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18201_T | The Stonemason's Yard | Focus on The Stonemason's Yard and analyze the abstract. | The Stonemason's Yard (formally known as Campo S. Vidal and Santa Maria della Carità) is an early oil painting by Giovanni Antonio Canal, better known as Canaletto. It depicts an informal scene in Venice, looking over a temporary stonemason's yard in the Campo San Vidal set up for the construction of Andrea Tirali's facade of the church of San Vidal, and across the Grand Canal towards the church of Santa Maria della Carità. Painted in the mid to late 1720s, it is now in the collection of the National Gallery in London and is considered one of Canaletto's finest works. | [
"Grand Canal",
"Andrea Tirali",
"San Vidal",
"Campo San Vidal",
"Santa Maria della Carità",
"oil painting",
"church of San Vidal",
"Venice",
"National Gallery",
"Canaletto",
"London"
] |
|
18201_NT | The Stonemason's Yard | Focus on this artwork and analyze the abstract. | The Stonemason's Yard (formally known as Campo S. Vidal and Santa Maria della Carità) is an early oil painting by Giovanni Antonio Canal, better known as Canaletto. It depicts an informal scene in Venice, looking over a temporary stonemason's yard in the Campo San Vidal set up for the construction of Andrea Tirali's facade of the church of San Vidal, and across the Grand Canal towards the church of Santa Maria della Carità. Painted in the mid to late 1720s, it is now in the collection of the National Gallery in London and is considered one of Canaletto's finest works. | [
"Grand Canal",
"Andrea Tirali",
"San Vidal",
"Campo San Vidal",
"Santa Maria della Carità",
"oil painting",
"church of San Vidal",
"Venice",
"National Gallery",
"Canaletto",
"London"
] |
|
18202_T | The Stonemason's Yard | In The Stonemason's Yard, how is the Description discussed? | The painting measures 123.8 by 162.9 centimetres (48.7 in × 64.1 in). It depicts a Venetian scene looking roughly southwest over a temporary stonemason's yard situated in an open space beside the Grand Canal known as the Campo San Vidal ("campo", literally field, used in Venice to denote a small open space). Several masons are at work shaping and carving stone probably destined for the reconstruction of the nearby church of San Vidal (immediately behind the viewer and so not visible in the painting; its Palladian façade was renovated in the 1730s) or possibly for the embellishment of a nearby palazzo (the Palazzo Cavalli-Franchetti and Palazzo Barbaro are close by, to the viewer's left). The side of the medieval church of Santa Maria della Carità, reconstructed in the 1440s, stands on the opposite bank of the Grand Canal, to the left of the façade of the Scuola Grande della Carità; the tower of the church of San Trovaso is visible rising over the rooftops in the distance.
In addition to the architectural details, The Stonemason's Yard shows scenes of daily life in Venice, probably in the early morning: a cock crows on a windowsill to the lower left, and sunlight streams in from the left behind the viewer's (east). The mainly domestic buildings are generally in poor repair, with typical Venetian flared chimney-pots. Laundry hangs from many of the windows, and potted plants stand on several balconies. One woman is using a distaff and drop spindle to spin thread on a balcony to the right; another draws water from a well in the campo beside a wooden shed, from a well-head shaped like the capital of a column. Two children are playing in the foreground to the left: one is falling over and urinating involuntarily in surprise, as a woman lunges forward to catch him; another woman looks down from a balcony above. A gondola with canopied cabin passes on the canal, with others moored on either bank.
Unsigned and undated, the painting is attributed and dated by stylistic clues. It seems to combine features of Canaletto's early and mature styles, for example in the use of two undercolours, and is a very early example the use of Prussian blue in oil painting. Canaletto painted The Stonemason's Yard before 1730 while Prussian blue was discovered by Johann Jacob Diesbach in 1704. Amongst other pigments used by Canaletto in this painting were Naples yellow, lead white and ochres.The informal scene is thought to have been painted for a Venetian patron, rather than a foreign visitor to Venice, in the mid- to late 1720s. Unlike many views painted by Canaletto and his fellow vedutisti, the location has changed significantly since the 1720s. The view of the opposite bank of the Grand Canal is now blocked by the high arch of the modern wooden Accademia bridge, and the church of the Carità has been much altered. The campanile fell down in 1744, demolishing the houses beside the canal in front, and much of the other stonework has been removed. The nave became the Accademia di Belle Arti di Venezia in the 1800s, and the Gallerie dell'Accademia is housed in the Scuola. The Campo remains an open space, with the well-head at its centre. The domestic building to the right remains standing. | [
"well-head",
"Grand Canal",
"Palladian",
"Accademia bridge",
"palazzo",
"distaff",
"gondola",
"spin",
"Palazzo Cavalli-Franchetti",
"San Vidal",
"lead white",
"Palazzo Barbaro",
"Johann Jacob Diesbach",
"Campo San Vidal",
"Scuola Grande della Carità",
"Santa Maria della Carità",
"Accademia di Belle Arti di Venezia",
"Gallerie dell'Accademia",
"oil painting",
"church of San Vidal",
"San Trovaso",
"Venice",
"Prussian blue",
"vedutisti",
"Canaletto",
"Venetian",
"drop spindle",
"capital",
"ochres",
"Naples yellow"
] |
|
18202_NT | The Stonemason's Yard | In this artwork, how is the Description discussed? | The painting measures 123.8 by 162.9 centimetres (48.7 in × 64.1 in). It depicts a Venetian scene looking roughly southwest over a temporary stonemason's yard situated in an open space beside the Grand Canal known as the Campo San Vidal ("campo", literally field, used in Venice to denote a small open space). Several masons are at work shaping and carving stone probably destined for the reconstruction of the nearby church of San Vidal (immediately behind the viewer and so not visible in the painting; its Palladian façade was renovated in the 1730s) or possibly for the embellishment of a nearby palazzo (the Palazzo Cavalli-Franchetti and Palazzo Barbaro are close by, to the viewer's left). The side of the medieval church of Santa Maria della Carità, reconstructed in the 1440s, stands on the opposite bank of the Grand Canal, to the left of the façade of the Scuola Grande della Carità; the tower of the church of San Trovaso is visible rising over the rooftops in the distance.
In addition to the architectural details, The Stonemason's Yard shows scenes of daily life in Venice, probably in the early morning: a cock crows on a windowsill to the lower left, and sunlight streams in from the left behind the viewer's (east). The mainly domestic buildings are generally in poor repair, with typical Venetian flared chimney-pots. Laundry hangs from many of the windows, and potted plants stand on several balconies. One woman is using a distaff and drop spindle to spin thread on a balcony to the right; another draws water from a well in the campo beside a wooden shed, from a well-head shaped like the capital of a column. Two children are playing in the foreground to the left: one is falling over and urinating involuntarily in surprise, as a woman lunges forward to catch him; another woman looks down from a balcony above. A gondola with canopied cabin passes on the canal, with others moored on either bank.
Unsigned and undated, the painting is attributed and dated by stylistic clues. It seems to combine features of Canaletto's early and mature styles, for example in the use of two undercolours, and is a very early example the use of Prussian blue in oil painting. Canaletto painted The Stonemason's Yard before 1730 while Prussian blue was discovered by Johann Jacob Diesbach in 1704. Amongst other pigments used by Canaletto in this painting were Naples yellow, lead white and ochres.The informal scene is thought to have been painted for a Venetian patron, rather than a foreign visitor to Venice, in the mid- to late 1720s. Unlike many views painted by Canaletto and his fellow vedutisti, the location has changed significantly since the 1720s. The view of the opposite bank of the Grand Canal is now blocked by the high arch of the modern wooden Accademia bridge, and the church of the Carità has been much altered. The campanile fell down in 1744, demolishing the houses beside the canal in front, and much of the other stonework has been removed. The nave became the Accademia di Belle Arti di Venezia in the 1800s, and the Gallerie dell'Accademia is housed in the Scuola. The Campo remains an open space, with the well-head at its centre. The domestic building to the right remains standing. | [
"well-head",
"Grand Canal",
"Palladian",
"Accademia bridge",
"palazzo",
"distaff",
"gondola",
"spin",
"Palazzo Cavalli-Franchetti",
"San Vidal",
"lead white",
"Palazzo Barbaro",
"Johann Jacob Diesbach",
"Campo San Vidal",
"Scuola Grande della Carità",
"Santa Maria della Carità",
"Accademia di Belle Arti di Venezia",
"Gallerie dell'Accademia",
"oil painting",
"church of San Vidal",
"San Trovaso",
"Venice",
"Prussian blue",
"vedutisti",
"Canaletto",
"Venetian",
"drop spindle",
"capital",
"ochres",
"Naples yellow"
] |
|
18203_T | The Stonemason's Yard | Focus on The Stonemason's Yard and explore the Provenance. | The early ownership of The Stonemason's Yard is not known. It was in the collection of Sir George Beaumont by 1808, and was one of the paintings Beaumont donated to the British Museum in 1823, to form the nucleus of the National Gallery's nascent collection. It passed to the National Gallery in 1828, where it continues to be exhibited. It was extensively cleaned by John Seguier in 1852 – so extensively that a Select Committee investigated the cleaning practices of the National Gallery – and was cleaned again in 1955, and then restored, relined and remounted in 1989. Some early retouchings, clouds now concealed under later glazings, may have been done in Beaumont's time by John Constable. | [
"John Constable",
"Sir George Beaumont",
"National Gallery",
"British Museum",
"John Seguier"
] |
|
18203_NT | The Stonemason's Yard | Focus on this artwork and explore the Provenance. | The early ownership of The Stonemason's Yard is not known. It was in the collection of Sir George Beaumont by 1808, and was one of the paintings Beaumont donated to the British Museum in 1823, to form the nucleus of the National Gallery's nascent collection. It passed to the National Gallery in 1828, where it continues to be exhibited. It was extensively cleaned by John Seguier in 1852 – so extensively that a Select Committee investigated the cleaning practices of the National Gallery – and was cleaned again in 1955, and then restored, relined and remounted in 1989. Some early retouchings, clouds now concealed under later glazings, may have been done in Beaumont's time by John Constable. | [
"John Constable",
"Sir George Beaumont",
"National Gallery",
"British Museum",
"John Seguier"
] |
|
18204_T | Das Bunte Leben | Focus on Das Bunte Leben and explain the abstract. | Das Bunte Leben (The Colourful Life) is a 1907 tempera painting by Russian artist Wassily Kandinsky. | [
"tempera",
"Wassily Kandinsky"
] |
|
18204_NT | Das Bunte Leben | Focus on this artwork and explain the abstract. | Das Bunte Leben (The Colourful Life) is a 1907 tempera painting by Russian artist Wassily Kandinsky. | [
"tempera",
"Wassily Kandinsky"
] |
|
18205_T | Malt Shovel (sculpture) | Explore the abstract of this artwork, Malt Shovel (sculpture). | The Malt Shovel is a 2001 sculpture by Andrew Hazell that stands on the corner of High Street and New Street in Burton upon Trent in England. It was commissioned by East Staffordshire Borough Council in 1998 and funded by a National Lottery grant. The sculpture is a representation of a shovel used for malting, part of the brewery process that dominated the town's history. The stainless-steel sculpture stands 9 metres (30 ft) tall and has a bottle-shaped opening in the blade through which people can walk. The sculpture was unveiled amid local controversy over its accuracy and site. | [
"Burton upon Trent",
"malting",
"East Staffordshire Borough Council",
"Andrew Hazell",
"National Lottery",
"East Staffordshire"
] |
|
18205_NT | Malt Shovel (sculpture) | Explore the abstract of this artwork. | The Malt Shovel is a 2001 sculpture by Andrew Hazell that stands on the corner of High Street and New Street in Burton upon Trent in England. It was commissioned by East Staffordshire Borough Council in 1998 and funded by a National Lottery grant. The sculpture is a representation of a shovel used for malting, part of the brewery process that dominated the town's history. The stainless-steel sculpture stands 9 metres (30 ft) tall and has a bottle-shaped opening in the blade through which people can walk. The sculpture was unveiled amid local controversy over its accuracy and site. | [
"Burton upon Trent",
"malting",
"East Staffordshire Borough Council",
"Andrew Hazell",
"National Lottery",
"East Staffordshire"
] |
|
18206_T | Malt Shovel (sculpture) | Focus on Malt Shovel (sculpture) and discuss the History and description. | The sculpture was commissioned by East Staffordshire Borough Council (ESBC) to stand in Burton upon Trent. A brief was advertised nationally in April 1998 and the local authority received 70 responses, from which a shortlist of eight were selected to provide detailed proposals. The sculptor Andrew Hazell was selected to produce the sculpture. It is intended to represent a shovel used to turn grain during malting, part of the brewing process that dominated the town's industry. The shovel is rendered in stainless steel, which is often used in the modern brewing process, and stands 9 metres (30 ft) high. A 2.75-metre (9.0 ft) opening, shaped like a beer bottle, is cut into the blade of the shovel which allows people to walk through the sculpture. The sculpture cost £45,000 and was funded by a National Lottery grant. It was installed at the junction of High Street and New Street on 14 October 2001. | [
"Burton upon Trent",
"malting",
"East Staffordshire Borough Council",
"Andrew Hazell",
"stainless steel",
"National Lottery",
"East Staffordshire"
] |
|
18206_NT | Malt Shovel (sculpture) | Focus on this artwork and discuss the History and description. | The sculpture was commissioned by East Staffordshire Borough Council (ESBC) to stand in Burton upon Trent. A brief was advertised nationally in April 1998 and the local authority received 70 responses, from which a shortlist of eight were selected to provide detailed proposals. The sculptor Andrew Hazell was selected to produce the sculpture. It is intended to represent a shovel used to turn grain during malting, part of the brewing process that dominated the town's industry. The shovel is rendered in stainless steel, which is often used in the modern brewing process, and stands 9 metres (30 ft) high. A 2.75-metre (9.0 ft) opening, shaped like a beer bottle, is cut into the blade of the shovel which allows people to walk through the sculpture. The sculpture cost £45,000 and was funded by a National Lottery grant. It was installed at the junction of High Street and New Street on 14 October 2001. | [
"Burton upon Trent",
"malting",
"East Staffordshire Borough Council",
"Andrew Hazell",
"stainless steel",
"National Lottery",
"East Staffordshire"
] |
|
18207_T | Malt Shovel (sculpture) | How does Malt Shovel (sculpture) elucidate its Reception? | Hazell was inspired by pop art and particularly the work of Claes Oldenburg, who creates large-scale sculptures of everyday objects. Noszlopy and Waterhouse, writing in 2005, interpreted the Malt Shovel as "an ironic comment on the local heritage industry", which they considered to be focussed on the history of brewing, similar to how Oldenburg satirised capitalism with his sculptures of consumer goods. They also compared the sculpture to Hazell's Fallen Star, a large-scale representation of a light bulb in Bradford that ironically represented the early stars of cinema, long since dead, who are remembered at the town's National Museum of Film and Photography.The sculpture was controversial locally. It was opposed by the Burton Civic Society, who raised concerns on the grounds of road safety, because of the sculpture's potential to dazzle and distract motorists, and its potential to hinder the passage of pedestrians. Opposition to the sculpture from local people also featured in the Burton Mail where some objected to the sculpture's proximity to the town's war memorial and some questioned the accuracy of the sculpture. Some former maltsters claimed that the sculpture more closely resembled a scoop than a malt shovel, which was completely flat. One, who had worked at the Bass Brewery in the 1950s, described it as "an insult to all former maltsters". A Burton Mail poll found 116 of 120 respondents were opposed to the sculpture. The newspaper's editor declined an invitation to attend the unveiling of the sculpture "as a matter of principle". Noszlopy and Waterhouse claimed that none of the opponents of the sculpture noticed its ironical intent. | [
"Bass Brewery",
"Claes Oldenburg",
"Burton Mail",
"pop art"
] |
|
18207_NT | Malt Shovel (sculpture) | How does this artwork elucidate its Reception? | Hazell was inspired by pop art and particularly the work of Claes Oldenburg, who creates large-scale sculptures of everyday objects. Noszlopy and Waterhouse, writing in 2005, interpreted the Malt Shovel as "an ironic comment on the local heritage industry", which they considered to be focussed on the history of brewing, similar to how Oldenburg satirised capitalism with his sculptures of consumer goods. They also compared the sculpture to Hazell's Fallen Star, a large-scale representation of a light bulb in Bradford that ironically represented the early stars of cinema, long since dead, who are remembered at the town's National Museum of Film and Photography.The sculpture was controversial locally. It was opposed by the Burton Civic Society, who raised concerns on the grounds of road safety, because of the sculpture's potential to dazzle and distract motorists, and its potential to hinder the passage of pedestrians. Opposition to the sculpture from local people also featured in the Burton Mail where some objected to the sculpture's proximity to the town's war memorial and some questioned the accuracy of the sculpture. Some former maltsters claimed that the sculpture more closely resembled a scoop than a malt shovel, which was completely flat. One, who had worked at the Bass Brewery in the 1950s, described it as "an insult to all former maltsters". A Burton Mail poll found 116 of 120 respondents were opposed to the sculpture. The newspaper's editor declined an invitation to attend the unveiling of the sculpture "as a matter of principle". Noszlopy and Waterhouse claimed that none of the opponents of the sculpture noticed its ironical intent. | [
"Bass Brewery",
"Claes Oldenburg",
"Burton Mail",
"pop art"
] |
|
18208_T | Drunkenness of Noah | Focus on Drunkenness of Noah and analyze the abstract. | Drunkenness of Noah is a painting by the Italian artist Giovanni Bellini. It was finished about 1515. It is kept in the Museum of Fine Arts and Archeology of Besançon, France. | [
"Giovanni Bellini",
"Besançon",
"Museum of Fine Arts and Archeology",
"Noah"
] |
|
18208_NT | Drunkenness of Noah | Focus on this artwork and analyze the abstract. | Drunkenness of Noah is a painting by the Italian artist Giovanni Bellini. It was finished about 1515. It is kept in the Museum of Fine Arts and Archeology of Besançon, France. | [
"Giovanni Bellini",
"Besançon",
"Museum of Fine Arts and Archeology",
"Noah"
] |
|
18209_T | Drunkenness of Noah | In Drunkenness of Noah, how is the Composition discussed? | Noah is sleeping naked. The cup and the bunches of grapes next to him, and the vineyard in the background, suggest that Noah is drunk. Three of his sons are represented at his side. Shem and Japhet (left and right) avert their eyes and cover their father with a red cloth. But Ham, the third son, laughs when he see his father. | [
"Japhet",
"Shem",
"Ham",
"Noah"
] |
|
18209_NT | Drunkenness of Noah | In this artwork, how is the Composition discussed? | Noah is sleeping naked. The cup and the bunches of grapes next to him, and the vineyard in the background, suggest that Noah is drunk. Three of his sons are represented at his side. Shem and Japhet (left and right) avert their eyes and cover their father with a red cloth. But Ham, the third son, laughs when he see his father. | [
"Japhet",
"Shem",
"Ham",
"Noah"
] |
|
18210_T | Drunkenness of Noah | Focus on Drunkenness of Noah and explore the Origins. | The work refers to Genesis 9:20–2320 In those days Noah became a farmer, and he made a vine-garden. 21 And he took of the wine of it and was overcome by drink; and he was uncovered in his tent. 22 And Ham, the father of Canaan, saw his father unclothed, and gave news of it to his two brothers outside. 23 And Shem and Japheth took a robe, and putting it on their backs went in with their faces turned away, and put it over their father so that they might not see him unclothed. | [
"Japheth",
"Japhet",
"Genesis",
"Shem",
"Ham",
"Noah"
] |
|
18210_NT | Drunkenness of Noah | Focus on this artwork and explore the Origins. | The work refers to Genesis 9:20–2320 In those days Noah became a farmer, and he made a vine-garden. 21 And he took of the wine of it and was overcome by drink; and he was uncovered in his tent. 22 And Ham, the father of Canaan, saw his father unclothed, and gave news of it to his two brothers outside. 23 And Shem and Japheth took a robe, and putting it on their backs went in with their faces turned away, and put it over their father so that they might not see him unclothed. | [
"Japheth",
"Japhet",
"Genesis",
"Shem",
"Ham",
"Noah"
] |
|
18211_T | Gastrotypographicalassemblage | Focus on Gastrotypographicalassemblage and explain the abstract. | Gastrotypographicalassemblage (compound word: Gastro | typographical | assemblage) is a 35-by-8.5-foot (10.7 m × 2.6 m) work of art designed by Lou Dorfsman to decorate the cafeteria in Eero Saarinen's CBS Building on 52nd Street and Sixth Avenue, New York City, New York.
As the senior vice president and creative director for marketing communications and design for CBS, Dorfsman was responsible for all aspects of the building's graphics, designating the type, design, and spacing for wall clocks, elevator buttons, and elevator inspection stickers. He designed what he called Gastrotypographicalassemblage for the building's cafeteria, using varied typefaces to list all of the foods offered to patrons in hand-milled wood type. The completed work was based on ideas conceived in the mid-1960s. The project was ultimately completed in 1966 with assistance from graphic designer Herb Lubalin, and Tom Carnase, who crafted the typography from Dorfsman's original design. Dorfsman considered this work to be "his magnum opus, his gift to the world".Gastrotypographicalassemblage was discarded in the early 1990s by CBS, but the work's nine panels were retrieved by designer Nick Fasciano. It was in an advanced state of disrepair, aggravated by improper storage. The piece was acquired by the Atlanta-based Center for Design Study in the mid-2000s, which developed a program to raise the funds needed to support the restoration of the work of art. Funding goals to begin the restoration fell short, and efforts to restore the work did not begin at that time.Following the death of Lou Dorfsman in 2008, it was announced that the Culinary Institute of America in Hyde Park, New York, would serve as the new home for Gastrotypographicalassemblage. The college worked with Nick Fasciano to fund the restoration, and the work was put on public display for the first time starting in March 2014, when it was showcased in the Institute's new Marriott Pavilion and Conference Center in its Hyde Park campus, where it remains to this day. | [
"New York City",
"52nd Street",
"CBS",
"Sixth Avenue",
"Eero Saarinen",
"Herb Lubalin",
"CBS Building",
"cafeteria",
"wood type",
"Hyde Park, New York",
"Atlanta",
"New York",
"the Culinary Institute of America",
"Lou Dorfsman",
"typography",
"Hyde Park campus",
"typeface"
] |
|
18211_NT | Gastrotypographicalassemblage | Focus on this artwork and explain the abstract. | Gastrotypographicalassemblage (compound word: Gastro | typographical | assemblage) is a 35-by-8.5-foot (10.7 m × 2.6 m) work of art designed by Lou Dorfsman to decorate the cafeteria in Eero Saarinen's CBS Building on 52nd Street and Sixth Avenue, New York City, New York.
As the senior vice president and creative director for marketing communications and design for CBS, Dorfsman was responsible for all aspects of the building's graphics, designating the type, design, and spacing for wall clocks, elevator buttons, and elevator inspection stickers. He designed what he called Gastrotypographicalassemblage for the building's cafeteria, using varied typefaces to list all of the foods offered to patrons in hand-milled wood type. The completed work was based on ideas conceived in the mid-1960s. The project was ultimately completed in 1966 with assistance from graphic designer Herb Lubalin, and Tom Carnase, who crafted the typography from Dorfsman's original design. Dorfsman considered this work to be "his magnum opus, his gift to the world".Gastrotypographicalassemblage was discarded in the early 1990s by CBS, but the work's nine panels were retrieved by designer Nick Fasciano. It was in an advanced state of disrepair, aggravated by improper storage. The piece was acquired by the Atlanta-based Center for Design Study in the mid-2000s, which developed a program to raise the funds needed to support the restoration of the work of art. Funding goals to begin the restoration fell short, and efforts to restore the work did not begin at that time.Following the death of Lou Dorfsman in 2008, it was announced that the Culinary Institute of America in Hyde Park, New York, would serve as the new home for Gastrotypographicalassemblage. The college worked with Nick Fasciano to fund the restoration, and the work was put on public display for the first time starting in March 2014, when it was showcased in the Institute's new Marriott Pavilion and Conference Center in its Hyde Park campus, where it remains to this day. | [
"New York City",
"52nd Street",
"CBS",
"Sixth Avenue",
"Eero Saarinen",
"Herb Lubalin",
"CBS Building",
"cafeteria",
"wood type",
"Hyde Park, New York",
"Atlanta",
"New York",
"the Culinary Institute of America",
"Lou Dorfsman",
"typography",
"Hyde Park campus",
"typeface"
] |
|
18212_T | Portrait of Jakob Fugger | Explore the abstract of this artwork, Portrait of Jakob Fugger. | The Portrait of Jakob Fugger is an oil painting by German Renaissance artist Albrecht Dürer, executed around 1520. | [
"Jakob Fugger",
"oil painting",
"Albrecht Dürer"
] |
|
18212_NT | Portrait of Jakob Fugger | Explore the abstract of this artwork. | The Portrait of Jakob Fugger is an oil painting by German Renaissance artist Albrecht Dürer, executed around 1520. | [
"Jakob Fugger",
"oil painting",
"Albrecht Dürer"
] |
|
18213_T | Portrait of Jakob Fugger | Focus on Portrait of Jakob Fugger and discuss the History. | Jakob Fugger was one of the richest merchants of Augsburg. He was portrayed by Dürer in 1518, when he had been called to the city by emperor Maximilian I, in the course of the Diet of Augsburg. Here the artist was part of delegation of his home city, Nuremberg, and met numerous personalities, including the Fugger with whom he was in good relationships since his second trip to Venice (1506–1507). The artist, however, executed the portrait later, around 1520. | [
"Jakob Fugger",
"Augsburg",
"Nuremberg",
"Maximilian I",
"Diet of Augsburg"
] |
|
18213_NT | Portrait of Jakob Fugger | Focus on this artwork and discuss the History. | Jakob Fugger was one of the richest merchants of Augsburg. He was portrayed by Dürer in 1518, when he had been called to the city by emperor Maximilian I, in the course of the Diet of Augsburg. Here the artist was part of delegation of his home city, Nuremberg, and met numerous personalities, including the Fugger with whom he was in good relationships since his second trip to Venice (1506–1507). The artist, however, executed the portrait later, around 1520. | [
"Jakob Fugger",
"Augsburg",
"Nuremberg",
"Maximilian I",
"Diet of Augsburg"
] |
|
18214_T | Bust of Cardinal Escoubleau de Sourdis | How does Bust of Cardinal Escoubleau de Sourdis elucidate its abstract? | The Bust of Cardinal Escoubleau de Sourdis is a marble portrait sculpture by the Italian artist Gian Lorenzo Bernini. Executed in 1622, the work depicts François de Sourdis. It is currently in the Musée d'Aquitaine in Bordeaux, France. | [
"Musée d'Aquitaine",
"Gian Lorenzo Bernini",
"Bordeaux",
"François de Sourdis"
] |
|
18214_NT | Bust of Cardinal Escoubleau de Sourdis | How does this artwork elucidate its abstract? | The Bust of Cardinal Escoubleau de Sourdis is a marble portrait sculpture by the Italian artist Gian Lorenzo Bernini. Executed in 1622, the work depicts François de Sourdis. It is currently in the Musée d'Aquitaine in Bordeaux, France. | [
"Musée d'Aquitaine",
"Gian Lorenzo Bernini",
"Bordeaux",
"François de Sourdis"
] |
|
18215_T | Masterpiece (Lichtenstein) | Focus on Masterpiece (Lichtenstein) and analyze the Background. | According to the Lichtenstein Foundation website, Masterpiece was part of Lichtenstein's first exhibition at Ferus Gallery in Los Angeles from April 1 – April 27, 1963, featuring Drowning Girl, Portrait of Madame Cézanne and other works from 1962 and 1963. When discussing another work (I Know...Brad), Lichtenstein stated that the name Brad sounded heroic to him and was used with the aim of clichéd oversimplification. Drowning Girl is another notable work with Brad as the heroic subject.The source of this image was a comic book panel with the two subjects positioned similarly to their position here, but they were situated in an automobile. In the source image the narrative content of the speech balloon said "But someday the bitterness will pass..."Masterpiece was part of the largest ever retrospective of Lichtenstein that visited The Art Institute of Chicago from May 16 to September 3, 2012, the National Gallery of Art in Washington, D.C., from October 14, 2012, to January 13, 2013, the Tate Modern in London from February 21 to May 27, 2013, and The Centre Pompidou from July 3 to November 4, 2013. Several publications presented Masterpiece as part of their announcement of the retrospective.In January 2017, Agnes Gund sold the 1962 painting Masterpiece, which for years hung over the mantle of her Upper East Side apartment, for $165 million. The proceeds of the sale will be used to start a fund for criminal justice reform called the Art for Justice fund. The price was one of the 15 highest ever to be paid for an artwork. The purchaser was Steven A. Cohen. | [
"speech balloon",
"Art Institute of Chicago",
"Ferus Gallery",
"Upper East Side",
"National Gallery of Art",
"Tate Modern",
"Washington, D.C.",
"narrative content",
"Steven A. Cohen",
"criminal justice reform",
"Centre Pompidou",
"Agnes Gund",
"Portrait of Madame Cézanne",
"I Know...Brad",
"Drowning Girl",
"The Centre Pompidou"
] |
|
18215_NT | Masterpiece (Lichtenstein) | Focus on this artwork and analyze the Background. | According to the Lichtenstein Foundation website, Masterpiece was part of Lichtenstein's first exhibition at Ferus Gallery in Los Angeles from April 1 – April 27, 1963, featuring Drowning Girl, Portrait of Madame Cézanne and other works from 1962 and 1963. When discussing another work (I Know...Brad), Lichtenstein stated that the name Brad sounded heroic to him and was used with the aim of clichéd oversimplification. Drowning Girl is another notable work with Brad as the heroic subject.The source of this image was a comic book panel with the two subjects positioned similarly to their position here, but they were situated in an automobile. In the source image the narrative content of the speech balloon said "But someday the bitterness will pass..."Masterpiece was part of the largest ever retrospective of Lichtenstein that visited The Art Institute of Chicago from May 16 to September 3, 2012, the National Gallery of Art in Washington, D.C., from October 14, 2012, to January 13, 2013, the Tate Modern in London from February 21 to May 27, 2013, and The Centre Pompidou from July 3 to November 4, 2013. Several publications presented Masterpiece as part of their announcement of the retrospective.In January 2017, Agnes Gund sold the 1962 painting Masterpiece, which for years hung over the mantle of her Upper East Side apartment, for $165 million. The proceeds of the sale will be used to start a fund for criminal justice reform called the Art for Justice fund. The price was one of the 15 highest ever to be paid for an artwork. The purchaser was Steven A. Cohen. | [
"speech balloon",
"Art Institute of Chicago",
"Ferus Gallery",
"Upper East Side",
"National Gallery of Art",
"Tate Modern",
"Washington, D.C.",
"narrative content",
"Steven A. Cohen",
"criminal justice reform",
"Centre Pompidou",
"Agnes Gund",
"Portrait of Madame Cézanne",
"I Know...Brad",
"Drowning Girl",
"The Centre Pompidou"
] |
|
18216_T | Masterpiece (Lichtenstein) | In Masterpiece (Lichtenstein), how is the Critical response discussed? | Masterpiece is regarded as a tongue in cheek joke that reflects upon Lichtenstein's own career. In retrospect, the joke is considered "witty and yet eerily prescient" because it portended some of the future turmoil that the artist would endure. In the painting, the blonde female's speech bubble, "Why, Brad darling, This painting is a masterpiece! My, soon you'll have all of New York clamoring for your work!" conveys her remark as she gazes at the painting, of which a corner of the back is shown. Silent Brad conveys his agreement by his facial expression. Adrian Searle of The Guardian says that the 1962 work, whose narrative and graphical content were both borrowed, was timely because Lichtenstein had his first exhibition in New York City at Leo Castelli Gallery that year, making the painting aspirational in an ironic way that comments on success and "the socio-sexual status of the hot young artist". The satirical commentary on Lichtenstein's career, followed the inside joke made the year before in Mr. Bellamy. According to Roberta Smith of The New York Times, Masterpiece was one of Lichtenstein's works created in a way that produced "faint and uneven" Ben Day dots. | [
"The New York Times",
"Roberta Smith",
"Mr. Bellamy",
"Adrian Searle",
"The Guardian",
"Leo Castelli"
] |
|
18216_NT | Masterpiece (Lichtenstein) | In this artwork, how is the Critical response discussed? | Masterpiece is regarded as a tongue in cheek joke that reflects upon Lichtenstein's own career. In retrospect, the joke is considered "witty and yet eerily prescient" because it portended some of the future turmoil that the artist would endure. In the painting, the blonde female's speech bubble, "Why, Brad darling, This painting is a masterpiece! My, soon you'll have all of New York clamoring for your work!" conveys her remark as she gazes at the painting, of which a corner of the back is shown. Silent Brad conveys his agreement by his facial expression. Adrian Searle of The Guardian says that the 1962 work, whose narrative and graphical content were both borrowed, was timely because Lichtenstein had his first exhibition in New York City at Leo Castelli Gallery that year, making the painting aspirational in an ironic way that comments on success and "the socio-sexual status of the hot young artist". The satirical commentary on Lichtenstein's career, followed the inside joke made the year before in Mr. Bellamy. According to Roberta Smith of The New York Times, Masterpiece was one of Lichtenstein's works created in a way that produced "faint and uneven" Ben Day dots. | [
"The New York Times",
"Roberta Smith",
"Mr. Bellamy",
"Adrian Searle",
"The Guardian",
"Leo Castelli"
] |
|
18217_T | Dovedale by Moonlight | Focus on Dovedale by Moonlight and explore the abstract. | Dovedale by Moonlight, 1784, is one of five paintings by Joseph Wright of Derby which uses the picturesque valley of Dovedale as its subject. These paintings were sometimes made as pairs with one showing the view by day and the other by moonlight. Wright admitted that he had not observed this scene directly, "Moon lights & fire lights are but a sort of work with me for I cant with impunity go out at night and study the former, & the latter I have seen but once, and at a time too, when I thought not of painting such effects." | [
"dale",
"Joseph Wright of Derby",
"valley",
"Dovedale"
] |
|
18217_NT | Dovedale by Moonlight | Focus on this artwork and explore the abstract. | Dovedale by Moonlight, 1784, is one of five paintings by Joseph Wright of Derby which uses the picturesque valley of Dovedale as its subject. These paintings were sometimes made as pairs with one showing the view by day and the other by moonlight. Wright admitted that he had not observed this scene directly, "Moon lights & fire lights are but a sort of work with me for I cant with impunity go out at night and study the former, & the latter I have seen but once, and at a time too, when I thought not of painting such effects." | [
"dale",
"Joseph Wright of Derby",
"valley",
"Dovedale"
] |
|
18218_T | Dovedale by Moonlight | Focus on Dovedale by Moonlight and explain the Description. | Dovedale is a very popular dale in Staffordshire and Wright's home county of Derbyshire. Admired in Wright's time, it has been owned by the National Trust since 1924 and made available to the many Peak District visitors. Dovedale is named for the River Dove and it is 3 miles (5 km) long.Wright's paintings appear to be from nature, but in a letter of 1787 he said that he had observed moonlight and firelight only once at night and this was some time before he decided to create this series of paintings. However his preparatory sketches show that he was using a mixture of studies and chance. The unusual reversal of light and shade in the trees in the sketch of Dovedale is said to be after using techniques created by the Russian born Alexander Cozens. Wright owned paintings by Cozens who taught his students to paint landscapes. He told them to create blots on paper and then use these as inspiration for the composition. | [
"Peak District",
"National Trust",
"dale",
"River Dove",
"Alexander Cozens",
"Dovedale",
"Derbyshire"
] |
|
18218_NT | Dovedale by Moonlight | Focus on this artwork and explain the Description. | Dovedale is a very popular dale in Staffordshire and Wright's home county of Derbyshire. Admired in Wright's time, it has been owned by the National Trust since 1924 and made available to the many Peak District visitors. Dovedale is named for the River Dove and it is 3 miles (5 km) long.Wright's paintings appear to be from nature, but in a letter of 1787 he said that he had observed moonlight and firelight only once at night and this was some time before he decided to create this series of paintings. However his preparatory sketches show that he was using a mixture of studies and chance. The unusual reversal of light and shade in the trees in the sketch of Dovedale is said to be after using techniques created by the Russian born Alexander Cozens. Wright owned paintings by Cozens who taught his students to paint landscapes. He told them to create blots on paper and then use these as inspiration for the composition. | [
"Peak District",
"National Trust",
"dale",
"River Dove",
"Alexander Cozens",
"Dovedale",
"Derbyshire"
] |
|
18219_T | Dovedale by Moonlight | Explore the History of this artwork, Dovedale by Moonlight. | There are no known Derbyshire landscapes by Wright that are dateable before 1786. One of the problems is that many of Wright's paintings are dated by consulting Wright's accounts in his notebook. In the case of his English landscapes this has proved challenging. It is known that some of the Dovedale pictures are some of his earliest English landscapes.
Wright frequently repeated a popular subject in his paintings as he did with his Virgil's Tomb pictures and his Blacksmith's Shop paintings. In this case he made five very similar paintings. The version at Oberlin College was painted in 1785 to 1786 and sold to Edward Mundy of Shipley Hall. The college obtained it in 1951. There is a matching painting to this which is a similar view but in daylight. That painting is still in Derbyshire at Parwich Hall which is in a small village close to Dovedale.
Wright also did a daylight view of Dovedale in 1787 which he gave to the industrialist Josiah Wedgwood out of respect for his patronage on the arts. This painting is now in the Wedgwood Museum.
Two other paintings of Dovedale were sold to Sir Brooke Boothby bt. of Ashbourne Hall, who had helped Wright when he put on the first one-man exhibition in London. Boothby also purchased two views of nearby Matlock, two paintings of bridges in Rome as well as an unusual 1781 portrait of himself lying by a brook holding a book by Rousseau. | [
"Wedgwood",
"Blacksmith's Shop",
"Edward Mundy",
"Rousseau",
"Parwich Hall",
"Sir Brooke Boothby bt.",
"dale",
"Josiah Wedgwood",
"Wedgwood Museum",
"Ashbourne Hall",
"Oberlin College",
"Shipley Hall",
"Dovedale",
"Virgil's Tomb",
"Derbyshire"
] |
|
18219_NT | Dovedale by Moonlight | Explore the History of this artwork. | There are no known Derbyshire landscapes by Wright that are dateable before 1786. One of the problems is that many of Wright's paintings are dated by consulting Wright's accounts in his notebook. In the case of his English landscapes this has proved challenging. It is known that some of the Dovedale pictures are some of his earliest English landscapes.
Wright frequently repeated a popular subject in his paintings as he did with his Virgil's Tomb pictures and his Blacksmith's Shop paintings. In this case he made five very similar paintings. The version at Oberlin College was painted in 1785 to 1786 and sold to Edward Mundy of Shipley Hall. The college obtained it in 1951. There is a matching painting to this which is a similar view but in daylight. That painting is still in Derbyshire at Parwich Hall which is in a small village close to Dovedale.
Wright also did a daylight view of Dovedale in 1787 which he gave to the industrialist Josiah Wedgwood out of respect for his patronage on the arts. This painting is now in the Wedgwood Museum.
Two other paintings of Dovedale were sold to Sir Brooke Boothby bt. of Ashbourne Hall, who had helped Wright when he put on the first one-man exhibition in London. Boothby also purchased two views of nearby Matlock, two paintings of bridges in Rome as well as an unusual 1781 portrait of himself lying by a brook holding a book by Rousseau. | [
"Wedgwood",
"Blacksmith's Shop",
"Edward Mundy",
"Rousseau",
"Parwich Hall",
"Sir Brooke Boothby bt.",
"dale",
"Josiah Wedgwood",
"Wedgwood Museum",
"Ashbourne Hall",
"Oberlin College",
"Shipley Hall",
"Dovedale",
"Virgil's Tomb",
"Derbyshire"
] |
|
18220_T | San Luca Altarpiece | Focus on San Luca Altarpiece and discuss the abstract. | The San Lucas Altarpiece, also known as the San Lucas Polyptych, is a 1453 polyptych panel painting by Northern Italian Renaissance painter Andrea Mantegna. The altarpiece is a polyptych panel painting featuring 12 figures each in their own arch. The six figures in the top row flank the central figure of Jesus Christ. The four beneath flank Saint Luke. | [
"Jesus",
"Italian Renaissance",
"Jesus Christ",
"panel painting",
"Saint Luke",
"Andrea Mantegna",
"Polyptych",
"polyptych"
] |
|
18220_NT | San Luca Altarpiece | Focus on this artwork and discuss the abstract. | The San Lucas Altarpiece, also known as the San Lucas Polyptych, is a 1453 polyptych panel painting by Northern Italian Renaissance painter Andrea Mantegna. The altarpiece is a polyptych panel painting featuring 12 figures each in their own arch. The six figures in the top row flank the central figure of Jesus Christ. The four beneath flank Saint Luke. | [
"Jesus",
"Italian Renaissance",
"Jesus Christ",
"panel painting",
"Saint Luke",
"Andrea Mantegna",
"Polyptych",
"polyptych"
] |
|
18221_T | San Luca Altarpiece | How does San Luca Altarpiece elucidate its History? | On August 10, 1453, Mantegna signed a contract to paint the work for the monastery of Santa Giustina in Padua. In return for 50 ducats, Mantegna agreed to complete the work, providing paints with which to depict the figures and the azzurro Todesco (a blue pigment derived from copper) with which to inlay them. The work was completed within that or the following year. The polyptych is located in Pinacoteca di Brera, Milan. | [
"Milan",
"Pinacoteca di Brera",
"monastery of Santa Giustina",
"Padua",
"polyptych",
"ducats",
"copper"
] |
|
18221_NT | San Luca Altarpiece | How does this artwork elucidate its History? | On August 10, 1453, Mantegna signed a contract to paint the work for the monastery of Santa Giustina in Padua. In return for 50 ducats, Mantegna agreed to complete the work, providing paints with which to depict the figures and the azzurro Todesco (a blue pigment derived from copper) with which to inlay them. The work was completed within that or the following year. The polyptych is located in Pinacoteca di Brera, Milan. | [
"Milan",
"Pinacoteca di Brera",
"monastery of Santa Giustina",
"Padua",
"polyptych",
"ducats",
"copper"
] |
|
18222_T | Statue of Magic Johnson | Focus on Statue of Magic Johnson and analyze the abstract. | A statue of basketball player Magic Johnson by Omri Amrany and Gary Tillery is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The sculpture was unveiled in 2004. | [
"Magic Johnson",
"Los Angeles",
"Crypto.com Arena"
] |
|
18222_NT | Statue of Magic Johnson | Focus on this artwork and analyze the abstract. | A statue of basketball player Magic Johnson by Omri Amrany and Gary Tillery is installed outside Los Angeles' Crypto.com Arena, in the U.S. state of California. The sculpture was unveiled in 2004. | [
"Magic Johnson",
"Los Angeles",
"Crypto.com Arena"
] |
|
18223_T | The Sorrows of the King | In The Sorrows of the King, how is the abstract discussed? | The Sorrows of the King is a collage using cut out paper shapes by Henri Matisse from 1952. It was made from paper he had coloured with gouache paint and is mounted on canvas. Its area is 292 x 386 cm. It was his final self-portrait. During the early-to-mid-1940s Matisse was in poor health. By 1950 he stopped painting in favor of his paper cutouts. The Sorrows of the King is an example of Matisse's final body of works known as the cutouts.
The British composer Peter Seabourne b.1960 wrote a septet The Sadness of the King (2007) inspired by this late paper cut, performed in Chicago and by members of the Lahti Symphony Orchestra in Lahti, Finland. | [
"canvas",
"Finland",
"Henri Matisse",
"septet",
"Peter Seabourne",
"gouache",
"Lahti",
"Lahti Symphony Orchestra",
"Chicago"
] |
|
18223_NT | The Sorrows of the King | In this artwork, how is the abstract discussed? | The Sorrows of the King is a collage using cut out paper shapes by Henri Matisse from 1952. It was made from paper he had coloured with gouache paint and is mounted on canvas. Its area is 292 x 386 cm. It was his final self-portrait. During the early-to-mid-1940s Matisse was in poor health. By 1950 he stopped painting in favor of his paper cutouts. The Sorrows of the King is an example of Matisse's final body of works known as the cutouts.
The British composer Peter Seabourne b.1960 wrote a septet The Sadness of the King (2007) inspired by this late paper cut, performed in Chicago and by members of the Lahti Symphony Orchestra in Lahti, Finland. | [
"canvas",
"Finland",
"Henri Matisse",
"septet",
"Peter Seabourne",
"gouache",
"Lahti",
"Lahti Symphony Orchestra",
"Chicago"
] |
|
18224_T | Landscape, Branchville | Focus on Landscape, Branchville and explain the abstract. | Landscape, Branchville (also Branchville Lane or Branchville) is an oil on canvas painting by John Henry Twachtman. Painted c. 1888, it is Twachtman's largest known work, and was painted in front of the home of his friend J. Alden Weir. | [
"John Henry Twachtman",
"J. Alden Weir"
] |
|
18224_NT | Landscape, Branchville | Focus on this artwork and explain the abstract. | Landscape, Branchville (also Branchville Lane or Branchville) is an oil on canvas painting by John Henry Twachtman. Painted c. 1888, it is Twachtman's largest known work, and was painted in front of the home of his friend J. Alden Weir. | [
"John Henry Twachtman",
"J. Alden Weir"
] |
|
18225_T | Landscape, Branchville | Explore the Background of this artwork, Landscape, Branchville. | Close friends, Twachtman and Weir were members of The Society of American Artists, the Tile Club, and the Ten American Painters, and were instructors at the Art Students League of New York. Twachtman was best man at Weir's wedding, and named his son "Alden" after Weir's middle name. A frequent guest at Weir's farm in Branchville, Connecticut, in the southeast corner of Ridgefield, Connecticut, Twachtman rented a home nearby in the summer of 1888 to work alongside Weir. Of painting in the country Twachtman wrote Weir: "I feel more and more contented with the isolation of country life. To be isolated is a fine thing and we are then nearer to nature".Working together in Branchville, Twachtman and Weir sought to bring the lightness of touch of their watercolors and pastels to oil painting; the import of their experiments was recognized by critics when they exhibited in New York the following winter.Landscape, Branchville was painted three years after Arques-la-Bataille, the only other canvas by Twachtman of similar size. However, whereas the earlier canvas was painted with the intention of exhibiting at the Paris Salon, Twachtman's rationale for the scale of Landscape, Branchville is not known. The paintings are exceptional within Twachtman's ouvre: but for a few canvases that extend to 40 or 50 inches in width, most of his notable paintings are less than 30 inches wide. | [
"Tile Club",
"Paris Salon",
"Ridgefield, Connecticut",
"Art Students League of New York",
"The Society of American Artists",
"Branchville, Connecticut",
"Ten American Painters",
"Society of American Artists"
] |
|
18225_NT | Landscape, Branchville | Explore the Background of this artwork. | Close friends, Twachtman and Weir were members of The Society of American Artists, the Tile Club, and the Ten American Painters, and were instructors at the Art Students League of New York. Twachtman was best man at Weir's wedding, and named his son "Alden" after Weir's middle name. A frequent guest at Weir's farm in Branchville, Connecticut, in the southeast corner of Ridgefield, Connecticut, Twachtman rented a home nearby in the summer of 1888 to work alongside Weir. Of painting in the country Twachtman wrote Weir: "I feel more and more contented with the isolation of country life. To be isolated is a fine thing and we are then nearer to nature".Working together in Branchville, Twachtman and Weir sought to bring the lightness of touch of their watercolors and pastels to oil painting; the import of their experiments was recognized by critics when they exhibited in New York the following winter.Landscape, Branchville was painted three years after Arques-la-Bataille, the only other canvas by Twachtman of similar size. However, whereas the earlier canvas was painted with the intention of exhibiting at the Paris Salon, Twachtman's rationale for the scale of Landscape, Branchville is not known. The paintings are exceptional within Twachtman's ouvre: but for a few canvases that extend to 40 or 50 inches in width, most of his notable paintings are less than 30 inches wide. | [
"Tile Club",
"Paris Salon",
"Ridgefield, Connecticut",
"Art Students League of New York",
"The Society of American Artists",
"Branchville, Connecticut",
"Ten American Painters",
"Society of American Artists"
] |
|
18226_T | Landscape, Branchville | Focus on Landscape, Branchville and discuss the Description. | The same height and just one inch wider than Arques-la-Bataille, Landscape, Branchville is a work of vastly different effect, and represents a transitional moment in Twachtman's career. Instead of a consciously formal and carefully arranged composition— Arques-la-Bataille was painted in the studio from sketches— Branchville is characterized by a vigorous spontaneity that suggests plein-air painting. Rather than choosing a subject of natural grandeur for large-scale treatment, as had painters of the Hudson River School, Twachtman painted an apparently unremarkable and intimate view.Landscape, Branchville depicts the landscape, looking to the west, from the front door of Weir's home. Sky comprises the upper third of the painting, with the land carved into diagonals by a winding path. A large tree to the right of center, extending to the top of the canvas, is the sole vertical stanchion. Composed of patches of green and reddish ocher, the ground plane is loosely painted, with the undertone of the canvas showing through toward the bottom of the canvas. The handling gibes with Twachtman's prioritization of breadth over detail. It may also reflect an increasing interest in French Impressionism, examples of which had been exhibited in New York in 1886.The forms of a similar composition in pastel entitled Tree by a Road (Cincinnati Art Museum), have been further distilled, and may have been painted after the oil. | [
"Impressionism",
"right",
"Hudson River School",
"French Impressionism",
"plein-air"
] |
|
18226_NT | Landscape, Branchville | Focus on this artwork and discuss the Description. | The same height and just one inch wider than Arques-la-Bataille, Landscape, Branchville is a work of vastly different effect, and represents a transitional moment in Twachtman's career. Instead of a consciously formal and carefully arranged composition— Arques-la-Bataille was painted in the studio from sketches— Branchville is characterized by a vigorous spontaneity that suggests plein-air painting. Rather than choosing a subject of natural grandeur for large-scale treatment, as had painters of the Hudson River School, Twachtman painted an apparently unremarkable and intimate view.Landscape, Branchville depicts the landscape, looking to the west, from the front door of Weir's home. Sky comprises the upper third of the painting, with the land carved into diagonals by a winding path. A large tree to the right of center, extending to the top of the canvas, is the sole vertical stanchion. Composed of patches of green and reddish ocher, the ground plane is loosely painted, with the undertone of the canvas showing through toward the bottom of the canvas. The handling gibes with Twachtman's prioritization of breadth over detail. It may also reflect an increasing interest in French Impressionism, examples of which had been exhibited in New York in 1886.The forms of a similar composition in pastel entitled Tree by a Road (Cincinnati Art Museum), have been further distilled, and may have been painted after the oil. | [
"Impressionism",
"right",
"Hudson River School",
"French Impressionism",
"plein-air"
] |
|
18227_T | Statues of John of Matha, Felix of Valois and Saint Ivan, Charles Bridge | How does Statues of John of Matha, Felix of Valois and Saint Ivan, Charles Bridge elucidate its abstract? | The statues of John of Matha, Felix of Valois and Saint Ivan (Czech: Sousoší svatého Jana z Mathy, Felixe z Valois a Ivana) are outdoor sculptures by Ferdinand Brokoff, installed on the south side of the Charles Bridge in Prague, Czech Republic. | [
"Prague",
"Felix of Valois",
"Charles Bridge",
"John of Matha",
"Ferdinand Brokoff",
"Saint Ivan"
] |
|
18227_NT | Statues of John of Matha, Felix of Valois and Saint Ivan, Charles Bridge | How does this artwork elucidate its abstract? | The statues of John of Matha, Felix of Valois and Saint Ivan (Czech: Sousoší svatého Jana z Mathy, Felixe z Valois a Ivana) are outdoor sculptures by Ferdinand Brokoff, installed on the south side of the Charles Bridge in Prague, Czech Republic. | [
"Prague",
"Felix of Valois",
"Charles Bridge",
"John of Matha",
"Ferdinand Brokoff",
"Saint Ivan"
] |
|
18228_T | Equals Pi | Focus on Equals Pi and analyze the History. | Equals Pi was executed by Jean-Michel Basquiat in 1982, which is considered his most coveted year. The robin egg blue painting contains Basquiat's signature crown motif and a head alongside his characteristic scrawled text with phrases such as "AMORITE," "TEN YEN" and "DUNCE." The title refers to the mathematical equations incorporated on the right side of the work. The cone refers to the pointed dunce caps depicted in the work.The painting was acquired in 1982 by Anne Dayton, who was the advertising manager of Artforum magazine. She purchase it for $7,000 from Basquiat's exhibition at the Fun Gallery in the East Village. At the time the painting was called Still Pi, however, when the work appeared in the March 1983 issue of GQ magazine, it was titled Knowledge of the Cone, which is written on the top of the painting.According to reports in August 2021, the luxury jewelry brand Tiffany & Co. had recently acquired the painting privately from the Sabbadini family, for a price in the range of $15 million to $20 million. The painting, which is the brand's signature blue color, is displayed in the Tiffany & Co. Landmark store on Fifth Avenue in New York City. Although initial reports claimed that the painting was never seen before, it was previously offered at auction twice and had appeared in magazines. The work was first offered at a Sotheby's sale in London in June 1990, where it went unsold. In December 1996, the Sabbadinis, a Milan-based clan behind the eponymous jewelry house, purchased it during a Sotheby's London auction for $253,000. Mother and daughter Stefania and Micól Sabbadini posed in front of the painting in their living room for a 2018 feature in W magazine. | [
"Artforum",
"Tiffany & Co.",
"W",
"Tiffany & Co. Landmark store",
"Jean-Michel Basquiat",
"GQ",
"dunce caps",
"East Village",
"Fun Gallery",
"robin egg blue",
"Sotheby's",
"Fifth Avenue"
] |
|
18228_NT | Equals Pi | Focus on this artwork and analyze the History. | Equals Pi was executed by Jean-Michel Basquiat in 1982, which is considered his most coveted year. The robin egg blue painting contains Basquiat's signature crown motif and a head alongside his characteristic scrawled text with phrases such as "AMORITE," "TEN YEN" and "DUNCE." The title refers to the mathematical equations incorporated on the right side of the work. The cone refers to the pointed dunce caps depicted in the work.The painting was acquired in 1982 by Anne Dayton, who was the advertising manager of Artforum magazine. She purchase it for $7,000 from Basquiat's exhibition at the Fun Gallery in the East Village. At the time the painting was called Still Pi, however, when the work appeared in the March 1983 issue of GQ magazine, it was titled Knowledge of the Cone, which is written on the top of the painting.According to reports in August 2021, the luxury jewelry brand Tiffany & Co. had recently acquired the painting privately from the Sabbadini family, for a price in the range of $15 million to $20 million. The painting, which is the brand's signature blue color, is displayed in the Tiffany & Co. Landmark store on Fifth Avenue in New York City. Although initial reports claimed that the painting was never seen before, it was previously offered at auction twice and had appeared in magazines. The work was first offered at a Sotheby's sale in London in June 1990, where it went unsold. In December 1996, the Sabbadinis, a Milan-based clan behind the eponymous jewelry house, purchased it during a Sotheby's London auction for $253,000. Mother and daughter Stefania and Micól Sabbadini posed in front of the painting in their living room for a 2018 feature in W magazine. | [
"Artforum",
"Tiffany & Co.",
"W",
"Tiffany & Co. Landmark store",
"Jean-Michel Basquiat",
"GQ",
"dunce caps",
"East Village",
"Fun Gallery",
"robin egg blue",
"Sotheby's",
"Fifth Avenue"
] |
|
18229_T | Equals Pi | In Equals Pi, how is the Tiffany & Co. campaign discussed? | In 2021, luxury jewelry company Tiffany & Co. partnered with American singer Beyoncé and rapper Jay-Z to promote the company's "About Love" campaign. In the campaign, Jay-Z is seen wearing his hair much like Basquiat. The campaign incorporated Equals Pi in most of its material because the painting heavily features a color close to the company's signature robin egg blue.The campaign was met with criticism from the artists former friends and colleagues. Stephen Torton, a former assistant of Basquiat's posted a statement on Instagram saying, "I designed and built stretchers, painted backgrounds, glued drawings down on canvas, chauffeured, traveled extensively, spoke freely about many topics and worked endless hours side by side in silence. The idea that this blue background, which I mixed and applied was in any way related to Tiffany Blue is so absurd that at first I chose not to comment. But this very perverse appropriation of the artist’s inspiration is too much."Furthermore, a curator of Basquiat's work has stated that if the use of the robins egg blue was in reference to Tiffany, it would have been intended as criticism rather than an homage or as something to be commercialized by the company. | [
"Instagram",
"Tiffany & Co.",
"Jay-Z",
"robin egg blue",
"Tiffany Blue",
"Beyoncé"
] |
|
18229_NT | Equals Pi | In this artwork, how is the Tiffany & Co. campaign discussed? | In 2021, luxury jewelry company Tiffany & Co. partnered with American singer Beyoncé and rapper Jay-Z to promote the company's "About Love" campaign. In the campaign, Jay-Z is seen wearing his hair much like Basquiat. The campaign incorporated Equals Pi in most of its material because the painting heavily features a color close to the company's signature robin egg blue.The campaign was met with criticism from the artists former friends and colleagues. Stephen Torton, a former assistant of Basquiat's posted a statement on Instagram saying, "I designed and built stretchers, painted backgrounds, glued drawings down on canvas, chauffeured, traveled extensively, spoke freely about many topics and worked endless hours side by side in silence. The idea that this blue background, which I mixed and applied was in any way related to Tiffany Blue is so absurd that at first I chose not to comment. But this very perverse appropriation of the artist’s inspiration is too much."Furthermore, a curator of Basquiat's work has stated that if the use of the robins egg blue was in reference to Tiffany, it would have been intended as criticism rather than an homage or as something to be commercialized by the company. | [
"Instagram",
"Tiffany & Co.",
"Jay-Z",
"robin egg blue",
"Tiffany Blue",
"Beyoncé"
] |
|
18230_T | Sanders portrait | Focus on Sanders portrait and explore the abstract. | The Sanders portrait is reputed to be one of the few images of William Shakespeare done in his lifetime. It features a middle-aged man wearing a black doublet with silver ornamentation. It also has a label affixed to the back which reads:Shakspere [sic]
Born April 23=1564
Died April 23-1616
Aged 52
This Likeness taken 1603
Age at that time 39 ysThis label was transcribed in 1909 by Marion Henry Spielmann; today, the original text is not legible.
The Sanders portrait is one of the most researched portraits claimed to depict William Shakespeare (1564–1616). It is named for the man that owned (and perhaps painted) the portrait, John Sanders, whose family has owned the portrait for over 400 years – including a transatlantic voyage that resulted in its presence in Canada.
The portrait’s authenticity as a true likeness of Shakespeare continues to be questioned by critics though supporters point to scientific tests, genealogical research, and historical contexts which date this portrait not only to Shakespeare’s lifetime, but place it as originally painted and owned by a family who lived in the same neighbourhood as William Shakespeare and would have had connections through guild membership with the playwright. The portrait’s presence in Canada, its currently being in the private sphere, and its limited budget for more research and publicity are all factors in the lack of attention shown to the portrait.
Partnering with current owner, Lloyd Sullivan, recent research from the Canadian Adaptations of Shakespeare Project (CASP) at the University of Guelph, has sought to return the portrait to the public eye and establish it as the only true likeness of Shakespeare painted in his lifetime. | [
"doublet",
"a label",
"William Shakespeare",
"portraits claimed to depict",
"University of Guelph"
] |
|
18230_NT | Sanders portrait | Focus on this artwork and explore the abstract. | The Sanders portrait is reputed to be one of the few images of William Shakespeare done in his lifetime. It features a middle-aged man wearing a black doublet with silver ornamentation. It also has a label affixed to the back which reads:Shakspere [sic]
Born April 23=1564
Died April 23-1616
Aged 52
This Likeness taken 1603
Age at that time 39 ysThis label was transcribed in 1909 by Marion Henry Spielmann; today, the original text is not legible.
The Sanders portrait is one of the most researched portraits claimed to depict William Shakespeare (1564–1616). It is named for the man that owned (and perhaps painted) the portrait, John Sanders, whose family has owned the portrait for over 400 years – including a transatlantic voyage that resulted in its presence in Canada.
The portrait’s authenticity as a true likeness of Shakespeare continues to be questioned by critics though supporters point to scientific tests, genealogical research, and historical contexts which date this portrait not only to Shakespeare’s lifetime, but place it as originally painted and owned by a family who lived in the same neighbourhood as William Shakespeare and would have had connections through guild membership with the playwright. The portrait’s presence in Canada, its currently being in the private sphere, and its limited budget for more research and publicity are all factors in the lack of attention shown to the portrait.
Partnering with current owner, Lloyd Sullivan, recent research from the Canadian Adaptations of Shakespeare Project (CASP) at the University of Guelph, has sought to return the portrait to the public eye and establish it as the only true likeness of Shakespeare painted in his lifetime. | [
"doublet",
"a label",
"William Shakespeare",
"portraits claimed to depict",
"University of Guelph"
] |
|
18231_T | Sanders portrait | Focus on Sanders portrait and explain the Genealogy and the Sanders family. | Extensive genealogical research has been undertaken by CASP researchers and Warwickshire and Worcestershire family historian Pamela Hinks to confirm the oral history of the Sanders family provided by Lloyd Sullivan, owner of the portrait from 1972 until his death in 2019. This research suggests that the Sanders Portrait is the only likeness of Shakespeare which traces back directly to Shakespeare's lifetime.The family of Lloyd Sullivan was traced back directly to one John Sanders, Sullivan’s ten times removed great-grandfather (thirteen generations before Sullivan). Proponents of the painting suggest that either John Sanders or his brother William painted the portrait of Shakespeare in 1603, when the family was living close to Shakespeare’s home in London, a house owned by Christopher and Mary Mountjoy on the corner of Silver Street and Monkwell Street (a. k. a. Muggle Street), in Cripplegate.The Sanders family and Shakespeare moved in circles that would have encouraged contact between the two: both families were intermarried with the Thockmorton, Catesby, and Arden families. For instance, in 1592, Phillipi Sanders (a brother of John Sanders) married Anna Heminges, a cousin of John Heminges – one of Shakespeare's closest associates. Likewise, in 1613, a Joccossa Sanders married John Heminges's cousin Thomas Heminges.An oral tradition, documented in Stephanie Nolen's Shakespeare's Face (2002), holds that for 400 years the portrait was passed down in the family while knowledge of its existence remained private. Its ownership can be verified back as far as 1909 when M. H. Spielmann studied the painting – at which time it was in the possession of T. Hale Sanders, who had taken ownership of it from his uncle through his father. Thomas (T.) Hale Sanders is the great grandfather of Lloyd Sullivan. In early 1919 Agnes Hales Sanders, grandmother of Lloyd Sullivan, travelled from Montreal to London to reclaim the Sanders Portrait. Since then it has been held in Montreal and Ottawa.The portrait's existence was made public in May 2001 by Lloyd Sullivan. Since then has undergone multiple tests and been shown in art galleries, including the National Portrait Gallery in London. | [
"Silver Street",
"National Portrait Gallery",
"John Heminges",
"Stephanie Nolen",
"Cripplegate"
] |
|
18231_NT | Sanders portrait | Focus on this artwork and explain the Genealogy and the Sanders family. | Extensive genealogical research has been undertaken by CASP researchers and Warwickshire and Worcestershire family historian Pamela Hinks to confirm the oral history of the Sanders family provided by Lloyd Sullivan, owner of the portrait from 1972 until his death in 2019. This research suggests that the Sanders Portrait is the only likeness of Shakespeare which traces back directly to Shakespeare's lifetime.The family of Lloyd Sullivan was traced back directly to one John Sanders, Sullivan’s ten times removed great-grandfather (thirteen generations before Sullivan). Proponents of the painting suggest that either John Sanders or his brother William painted the portrait of Shakespeare in 1603, when the family was living close to Shakespeare’s home in London, a house owned by Christopher and Mary Mountjoy on the corner of Silver Street and Monkwell Street (a. k. a. Muggle Street), in Cripplegate.The Sanders family and Shakespeare moved in circles that would have encouraged contact between the two: both families were intermarried with the Thockmorton, Catesby, and Arden families. For instance, in 1592, Phillipi Sanders (a brother of John Sanders) married Anna Heminges, a cousin of John Heminges – one of Shakespeare's closest associates. Likewise, in 1613, a Joccossa Sanders married John Heminges's cousin Thomas Heminges.An oral tradition, documented in Stephanie Nolen's Shakespeare's Face (2002), holds that for 400 years the portrait was passed down in the family while knowledge of its existence remained private. Its ownership can be verified back as far as 1909 when M. H. Spielmann studied the painting – at which time it was in the possession of T. Hale Sanders, who had taken ownership of it from his uncle through his father. Thomas (T.) Hale Sanders is the great grandfather of Lloyd Sullivan. In early 1919 Agnes Hales Sanders, grandmother of Lloyd Sullivan, travelled from Montreal to London to reclaim the Sanders Portrait. Since then it has been held in Montreal and Ottawa.The portrait's existence was made public in May 2001 by Lloyd Sullivan. Since then has undergone multiple tests and been shown in art galleries, including the National Portrait Gallery in London. | [
"Silver Street",
"National Portrait Gallery",
"John Heminges",
"Stephanie Nolen",
"Cripplegate"
] |
|
18232_T | Sanders portrait | In the context of Sanders portrait, discuss the Battle of Wills of the Sanders, Shakespeare, and Canada. | A 2008 documentary by Anne Henderson sought to tell the story of the Canadian-owned portrait of Shakespeare. The film both highlighted some of the technical and financial difficulties of caring for the painting, and showcased the controversy that surrounds the Sanders Portrait and other portraits claiming to be life likenesses of William Shakespeare. Interviews with descendants of the Sanders family; researchers Marie-Claude Corbeil, Daniel Fischlin and Pamela Hinks; actors Joseph Fiennes and Michael Pennington; as well as art experts Lily Koltun, David Loch, and Philip Mould offer an interdisciplinary inside look at the Shakespeare Portrait debates.As of November 2013 a second part of the documentary is in the works. | [
"William Shakespeare",
"Michael Pennington",
"Philip Mould",
"Daniel Fischlin",
"Joseph Fiennes"
] |
|
18232_NT | Sanders portrait | In the context of this artwork, discuss the Battle of Wills of the Sanders, Shakespeare, and Canada. | A 2008 documentary by Anne Henderson sought to tell the story of the Canadian-owned portrait of Shakespeare. The film both highlighted some of the technical and financial difficulties of caring for the painting, and showcased the controversy that surrounds the Sanders Portrait and other portraits claiming to be life likenesses of William Shakespeare. Interviews with descendants of the Sanders family; researchers Marie-Claude Corbeil, Daniel Fischlin and Pamela Hinks; actors Joseph Fiennes and Michael Pennington; as well as art experts Lily Koltun, David Loch, and Philip Mould offer an interdisciplinary inside look at the Shakespeare Portrait debates.As of November 2013 a second part of the documentary is in the works. | [
"William Shakespeare",
"Michael Pennington",
"Philip Mould",
"Daniel Fischlin",
"Joseph Fiennes"
] |
|
18233_T | Sanders portrait | In Sanders portrait, how is the "Look here upon this picture:" A Symposium on the Sanders Portrait of Shakespeare of the Sanders, Shakespeare, and Canada elucidated? | On 28 November 2013 all of the current information on the Sanders Portrait was made public by researchers from the University of Guelph and supplemented by discussions of the scientific studies done, the internal evidence (that is, a reading of the clothing of the sitter, the status of the sitter, the date on the portrait, and the artistic style), and a discussion of the media and cultural importance of the portrait. The day sought to renew interest in the portrait, establish it as the only portrait thought to be done in Shakespeare’s own lifetime, and to act as catalyst in a sale that would move the portrait from private to public domain. | [
"the scientific studies done",
"University of Guelph"
] |
|
18233_NT | Sanders portrait | In this artwork, how is the "Look here upon this picture:" A Symposium on the Sanders Portrait of Shakespeare of the Sanders, Shakespeare, and Canada elucidated? | On 28 November 2013 all of the current information on the Sanders Portrait was made public by researchers from the University of Guelph and supplemented by discussions of the scientific studies done, the internal evidence (that is, a reading of the clothing of the sitter, the status of the sitter, the date on the portrait, and the artistic style), and a discussion of the media and cultural importance of the portrait. The day sought to renew interest in the portrait, establish it as the only portrait thought to be done in Shakespeare’s own lifetime, and to act as catalyst in a sale that would move the portrait from private to public domain. | [
"the scientific studies done",
"University of Guelph"
] |
|
18234_T | Sanders portrait | In the context of Sanders portrait, analyze the The Oxford University Press – Shakespeare Made in Canada Series of the Sanders, Shakespeare, and Canada. | The Sanders Portrait has become the face of new editions of Shakespeare’s plays targeted as teaching tools for Canadian high school and undergraduate students. Oxford University Press commissioned the texts, which have been curated by General Editor Daniel Fischlin to provide a uniquely Canadian perspective on the works.Editions of The Tempest and Romeo and Juliet were released in November 2013, while new editions of Hamlet and A Midsummer Night’s Dream are in progress. All the plays feature the Sanders Portrait on the front cover and a brief summary of the portrait's provenance and research inside. | [
"Hamlet",
"The Tempest",
"Daniel Fischlin",
"Romeo and Juliet",
"A Midsummer Night’s Dream"
] |
|
18234_NT | Sanders portrait | In the context of this artwork, analyze the The Oxford University Press – Shakespeare Made in Canada Series of the Sanders, Shakespeare, and Canada. | The Sanders Portrait has become the face of new editions of Shakespeare’s plays targeted as teaching tools for Canadian high school and undergraduate students. Oxford University Press commissioned the texts, which have been curated by General Editor Daniel Fischlin to provide a uniquely Canadian perspective on the works.Editions of The Tempest and Romeo and Juliet were released in November 2013, while new editions of Hamlet and A Midsummer Night’s Dream are in progress. All the plays feature the Sanders Portrait on the front cover and a brief summary of the portrait's provenance and research inside. | [
"Hamlet",
"The Tempest",
"Daniel Fischlin",
"Romeo and Juliet",
"A Midsummer Night’s Dream"
] |
|
18235_T | Sanders portrait | In Sanders portrait, how is the Scientific testing discussed? | In all, thirteen tests have been done over a fifteen-year period on the Sanders Portrait, more than any other reputed portrait of Shakespeare, performed by researchers across Canada and the world. These tests include: | [] |
|
18235_NT | Sanders portrait | In this artwork, how is the Scientific testing discussed? | In all, thirteen tests have been done over a fifteen-year period on the Sanders Portrait, more than any other reputed portrait of Shakespeare, performed by researchers across Canada and the world. These tests include: | [] |
|
18236_T | Sanders portrait | In the context of Sanders portrait, explore the Dendrochronology of the Scientific testing. | Conducted by Dr. Peter Klein of the University of Hamburg, Germany in 1994. Using tree-ring dating, Dr. Klein determined that the oak panel was from the Baltic Region and that the earliest possible date of the painting was 1597. | [
"Dendrochronology",
"tree-ring dating"
] |
|
18236_NT | Sanders portrait | In the context of this artwork, explore the Dendrochronology of the Scientific testing. | Conducted by Dr. Peter Klein of the University of Hamburg, Germany in 1994. Using tree-ring dating, Dr. Klein determined that the oak panel was from the Baltic Region and that the earliest possible date of the painting was 1597. | [
"Dendrochronology",
"tree-ring dating"
] |
|
18237_T | Sanders portrait | In the context of Sanders portrait, explain the Radiography of the Scientific testing. | Conducted by Dr. Marie-Claude Corbeil, Senior Scientist at the Analytical Research Lab of the Canadian Conservation Institute (CCI), in order to determine that the likeness of Shakespeare was the first and only painting on the oak panel. The radiograph concluded there was not any other painting beneath the Sanders Portrait. | [
"Canadian Conservation Institute"
] |
|
18237_NT | Sanders portrait | In the context of this artwork, explain the Radiography of the Scientific testing. | Conducted by Dr. Marie-Claude Corbeil, Senior Scientist at the Analytical Research Lab of the Canadian Conservation Institute (CCI), in order to determine that the likeness of Shakespeare was the first and only painting on the oak panel. The radiograph concluded there was not any other painting beneath the Sanders Portrait. | [
"Canadian Conservation Institute"
] |
|
18238_T | Sanders portrait | Explore the Infrared and ultraviolet radiation about the Scientific testing of this artwork, Sanders portrait. | Conducted by Dr. Corbeil of CCI to determine if there had been any retouching of the paint after it was finished. The result was that no retouching had occurred. | [] |
|
18238_NT | Sanders portrait | Explore the Infrared and ultraviolet radiation about the Scientific testing of this artwork. | Conducted by Dr. Corbeil of CCI to determine if there had been any retouching of the paint after it was finished. The result was that no retouching had occurred. | [] |
|
18239_T | Sanders portrait | In the context of Sanders portrait, discuss the Paint samples of the Scientific testing. | Conducted by Dr. Corbeil of CCI to determine that the paint and materials used were appropriate to the date of 1603. While this cannot definitively date the paint used, it can determine if the materials are too new. The results found that all of the paint materials and colours were consistent with those used in England in the early 17th century.
The red paint of the date in the top corner was tested in the paint sample analysis and does not appear to be added after the portrait was finished. | [] |
|
18239_NT | Sanders portrait | In the context of this artwork, discuss the Paint samples of the Scientific testing. | Conducted by Dr. Corbeil of CCI to determine that the paint and materials used were appropriate to the date of 1603. While this cannot definitively date the paint used, it can determine if the materials are too new. The results found that all of the paint materials and colours were consistent with those used in England in the early 17th century.
The red paint of the date in the top corner was tested in the paint sample analysis and does not appear to be added after the portrait was finished. | [] |
|
18240_T | Sanders portrait | In Sanders portrait, how is the The label of the Scientific testing elucidated? | The label has been the source of much controversy. Many claim that the wording on the label "This Likeness taken" is not consistent with 17th century practices. Others argue that the birthdate of Shakespeare (23 April) was an 18th century mistake and not to be trusted. However, scientific tests have proven that this date was, most probably, written in the 17th century and could definitively prove 23 April as Shakespeare’s date of birth. | [
"18th century mistake and not to be trusted"
] |
|
18240_NT | Sanders portrait | In this artwork, how is the The label of the Scientific testing elucidated? | The label has been the source of much controversy. Many claim that the wording on the label "This Likeness taken" is not consistent with 17th century practices. Others argue that the birthdate of Shakespeare (23 April) was an 18th century mistake and not to be trusted. However, scientific tests have proven that this date was, most probably, written in the 17th century and could definitively prove 23 April as Shakespeare’s date of birth. | [
"18th century mistake and not to be trusted"
] |
|
18241_T | Sanders portrait | Focusing on the Scientific testing of Sanders portrait, analyze the Label analysis about the The label. | Label analysis Conducted by Dr. Corbeil of CCI which determined the label was made of rag paper from linen fibers, a product often used in the 17th century and predates pulp paper. | [] |
|
18241_NT | Sanders portrait | Focusing on the Scientific testing of this artwork, analyze the Label analysis about the The label. | Label analysis Conducted by Dr. Corbeil of CCI which determined the label was made of rag paper from linen fibers, a product often used in the 17th century and predates pulp paper. | [] |
|
18242_T | Sanders portrait | When looking at the Scientific testing of Sanders portrait, how do you discuss its The label's Glue? | Glue The glue used to affix the label was tested by Dr. Corbeil of CCI and determined to be a starch paste. | [] |
|
18242_NT | Sanders portrait | When looking at the Scientific testing of this artwork, how do you discuss its The label's Glue? | Glue The glue used to affix the label was tested by Dr. Corbeil of CCI and determined to be a starch paste. | [] |
|
18243_T | Sanders portrait | Focusing on the Scientific testing of Sanders portrait, explore the Radiocarbon dating of the paper about the The label. | Radiocarbon dating of the paper A sample of the rag paper label was sent to Roelf Beukens at the IsoTrace Laboratory associated with the University of Toronto. The radiocarbon dating concluded that the rag paper could date between 1475 and 1640. Dr. Marie Claude Corbeil suggests that the label was probably affixed within a few decades of Shakespeare’s death in 1616. | [
"Radiocarbon dating",
"radiocarbon dating",
"Roelf Beukens at the IsoTrace Laboratory",
"University of Toronto"
] |
|
18243_NT | Sanders portrait | Focusing on the Scientific testing of this artwork, explore the Radiocarbon dating of the paper about the The label. | Radiocarbon dating of the paper A sample of the rag paper label was sent to Roelf Beukens at the IsoTrace Laboratory associated with the University of Toronto. The radiocarbon dating concluded that the rag paper could date between 1475 and 1640. Dr. Marie Claude Corbeil suggests that the label was probably affixed within a few decades of Shakespeare’s death in 1616. | [
"Radiocarbon dating",
"radiocarbon dating",
"Roelf Beukens at the IsoTrace Laboratory",
"University of Toronto"
] |
|
18244_T | Sanders portrait | Focusing on the Scientific testing of Sanders portrait, explain the Ink about the The label. | Ink The analytical laboratory McCrone Associates Inc. in Chicago, Illinois conducted forensic ink tests on the label and concluded the following.:
The materials used in the ink are consistent with the 17th century ink manufacturing practices
A quill pen was used
The ink is well-integrated into the paper fibres of the label, in the same manner as iron gall ink, which was used in the 17th century
No dyes, binding mediums, or other alterations suggest any recent additions or changes to the ink on the label | [
"iron gall ink"
] |
|
18244_NT | Sanders portrait | Focusing on the Scientific testing of this artwork, explain the Ink about the The label. | Ink The analytical laboratory McCrone Associates Inc. in Chicago, Illinois conducted forensic ink tests on the label and concluded the following.:
The materials used in the ink are consistent with the 17th century ink manufacturing practices
A quill pen was used
The ink is well-integrated into the paper fibres of the label, in the same manner as iron gall ink, which was used in the 17th century
No dyes, binding mediums, or other alterations suggest any recent additions or changes to the ink on the label | [
"iron gall ink"
] |
|
18245_T | Sanders portrait | In the context of Sanders portrait, discuss the Lloyd DeWitt of the Internal evidence. | Curator of European Art at the Art Gallery of Ontario, DeWitt examined the portrait’s style and oak panels, and determined them consistent with Elizabethan English Portraits. DeWitt also believes the Sanders to be a "friendship portrait," painted by someone who knew the sitter. DeWitt also concluded that the construction of the oak panel is, in all likelihood, English. | [
"Art Gallery of Ontario"
] |
|
18245_NT | Sanders portrait | In the context of this artwork, discuss the Lloyd DeWitt of the Internal evidence. | Curator of European Art at the Art Gallery of Ontario, DeWitt examined the portrait’s style and oak panels, and determined them consistent with Elizabethan English Portraits. DeWitt also believes the Sanders to be a "friendship portrait," painted by someone who knew the sitter. DeWitt also concluded that the construction of the oak panel is, in all likelihood, English. | [
"Art Gallery of Ontario"
] |
|
18246_T | Sanders portrait | In Sanders portrait, how is the Jenny Tiramani of the Internal evidence elucidated? | The former director of theatre design at the Globe Theatre and expert on Elizabethan and Jacobean dress inspected the clothing and hairstyles of the sitter in the Sanders Portrait and compared it with the biographical knowledge we have of William Shakespeare and his life in 1603 (when the picture was painted). Tiramani concluded:Shakespeare’s elevation to a member of the King’s Men in 1603 was likely the reason for having the portraiture painted.
This elevation in status also allowed Shakespeare access to the silver thread and other elements of his dress that would have, the year earlier, been restricted from him by sumptuary laws.
The undercoat is similar to those worn in other early 17th century theatre portraits.
The hairstyle is consistent with those styles worn by young courtiers in the 17th century. | [
"the King’s Men",
"William Shakespeare",
"Jenny Tiramani",
"sumptuary laws"
] |
|
18246_NT | Sanders portrait | In this artwork, how is the Jenny Tiramani of the Internal evidence elucidated? | The former director of theatre design at the Globe Theatre and expert on Elizabethan and Jacobean dress inspected the clothing and hairstyles of the sitter in the Sanders Portrait and compared it with the biographical knowledge we have of William Shakespeare and his life in 1603 (when the picture was painted). Tiramani concluded:Shakespeare’s elevation to a member of the King’s Men in 1603 was likely the reason for having the portraiture painted.
This elevation in status also allowed Shakespeare access to the silver thread and other elements of his dress that would have, the year earlier, been restricted from him by sumptuary laws.
The undercoat is similar to those worn in other early 17th century theatre portraits.
The hairstyle is consistent with those styles worn by young courtiers in the 17th century. | [
"the King’s Men",
"William Shakespeare",
"Jenny Tiramani",
"sumptuary laws"
] |
|
18247_T | Sanders portrait | Focus on Sanders portrait and analyze the Controversy. | The authenticity of the Sanders Portrait has not been widely accepted by scholars. As Adam Gopnik has written in The New Yorker, "...the portrait has, to its doubters, one overwhelming problem: it does not look much like Shakespeare." Gopnik goes on to describe how the Sanders Portrait does not seem to resemble the Droeshout portrait or the Shakespeare funerary bust at Stratford-upon-Avon, both of which resemble each other, and are accepted by scholars as having been contemporary likenesses of Shakespeare. Gopnik does, however, refer to a comparison of the Sanders and Droeshout portraits that found 16 facial points in common, including the attached earlobe.The image has often been overlooked by scholars, with a host of subjective excuses, including that the man depicted seems too young; or that the birth date given is, or has been, used speculatively, and only after the 18th century. The label and its ink, however, has been tested and dated to within Shakespeare's life or shortly thereafter and could prove to be a final piece of evidence necessary to commit to 23 April as Shakespeare's date of birth and death. | [
"Shakespeare funerary bust",
"Droeshout portrait",
"has been tested and dated"
] |
|
18247_NT | Sanders portrait | Focus on this artwork and analyze the Controversy. | The authenticity of the Sanders Portrait has not been widely accepted by scholars. As Adam Gopnik has written in The New Yorker, "...the portrait has, to its doubters, one overwhelming problem: it does not look much like Shakespeare." Gopnik goes on to describe how the Sanders Portrait does not seem to resemble the Droeshout portrait or the Shakespeare funerary bust at Stratford-upon-Avon, both of which resemble each other, and are accepted by scholars as having been contemporary likenesses of Shakespeare. Gopnik does, however, refer to a comparison of the Sanders and Droeshout portraits that found 16 facial points in common, including the attached earlobe.The image has often been overlooked by scholars, with a host of subjective excuses, including that the man depicted seems too young; or that the birth date given is, or has been, used speculatively, and only after the 18th century. The label and its ink, however, has been tested and dated to within Shakespeare's life or shortly thereafter and could prove to be a final piece of evidence necessary to commit to 23 April as Shakespeare's date of birth and death. | [
"Shakespeare funerary bust",
"Droeshout portrait",
"has been tested and dated"
] |
|
18248_T | Sanders portrait | In Sanders portrait, how is the Ownership discussed? | In December 2013 it was announced that a tentative deal was in the works for an unnamed Canadian family to purchase the portrait. The family is reported to be excited to keep the portrait in the Canadian public domain and is expected to donate the portrait to a public arts institution.After Lloyd Sullivan's death in 2019, guardianship of the portrait passed to his nephew James Hale-Sanders. | [] |
|
18248_NT | Sanders portrait | In this artwork, how is the Ownership discussed? | In December 2013 it was announced that a tentative deal was in the works for an unnamed Canadian family to purchase the portrait. The family is reported to be excited to keep the portrait in the Canadian public domain and is expected to donate the portrait to a public arts institution.After Lloyd Sullivan's death in 2019, guardianship of the portrait passed to his nephew James Hale-Sanders. | [] |
|
18249_T | Cimbrian Bull | Focus on Cimbrian Bull and explore the abstract. | Cimbrian Bull (Danish: Cimbrertyren) is 1937 bronze sculpture by Anders Bundgaard. located in central Aalborg, Denmark. It has become a symbol of the city of Aalborg as well as of the Himmerland region of northern Jutland. | [
"Cimbri",
"Anders Bundgaard",
"Denmark",
"Jutland",
"Himmerland",
"Aalborg"
] |
|
18249_NT | Cimbrian Bull | Focus on this artwork and explore the abstract. | Cimbrian Bull (Danish: Cimbrertyren) is 1937 bronze sculpture by Anders Bundgaard. located in central Aalborg, Denmark. It has become a symbol of the city of Aalborg as well as of the Himmerland region of northern Jutland. | [
"Cimbri",
"Anders Bundgaard",
"Denmark",
"Jutland",
"Himmerland",
"Aalborg"
] |
|
18250_T | Cimbrian Bull | Focus on Cimbrian Bull and explain the Sculpture. | The sculpture was created by the famous sculptor Anders Bundgaard, who also created the Gefion Fountain in Copenhagen. The design of the sculpture and pedestal, however, was the work of the architect Alfred Cock-Clausen, who also designed the liquor factory in Aalborg.
Cimbrertyren was paid for by Danish Distillers and is historically inseparably linked to the history of the Danish liquor factories, since the current position of the bull is also the site of the old Danish Distillers factory, which was shut down in 1931. | [
"Copenhagen",
"Danish Distillers",
"Gefion Fountain",
"Anders Bundgaard",
"Aalborg",
"Alfred Cock-Clausen"
] |
|
18250_NT | Cimbrian Bull | Focus on this artwork and explain the Sculpture. | The sculpture was created by the famous sculptor Anders Bundgaard, who also created the Gefion Fountain in Copenhagen. The design of the sculpture and pedestal, however, was the work of the architect Alfred Cock-Clausen, who also designed the liquor factory in Aalborg.
Cimbrertyren was paid for by Danish Distillers and is historically inseparably linked to the history of the Danish liquor factories, since the current position of the bull is also the site of the old Danish Distillers factory, which was shut down in 1931. | [
"Copenhagen",
"Danish Distillers",
"Gefion Fountain",
"Anders Bundgaard",
"Aalborg",
"Alfred Cock-Clausen"
] |
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