffolk | Focus on Cornard Wood, near Sudbury, Suffolk and explore the abstract. | Cornard Wood, near Sudbury, Suffolk is a 1748 landscape painting by Thomas Gainsborough, now in the National Gallery, London, which bought it in 1875. The title has been used since 1828 and derives from a 1790 print of a Gainsborough work, though it is unproven whether the church tower in the background can be identified with that at Great Cornard, Suffolk. | [
"National Gallery",
"Thomas Gainsborough",
"London",
"National Gallery, London",
"Great Cornard"
] |
|
18163_NT | Cornard Wood, near Sudbury, Suffolk | Focus on this artwork and explore the abstract. | Cornard Wood, near Sudbury, Suffolk is a 1748 landscape painting by Thomas Gainsborough, now in the National Gallery, London, which bought it in 1875. The title has been used since 1828 and derives from a 1790 print of a Gainsborough work, though it is unproven whether the church tower in the background can be identified with that at Great Cornard, Suffolk. | [
"National Gallery",
"Thomas Gainsborough",
"London",
"National Gallery, London",
"Great Cornard"
] |
|
18164_T | St. Sebastian (Raphael) | Focus on St. Sebastian (Raphael) and explain the abstract. | St. Sebastian is a painting of early Christian saint and martyr Saint Sebastian by the Italian High Renaissance artist Raphael, c. 1501–1502. Part of his early works, it is housed in the Accademia Carrara of Bergamo, Italy. In 2022 the painting was included in a exhibition held at the National Gallery. | [
"Italy",
"Saint Sebastian",
"Italian",
"National Gallery",
"High Renaissance",
"Bergamo",
"Accademia Carrara",
"Raphael"
] |
|
18164_NT | St. Sebastian (Raphael) | Focus on this artwork and explain the abstract. | St. Sebastian is a painting of early Christian saint and martyr Saint Sebastian by the Italian High Renaissance artist Raphael, c. 1501–1502. Part of his early works, it is housed in the Accademia Carrara of Bergamo, Italy. In 2022 the painting was included in a exhibition held at the National Gallery. | [
"Italy",
"Saint Sebastian",
"Italian",
"National Gallery",
"High Renaissance",
"Bergamo",
"Accademia Carrara",
"Raphael"
] |
|
18165_T | Hare on Ball and Claw | Explore the abstract of this artwork, Hare on Ball and Claw. | Hare on Ball and Claw is a 1989–1990 bronze sculpture by Barry Flanagan, installed outside the Columbus Museum of Art in Columbus, Ohio, United States. The sculpture, installed in 1997, measures approximately 132 x 48 x 36 inches and rests on a base that measures approximately 32 x 43 x 45.5 in. | [
"bronze sculpture",
"Ohio",
"Barry Flanagan",
"Columbus Museum of Art",
"Columbus, Ohio"
] |
|
18165_NT | Hare on Ball and Claw | Explore the abstract of this artwork. | Hare on Ball and Claw is a 1989–1990 bronze sculpture by Barry Flanagan, installed outside the Columbus Museum of Art in Columbus, Ohio, United States. The sculpture, installed in 1997, measures approximately 132 x 48 x 36 inches and rests on a base that measures approximately 32 x 43 x 45.5 in. | [
"bronze sculpture",
"Ohio",
"Barry Flanagan",
"Columbus Museum of Art",
"Columbus, Ohio"
] |
|
18166_T | The Harvest (Daubigny) | Focus on The Harvest (Daubigny) and discuss the abstract. | The Harvest (French: la récolte) is an oil on canvas painting by French artist Charles-François Daubigny. It was completed in 1851 and is housed at Musée d'Orsay, Paris. | [
"canvas",
"Paris",
"Musée d'Orsay",
"Charles-François Daubigny"
] |
|
18166_NT | The Harvest (Daubigny) | Focus on this artwork and discuss the abstract. | The Harvest (French: la récolte) is an oil on canvas painting by French artist Charles-François Daubigny. It was completed in 1851 and is housed at Musée d'Orsay, Paris. | [
"canvas",
"Paris",
"Musée d'Orsay",
"Charles-François Daubigny"
] |
|
18167_T | The Harvest (Daubigny) | How does The Harvest (Daubigny) elucidate its Description? | Although the work cannot have been painted in the open air due to its large dimensions, Daubigny certainly tried to capture the fleeting reality of a Summer day in the country. The work stands out for its light colors and loose brushstrokes. Many other painters of the Barbizon School used a much darker palette. Daubigny showed himself to be a forerunner of the Impressionists. This is especially evident around the horizon, where only a few horizontally placed brushstrokes, each of a different color, can be seen.
In this painting, the whole countryside is marked out in blue squares that seems like a chessboard. All of the activities are picturesquely grouped around a golden blaze such as men doubled over, women hurrying along the narrow paths, and people stooking sheaves of corn and loading carts. | [
"Barbizon School"
] |
|
18167_NT | The Harvest (Daubigny) | How does this artwork elucidate its Description? | Although the work cannot have been painted in the open air due to its large dimensions, Daubigny certainly tried to capture the fleeting reality of a Summer day in the country. The work stands out for its light colors and loose brushstrokes. Many other painters of the Barbizon School used a much darker palette. Daubigny showed himself to be a forerunner of the Impressionists. This is especially evident around the horizon, where only a few horizontally placed brushstrokes, each of a different color, can be seen.
In this painting, the whole countryside is marked out in blue squares that seems like a chessboard. All of the activities are picturesquely grouped around a golden blaze such as men doubled over, women hurrying along the narrow paths, and people stooking sheaves of corn and loading carts. | [
"Barbizon School"
] |
|
18168_T | The Harvest (Daubigny) | Focus on The Harvest (Daubigny) and analyze the Reception. | The painting was exhibited at the Paris salon of 1852. The work was very successful and marked a breakthrough in the painter's career. The brothers Edmond and Jules de Goncourt devoted a long review in high praise of the work: "Men harvest bent and women hurry along the narrow paths and sheaves are tied and wagons loaded. All these activities come together picturesquely in a golden glow, in which a brush without paint makes a plow furrow sparkle here and there (...). The grain harvest has never been better depicted; (...) and Mr Daubigny's painting is a masterpiece, despite the neglect of the background." | [
"Paris"
] |
|
18168_NT | The Harvest (Daubigny) | Focus on this artwork and analyze the Reception. | The painting was exhibited at the Paris salon of 1852. The work was very successful and marked a breakthrough in the painter's career. The brothers Edmond and Jules de Goncourt devoted a long review in high praise of the work: "Men harvest bent and women hurry along the narrow paths and sheaves are tied and wagons loaded. All these activities come together picturesquely in a golden glow, in which a brush without paint makes a plow furrow sparkle here and there (...). The grain harvest has never been better depicted; (...) and Mr Daubigny's painting is a masterpiece, despite the neglect of the background." | [
"Paris"
] |
|
18169_T | The Harvest (Daubigny) | In The Harvest (Daubigny), how is the Provenance discussed? | Daubigny made the painting at the behest of the French Minister of the Interior for 2,500 francs. In 1853, the French state bought the work. It will hang in the Ministry of Justice. In 1907 it was transferred to the Louvre, in Paris. In 1986, it was transferred to the Musée d'Orsay. | [
"Louvre",
"Paris",
"Musée d'Orsay"
] |
|
18169_NT | The Harvest (Daubigny) | In this artwork, how is the Provenance discussed? | Daubigny made the painting at the behest of the French Minister of the Interior for 2,500 francs. In 1853, the French state bought the work. It will hang in the Ministry of Justice. In 1907 it was transferred to the Louvre, in Paris. In 1986, it was transferred to the Musée d'Orsay. | [
"Louvre",
"Paris",
"Musée d'Orsay"
] |
|
18170_T | Christ Carrying the Cross (Bosch, Madrid) | Focus on Christ Carrying the Cross (Bosch, Madrid) and explore the abstract. | Christ Carrying the Cross is an oil on panel painting by Hieronymus Bosch. The date of this painting is c. 1505–1507. It is held at Palacio Real, in Madrid. | [
"Palacio Real",
"Hieronymus Bosch",
"Bosch",
"Madrid"
] |
|
18170_NT | Christ Carrying the Cross (Bosch, Madrid) | Focus on this artwork and explore the abstract. | Christ Carrying the Cross is an oil on panel painting by Hieronymus Bosch. The date of this painting is c. 1505–1507. It is held at Palacio Real, in Madrid. | [
"Palacio Real",
"Hieronymus Bosch",
"Bosch",
"Madrid"
] |
|
18171_T | Helios (statue) | Focus on Helios (statue) and explain the abstract. | Helios is a three-metre high bronze, gilded sculpture created by T. B. Huxley-Jones in 1960, located at Television Centre in London, part of the Helios Building, a listed Building in White City. The statue was restored and returned to the site in 2017. | [
"White City",
"London",
"Television Centre",
"Helios",
"T. B. Huxley-Jones"
] |
|
18171_NT | Helios (statue) | Focus on this artwork and explain the abstract. | Helios is a three-metre high bronze, gilded sculpture created by T. B. Huxley-Jones in 1960, located at Television Centre in London, part of the Helios Building, a listed Building in White City. The statue was restored and returned to the site in 2017. | [
"White City",
"London",
"Television Centre",
"Helios",
"T. B. Huxley-Jones"
] |
|
18172_T | Helios (statue) | In the context of Helios (statue), discuss the 1960s of the History. | Helios was designed and created by the sculptor T. B. Huxley-Jones. It was cast in Cheltenham by H.H.Martyn & Co. it stood atop the central column in the rotunda at Television Centre in White City since the BBC headquarters opened in 1960. The sculpture is named after the Greek god Helios, personification of the sun, and was intended to represent the radiation of the light of television around the globe. | [
"White City",
"H.H.Martyn & Co",
"Television Centre",
"Helios",
"T. B. Huxley-Jones"
] |
|
18172_NT | Helios (statue) | In the context of this artwork, discuss the 1960s of the History. | Helios was designed and created by the sculptor T. B. Huxley-Jones. It was cast in Cheltenham by H.H.Martyn & Co. it stood atop the central column in the rotunda at Television Centre in White City since the BBC headquarters opened in 1960. The sculpture is named after the Greek god Helios, personification of the sun, and was intended to represent the radiation of the light of television around the globe. | [
"White City",
"H.H.Martyn & Co",
"Television Centre",
"Helios",
"T. B. Huxley-Jones"
] |
|
18173_T | Helios (statue) | In Helios (statue), how is the 2000s of the History elucidated? | Helios was cleaned and restored in 2017 and was returned to the newly refurbished Television Centre. | [
"Television Centre",
"Helios"
] |
|
18173_NT | Helios (statue) | In this artwork, how is the 2000s of the History elucidated? | Helios was cleaned and restored in 2017 and was returned to the newly refurbished Television Centre. | [
"Television Centre",
"Helios"
] |
|
18174_T | Italian Brigands Surprised by Papal Troops | Focus on Italian Brigands Surprised by Papal Troops and analyze the abstract. | Italian Brigands Surprised by Papal Troops is an 1831 painting produced in Rome by Horace Vernet. It is kept at the Walters Art Museum, Baltimore. | [
"Walters Art Museum",
"Baltimore",
"Horace Vernet"
] |
|
18174_NT | Italian Brigands Surprised by Papal Troops | Focus on this artwork and analyze the abstract. | Italian Brigands Surprised by Papal Troops is an 1831 painting produced in Rome by Horace Vernet. It is kept at the Walters Art Museum, Baltimore. | [
"Walters Art Museum",
"Baltimore",
"Horace Vernet"
] |
|
18175_T | Italian Brigands Surprised by Papal Troops | In Italian Brigands Surprised by Papal Troops, how is the History discussed? | The painter Horace Vernet came to Italy in 1829, when he was already a well-known artist. He remained there until 1834 and worked as the director of the French Academy in Rome.
During his travels, he made around 20 paintings with the same colorful subjects and episodes of local life in the Roman countryside. They were works comparable to other painters who traveled Italy and mixed artistic classicism with research into color and local costumes. Vernet was considered a leader among these French painters, making him the juste milieu between the traditions of Romanticism and Neoclassicism.The painting was recorded in the "John T. Johnston Collection", which was sold by its owner to William T. Walters of Baltimore on 20 December 1876 for $10,110, the most expensive work in Johnston's collection. In 1894, it passed to Henry Walters. In 1931, one of Walters' heirs left it to its current owner, the Walters Art Museum, Baltimore. The painting underwent conservation treatments in 1938, 1969, 1981, and 1991. | [
"Walters Art Museum",
"juste milieu",
"classicism",
"Neoclassicism",
"Baltimore",
"French Academy in Rome",
"Horace Vernet",
"Romanticism"
] |
|
18175_NT | Italian Brigands Surprised by Papal Troops | In this artwork, how is the History discussed? | The painter Horace Vernet came to Italy in 1829, when he was already a well-known artist. He remained there until 1834 and worked as the director of the French Academy in Rome.
During his travels, he made around 20 paintings with the same colorful subjects and episodes of local life in the Roman countryside. They were works comparable to other painters who traveled Italy and mixed artistic classicism with research into color and local costumes. Vernet was considered a leader among these French painters, making him the juste milieu between the traditions of Romanticism and Neoclassicism.The painting was recorded in the "John T. Johnston Collection", which was sold by its owner to William T. Walters of Baltimore on 20 December 1876 for $10,110, the most expensive work in Johnston's collection. In 1894, it passed to Henry Walters. In 1931, one of Walters' heirs left it to its current owner, the Walters Art Museum, Baltimore. The painting underwent conservation treatments in 1938, 1969, 1981, and 1991. | [
"Walters Art Museum",
"juste milieu",
"classicism",
"Neoclassicism",
"Baltimore",
"French Academy in Rome",
"Horace Vernet",
"Romanticism"
] |
|
18176_T | Italian Brigands Surprised by Papal Troops | Focus on Italian Brigands Surprised by Papal Troops and explore the Description. | The painting depicts a battle along a road by the side of a cliff between a band of brigands surprised by a patrol of Papal dragoons. They had been robbing a carriage, which is visible in the background of the street in the painting. Beyond the carriage, a strip of sea is visible.
In the foreground, two brigands are in the combat against two cavalry soldiers. The first is being grabbed by the handkerchief around his neck is about to receive a pistol blow, after having wounded the soldier's horse with the dagger in his right hand. The second has grabbed the bridle of the other soldier's horse and is about to be struck by the soldier's saber. A third brigand flees while holding in his hands two bags stolen from travelers, abandoning a third in the road. A fourth brigand fires a rifle at the soldiers, covering his companion's flight. Two women, depicted in typical local costumes, despair and implore in front of a small religious chapel at the side of the road.
Further back on the right side of the painting, other brigands stand along the slope of the hill, some fleeing and pulling with them a feminine figure in a long blue dress—probably a passenger of the captured carriage. Others stand behind boulders, looking at the scene below. Along the road, a third cavalry soldier and some on foot fire at the fleeing brigands with muskets. The carriage in the background is empty, and a person and horse lie dead on the ground near its wheels. | [
"dragoon"
] |
|
18176_NT | Italian Brigands Surprised by Papal Troops | Focus on this artwork and explore the Description. | The painting depicts a battle along a road by the side of a cliff between a band of brigands surprised by a patrol of Papal dragoons. They had been robbing a carriage, which is visible in the background of the street in the painting. Beyond the carriage, a strip of sea is visible.
In the foreground, two brigands are in the combat against two cavalry soldiers. The first is being grabbed by the handkerchief around his neck is about to receive a pistol blow, after having wounded the soldier's horse with the dagger in his right hand. The second has grabbed the bridle of the other soldier's horse and is about to be struck by the soldier's saber. A third brigand flees while holding in his hands two bags stolen from travelers, abandoning a third in the road. A fourth brigand fires a rifle at the soldiers, covering his companion's flight. Two women, depicted in typical local costumes, despair and implore in front of a small religious chapel at the side of the road.
Further back on the right side of the painting, other brigands stand along the slope of the hill, some fleeing and pulling with them a feminine figure in a long blue dress—probably a passenger of the captured carriage. Others stand behind boulders, looking at the scene below. Along the road, a third cavalry soldier and some on foot fire at the fleeing brigands with muskets. The carriage in the background is empty, and a person and horse lie dead on the ground near its wheels. | [
"dragoon"
] |
|
18177_T | Italian Brigands Surprised by Papal Troops | Focus on Italian Brigands Surprised by Papal Troops and explain the Style. | The scene is realized in dramatic tones, following academic visual traditions with particular attention to the details of shades of color. The rocks in the background and the grey clouds in the sky magnify the drama of the action illuminated by the sun. The attention to the military subjects and the cavalry comes from the pictorial interest of Vernet's father, Carle Vernet. The unlikely palm tree depicted behind the chapel, amid the wild vegetation, add a touch of exoticism to the painting. Vernet made many paintings with Orientalist themes.
Critics have observed how the scene represents a single moment of action: the hat of the cavalry soldier in the foreground has not yet fallen to the ground, and the brigand is lifted from the ground as the soldier is about to shoot him. All the painting's details are meticulously painting, giving it the feeling of a "a pre-photographic, photographic painting".The fountain of water in the foreground recalls a classical sarcophagus, a common feature in the neoclassical themes of the French school in Rome at that time. | [
"Orientalist",
"Carle Vernet"
] |
|
18177_NT | Italian Brigands Surprised by Papal Troops | Focus on this artwork and explain the Style. | The scene is realized in dramatic tones, following academic visual traditions with particular attention to the details of shades of color. The rocks in the background and the grey clouds in the sky magnify the drama of the action illuminated by the sun. The attention to the military subjects and the cavalry comes from the pictorial interest of Vernet's father, Carle Vernet. The unlikely palm tree depicted behind the chapel, amid the wild vegetation, add a touch of exoticism to the painting. Vernet made many paintings with Orientalist themes.
Critics have observed how the scene represents a single moment of action: the hat of the cavalry soldier in the foreground has not yet fallen to the ground, and the brigand is lifted from the ground as the soldier is about to shoot him. All the painting's details are meticulously painting, giving it the feeling of a "a pre-photographic, photographic painting".The fountain of water in the foreground recalls a classical sarcophagus, a common feature in the neoclassical themes of the French school in Rome at that time. | [
"Orientalist",
"Carle Vernet"
] |
|
18178_T | Italian Brigands Surprised by Papal Troops | Explore the Genre of this artwork, Italian Brigands Surprised by Papal Troops. | Brigands that lived in the Roman countryside, despite being a serious menace to travelers, were a preferred Romantic figure of numerous Roman painters and artists of the time, like Bartolomeo Pinelli, Louis Léopold Robert, Léon Cogniet, and Luigi Rocco. They took up the same themes as the Roman Bamboccianti painters and mixed them with Neo-classical influences.
Vernet, probably due to the success of those works, began to compose paintings on the topic in 1820 with his Route de Naples, which represented a group of bandits ready for an ambush and hiding behind a group of boulders near a seaside road by Terracina. The success of the painting was immediate and was reproduced as a lithography by Francois Saeraphin Delpech.
After Italian Brigands Surprised by Papal Troops, Vernet made a third painting on the subject of brigands, Confession of an Italian Bandit, in 1834. It was destroyed in the sacking of the Château de Neuilly during the Revolution of 1848. The painting, which was reproduced several times, showed a dying bandit lying on an ox-driven cart receiving absolution by a monk kneeling by his side. The background landscape largely depicts neo-classical motifs like temple ruins and the arches of a Roman aqueduct. The capture of the repentance of the bandit and his absolution closes Vernet's trilogy of brigand paintings (that is, Route de Naples, Italian Brigands Surprised by Papal Troops, and Confession of an Italian Bandit).
Also in the theme, Vernet painted The Bandit Betrayed in 1828, a scene of a brigand being captured by soldiers thanks to the betrayal of a woman with whom he had made an appointment. Again, it was a painting that mixed realism with a dramatic scene depicting a single, instantaneous moment. | [
"Bartolomeo Pinelli",
"Revolution of 1848",
"Louis Léopold Robert",
"Terracina",
"Bamboccianti",
"Léon Cogniet",
"Château de Neuilly"
] |
|
18178_NT | Italian Brigands Surprised by Papal Troops | Explore the Genre of this artwork. | Brigands that lived in the Roman countryside, despite being a serious menace to travelers, were a preferred Romantic figure of numerous Roman painters and artists of the time, like Bartolomeo Pinelli, Louis Léopold Robert, Léon Cogniet, and Luigi Rocco. They took up the same themes as the Roman Bamboccianti painters and mixed them with Neo-classical influences.
Vernet, probably due to the success of those works, began to compose paintings on the topic in 1820 with his Route de Naples, which represented a group of bandits ready for an ambush and hiding behind a group of boulders near a seaside road by Terracina. The success of the painting was immediate and was reproduced as a lithography by Francois Saeraphin Delpech.
After Italian Brigands Surprised by Papal Troops, Vernet made a third painting on the subject of brigands, Confession of an Italian Bandit, in 1834. It was destroyed in the sacking of the Château de Neuilly during the Revolution of 1848. The painting, which was reproduced several times, showed a dying bandit lying on an ox-driven cart receiving absolution by a monk kneeling by his side. The background landscape largely depicts neo-classical motifs like temple ruins and the arches of a Roman aqueduct. The capture of the repentance of the bandit and his absolution closes Vernet's trilogy of brigand paintings (that is, Route de Naples, Italian Brigands Surprised by Papal Troops, and Confession of an Italian Bandit).
Also in the theme, Vernet painted The Bandit Betrayed in 1828, a scene of a brigand being captured by soldiers thanks to the betrayal of a woman with whom he had made an appointment. Again, it was a painting that mixed realism with a dramatic scene depicting a single, instantaneous moment. | [
"Bartolomeo Pinelli",
"Revolution of 1848",
"Louis Léopold Robert",
"Terracina",
"Bamboccianti",
"Léon Cogniet",
"Château de Neuilly"
] |
|
18179_T | Italian Brigands Surprised by Papal Troops | Focus on Italian Brigands Surprised by Papal Troops and discuss the Reproductions. | Italian Brigands Surprised by Papal Troops was copied by Vernet's students and reproduced by Henry Dowe and David Lucas in two large aquatints. | [
"aquatint"
] |
|
18179_NT | Italian Brigands Surprised by Papal Troops | Focus on this artwork and discuss the Reproductions. | Italian Brigands Surprised by Papal Troops was copied by Vernet's students and reproduced by Henry Dowe and David Lucas in two large aquatints. | [
"aquatint"
] |
|
18180_T | Self-portrait (van Dyck, Vienna) | How does Self-portrait (van Dyck, Vienna) elucidate its abstract? | The Self-portrait of 1613–1614 is the first surviving self-portrait by the Flemish artist Anthony van Dyck, showing him aged about fifteen. At that date he was still working for Hendrick van Balen but was about to join Peter Paul Rubens's studio. Self-portraiture was a typical artform in the Northern Renaissance and had already been used by Rubens and Jan van Eyck. | [
"Hendrick van Balen",
"Self-portrait",
"Anthony van Dyck",
"self-portrait",
"Peter Paul Rubens",
"Northern Renaissance",
"1613",
"Jan van Eyck"
] |
|
18180_NT | Self-portrait (van Dyck, Vienna) | How does this artwork elucidate its abstract? | The Self-portrait of 1613–1614 is the first surviving self-portrait by the Flemish artist Anthony van Dyck, showing him aged about fifteen. At that date he was still working for Hendrick van Balen but was about to join Peter Paul Rubens's studio. Self-portraiture was a typical artform in the Northern Renaissance and had already been used by Rubens and Jan van Eyck. | [
"Hendrick van Balen",
"Self-portrait",
"Anthony van Dyck",
"self-portrait",
"Peter Paul Rubens",
"Northern Renaissance",
"1613",
"Jan van Eyck"
] |
|
18181_T | Odyssey III | Focus on Odyssey III and analyze the abstract. | Odyssey III is an abstract 1973 painted aluminum sculpture by Tony Rosenthal, installed outside the San Diego Museum of Art in San Diego's Balboa Park, in the U.S. state of California. | [
"San Diego",
"U.S. state",
"San Diego Museum of Art",
"Balboa Park",
"Tony Rosenthal"
] |
|
18181_NT | Odyssey III | Focus on this artwork and analyze the abstract. | Odyssey III is an abstract 1973 painted aluminum sculpture by Tony Rosenthal, installed outside the San Diego Museum of Art in San Diego's Balboa Park, in the U.S. state of California. | [
"San Diego",
"U.S. state",
"San Diego Museum of Art",
"Balboa Park",
"Tony Rosenthal"
] |
|
18182_T | Odyssey III | In Odyssey III, how is the Description discussed? | The San Diego Union-Tribune described the work as a "riotous orangey-red-painted assembly of aluminum discs". | [
"The San Diego Union-Tribune",
"San Diego"
] |
|
18182_NT | Odyssey III | In this artwork, how is the Description discussed? | The San Diego Union-Tribune described the work as a "riotous orangey-red-painted assembly of aluminum discs". | [
"The San Diego Union-Tribune",
"San Diego"
] |
|
18183_T | Odyssey III | Focus on Odyssey III and explore the History. | The Rosenthal sculpture was purchased by the San Diego Museum of Art in 1974 with matching funds from the National Endowment for the Arts.Since 2016, Tony Rosenthal "Odyssey III", 1973 has been included in "Art of the Open Air", an exhibition open to the public without admission charge of public art owned by the San Diego Museum of Art. | [
"San Diego",
"National Endowment for the Arts",
"San Diego Museum of Art",
"Tony Rosenthal"
] |
|
18183_NT | Odyssey III | Focus on this artwork and explore the History. | The Rosenthal sculpture was purchased by the San Diego Museum of Art in 1974 with matching funds from the National Endowment for the Arts.Since 2016, Tony Rosenthal "Odyssey III", 1973 has been included in "Art of the Open Air", an exhibition open to the public without admission charge of public art owned by the San Diego Museum of Art. | [
"San Diego",
"National Endowment for the Arts",
"San Diego Museum of Art",
"Tony Rosenthal"
] |
|
18184_T | The Travelers (sculptures) | Focus on The Travelers (sculptures) and explain the abstract. | The Travelers, also known as Les Voyageurs, are bronze surrealist sculptures by the French artist Bruno Catalano. The central part of each statue is missing. The artist has said that the statues are meant to represent emigrants. | [
"surrealist",
"Bruno Catalano"
] |
|
18184_NT | The Travelers (sculptures) | Focus on this artwork and explain the abstract. | The Travelers, also known as Les Voyageurs, are bronze surrealist sculptures by the French artist Bruno Catalano. The central part of each statue is missing. The artist has said that the statues are meant to represent emigrants. | [
"surrealist",
"Bruno Catalano"
] |
|
18185_T | The Travelers (sculptures) | Explore the Background of this artwork, The Travelers (sculptures). | Catalano has said that the statues are a representation of his own life. He was a native of Morocco who emigrated to France. He believes that emigrants and travelers leave a part of themselves behind that they have to forget, but yet it is always connected to them.In 2004, when he was constructing his first traveler statue, Catalano found a flaw, which gave him the idea to remove a large part of the statue. To him it represented an emigrant being "uprooted" and also depicted "suffering". Even though the statues represent something left behind, they all carry a bag and seem "to walk towards the hope of a better future".The sculptures have been interpreted as a visual representation of the losses experienced by emigrants. | [
"Morocco"
] |
|
18185_NT | The Travelers (sculptures) | Explore the Background of this artwork. | Catalano has said that the statues are a representation of his own life. He was a native of Morocco who emigrated to France. He believes that emigrants and travelers leave a part of themselves behind that they have to forget, but yet it is always connected to them.In 2004, when he was constructing his first traveler statue, Catalano found a flaw, which gave him the idea to remove a large part of the statue. To him it represented an emigrant being "uprooted" and also depicted "suffering". Even though the statues represent something left behind, they all carry a bag and seem "to walk towards the hope of a better future".The sculptures have been interpreted as a visual representation of the losses experienced by emigrants. | [
"Morocco"
] |
|
18186_T | The Travelers (sculptures) | Focus on The Travelers (sculptures) and discuss the Sculptures. | Catalano created a whole series of these sculptures, which look like human working people. They are collectively called Les Voyageurs.The sculptures are examples of surrealist art. They portray human beings with large parts of their bodies missing. Each statue carries a single case. The case represents a weight on the traveler, and also connects the upper and lower parts of the sculpture. The missing space is left for the viewer to interpret. | [
"surrealist"
] |
|
18186_NT | The Travelers (sculptures) | Focus on this artwork and discuss the Sculptures. | Catalano created a whole series of these sculptures, which look like human working people. They are collectively called Les Voyageurs.The sculptures are examples of surrealist art. They portray human beings with large parts of their bodies missing. Each statue carries a single case. The case represents a weight on the traveler, and also connects the upper and lower parts of the sculpture. The missing space is left for the viewer to interpret. | [
"surrealist"
] |
|
18187_T | The Travelers (sculptures) | How does The Travelers (sculptures) elucidate its Public display? | In 2013–2014, Bruno Catalano created the sculptures and displayed them in Marseilles, France, at the Marseille-Fos Port. The artist displayed ten of these sculptures in the port's outdoor exhibit.The most famous of these Traveler sculptures is Le Grand van Gogh, which is now on permanent display in Calgary, Canada.In 2019 thirty Traveler sculptures were displayed in places around Venice, Italy, as part of the 58th Venice Biennale. The centrepiece was a tableau in the Church of San Gallo which included fragile terracotta versions of the statues. The four terracotta works were complete human figures and each was placed opposite a traditional incomplete Traveler statue in bronze, intending to represent the end of the emigrants' journeys.From July to September 2021, four of the sculptures were on display on the waterfront at Arcachon, France. | [
"58th Venice Biennale",
"Church of San Gallo",
"Marseille-Fos Port",
"Arcachon",
"Bruno Catalano",
"Venice",
"Calgary"
] |
|
18187_NT | The Travelers (sculptures) | How does this artwork elucidate its Public display? | In 2013–2014, Bruno Catalano created the sculptures and displayed them in Marseilles, France, at the Marseille-Fos Port. The artist displayed ten of these sculptures in the port's outdoor exhibit.The most famous of these Traveler sculptures is Le Grand van Gogh, which is now on permanent display in Calgary, Canada.In 2019 thirty Traveler sculptures were displayed in places around Venice, Italy, as part of the 58th Venice Biennale. The centrepiece was a tableau in the Church of San Gallo which included fragile terracotta versions of the statues. The four terracotta works were complete human figures and each was placed opposite a traditional incomplete Traveler statue in bronze, intending to represent the end of the emigrants' journeys.From July to September 2021, four of the sculptures were on display on the waterfront at Arcachon, France. | [
"58th Venice Biennale",
"Church of San Gallo",
"Marseille-Fos Port",
"Arcachon",
"Bruno Catalano",
"Venice",
"Calgary"
] |
|
18188_T | Statue of Isambard Kingdom Brunel, Victoria Embankment | Focus on Statue of Isambard Kingdom Brunel, Victoria Embankment and analyze the Description. | The 8 ft (2.4 m) 2.45m bronze statue portrays Brunel standing casually, bareheaded, with his left leg slightly forward. The figure wears contemporary Victorian dress of frock coat, waistcoat, shirt, bow tie, and trousers, with a pair of dividers in his hands, but without the characteristic top hat or cigar in the widely recognised 1857 photograph. He gazes upstream under the arches of Waterloo Bridge towards Hungerford Bridge, although Brunel's Hungerford Bridge was removed in 1860 and the chains used to complete Clifton Suspension Bridge.
The tall square Portland stone pedestal has flanking walls topped with scrolls incorporating benches below was commissioned from Shaw, and bears the inscription "ISAMBARD KINGDOM BRUNEL/ CIVIL ENGINEER/ BORN 1806 DIED 1859". | [
"Waterloo Bridge",
"bronze",
"top hat",
"Portland stone",
"Victorian dress",
"widely recognised 1857 photograph",
"Clifton Suspension Bridge",
"waistcoat",
"Hungerford Bridge",
"frock coat"
] |
|
18188_NT | Statue of Isambard Kingdom Brunel, Victoria Embankment | Focus on this artwork and analyze the Description. | The 8 ft (2.4 m) 2.45m bronze statue portrays Brunel standing casually, bareheaded, with his left leg slightly forward. The figure wears contemporary Victorian dress of frock coat, waistcoat, shirt, bow tie, and trousers, with a pair of dividers in his hands, but without the characteristic top hat or cigar in the widely recognised 1857 photograph. He gazes upstream under the arches of Waterloo Bridge towards Hungerford Bridge, although Brunel's Hungerford Bridge was removed in 1860 and the chains used to complete Clifton Suspension Bridge.
The tall square Portland stone pedestal has flanking walls topped with scrolls incorporating benches below was commissioned from Shaw, and bears the inscription "ISAMBARD KINGDOM BRUNEL/ CIVIL ENGINEER/ BORN 1806 DIED 1859". | [
"Waterloo Bridge",
"bronze",
"top hat",
"Portland stone",
"Victorian dress",
"widely recognised 1857 photograph",
"Clifton Suspension Bridge",
"waistcoat",
"Hungerford Bridge",
"frock coat"
] |
|
18189_T | Statue of Isambard Kingdom Brunel, Victoria Embankment | In Statue of Isambard Kingdom Brunel, Victoria Embankment, how is the Background discussed? | A memorial committee of the Institute of Civil Engineers commissioned the sculpture in 1860, some months after Brunel's death on 14 September 1859. While protracted discussions continued about an appropriate site to erect it and other statues, the bronze statue was completed in 1864 and kept in storage, and Marochetti died in 1867.The Institute of Civil Engineers had also commissioned Marochetti to make a similar statue of Brunel's rival engineer Robert Stephenson, who died a few weeks after Brunel on 12 October 1859, and then a third statue for the railway engineer Joseph Locke who died a year later, on 18 September 1860. The intention was to erect the three statues together in a prominent position in Parliament Square, then known as the churchyard of St Margaret's, Westminster, near the statue of George Canning beside the offices of the Institute of Civil Engineers at One Great George Street. After initially granting permission, the Office of Works decided against in 1868, reserving the space for statues of politicians.Ultimately the three statues were erected separately. Marochetti's statue of Joseph Locke was installed in Locke Park, Barnsley, in 1866. The statue and its enclosure were listed at Grade II in 1986. A copy is displayed in Barentin, France, where Locke designed a railway viaduct. The statue of Robert Stephenson was donated to the London and North Western Railway, and installed on a red granite pedestal outside Euston railway station in 1871. The statue in the station forecourt is one of few surviving elements of the original station after it was redeveloped in the 1960s, and it was listed at Grade II in 1974. | [
"Robert Stephenson",
"Euston railway station",
"St Margaret's, Westminster",
"London and North Western Railway",
"Institute of Civil Engineers",
"bronze",
"Parliament Square",
"statue of Robert Stephenson",
"statue of George Canning",
"Locke Park",
"Barentin",
"Joseph Locke",
"statue of Joseph Locke",
"One Great George Street",
"Barnsley",
"Office of Works"
] |
|
18189_NT | Statue of Isambard Kingdom Brunel, Victoria Embankment | In this artwork, how is the Background discussed? | A memorial committee of the Institute of Civil Engineers commissioned the sculpture in 1860, some months after Brunel's death on 14 September 1859. While protracted discussions continued about an appropriate site to erect it and other statues, the bronze statue was completed in 1864 and kept in storage, and Marochetti died in 1867.The Institute of Civil Engineers had also commissioned Marochetti to make a similar statue of Brunel's rival engineer Robert Stephenson, who died a few weeks after Brunel on 12 October 1859, and then a third statue for the railway engineer Joseph Locke who died a year later, on 18 September 1860. The intention was to erect the three statues together in a prominent position in Parliament Square, then known as the churchyard of St Margaret's, Westminster, near the statue of George Canning beside the offices of the Institute of Civil Engineers at One Great George Street. After initially granting permission, the Office of Works decided against in 1868, reserving the space for statues of politicians.Ultimately the three statues were erected separately. Marochetti's statue of Joseph Locke was installed in Locke Park, Barnsley, in 1866. The statue and its enclosure were listed at Grade II in 1986. A copy is displayed in Barentin, France, where Locke designed a railway viaduct. The statue of Robert Stephenson was donated to the London and North Western Railway, and installed on a red granite pedestal outside Euston railway station in 1871. The statue in the station forecourt is one of few surviving elements of the original station after it was redeveloped in the 1960s, and it was listed at Grade II in 1974. | [
"Robert Stephenson",
"Euston railway station",
"St Margaret's, Westminster",
"London and North Western Railway",
"Institute of Civil Engineers",
"bronze",
"Parliament Square",
"statue of Robert Stephenson",
"statue of George Canning",
"Locke Park",
"Barentin",
"Joseph Locke",
"statue of Joseph Locke",
"One Great George Street",
"Barnsley",
"Office of Works"
] |
|
18190_T | Statue of Isambard Kingdom Brunel, Victoria Embankment | Focus on Statue of Isambard Kingdom Brunel, Victoria Embankment and explore the Installation. | For Brunel's statue, Shaw was commissioned to design a stone pedestal. His design, with novel flanking walls creating a screen, was accepted in 1874, and the pedestal was completed and the statue installed in 1877. (The National Portrait Gallery has a half-plate negative photograph of the statue by Elliott & Fry which they date to 1857, although the plinth shows Brunel's date of death in 1859.)
The statue became a grade II listed building in 1958. The statue and screen were restored in 1950, repairing damage caused by both the weather and by enemy action during the Second World War. | [
"National Portrait Gallery",
"listed building",
"Elliott & Fry"
] |
|
18190_NT | Statue of Isambard Kingdom Brunel, Victoria Embankment | Focus on this artwork and explore the Installation. | For Brunel's statue, Shaw was commissioned to design a stone pedestal. His design, with novel flanking walls creating a screen, was accepted in 1874, and the pedestal was completed and the statue installed in 1877. (The National Portrait Gallery has a half-plate negative photograph of the statue by Elliott & Fry which they date to 1857, although the plinth shows Brunel's date of death in 1859.)
The statue became a grade II listed building in 1958. The statue and screen were restored in 1950, repairing damage caused by both the weather and by enemy action during the Second World War. | [
"National Portrait Gallery",
"listed building",
"Elliott & Fry"
] |
|
18191_T | Statue of Isambard Kingdom Brunel, Victoria Embankment | Focus on Statue of Isambard Kingdom Brunel, Victoria Embankment and explain the Copies. | A bronze resin copy of Marochetti's statue was unveiled in 1973 in Havelock Square, Swindon, mounted on a tall cylindrical granite plinth with wider rim, resembling a smokestack or top hat, on the opening of the first stage of the Brunel shopping centre. It was reinstalled after building works in 2018.A half-length bust of the statue is installed beside North Street, Saltash, looking east towards the Brunel's Royal Albert Bridge and the Tamar Bridge. | [
"Saltash",
"bronze",
"Tamar Bridge",
"top hat",
"Swindon",
"Royal Albert Bridge"
] |
|
18191_NT | Statue of Isambard Kingdom Brunel, Victoria Embankment | Focus on this artwork and explain the Copies. | A bronze resin copy of Marochetti's statue was unveiled in 1973 in Havelock Square, Swindon, mounted on a tall cylindrical granite plinth with wider rim, resembling a smokestack or top hat, on the opening of the first stage of the Brunel shopping centre. It was reinstalled after building works in 2018.A half-length bust of the statue is installed beside North Street, Saltash, looking east towards the Brunel's Royal Albert Bridge and the Tamar Bridge. | [
"Saltash",
"bronze",
"Tamar Bridge",
"top hat",
"Swindon",
"Royal Albert Bridge"
] |
|
18192_T | The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant | Explore the abstract of this artwork, The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant. | The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant is an 1899 painting by John Singer Sargent. It is part of the collection of the Metropolitan Museum of Art. The painting was hailed by the critics and dubbed “The Three Graces” by the Prince of Wales (later King Edward VII). | [
"Lady Elcho",
"John Singer Sargent",
"Edward VII",
"Adeane",
"Metropolitan Museum of Art"
] |
|
18192_NT | The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant | Explore the abstract of this artwork. | The Wyndham Sisters: Lady Elcho, Mrs. Adeane, and Mrs. Tennant is an 1899 painting by John Singer Sargent. It is part of the collection of the Metropolitan Museum of Art. The painting was hailed by the critics and dubbed “The Three Graces” by the Prince of Wales (later King Edward VII). | [
"Lady Elcho",
"John Singer Sargent",
"Edward VII",
"Adeane",
"Metropolitan Museum of Art"
] |
|
18193_T | Bearded Slave | Focus on Bearded Slave and discuss the abstract. | The Bearded Slave (Italian: Schiavo barbuto) is a marble sculpture by Michelangelo datable to around 1525–1530 and kept in the Galleria dell'Accademia in Florence. It forms part of the series of unfinished Prigioni intended for the Tomb of Pope Julius II. | [
"Florence",
"Tomb of Pope Julius II",
"Michelangelo",
"marble",
"Galleria dell'Accademia",
"Italian"
] |
|
18193_NT | Bearded Slave | Focus on this artwork and discuss the abstract. | The Bearded Slave (Italian: Schiavo barbuto) is a marble sculpture by Michelangelo datable to around 1525–1530 and kept in the Galleria dell'Accademia in Florence. It forms part of the series of unfinished Prigioni intended for the Tomb of Pope Julius II. | [
"Florence",
"Tomb of Pope Julius II",
"Michelangelo",
"marble",
"Galleria dell'Accademia",
"Italian"
] |
|
18194_T | Bearded Slave | How does Bearded Slave elucidate its History? | It seems that, from the first design of the Tomb of Pope Julius II (1505), a series of "Prigioni" was planned for the bottom level of the mausoleum, a series of statues larger than life size of chained figures in various poses, leaning on pilasters which would frame niches containing winged Victories and be surmounted by herms. With a pair on each side of each niche, there must initially have been sixteen or twenty such statues planned. This number was reduced in successive designs, to twelve (second version, 1513), eight (third version, 1516) and finally maybe only four (fourth version, 1526, or fifth version, 1532), before being eliminated from the project altogether in the final version of 1542.
The first members of the series, who are mentioned in Michelangelo's letters are the two Prigioni of Paris, named the "Slaves" in the nineteenth century: the Dying Slave and the Rebellious Slave. They were carved in Rome around 1513.
The Florentine Prigioni (Young Slave, Bearded Slave, Atlas Slave and the Awakening Slave) were probably carved instead in the second half of the 1520s, while Michelangelo was employed at San Lorenzo in Florence (but historians suggest dates between 1519 and 1534). It is known that they were in the artist's warehouse on the via Mozza in 1544, when his nephew Leonardo Buonarroti asked permission to sell them (Michelangelo did not visit Florence after 1534). The permission was denied and only in 1564 were they donated, along with the Genius of Victory, to the Grand Duke Cosimo I who placed them at the four corners of the Grotto of Buontalenti in 1591. They were removed from there in 1908, in order to be reunited with other works of Michelangelo in the Florentine gallery.
With respect to the exact date, Justi (and others) propose 1519, on the basis of a letter of 13 February, in which Jacopo Salviati promised the cardinal Aginesis, Julius II's heir, that the sculptor would have the four figures for the tomb ready by the summer of that year; Wilde proposes 1523, pointing to a statement of the cardinal Giulio de' Medici (the future Clement VII) who had seen them before he departed for Rome in that year; finally de Tolnay dates them to 1530–1534 on the basis on their style, frequent references to incomplete sculptures for the pope's tomb in letters of 1531–2 and Vasari's statement that they were created while the artist was preparing the cartoon of The Last Judgment. | [
"Dying Slave",
"the Genius of Victory",
"Florence",
"Grotto of Buontalenti",
"Cosimo I",
"Tomb of Pope Julius II",
"de Tolnay",
"Young Slave",
"Michelangelo",
"The Last Judgment",
"Rome",
"Jacopo Salviati",
"Atlas Slave",
"San Lorenzo",
"Vasari",
"Clement VII",
"winged Victories",
"Awakening Slave",
"Rebellious Slave"
] |
|
18194_NT | Bearded Slave | How does this artwork elucidate its History? | It seems that, from the first design of the Tomb of Pope Julius II (1505), a series of "Prigioni" was planned for the bottom level of the mausoleum, a series of statues larger than life size of chained figures in various poses, leaning on pilasters which would frame niches containing winged Victories and be surmounted by herms. With a pair on each side of each niche, there must initially have been sixteen or twenty such statues planned. This number was reduced in successive designs, to twelve (second version, 1513), eight (third version, 1516) and finally maybe only four (fourth version, 1526, or fifth version, 1532), before being eliminated from the project altogether in the final version of 1542.
The first members of the series, who are mentioned in Michelangelo's letters are the two Prigioni of Paris, named the "Slaves" in the nineteenth century: the Dying Slave and the Rebellious Slave. They were carved in Rome around 1513.
The Florentine Prigioni (Young Slave, Bearded Slave, Atlas Slave and the Awakening Slave) were probably carved instead in the second half of the 1520s, while Michelangelo was employed at San Lorenzo in Florence (but historians suggest dates between 1519 and 1534). It is known that they were in the artist's warehouse on the via Mozza in 1544, when his nephew Leonardo Buonarroti asked permission to sell them (Michelangelo did not visit Florence after 1534). The permission was denied and only in 1564 were they donated, along with the Genius of Victory, to the Grand Duke Cosimo I who placed them at the four corners of the Grotto of Buontalenti in 1591. They were removed from there in 1908, in order to be reunited with other works of Michelangelo in the Florentine gallery.
With respect to the exact date, Justi (and others) propose 1519, on the basis of a letter of 13 February, in which Jacopo Salviati promised the cardinal Aginesis, Julius II's heir, that the sculptor would have the four figures for the tomb ready by the summer of that year; Wilde proposes 1523, pointing to a statement of the cardinal Giulio de' Medici (the future Clement VII) who had seen them before he departed for Rome in that year; finally de Tolnay dates them to 1530–1534 on the basis on their style, frequent references to incomplete sculptures for the pope's tomb in letters of 1531–2 and Vasari's statement that they were created while the artist was preparing the cartoon of The Last Judgment. | [
"Dying Slave",
"the Genius of Victory",
"Florence",
"Grotto of Buontalenti",
"Cosimo I",
"Tomb of Pope Julius II",
"de Tolnay",
"Young Slave",
"Michelangelo",
"The Last Judgment",
"Rome",
"Jacopo Salviati",
"Atlas Slave",
"San Lorenzo",
"Vasari",
"Clement VII",
"winged Victories",
"Awakening Slave",
"Rebellious Slave"
] |
|
18195_T | Bearded Slave | Focus on Bearded Slave and analyze the Description and style. | The Bearded Slave is the most finished of the Florentine Prigioni and gets his name from his thick, curly beard. The way his muscular torso twists indicates a deep knowledge of anatomy, typical of the best works of Michelangelo; his legs, slightly bent and separated, are covered by a band of fabric. His right arm is raised to hold his bent head, while his left hand remains unfinished, but seems to hold the band of fabric.
The whole surface retains many traces of the various chisels and scrapers used on the sculpture. Along his hips there is a repaired fracture, whose cause is unknown.
Its unfinished state creates an extraordinary energy (already noted by Bocchi in 1591), with the figure caught in a sort of primordial act of freeing himself from the cage of the rough stone, an epic battle with the forces of chaos. The iconographic meaning of the figures was probably linked to the motif of the captivi in Roman art, and indeed Vasari identified the Prigioni as personifications of the provinces controlled by Julius II. For Condivi, however, they symbolised the Arts, made "prisoners" by the death of the pontif. Other scholars have made proposals of a philosophical/symbolic character or connected to the artist's personal life and his "torments". | [
"Michelangelo",
"Condivi",
"Vasari"
] |
|
18195_NT | Bearded Slave | Focus on this artwork and analyze the Description and style. | The Bearded Slave is the most finished of the Florentine Prigioni and gets his name from his thick, curly beard. The way his muscular torso twists indicates a deep knowledge of anatomy, typical of the best works of Michelangelo; his legs, slightly bent and separated, are covered by a band of fabric. His right arm is raised to hold his bent head, while his left hand remains unfinished, but seems to hold the band of fabric.
The whole surface retains many traces of the various chisels and scrapers used on the sculpture. Along his hips there is a repaired fracture, whose cause is unknown.
Its unfinished state creates an extraordinary energy (already noted by Bocchi in 1591), with the figure caught in a sort of primordial act of freeing himself from the cage of the rough stone, an epic battle with the forces of chaos. The iconographic meaning of the figures was probably linked to the motif of the captivi in Roman art, and indeed Vasari identified the Prigioni as personifications of the provinces controlled by Julius II. For Condivi, however, they symbolised the Arts, made "prisoners" by the death of the pontif. Other scholars have made proposals of a philosophical/symbolic character or connected to the artist's personal life and his "torments". | [
"Michelangelo",
"Condivi",
"Vasari"
] |
|
18196_T | Texas Peace Officers' Memorial | In Texas Peace Officers' Memorial, how is the abstract discussed? | The Texas Peace Officers' Memorial is an outdoor monument commemorating law enforcement and corrections officers who died in service since August 5, 1823, installed on the Texas State Capitol grounds in Austin, Texas, United States. The memorial was designed by Linda Johnson and erected by the Texas Commission on Law Enforcement and Texas State Preservation Board in 1999. It features a granite obelisk on a base with a Texas Lone Star, as well as inscribed names along granite walls of those who died since Stephen F. Austin commissioned the Texas Peace Officers, or the Texas Ranger Division. | [
"Stephen F. Austin",
"Texas State Preservation Board",
"Texas Ranger Division",
"Texas Commission on Law Enforcement",
"Texas State Capitol",
"Austin, Texas"
] |
|
18196_NT | Texas Peace Officers' Memorial | In this artwork, how is the abstract discussed? | The Texas Peace Officers' Memorial is an outdoor monument commemorating law enforcement and corrections officers who died in service since August 5, 1823, installed on the Texas State Capitol grounds in Austin, Texas, United States. The memorial was designed by Linda Johnson and erected by the Texas Commission on Law Enforcement and Texas State Preservation Board in 1999. It features a granite obelisk on a base with a Texas Lone Star, as well as inscribed names along granite walls of those who died since Stephen F. Austin commissioned the Texas Peace Officers, or the Texas Ranger Division. | [
"Stephen F. Austin",
"Texas State Preservation Board",
"Texas Ranger Division",
"Texas Commission on Law Enforcement",
"Texas State Capitol",
"Austin, Texas"
] |
|
18197_T | Marguerite Bourgeoys Park | Focus on Marguerite Bourgeoys Park and explore the abstract. | Marguerite Bourgeoys Park (French: Parc Marguerite-Bourgeoys) is a park in the Pointe-Saint-Charles neighbourhood of the Le Sud-Ouest borough of Montreal, Quebec, Canada. It is bordered by du Parc Marguerite-Bourgeoys Street to the north and east, des Filles du Roy Street to the south, and Wellington Street to the west.
The park was created in 1910. It initially was named Monahan Park. It was renamed Marguerite Bourgeoys Park in 1922.The park is named for Marguerite Bourgeoys, the French founder of the Congregation of Notre Dame of Montreal in the colony of New France (present-day Quebec). She has been declared a Saint by the Catholic Church. | [
"Wellington Street",
"Pointe-Saint-Charles",
"Montreal, Quebec",
"Catholic Church",
"Marguerite Bourgeoys",
"Le Sud-Ouest",
"Montreal",
"Saint",
"New France",
"Quebec",
"Congregation of Notre Dame of Montreal"
] |
|
18197_NT | Marguerite Bourgeoys Park | Focus on this artwork and explore the abstract. | Marguerite Bourgeoys Park (French: Parc Marguerite-Bourgeoys) is a park in the Pointe-Saint-Charles neighbourhood of the Le Sud-Ouest borough of Montreal, Quebec, Canada. It is bordered by du Parc Marguerite-Bourgeoys Street to the north and east, des Filles du Roy Street to the south, and Wellington Street to the west.
The park was created in 1910. It initially was named Monahan Park. It was renamed Marguerite Bourgeoys Park in 1922.The park is named for Marguerite Bourgeoys, the French founder of the Congregation of Notre Dame of Montreal in the colony of New France (present-day Quebec). She has been declared a Saint by the Catholic Church. | [
"Wellington Street",
"Pointe-Saint-Charles",
"Montreal, Quebec",
"Catholic Church",
"Marguerite Bourgeoys",
"Le Sud-Ouest",
"Montreal",
"Saint",
"New France",
"Quebec",
"Congregation of Notre Dame of Montreal"
] |
|
18198_T | Statue of Thomas Carlyle | Focus on Statue of Thomas Carlyle and explain the abstract. | A statue of Thomas Carlyle by Joseph Edgar Boehm stands in Chelsea Embankment Gardens in London. Erected in 1881 and unveiled in 1882, it stands close to 24 Cheyne Row where Carlyle lived for the last 47 years of his life. The statue became a Grade II listed building on 15 April 1969. | [
"Chelsea Embankment",
"listed building",
"Chelsea Embankment Gardens",
"Thomas Carlyle",
"24 Cheyne Row",
"Joseph Edgar Boehm"
] |
|
18198_NT | Statue of Thomas Carlyle | Focus on this artwork and explain the abstract. | A statue of Thomas Carlyle by Joseph Edgar Boehm stands in Chelsea Embankment Gardens in London. Erected in 1881 and unveiled in 1882, it stands close to 24 Cheyne Row where Carlyle lived for the last 47 years of his life. The statue became a Grade II listed building on 15 April 1969. | [
"Chelsea Embankment",
"listed building",
"Chelsea Embankment Gardens",
"Thomas Carlyle",
"24 Cheyne Row",
"Joseph Edgar Boehm"
] |
|
18199_T | Statue of Thomas Carlyle | In the context of Statue of Thomas Carlyle, discuss the Production & reception of the History. | Boehm had executed a statuette in plaster of Carlyle in April 1874 at the request of Lady Harriet Mary Montagu. Carlyle liked it and decided to sit for Boehm in the beginning of 1875, in order to produce a large marble version which now resides in the National Galleries of Scotland. At the first sitting, Carlyle announced brusquely, "storming in at the door in the guise of one of his own northern gales": "I'll give you twenty-two minutes to make what you can of me." When Boehm punctually finished working, Carlyle was delighted enough to give him another twenty-two minutes, subsequently sitting often, writing: "He seems to me by far the cleverest Sculptor or Artist I have ever seen." Boehm also produced a cast of Carlyle's hands and a bust. John Tyndall spoke at the unveiling of the bronze in 1882. The marble was presented by Archibald Primrose, 5th Earl of Rosebery in 1916.Boehm said it was "the best thing I ever did". James Anthony Froude considered it "as satisfactory a likeness in face and figure as could be rendered in sculpture". John Ruskin described it as "a noble piece of portraiture" with "high and harmonious measures in which it seems to me to express the mind and features of my dear Master." He continued:here is a piece of vital and essential sculpture; the result of sincere skill spent carefully on an object worthy its care; motive and method alike right; no pains spared, and none wasted. And any spectator of sensitiveness will find that, broadly speaking, all the sculpture round seems dead and heavy in comparison, after he has looked long at this.James Caw later called it "one of the most virile and remarkable of modern portrait-statues." | [
"James Caw",
"Lady Harriet Mary Montagu",
"John Ruskin",
"James Anthony Froude",
"John Tyndall",
"National Galleries of Scotland",
"Archibald Primrose, 5th Earl of Rosebery"
] |
|
18199_NT | Statue of Thomas Carlyle | In the context of this artwork, discuss the Production & reception of the History. | Boehm had executed a statuette in plaster of Carlyle in April 1874 at the request of Lady Harriet Mary Montagu. Carlyle liked it and decided to sit for Boehm in the beginning of 1875, in order to produce a large marble version which now resides in the National Galleries of Scotland. At the first sitting, Carlyle announced brusquely, "storming in at the door in the guise of one of his own northern gales": "I'll give you twenty-two minutes to make what you can of me." When Boehm punctually finished working, Carlyle was delighted enough to give him another twenty-two minutes, subsequently sitting often, writing: "He seems to me by far the cleverest Sculptor or Artist I have ever seen." Boehm also produced a cast of Carlyle's hands and a bust. John Tyndall spoke at the unveiling of the bronze in 1882. The marble was presented by Archibald Primrose, 5th Earl of Rosebery in 1916.Boehm said it was "the best thing I ever did". James Anthony Froude considered it "as satisfactory a likeness in face and figure as could be rendered in sculpture". John Ruskin described it as "a noble piece of portraiture" with "high and harmonious measures in which it seems to me to express the mind and features of my dear Master." He continued:here is a piece of vital and essential sculpture; the result of sincere skill spent carefully on an object worthy its care; motive and method alike right; no pains spared, and none wasted. And any spectator of sensitiveness will find that, broadly speaking, all the sculpture round seems dead and heavy in comparison, after he has looked long at this.James Caw later called it "one of the most virile and remarkable of modern portrait-statues." | [
"James Caw",
"Lady Harriet Mary Montagu",
"John Ruskin",
"James Anthony Froude",
"John Tyndall",
"National Galleries of Scotland",
"Archibald Primrose, 5th Earl of Rosebery"
] |
|
18200_T | Statue of Thomas Carlyle | In Statue of Thomas Carlyle, how is the Replica of the History elucidated? | A replica of the bronze by MacDonald and Creswick, itself a Category B listed building, was given to Ecclefechan, Carlyle's place of birth and burial, by Alexander Carlyle, husband of Mary Carlyle Aitken, the writer's niece, and unveiled on 3 September 1929 by the writer's granddaughter Betty Carlyle in the presence of 7,000 spectators. Sir James Crichton-Browne delivered an address, transcribed in the 11 October 1929 issue of The Advertiser. He referred to Carlyle as not merely "a great master of literature" but "our supreme historian", "an earnest social reformer", and, "in short, a man of genius of the colossal type". | [
"listed building",
"Ecclefechan",
"James Crichton-Browne",
"Sir James Crichton-Browne"
] |
|
18200_NT | Statue of Thomas Carlyle | In this artwork, how is the Replica of the History elucidated? | A replica of the bronze by MacDonald and Creswick, itself a Category B listed building, was given to Ecclefechan, Carlyle's place of birth and burial, by Alexander Carlyle, husband of Mary Carlyle Aitken, the writer's niece, and unveiled on 3 September 1929 by the writer's granddaughter Betty Carlyle in the presence of 7,000 spectators. Sir James Crichton-Browne delivered an address, transcribed in the 11 October 1929 issue of The Advertiser. He referred to Carlyle as not merely "a great master of literature" but "our supreme historian", "an earnest social reformer", and, "in short, a man of genius of the colossal type". | [
"listed building",
"Ecclefechan",
"James Crichton-Browne",
"Sir James Crichton-Browne"
] |
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