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18301_T | Apocalypse Tapestry | Explore the History of this artwork, Apocalypse Tapestry. | The Apocalypse Tapestry was commissioned by Louis I, the Duke of Anjou around 1373. Jean Bondol, a Flemish artist who was a court artist of Anjou's brother Charles V of France, made designs or modellos for the set; these were probably rather small and later worked up into full-size cartoons for the weavers to follow.Bondol used an illuminated manuscript Apocalypse from the royal library as a partial model. The commission was arranged through the Paris merchant Nicholas Bataille, who in the past was often regarded as the head weaver, but is now thought of as only the middleman and perhaps the financier of the Paris workshop run by Robert Poinçon. It cost 6,000 francs. At this point Paris was still the leading tapestry-weaving centre, and Bataille supplied Louis with many tapestries from 1363 until the 1380s. The set was probably finally complete by 1380, or 1382.It was still unusual for a tapestry to be commissioned by a buyer to a specific design in this way.
It is uncertain how Louis used the tapestry; it was probably intended to be displayed outside, supported by six wooden structures, possibly arranged so as to position the viewer near to the centre of the display, imitating a jousting field.The tapestry and its theme would have also helped to bolster the status of Louis's Valois dynasty, then involved in the Hundred Years' War with England.The tapestry shows the story of the Apocalypse from the Book of Revelation by Saint John the Divine. In the 14th century, the Apocalypse was a popular story, focusing on the heroic aspects of the last confrontation between good and evil and featuring battle scenes between angels and beasts.Although many of the scenes in the story included destruction and death, the account ended with the triumphant success of good, forming an uplifting story. Various versions of the Apocalypse story, or cycle, were circulating in Europe at the time and Louis chose to use an Anglo-French Gothic style of the cycle, partially derived from a manuscript he borrowed from his brother, Charles V of France, in 1373.This version of the Apocalypse had first been recorded in Metz and then later adapted by English artists; Charles' manuscript had been produced in England around 1250.Louis may also have been influenced by a particularly grand tapestry given to Charles by the magistrates of Lille in 1367.After a century in the ownership of the dukes of Anjou, René of Anjou bequeathed the tapestry to Angers Cathedral in 1480 where it remained for many years.During the French Revolution the Apocalypse Tapestry was looted and cut up into pieces. The pieces of the tapestry were used for various purposes: as floor mats, to protect local orange trees from frost, to shore up holes in buildings, and to insulate horse stables.During the Revolution many medieval tapestries were destroyed, both through neglect and through being melted down to recover the gold and silver used in their designs. That did not apply in this case, as the tapestries were in wool only.The surviving fragments were rediscovered in 1848 and preserved, being returned to the cathedral in 1870.The cathedral was not ideal for displaying and preserving the tapestry.The neighbouring Chateau d'Angers had been used as a French military base for many years, but transferred to civilian use after the Second World War. In 1954, the tapestry was moved there, to be displayed in a new gallery designed by French architect Bernard Vitry.Between 1990 and 2000 the castle gallery was itself improved, with additional light and ventilation controls installed to protect the tapestry. | [
"Lille",
"Saint John the Divine",
"illuminated manuscript",
"Hundred Years' War",
"Metz",
"jousting",
"Jean Bondol",
"Second World War",
"Angers Cathedral",
"Tapestry",
"Charles V of France",
"tapestries",
"Angers",
"modello",
"Book of Revelation",
"René of Anjou",
"court artist",
"Apocalypse",
"cartoon",
"Chateau d'Angers",
"Valois dynasty",
"French Revolution",
"Duke of Anjou",
"Louis I"
] |
|
18301_NT | Apocalypse Tapestry | Explore the History of this artwork. | The Apocalypse Tapestry was commissioned by Louis I, the Duke of Anjou around 1373. Jean Bondol, a Flemish artist who was a court artist of Anjou's brother Charles V of France, made designs or modellos for the set; these were probably rather small and later worked up into full-size cartoons for the weavers to follow.Bondol used an illuminated manuscript Apocalypse from the royal library as a partial model. The commission was arranged through the Paris merchant Nicholas Bataille, who in the past was often regarded as the head weaver, but is now thought of as only the middleman and perhaps the financier of the Paris workshop run by Robert Poinçon. It cost 6,000 francs. At this point Paris was still the leading tapestry-weaving centre, and Bataille supplied Louis with many tapestries from 1363 until the 1380s. The set was probably finally complete by 1380, or 1382.It was still unusual for a tapestry to be commissioned by a buyer to a specific design in this way.
It is uncertain how Louis used the tapestry; it was probably intended to be displayed outside, supported by six wooden structures, possibly arranged so as to position the viewer near to the centre of the display, imitating a jousting field.The tapestry and its theme would have also helped to bolster the status of Louis's Valois dynasty, then involved in the Hundred Years' War with England.The tapestry shows the story of the Apocalypse from the Book of Revelation by Saint John the Divine. In the 14th century, the Apocalypse was a popular story, focusing on the heroic aspects of the last confrontation between good and evil and featuring battle scenes between angels and beasts.Although many of the scenes in the story included destruction and death, the account ended with the triumphant success of good, forming an uplifting story. Various versions of the Apocalypse story, or cycle, were circulating in Europe at the time and Louis chose to use an Anglo-French Gothic style of the cycle, partially derived from a manuscript he borrowed from his brother, Charles V of France, in 1373.This version of the Apocalypse had first been recorded in Metz and then later adapted by English artists; Charles' manuscript had been produced in England around 1250.Louis may also have been influenced by a particularly grand tapestry given to Charles by the magistrates of Lille in 1367.After a century in the ownership of the dukes of Anjou, René of Anjou bequeathed the tapestry to Angers Cathedral in 1480 where it remained for many years.During the French Revolution the Apocalypse Tapestry was looted and cut up into pieces. The pieces of the tapestry were used for various purposes: as floor mats, to protect local orange trees from frost, to shore up holes in buildings, and to insulate horse stables.During the Revolution many medieval tapestries were destroyed, both through neglect and through being melted down to recover the gold and silver used in their designs. That did not apply in this case, as the tapestries were in wool only.The surviving fragments were rediscovered in 1848 and preserved, being returned to the cathedral in 1870.The cathedral was not ideal for displaying and preserving the tapestry.The neighbouring Chateau d'Angers had been used as a French military base for many years, but transferred to civilian use after the Second World War. In 1954, the tapestry was moved there, to be displayed in a new gallery designed by French architect Bernard Vitry.Between 1990 and 2000 the castle gallery was itself improved, with additional light and ventilation controls installed to protect the tapestry. | [
"Lille",
"Saint John the Divine",
"illuminated manuscript",
"Hundred Years' War",
"Metz",
"jousting",
"Jean Bondol",
"Second World War",
"Angers Cathedral",
"Tapestry",
"Charles V of France",
"tapestries",
"Angers",
"modello",
"Book of Revelation",
"René of Anjou",
"court artist",
"Apocalypse",
"cartoon",
"Chateau d'Angers",
"Valois dynasty",
"French Revolution",
"Duke of Anjou",
"Louis I"
] |
|
18302_T | Apocalypse Tapestry | Focus on Apocalypse Tapestry and discuss the Description and style. | The tapestry was made in six sections, each 78-foot (24 m) wide by 20-foot (6.1 m) high, comprising 90 different scenes. Each scene had a red or blue background, alternating between the sections. They would have taken considerable effort to produce, with between 50 and 84 person-years of effort required by the weaving teams. Only 71 of the original 90 scenes survive. The tapestry is dominated by blue, red and ivory coloured threads, supported by orange and green colours, with gilt and silver woven into the wool and silk. These colours are now considerably faded on the front of the tapestry but were originally similar to the deep and vibrant hues seen on the back of the tapestry panels.Jean Bondol's design follows the Franco-Flemish school of tapestry design, with rich, realist, fluid images placed into a simple, clear structure through the course of the tapestry. As a result, the angels and monsters are depicted with considerable energy and colour, the impact reinforced by the sheer size of the tapestry, which allows them to be portrayed slightly larger than life-size. Various approaches are taken in the tapestry to interpreting the allegorical language used by St John in his original text; in particular, the tapestry takes an unusual approach to portraying the Fourth Horseman of the Apocalypse, Death. The depiction of Death in this tapestry follows the style then becoming popular in England: he is represented as a decaying corpse, rather than the more common 14th century portrayal of Death as a conventional, living person. | [
"Jean Bondol",
"Death",
"Apocalypse",
"person-years",
"Fourth Horseman"
] |
|
18302_NT | Apocalypse Tapestry | Focus on this artwork and discuss the Description and style. | The tapestry was made in six sections, each 78-foot (24 m) wide by 20-foot (6.1 m) high, comprising 90 different scenes. Each scene had a red or blue background, alternating between the sections. They would have taken considerable effort to produce, with between 50 and 84 person-years of effort required by the weaving teams. Only 71 of the original 90 scenes survive. The tapestry is dominated by blue, red and ivory coloured threads, supported by orange and green colours, with gilt and silver woven into the wool and silk. These colours are now considerably faded on the front of the tapestry but were originally similar to the deep and vibrant hues seen on the back of the tapestry panels.Jean Bondol's design follows the Franco-Flemish school of tapestry design, with rich, realist, fluid images placed into a simple, clear structure through the course of the tapestry. As a result, the angels and monsters are depicted with considerable energy and colour, the impact reinforced by the sheer size of the tapestry, which allows them to be portrayed slightly larger than life-size. Various approaches are taken in the tapestry to interpreting the allegorical language used by St John in his original text; in particular, the tapestry takes an unusual approach to portraying the Fourth Horseman of the Apocalypse, Death. The depiction of Death in this tapestry follows the style then becoming popular in England: he is represented as a decaying corpse, rather than the more common 14th century portrayal of Death as a conventional, living person. | [
"Jean Bondol",
"Death",
"Apocalypse",
"person-years",
"Fourth Horseman"
] |
|
18303_T | Argenteuil Basin with a Single Sailboat | How does Argenteuil Basin with a Single Sailboat elucidate its abstract? | Argenteuil Basin with a Single Sailboat is an oil on canvas autumn scene of the basin at Argenteuil, painted by French Impressionist artist Claude Monet in 1874. | [
"Impressionist",
"Argenteuil",
"Claude Monet"
] |
|
18303_NT | Argenteuil Basin with a Single Sailboat | How does this artwork elucidate its abstract? | Argenteuil Basin with a Single Sailboat is an oil on canvas autumn scene of the basin at Argenteuil, painted by French Impressionist artist Claude Monet in 1874. | [
"Impressionist",
"Argenteuil",
"Claude Monet"
] |
|
18304_T | Argenteuil Basin with a Single Sailboat | Focus on Argenteuil Basin with a Single Sailboat and analyze the Creation. | The piece was created during Monet's residence at Argenteuil, a town on the banks of the Seine, on the outskirts of Paris. Here Monet purchased a boat to be used as a floating studio and painted many scenes of the surrounding area. | [
"Seine",
"Argenteuil",
"Paris"
] |
|
18304_NT | Argenteuil Basin with a Single Sailboat | Focus on this artwork and analyze the Creation. | The piece was created during Monet's residence at Argenteuil, a town on the banks of the Seine, on the outskirts of Paris. Here Monet purchased a boat to be used as a floating studio and painted many scenes of the surrounding area. | [
"Seine",
"Argenteuil",
"Paris"
] |
|
18305_T | Argenteuil Basin with a Single Sailboat | In Argenteuil Basin with a Single Sailboat, how is the National Gallery of Ireland discussed? | The painting was purchased by Irish playwright and activist Edward Martyn in 1899, on the advice of his cousin, George Moore. It was bequeathed to the National Gallery of Ireland in 1924. It is valued at €10m. | [
"George Moore",
"Edward Martyn",
"National Gallery of Ireland"
] |
|
18305_NT | Argenteuil Basin with a Single Sailboat | In this artwork, how is the National Gallery of Ireland discussed? | The painting was purchased by Irish playwright and activist Edward Martyn in 1899, on the advice of his cousin, George Moore. It was bequeathed to the National Gallery of Ireland in 1924. It is valued at €10m. | [
"George Moore",
"Edward Martyn",
"National Gallery of Ireland"
] |
|
18306_T | Argenteuil Basin with a Single Sailboat | In the context of Argenteuil Basin with a Single Sailboat, explore the Vandalism and restoration of the National Gallery of Ireland. | At around 11am on 29 June 2012 a visitor to the gallery, Andrew Shannon, punched the painting causing "huge damage, shocking damage" with "an extensive three-branched tear".After 18 months of restoration work, on 1 July 2014, the painting was re-hung in the gallery, behind protective glass. The restoration saw 7% of the damaged area being lost, in a process that involved sewing microscopic threads back together.Shannon was jailed for 5 years for the attack. | [] |
|
18306_NT | Argenteuil Basin with a Single Sailboat | In the context of this artwork, explore the Vandalism and restoration of the National Gallery of Ireland. | At around 11am on 29 June 2012 a visitor to the gallery, Andrew Shannon, punched the painting causing "huge damage, shocking damage" with "an extensive three-branched tear".After 18 months of restoration work, on 1 July 2014, the painting was re-hung in the gallery, behind protective glass. The restoration saw 7% of the damaged area being lost, in a process that involved sewing microscopic threads back together.Shannon was jailed for 5 years for the attack. | [] |
|
18307_T | The Barbican Muse | Focus on The Barbican Muse and explain the abstract. | The Barbican Muse is a sculpture of a woman, holding tragedy and comedy masks, by Matthew Spender, and was installed on a wall near the Silk Street entrance to the Barbican Centre in the City of London, England, in 1994.The 20 feet (6.1 m) long illuminated sculpture called Muse was cast in fibreglass and then gilded. It was commissioned, in 1993, by architect Theo Crosby to 'float, glow and point the way' to visitors arriving at the centre on the walkway from Moorgate Station.As part of the 1993–1994 refurbishment, Crosby also commissioned nine gilded fibreglass muses by British sculptor Sir Bernard Sindall, but these were removed in April 1997, and sold to Dick Enthoven in 1998. | [
"Barbican Centre",
"Dick Enthoven",
"fibreglass",
"gilded",
"City of London",
"London",
"tragedy and comedy masks",
"England",
"Matthew Spender",
"Theo Crosby"
] |
|
18307_NT | The Barbican Muse | Focus on this artwork and explain the abstract. | The Barbican Muse is a sculpture of a woman, holding tragedy and comedy masks, by Matthew Spender, and was installed on a wall near the Silk Street entrance to the Barbican Centre in the City of London, England, in 1994.The 20 feet (6.1 m) long illuminated sculpture called Muse was cast in fibreglass and then gilded. It was commissioned, in 1993, by architect Theo Crosby to 'float, glow and point the way' to visitors arriving at the centre on the walkway from Moorgate Station.As part of the 1993–1994 refurbishment, Crosby also commissioned nine gilded fibreglass muses by British sculptor Sir Bernard Sindall, but these were removed in April 1997, and sold to Dick Enthoven in 1998. | [
"Barbican Centre",
"Dick Enthoven",
"fibreglass",
"gilded",
"City of London",
"London",
"tragedy and comedy masks",
"England",
"Matthew Spender",
"Theo Crosby"
] |
|
18308_T | Saint Jerome in Meditation (Caravaggio) | Explore the abstract of this artwork, Saint Jerome in Meditation (Caravaggio). | Saint Jerome in Meditation (c. 1605) is a painting by the Italian Baroque master Caravaggio, now in the Museum of Montserrat, next to the Monastery of Santa Maria, Montserrat (Museu del Monestir de Santa Maria).Saint Jerome, hermit, Father of the Church, and responsible for the translation of the Bible into Latin, (the Vulgate Bible) was a popular figure in Caravaggio's time, and the artist painted him at least eight times (only three survive). Whether this was from personal choice or at the request of patrons is unknown, but it gave Caravaggio the opportunity to explore the potential – from an artist's perspective – of aged and wrinkled flesh. Jerome is shown here contemplating one of his symbols, the skull, a reminder of the inevitability of death and the vanity of worldly things.
The painting is probably from the Giustiniani collection (the collection of Caravaggio's patron the banker Vincenzo Giustiniani and his brother the cardinal Benedetto). Benedetto built up a large collection of religious works by the artist, and a St Jerome of the same dimensions as this one is in the Giustiniani inventory of 1638.
Caravaggio biographer Peter Robb points out that the brooding, introverted mood of this painting is strikingly similar to that of John the Baptist, now in Kansas City at the Nelson Atkins Museum, painted at about the same time. | [
"Vulgate",
"Montserrat",
"John the Baptist",
"Caravaggio",
"Father of the Church",
"Monastery of Santa Maria",
"Vincenzo Giustiniani",
"Museum of Montserrat",
"Jerome",
"Saint Jerome",
"Kansas City"
] |
|
18308_NT | Saint Jerome in Meditation (Caravaggio) | Explore the abstract of this artwork. | Saint Jerome in Meditation (c. 1605) is a painting by the Italian Baroque master Caravaggio, now in the Museum of Montserrat, next to the Monastery of Santa Maria, Montserrat (Museu del Monestir de Santa Maria).Saint Jerome, hermit, Father of the Church, and responsible for the translation of the Bible into Latin, (the Vulgate Bible) was a popular figure in Caravaggio's time, and the artist painted him at least eight times (only three survive). Whether this was from personal choice or at the request of patrons is unknown, but it gave Caravaggio the opportunity to explore the potential – from an artist's perspective – of aged and wrinkled flesh. Jerome is shown here contemplating one of his symbols, the skull, a reminder of the inevitability of death and the vanity of worldly things.
The painting is probably from the Giustiniani collection (the collection of Caravaggio's patron the banker Vincenzo Giustiniani and his brother the cardinal Benedetto). Benedetto built up a large collection of religious works by the artist, and a St Jerome of the same dimensions as this one is in the Giustiniani inventory of 1638.
Caravaggio biographer Peter Robb points out that the brooding, introverted mood of this painting is strikingly similar to that of John the Baptist, now in Kansas City at the Nelson Atkins Museum, painted at about the same time. | [
"Vulgate",
"Montserrat",
"John the Baptist",
"Caravaggio",
"Father of the Church",
"Monastery of Santa Maria",
"Vincenzo Giustiniani",
"Museum of Montserrat",
"Jerome",
"Saint Jerome",
"Kansas City"
] |
|
18309_T | Subhas Chandra Bose statue (Shyambazar, Kolkata) | Focus on Subhas Chandra Bose statue (Shyambazar, Kolkata) and discuss the Description. | The statue depicts Bose, wearing military attire seated on a horse with one leg up. The statue itself acts as an important visual landmark for the local community to aid in navigation. | [] |
|
18309_NT | Subhas Chandra Bose statue (Shyambazar, Kolkata) | Focus on this artwork and discuss the Description. | The statue depicts Bose, wearing military attire seated on a horse with one leg up. The statue itself acts as an important visual landmark for the local community to aid in navigation. | [] |
|
18310_T | Statue of Mary Seacole | How does Statue of Mary Seacole elucidate its abstract? | The statue of Mary Seacole stands in the grounds of St Thomas' Hospital, Lambeth, London. Sculpted by Martin Jennings, the statue was executed in 2016. It honours Mary Seacole, a British-Jamaican who established a "British Hotel" during the Crimean War and who was posthumously voted first in a poll of "100 Great Black Britons". | [
"Mary Seacole",
"Seacole",
"Martin Jennings",
"Crimea",
"St Thomas' Hospital",
"Crimean War",
"100 Great Black Britons",
"Black Britons",
"Jamaica",
"Lambeth"
] |
|
18310_NT | Statue of Mary Seacole | How does this artwork elucidate its abstract? | The statue of Mary Seacole stands in the grounds of St Thomas' Hospital, Lambeth, London. Sculpted by Martin Jennings, the statue was executed in 2016. It honours Mary Seacole, a British-Jamaican who established a "British Hotel" during the Crimean War and who was posthumously voted first in a poll of "100 Great Black Britons". | [
"Mary Seacole",
"Seacole",
"Martin Jennings",
"Crimea",
"St Thomas' Hospital",
"Crimean War",
"100 Great Black Britons",
"Black Britons",
"Jamaica",
"Lambeth"
] |
|
18311_T | Statue of Mary Seacole | Focus on Statue of Mary Seacole and analyze the Subject. | Mary Seacole (née Grant, 1805–1881) was born in Jamaica to a Scottish father and a Jamaican mother. Following her mother as a "doctress" practising traditional herbal medicine, and as a hotel keeper, Seacole established a mess, the "British Hotel", at Balaklava during the Crimean War. Travelling to the Crimea independently after her attempts to join the official nursing contingent led by Florence Nightingale were unsuccessful, Seacole set up the hotel as a recreational and convalescence facility for officers and men and was referred to as "Mother Seacole" by the soldiery. Returning to England in 1856, she published an autobiography, Wonderful Adventures of Mrs. Seacole in Many Lands, the following year. Falling into poverty, Seacole benefited from fundraising efforts supported by a number of illustrious backers, including the war correspondent of The Times, William Howard Russell.
After her death in 1881, Seacole largely disappeared from the public consciousness. The centenary of her death saw the beginnings of a revival of interest; the Mary Seacole Memorial Association was founded in 1980, and an English Heritage blue plaque commemorated her residence in George Street, Westminster. In 2004 Seacole was voted first in a poll of 100 "Great Black Britons", and the president of the Royal College of Nursing called for the erection of a statue to honour her memory. Over a decade later, and following considerable controversy, the statue in the gardens of St Thomas' Hospital was unveiled by Floella Benjamin on 30 June 2016. | [
"Mary Seacole",
"William Howard Russell",
"mess",
"Seacole",
"Florence Nightingale",
"Westminster",
"Balaklava",
"Crimea",
"English Heritage",
"The Times",
"Floella Benjamin",
"St Thomas' Hospital",
"Crimean War",
"Black Britons",
"Royal College of Nursing",
"blue plaque",
"Jamaica"
] |
|
18311_NT | Statue of Mary Seacole | Focus on this artwork and analyze the Subject. | Mary Seacole (née Grant, 1805–1881) was born in Jamaica to a Scottish father and a Jamaican mother. Following her mother as a "doctress" practising traditional herbal medicine, and as a hotel keeper, Seacole established a mess, the "British Hotel", at Balaklava during the Crimean War. Travelling to the Crimea independently after her attempts to join the official nursing contingent led by Florence Nightingale were unsuccessful, Seacole set up the hotel as a recreational and convalescence facility for officers and men and was referred to as "Mother Seacole" by the soldiery. Returning to England in 1856, she published an autobiography, Wonderful Adventures of Mrs. Seacole in Many Lands, the following year. Falling into poverty, Seacole benefited from fundraising efforts supported by a number of illustrious backers, including the war correspondent of The Times, William Howard Russell.
After her death in 1881, Seacole largely disappeared from the public consciousness. The centenary of her death saw the beginnings of a revival of interest; the Mary Seacole Memorial Association was founded in 1980, and an English Heritage blue plaque commemorated her residence in George Street, Westminster. In 2004 Seacole was voted first in a poll of 100 "Great Black Britons", and the president of the Royal College of Nursing called for the erection of a statue to honour her memory. Over a decade later, and following considerable controversy, the statue in the gardens of St Thomas' Hospital was unveiled by Floella Benjamin on 30 June 2016. | [
"Mary Seacole",
"William Howard Russell",
"mess",
"Seacole",
"Florence Nightingale",
"Westminster",
"Balaklava",
"Crimea",
"English Heritage",
"The Times",
"Floella Benjamin",
"St Thomas' Hospital",
"Crimean War",
"Black Britons",
"Royal College of Nursing",
"blue plaque",
"Jamaica"
] |
|
18312_T | Statue of Mary Seacole | In Statue of Mary Seacole, how is the Description discussed? | The statue stands in the gardens of St Thomas' Hospital, facing the Palace of Westminster. The figure of Seacole is cast in bronze and the sculptor Martin Jennings depicted Seacole in motion to represent her "marching defiantly forward into an oncoming wind, as if confronting head-on some of the personal resistance she had constantly to battle". The sculpture stands on a plinth of Cumbrian slate with Portland stone dressings. Seacole stands in front of a disc, again cast in bronze although with a lighter patina to accentuate contrasts and shadows, which shows the land surface where Seacole established her "British Hotel" in the Crimea. Jennings intended the disc to have both literal significance, as a depiction of the place where her reputation was first established, and symbolic meaning, as a block to her ambitions.
The plinth carries two inscriptions. To the front is carved Seacole's name, occupation and dates, together with words from her autobiography; "Wherever the need arises on whatever distant shore I ask no higher or greater privilege than to minister to it". The reverse describes the meaning and purpose of the disc, and carries words by William Howard Russell, the newspaper correspondent who covered the Crimean War, and Seacole's contribution; "I trust that England will not forget one who nursed her sick, who sought out her wounded to aid and succour them, and who performed the last offices for some of her illustrious dead". In 2017 the sculpture was shortlisted for the Marsh Awards, established by the Public Monuments and Sculpture Association to raise awareness of Britain's monument heritage. Seacole's statue is generally considered to be the first in Britain to recognise a named black woman. | [
"Marsh Awards",
"Public Monuments and Sculpture Association",
"William Howard Russell",
"Cumbria",
"block",
"Seacole",
"Portland stone",
"slate",
"Westminster",
"Martin Jennings",
"Crimea",
"dressings",
"St Thomas' Hospital",
"Crimean War",
"patina",
"Palace of Westminster"
] |
|
18312_NT | Statue of Mary Seacole | In this artwork, how is the Description discussed? | The statue stands in the gardens of St Thomas' Hospital, facing the Palace of Westminster. The figure of Seacole is cast in bronze and the sculptor Martin Jennings depicted Seacole in motion to represent her "marching defiantly forward into an oncoming wind, as if confronting head-on some of the personal resistance she had constantly to battle". The sculpture stands on a plinth of Cumbrian slate with Portland stone dressings. Seacole stands in front of a disc, again cast in bronze although with a lighter patina to accentuate contrasts and shadows, which shows the land surface where Seacole established her "British Hotel" in the Crimea. Jennings intended the disc to have both literal significance, as a depiction of the place where her reputation was first established, and symbolic meaning, as a block to her ambitions.
The plinth carries two inscriptions. To the front is carved Seacole's name, occupation and dates, together with words from her autobiography; "Wherever the need arises on whatever distant shore I ask no higher or greater privilege than to minister to it". The reverse describes the meaning and purpose of the disc, and carries words by William Howard Russell, the newspaper correspondent who covered the Crimean War, and Seacole's contribution; "I trust that England will not forget one who nursed her sick, who sought out her wounded to aid and succour them, and who performed the last offices for some of her illustrious dead". In 2017 the sculpture was shortlisted for the Marsh Awards, established by the Public Monuments and Sculpture Association to raise awareness of Britain's monument heritage. Seacole's statue is generally considered to be the first in Britain to recognise a named black woman. | [
"Marsh Awards",
"Public Monuments and Sculpture Association",
"William Howard Russell",
"Cumbria",
"block",
"Seacole",
"Portland stone",
"slate",
"Westminster",
"Martin Jennings",
"Crimea",
"dressings",
"St Thomas' Hospital",
"Crimean War",
"patina",
"Palace of Westminster"
] |
|
18313_T | Statue of Mary Seacole | Focus on Statue of Mary Seacole and explore the History. | The idea for a statue to commemorate Seacole was raised in 2004, when she topped an online poll to identify 100 Great Black Britons. Her victory led the then President of the Royal College of Nursing, Sylvia Denton, to call for the erection of a commemorative statue. The idea was supported by the London M.P. Clive Soley, who had become interested in Seacole when a group of black women from his constituency, who had served in the Women's Royal Voluntary Service, approached him for help in identifying and refurbishing Seacole's grave in St Mary's Catholic Cemetery, Kensal Green in West London. Soley subsequently became chair of the Mary Seacole Memorial Statue Appeal which undertook a twelve-year campaign to raise the necessary funds to pay for the statue. Over £500,000 was raised in private donations, and this was supplemented by the granting of £240,000 by the then Chancellor of the Exchequer, George Osborne, who diverted fines levied following the Libor banking scandal for the purpose of landscaping and preparing the statue's site.The commissioning of the statue generated controversy. Opposition was led by the Nightingale Society, and its co-founder Lynn McDonald, the editor of the 16-volume Collected Works of Florence Nightingale. The society's main objection was to what it perceived as the embellishment of Seacole's work and reputation, to the detriment of that of Florence Nightingale. The proposed site for the statue, the grounds of St Thomas', provoked particular hostility, as Seacole had no connection to the hospital while Nightingale had founded her school of nursing there in 1860. In 2013 the controversy became linked to, ultimately unsuccessful, efforts by the then Secretary of State for Education, Michael Gove, to remove mention of Seacole from the English schools National Curriculum. The statue's sculptor, Martin Jennings, noted the substantial length of time it took to raise the necessary funds, contrasting it with the more usual period of around two years, and asked, in an interview in The Guardian newspaper in 2016, "would there really be such energy behind the[..] resistance if the person the statue honours was white-skinned"?By 2016, work on the statue, cast in the foundry of Pangolin Editions in Gloucestershire, and on its site, was complete. The statue was unveiled on 30 June 2016 by Floella Benjamin. Speaking at the unveiling, Elizabeth Anionwu, Emeritus Professor of Nursing at the University of West London and vice-chair of the appeal committee, referenced the importance of the site and of the statue itself; "There are not enough statues of women, let alone of black women. St Thomas’ are proud to host the statue of Mary Seacole both in recognition of the work done by their black and minority ethnic healthcare staff, and also because of the diverse community they serve". | [
"University of West London",
"Libor banking scandal",
"Gloucestershire",
"Mary Seacole",
"Chancellor of the Exchequer",
"Clive Soley",
"George Osborne",
"Sylvia Denton",
"Michael Gove",
"St Mary's Catholic Cemetery, Kensal Green",
"Pangolin Editions",
"Royal Voluntary Service",
"Seacole",
"Lynn McDonald",
"Florence Nightingale",
"M.P.",
"Nightingale Society",
"Martin Jennings",
"The Guardian",
"Floella Benjamin",
"Secretary of State for Education",
"English schools National Curriculum",
"100 Great Black Britons",
"Black Britons",
"Royal College of Nursing",
"Women's Royal Voluntary Service",
"school of nursing",
"Elizabeth Anionwu"
] |
|
18313_NT | Statue of Mary Seacole | Focus on this artwork and explore the History. | The idea for a statue to commemorate Seacole was raised in 2004, when she topped an online poll to identify 100 Great Black Britons. Her victory led the then President of the Royal College of Nursing, Sylvia Denton, to call for the erection of a commemorative statue. The idea was supported by the London M.P. Clive Soley, who had become interested in Seacole when a group of black women from his constituency, who had served in the Women's Royal Voluntary Service, approached him for help in identifying and refurbishing Seacole's grave in St Mary's Catholic Cemetery, Kensal Green in West London. Soley subsequently became chair of the Mary Seacole Memorial Statue Appeal which undertook a twelve-year campaign to raise the necessary funds to pay for the statue. Over £500,000 was raised in private donations, and this was supplemented by the granting of £240,000 by the then Chancellor of the Exchequer, George Osborne, who diverted fines levied following the Libor banking scandal for the purpose of landscaping and preparing the statue's site.The commissioning of the statue generated controversy. Opposition was led by the Nightingale Society, and its co-founder Lynn McDonald, the editor of the 16-volume Collected Works of Florence Nightingale. The society's main objection was to what it perceived as the embellishment of Seacole's work and reputation, to the detriment of that of Florence Nightingale. The proposed site for the statue, the grounds of St Thomas', provoked particular hostility, as Seacole had no connection to the hospital while Nightingale had founded her school of nursing there in 1860. In 2013 the controversy became linked to, ultimately unsuccessful, efforts by the then Secretary of State for Education, Michael Gove, to remove mention of Seacole from the English schools National Curriculum. The statue's sculptor, Martin Jennings, noted the substantial length of time it took to raise the necessary funds, contrasting it with the more usual period of around two years, and asked, in an interview in The Guardian newspaper in 2016, "would there really be such energy behind the[..] resistance if the person the statue honours was white-skinned"?By 2016, work on the statue, cast in the foundry of Pangolin Editions in Gloucestershire, and on its site, was complete. The statue was unveiled on 30 June 2016 by Floella Benjamin. Speaking at the unveiling, Elizabeth Anionwu, Emeritus Professor of Nursing at the University of West London and vice-chair of the appeal committee, referenced the importance of the site and of the statue itself; "There are not enough statues of women, let alone of black women. St Thomas’ are proud to host the statue of Mary Seacole both in recognition of the work done by their black and minority ethnic healthcare staff, and also because of the diverse community they serve". | [
"University of West London",
"Libor banking scandal",
"Gloucestershire",
"Mary Seacole",
"Chancellor of the Exchequer",
"Clive Soley",
"George Osborne",
"Sylvia Denton",
"Michael Gove",
"St Mary's Catholic Cemetery, Kensal Green",
"Pangolin Editions",
"Royal Voluntary Service",
"Seacole",
"Lynn McDonald",
"Florence Nightingale",
"M.P.",
"Nightingale Society",
"Martin Jennings",
"The Guardian",
"Floella Benjamin",
"Secretary of State for Education",
"English schools National Curriculum",
"100 Great Black Britons",
"Black Britons",
"Royal College of Nursing",
"Women's Royal Voluntary Service",
"school of nursing",
"Elizabeth Anionwu"
] |
|
18314_T | Hodge (cat) | Explore the abstract of this artwork, Hodge (cat). | Hodge (fl. c.1769) was one of Samuel Johnson's cats, immortalised in a characteristically whimsical passage in James Boswell's 1791 book Life of Johnson.
Although there is little known about Hodge, such as his life, his death, or any other information, what is known is Johnson's fondness for his cat, which separated Johnson from the views held by others of the eighteenth century. | [
"Life of Johnson",
"James Boswell",
"Samuel Johnson"
] |
|
18314_NT | Hodge (cat) | Explore the abstract of this artwork. | Hodge (fl. c.1769) was one of Samuel Johnson's cats, immortalised in a characteristically whimsical passage in James Boswell's 1791 book Life of Johnson.
Although there is little known about Hodge, such as his life, his death, or any other information, what is known is Johnson's fondness for his cat, which separated Johnson from the views held by others of the eighteenth century. | [
"Life of Johnson",
"James Boswell",
"Samuel Johnson"
] |
|
18315_T | Hodge (cat) | Focus on Hodge (cat) and discuss the Life. | Most of the information on Hodge comes from Boswell's account. It is in this passage that Johnson is claimed to have an affection for animals in general, or at least the ones that he kept:Nor would it be just, under this head, to omit the fondness which he showed for animals which he had taken under his protection. I never shall forget the indulgence with which he treated Hodge, his cat: for whom he himself used to go out and buy oysters, lest the servants having that trouble should take a dislike to the poor creature. I am, unluckily, one of those who have an antipathy to a cat, so that I am uneasy when in the room with one; and I own, I frequently suffered a good deal from the presence of this same Hodge. I recollect him one day scrambling up Dr. Johnson's breast, apparently with much satisfaction, while my friend smiling and half-whistling, rubbed down his back, and pulled him by the tail; and when I observed he was a fine cat, saying, "Why yes, Sir, but I have had cats whom I liked better than this;" and then as if perceiving Hodge to be out of countenance, adding, "but he is a very fine cat, a very fine cat indeed."
This reminds me of the ludicrous account which he gave Mr. Langton, of the despicable state of a young Gentleman of good family. "Sir, when I heard of him last, he was running about town shooting cats." And then in a sort of kindly reverie, he bethought himself of his own favourite cat, and said, "But Hodge shan't be shot; no, no, Hodge shall not be shot."
The latter anecdote is used as the epigraph to Vladimir Nabokov's acclaimed poem/novel Pale Fire.Johnson bought oysters for his cat. In modern England, oysters are an expensive food for the well-to-do, but in the 18th century oysters were plentiful around the coasts of England and so cheap that they were a staple food of the poor. Johnson refused to send Francis Barber to buy Hodge's food, fearing that it would be seen as degrading to his servant, so he would personally buy the food for Hodge.Boswell also noted how Johnson went out to purchase valerian to ease Hodge's suffering as death approached. Although Hodge was not Johnson's only cat, it was Hodge whom he considered his favourite. Hodge was remembered in various forms, from biographical mentions during Johnson's life to poems written about the cat. On his death, Hodge's life was celebrated in An Elegy on The Death of Dr Johnson's Favourite Cat by Percival Stockdale (published 1778). In this poem the phrase "sable fur" indicates that Hodge was a black cat; also, the fact that Stockdale was Johnson's neighbour from 1769 onwards suggests that Hodge was alive at that time: "Who, by his master when caressed, warmly his gratitude expressed, and never failed his thanks to purr, whene'er he stroked his sable furr [sic]". | [
"Dr Johnson",
"Pale Fire",
"Vladimir Nabokov",
"valerian",
"epigraph",
"Percival Stockdale",
"Francis Barber",
"black cat",
"oyster",
"Mr. Langton"
] |
|
18315_NT | Hodge (cat) | Focus on this artwork and discuss the Life. | Most of the information on Hodge comes from Boswell's account. It is in this passage that Johnson is claimed to have an affection for animals in general, or at least the ones that he kept:Nor would it be just, under this head, to omit the fondness which he showed for animals which he had taken under his protection. I never shall forget the indulgence with which he treated Hodge, his cat: for whom he himself used to go out and buy oysters, lest the servants having that trouble should take a dislike to the poor creature. I am, unluckily, one of those who have an antipathy to a cat, so that I am uneasy when in the room with one; and I own, I frequently suffered a good deal from the presence of this same Hodge. I recollect him one day scrambling up Dr. Johnson's breast, apparently with much satisfaction, while my friend smiling and half-whistling, rubbed down his back, and pulled him by the tail; and when I observed he was a fine cat, saying, "Why yes, Sir, but I have had cats whom I liked better than this;" and then as if perceiving Hodge to be out of countenance, adding, "but he is a very fine cat, a very fine cat indeed."
This reminds me of the ludicrous account which he gave Mr. Langton, of the despicable state of a young Gentleman of good family. "Sir, when I heard of him last, he was running about town shooting cats." And then in a sort of kindly reverie, he bethought himself of his own favourite cat, and said, "But Hodge shan't be shot; no, no, Hodge shall not be shot."
The latter anecdote is used as the epigraph to Vladimir Nabokov's acclaimed poem/novel Pale Fire.Johnson bought oysters for his cat. In modern England, oysters are an expensive food for the well-to-do, but in the 18th century oysters were plentiful around the coasts of England and so cheap that they were a staple food of the poor. Johnson refused to send Francis Barber to buy Hodge's food, fearing that it would be seen as degrading to his servant, so he would personally buy the food for Hodge.Boswell also noted how Johnson went out to purchase valerian to ease Hodge's suffering as death approached. Although Hodge was not Johnson's only cat, it was Hodge whom he considered his favourite. Hodge was remembered in various forms, from biographical mentions during Johnson's life to poems written about the cat. On his death, Hodge's life was celebrated in An Elegy on The Death of Dr Johnson's Favourite Cat by Percival Stockdale (published 1778). In this poem the phrase "sable fur" indicates that Hodge was a black cat; also, the fact that Stockdale was Johnson's neighbour from 1769 onwards suggests that Hodge was alive at that time: "Who, by his master when caressed, warmly his gratitude expressed, and never failed his thanks to purr, whene'er he stroked his sable furr [sic]". | [
"Dr Johnson",
"Pale Fire",
"Vladimir Nabokov",
"valerian",
"epigraph",
"Percival Stockdale",
"Francis Barber",
"black cat",
"oyster",
"Mr. Langton"
] |
|
18316_T | Hodge (cat) | How does Hodge (cat) elucidate its Hodge statue? | Today Hodge is remembered by a bronze statue, unveiled in 1997 by Sir Roger Cook, the then-Lord Mayor of London, outside the house in Gough Square he shared with Johnson and Barber, Johnson's black manservant and heir. The statue shows Hodge sitting next to a pair of empty oyster shells atop a copy of Johnson's famous dictionary, with the inscription "a very fine cat indeed". It has become customary for visitors that walk past the statue to place coins in the oyster shells as tokens of good luck. To mark special occasions and anniversaries a pink piece of counsel's ribbon may be seen tied to one of the oyster shells or around Hodge's neck.
Sculptor Jon Bickley perceived a kinship with Johnson, noting, "It seems Dr. Johnson and I were meant to come together . . . He was born in Lichfield, in the Midlands, and I was brought up just outside it. I can close my eyes and picture his birth house." Bickley modelled the cat on his own pet, Thomas Henry, and carefully selected the sculpture's height for maximum accessibility: "I made Hodge about shoulder height for the average adult, which is just about right for putting an arm around." | [
"bronze statue",
"Jon Bickley",
"Gough Square",
"Lord Mayor of London",
"oyster"
] |
|
18316_NT | Hodge (cat) | How does this artwork elucidate its Hodge statue? | Today Hodge is remembered by a bronze statue, unveiled in 1997 by Sir Roger Cook, the then-Lord Mayor of London, outside the house in Gough Square he shared with Johnson and Barber, Johnson's black manservant and heir. The statue shows Hodge sitting next to a pair of empty oyster shells atop a copy of Johnson's famous dictionary, with the inscription "a very fine cat indeed". It has become customary for visitors that walk past the statue to place coins in the oyster shells as tokens of good luck. To mark special occasions and anniversaries a pink piece of counsel's ribbon may be seen tied to one of the oyster shells or around Hodge's neck.
Sculptor Jon Bickley perceived a kinship with Johnson, noting, "It seems Dr. Johnson and I were meant to come together . . . He was born in Lichfield, in the Midlands, and I was brought up just outside it. I can close my eyes and picture his birth house." Bickley modelled the cat on his own pet, Thomas Henry, and carefully selected the sculpture's height for maximum accessibility: "I made Hodge about shoulder height for the average adult, which is just about right for putting an arm around." | [
"bronze statue",
"Jon Bickley",
"Gough Square",
"Lord Mayor of London",
"oyster"
] |
|
18317_T | Hodge (cat) | Focus on Hodge (cat) and analyze the Popular culture. | The cat Hodge—along with Dr. Johnson's second favourite cat, Lily—are the subjects of a book by Yvonne Skargon (Johnson is also given authorial credit) entitled Lily and Hodge and Dr. Johnson. The book consists of quotations from Johnson's Dictionary, accompanied by Skargon's wood engravings of the two cats, contextually associated with the dictionary entries. Susan Coolidge's ode "Hodge, the Cat" celebrates Samuel Johnson's affection for Hodge; it appears in a collection of feline-focused poems and anecdotes published in 1912, and edited by Agnes Repplier. Hodge also appears in Charlie Fletcher's "Silvertongue" as a brave and fearless cat. Hodge also appears in Samuel Beckett's early dramatic fragment Human Wishes. In M. C. Beaton's Agatha Raisin novel series, the heroine's cats are named Hodge and Boswell. The English critic, essayist and poet Leigh Hunt wrote an essay entitled "The Cat by the Fire" which features an imaginary description of how some of Samuel Johnson's friends and acquaintances would have related to Hodge the cat. In December 2020, Southwark Cathedral named its newly-adopted cat Hodge, as Gough Square is nearby, and Johnson is depicted in one of the cathedral's stained glass windows.On 15 February 2021, miaows attributed to Hodge appeared in a bonus episode of The Family Histories Podcast, with host Andrew Martin explaining that Hodge had been stolen from 18th-century London by the Hungarian poet Sándor Petőfi, via the use of a time machine that features in the episode. Boswell's account is quoted, with Hodge being described as "a very fine cat, a very fine cat indeed". | [
"Agatha Raisin",
"Samuel Beckett",
"Samuel Johnson",
"Yvonne Skargon",
"Human Wishes",
"Sándor Petőfi",
"Dictionary",
"Leigh Hunt",
"Gough Square",
"Susan Coolidge",
"Southwark Cathedral",
"M. C. Beaton"
] |
|
18317_NT | Hodge (cat) | Focus on this artwork and analyze the Popular culture. | The cat Hodge—along with Dr. Johnson's second favourite cat, Lily—are the subjects of a book by Yvonne Skargon (Johnson is also given authorial credit) entitled Lily and Hodge and Dr. Johnson. The book consists of quotations from Johnson's Dictionary, accompanied by Skargon's wood engravings of the two cats, contextually associated with the dictionary entries. Susan Coolidge's ode "Hodge, the Cat" celebrates Samuel Johnson's affection for Hodge; it appears in a collection of feline-focused poems and anecdotes published in 1912, and edited by Agnes Repplier. Hodge also appears in Charlie Fletcher's "Silvertongue" as a brave and fearless cat. Hodge also appears in Samuel Beckett's early dramatic fragment Human Wishes. In M. C. Beaton's Agatha Raisin novel series, the heroine's cats are named Hodge and Boswell. The English critic, essayist and poet Leigh Hunt wrote an essay entitled "The Cat by the Fire" which features an imaginary description of how some of Samuel Johnson's friends and acquaintances would have related to Hodge the cat. In December 2020, Southwark Cathedral named its newly-adopted cat Hodge, as Gough Square is nearby, and Johnson is depicted in one of the cathedral's stained glass windows.On 15 February 2021, miaows attributed to Hodge appeared in a bonus episode of The Family Histories Podcast, with host Andrew Martin explaining that Hodge had been stolen from 18th-century London by the Hungarian poet Sándor Petőfi, via the use of a time machine that features in the episode. Boswell's account is quoted, with Hodge being described as "a very fine cat, a very fine cat indeed". | [
"Agatha Raisin",
"Samuel Beckett",
"Samuel Johnson",
"Yvonne Skargon",
"Human Wishes",
"Sándor Petőfi",
"Dictionary",
"Leigh Hunt",
"Gough Square",
"Susan Coolidge",
"Southwark Cathedral",
"M. C. Beaton"
] |
|
18318_T | Portrait of Camilla Gonzaga and Her Three Sons | In Portrait of Camilla Gonzaga and Her Three Sons, how is the abstract discussed? | Portrait of Camilla Gonzaga and Her Three Sons is a painting attributed to the Italian Mannerist artist Parmigianino and his workshop, executed around 1535–1537 and housed in the Museo del Prado, Madrid, Spain. It forms a pair with another painting in the Prado, the Portrait of Pier Maria Rossi di San Secondo, Camilla's husband, a painting which is unanimously assigned to Parmigianino. | [
"Portrait of Pier Maria Rossi di San Secondo",
"Parmigianino",
"Gonzaga",
"Madrid",
"Museo del Prado",
"Spain",
"Camilla Gonzaga"
] |
|
18318_NT | Portrait of Camilla Gonzaga and Her Three Sons | In this artwork, how is the abstract discussed? | Portrait of Camilla Gonzaga and Her Three Sons is a painting attributed to the Italian Mannerist artist Parmigianino and his workshop, executed around 1535–1537 and housed in the Museo del Prado, Madrid, Spain. It forms a pair with another painting in the Prado, the Portrait of Pier Maria Rossi di San Secondo, Camilla's husband, a painting which is unanimously assigned to Parmigianino. | [
"Portrait of Pier Maria Rossi di San Secondo",
"Parmigianino",
"Gonzaga",
"Madrid",
"Museo del Prado",
"Spain",
"Camilla Gonzaga"
] |
|
18319_T | Portrait of Camilla Gonzaga and Her Three Sons | Focus on Portrait of Camilla Gonzaga and Her Three Sons and explore the History. | It is mentioned in a 1686 inventory of the collections of the Royal Alcazar of Madrid, as the wife of the count of San Sigundo. The subject has been identified with Camilla Gonzaga, wife of imperial general Pier Maria III de' Rossi basing on this note, and by another from 1630 by one of his descendants about the existence of a portrait of him by Parmigianino.
The painting arrived in Spain in 1664, after King Philip IV had supported to the Rossi family in a dispute with the Farnese of Parma about some territories. It has been dated from around 1539–1540, but the attribution to Parmigianino is controversial, the author having been identified also as an artist from Bronzino's workshop. It is possible that Parmigianino, who died in 1540, had not been able to finish the portrait, which was completed by another artist, perhaps basing on his sketch. | [
"Philip IV",
"Parmigianino",
"Gonzaga",
"Farnese",
"Royal Alcazar of Madrid",
"Madrid",
"Spain",
"Pier Maria III de' Rossi",
"Bronzino",
"Camilla Gonzaga"
] |
|
18319_NT | Portrait of Camilla Gonzaga and Her Three Sons | Focus on this artwork and explore the History. | It is mentioned in a 1686 inventory of the collections of the Royal Alcazar of Madrid, as the wife of the count of San Sigundo. The subject has been identified with Camilla Gonzaga, wife of imperial general Pier Maria III de' Rossi basing on this note, and by another from 1630 by one of his descendants about the existence of a portrait of him by Parmigianino.
The painting arrived in Spain in 1664, after King Philip IV had supported to the Rossi family in a dispute with the Farnese of Parma about some territories. It has been dated from around 1539–1540, but the attribution to Parmigianino is controversial, the author having been identified also as an artist from Bronzino's workshop. It is possible that Parmigianino, who died in 1540, had not been able to finish the portrait, which was completed by another artist, perhaps basing on his sketch. | [
"Philip IV",
"Parmigianino",
"Gonzaga",
"Farnese",
"Royal Alcazar of Madrid",
"Madrid",
"Spain",
"Pier Maria III de' Rossi",
"Bronzino",
"Camilla Gonzaga"
] |
|
18320_T | Portrait of Camilla Gonzaga and Her Three Sons | Focus on Portrait of Camilla Gonzaga and Her Three Sons and explain the Description. | The countess is portrayed on a black background, wearing a precious scarlet dress, a frilled mousseline on the chest, and rich set of jewels. She looks to the right, ideally towards the portrait of her husband. The countess is surrounded by her three sons, Troilo, Federico and Ippolito. It is the first case in Italian art in which this iconography was used.The three sons appear to be from different hands, and were perhaps added in different moments. | [
"mousseline"
] |
|
18320_NT | Portrait of Camilla Gonzaga and Her Three Sons | Focus on this artwork and explain the Description. | The countess is portrayed on a black background, wearing a precious scarlet dress, a frilled mousseline on the chest, and rich set of jewels. She looks to the right, ideally towards the portrait of her husband. The countess is surrounded by her three sons, Troilo, Federico and Ippolito. It is the first case in Italian art in which this iconography was used.The three sons appear to be from different hands, and were perhaps added in different moments. | [
"mousseline"
] |
|
18321_T | The Flight of Europa | Explore the abstract of this artwork, The Flight of Europa. | The Flight of Europa is a bronze Art Deco sculpture created by American artist Paul Manship in 1925. Copies are held by the Indianapolis Museum of Art, the Los Angeles County Museum of Art, The Columbus Museum, Columbus, Georgia, and the Smithsonian American Art Museum. It depicts the Greek myth of Europa being abducted by Zeus in the form of a bull. | [
"American",
"bronze",
"Paul Manship",
"Smithsonian American Art Museum",
"Los Angeles County Museum of Art",
"Indianapolis Museum of Art",
"Art Deco",
"Zeus",
"Europa"
] |
|
18321_NT | The Flight of Europa | Explore the abstract of this artwork. | The Flight of Europa is a bronze Art Deco sculpture created by American artist Paul Manship in 1925. Copies are held by the Indianapolis Museum of Art, the Los Angeles County Museum of Art, The Columbus Museum, Columbus, Georgia, and the Smithsonian American Art Museum. It depicts the Greek myth of Europa being abducted by Zeus in the form of a bull. | [
"American",
"bronze",
"Paul Manship",
"Smithsonian American Art Museum",
"Los Angeles County Museum of Art",
"Indianapolis Museum of Art",
"Art Deco",
"Zeus",
"Europa"
] |
|
18322_T | The Flight of Europa | Focus on The Flight of Europa and discuss the Description. | The Flight of Europa is an elegant and modern depiction of an ancient act of violation. The strong diagonals make even the massive bull seem to float. Europa herself sits calmly, legs crossed, as Cupid whispers in her ear. Inspired by murals he saw in Crete, Manship added dolphins under the bull to represent the couples' destination. The delicate linear detailing that became Manship's hallmark can be seen in her hair, Zeus' mane, and Cupid's wings. Without the base, the statue stands 20.75" (52.7 cm.) tall. At least one copy has "P. MaNSHIP ©" inscribed on the base. The statue is bronze, though some copies have been gilded, and they stand on stone bases of agate, marble, or onyx. | [
"Crete",
"bronze",
"agate",
"marble",
"Cupid",
"gilded",
"onyx",
"Zeus",
"Europa"
] |
|
18322_NT | The Flight of Europa | Focus on this artwork and discuss the Description. | The Flight of Europa is an elegant and modern depiction of an ancient act of violation. The strong diagonals make even the massive bull seem to float. Europa herself sits calmly, legs crossed, as Cupid whispers in her ear. Inspired by murals he saw in Crete, Manship added dolphins under the bull to represent the couples' destination. The delicate linear detailing that became Manship's hallmark can be seen in her hair, Zeus' mane, and Cupid's wings. Without the base, the statue stands 20.75" (52.7 cm.) tall. At least one copy has "P. MaNSHIP ©" inscribed on the base. The statue is bronze, though some copies have been gilded, and they stand on stone bases of agate, marble, or onyx. | [
"Crete",
"bronze",
"agate",
"marble",
"Cupid",
"gilded",
"onyx",
"Zeus",
"Europa"
] |
|
18323_T | Octave Mirbeau (sculpture) | How does Octave Mirbeau (sculpture) elucidate its abstract? | Octave Mirbeau is an 1895 plaster relief by Auguste Rodin of the writer Octave Mirbeau, now in the Museo Soumaya. He had got to know him thanks to The Age of Bronze and The Gates of Hell - Mirbeau visited Rodin's studio, published the first description of Gates in the review La France, promoted Rodin's other work and died only a few months before the sculptor.
Rodin showed on several occasions gratitude towards the writer who played the important role of promoter of his work. | [
"Museo Soumaya",
"Octave Mirbeau",
"The Age of Bronze",
"The Gates of Hell",
"Auguste Rodin"
] |
|
18323_NT | Octave Mirbeau (sculpture) | How does this artwork elucidate its abstract? | Octave Mirbeau is an 1895 plaster relief by Auguste Rodin of the writer Octave Mirbeau, now in the Museo Soumaya. He had got to know him thanks to The Age of Bronze and The Gates of Hell - Mirbeau visited Rodin's studio, published the first description of Gates in the review La France, promoted Rodin's other work and died only a few months before the sculptor.
Rodin showed on several occasions gratitude towards the writer who played the important role of promoter of his work. | [
"Museo Soumaya",
"Octave Mirbeau",
"The Age of Bronze",
"The Gates of Hell",
"Auguste Rodin"
] |
|
18324_T | Octave Mirbeau (sculpture) | Focus on Octave Mirbeau (sculpture) and analyze the Death. | Mirbeau died on 16 February 1917, a few months before Auguste Rodin. | [
"Auguste Rodin"
] |
|
18324_NT | Octave Mirbeau (sculpture) | Focus on this artwork and analyze the Death. | Mirbeau died on 16 February 1917, a few months before Auguste Rodin. | [
"Auguste Rodin"
] |
|
18325_T | Departure (Beckmann) | In Departure (Beckmann), how is the abstract discussed? | Departure is an oil-on-canvas triptych by German artist Max Beckmann begun in Frankfurt in 1932 and completed in Berlin from 1933 to 1935. It was the first of nine triptychs that the artist created. The panels, according to Beckmann, are named The Castle (left), The Homecoming (middle) and The Staircase (right). The paintings have all the same height (215.5 cm) and the middle panel, with 115 cm, is only slightly wider than the other two, which have 99.5 cm in length. It is one of his best-known triptychs and is held at the Museum of Modern Art, in New York. | [
"Max Beckmann",
"Frankfurt",
"Berlin",
"triptych",
"Museum of Modern Art",
"New York"
] |
|
18325_NT | Departure (Beckmann) | In this artwork, how is the abstract discussed? | Departure is an oil-on-canvas triptych by German artist Max Beckmann begun in Frankfurt in 1932 and completed in Berlin from 1933 to 1935. It was the first of nine triptychs that the artist created. The panels, according to Beckmann, are named The Castle (left), The Homecoming (middle) and The Staircase (right). The paintings have all the same height (215.5 cm) and the middle panel, with 115 cm, is only slightly wider than the other two, which have 99.5 cm in length. It is one of his best-known triptychs and is held at the Museum of Modern Art, in New York. | [
"Max Beckmann",
"Frankfurt",
"Berlin",
"triptych",
"Museum of Modern Art",
"New York"
] |
|
18326_T | Departure (Beckmann) | Focus on Departure (Beckmann) and explore the History and description. | The triptych was started at the final years of the Weimar Republic and finished in the first years after the takeover of Nazism. The significance of the scenes depicted is enigmatic. Both the side panels show images of sadistic violence. At the left, possibly a torture chamber, a woman is tied down upon a crystal ball. To her left, a strange still life is seen, and behind her is a man in a striped shirt, possibly an executioner, holding an axe. A gagged man whose hands have been severed is tied by his arms to one of the three pillars at the background, his closed eyes showing an expression of deep pain. At his right, a woman is seen from behind, with her hands tied.In the right panel, a woman is tied to an upside-down man. Next to the woman is a blindfolded man in a bellhop uniform, and behind her is a naked dwarf. In the foreground is a drummer. Unlike the figures in the left panel, the figures in the right panel are constrained but not tortured.The central panel, by the opposite, showing a scene in a blue sky and in a blue sea, seems to represent a chance of hope and salvation from this violence, depicting the departure of a king, most likely the Fisher King, with his back turned, who grasps a net of fish, while giving a blessing. At his left, an enigmatic hooded man holds a fish. The queen, at the background, holds his son, while faces the viewer. Beckmann described this scene stating: "The King and Queen have freed themselves... The Queen carries the greatest treasure – Freedom – as her child in her lap. Freedom is the one thing that matters – it is the departure, the new start."Despite the political background of the time, Beckmann denied that this was a political work: “Departure bears no tendentious meaning – it could well be applied to all times." | [
"Fisher King",
"Weimar Republic",
"Nazism",
"triptych"
] |
|
18326_NT | Departure (Beckmann) | Focus on this artwork and explore the History and description. | The triptych was started at the final years of the Weimar Republic and finished in the first years after the takeover of Nazism. The significance of the scenes depicted is enigmatic. Both the side panels show images of sadistic violence. At the left, possibly a torture chamber, a woman is tied down upon a crystal ball. To her left, a strange still life is seen, and behind her is a man in a striped shirt, possibly an executioner, holding an axe. A gagged man whose hands have been severed is tied by his arms to one of the three pillars at the background, his closed eyes showing an expression of deep pain. At his right, a woman is seen from behind, with her hands tied.In the right panel, a woman is tied to an upside-down man. Next to the woman is a blindfolded man in a bellhop uniform, and behind her is a naked dwarf. In the foreground is a drummer. Unlike the figures in the left panel, the figures in the right panel are constrained but not tortured.The central panel, by the opposite, showing a scene in a blue sky and in a blue sea, seems to represent a chance of hope and salvation from this violence, depicting the departure of a king, most likely the Fisher King, with his back turned, who grasps a net of fish, while giving a blessing. At his left, an enigmatic hooded man holds a fish. The queen, at the background, holds his son, while faces the viewer. Beckmann described this scene stating: "The King and Queen have freed themselves... The Queen carries the greatest treasure – Freedom – as her child in her lap. Freedom is the one thing that matters – it is the departure, the new start."Despite the political background of the time, Beckmann denied that this was a political work: “Departure bears no tendentious meaning – it could well be applied to all times." | [
"Fisher King",
"Weimar Republic",
"Nazism",
"triptych"
] |
|
18327_T | Statue of John Bridge | Focus on Statue of John Bridge and explain the Description. | The statue weighs 1800 pounds.The figure is about nine feet and so is the pedestal.The front of the statue's plinth reads:JOHN BRIDGE • 1578–1665 • left braintree, essex county, england. 1631 • as a member of rev. mr. hooker's company • settled here 1632 • and stayed when that company • removed to connecticut. • he had supervision of the first public school • established in cambridge 1635 • was selectman 1635–1652 • deacon of the church 1636–1658 • representative to the great and general court 1637–1641 • and was appointed by that body to lay out lands • in this town and beyond.
The other three faces read:THIS PURITAN • helped to establish here • church school • and representative government • and thus to plant • a Christian commonwealth.
Erected • and given to the city • september 20, 1882 • by Samuel James Bridge • of the sixth generation • from John Bridge.
"They that wait upon the Lord shall renew their strength." | [
"braintree",
"Samuel James Bridge",
"essex"
] |
|
18327_NT | Statue of John Bridge | Focus on this artwork and explain the Description. | The statue weighs 1800 pounds.The figure is about nine feet and so is the pedestal.The front of the statue's plinth reads:JOHN BRIDGE • 1578–1665 • left braintree, essex county, england. 1631 • as a member of rev. mr. hooker's company • settled here 1632 • and stayed when that company • removed to connecticut. • he had supervision of the first public school • established in cambridge 1635 • was selectman 1635–1652 • deacon of the church 1636–1658 • representative to the great and general court 1637–1641 • and was appointed by that body to lay out lands • in this town and beyond.
The other three faces read:THIS PURITAN • helped to establish here • church school • and representative government • and thus to plant • a Christian commonwealth.
Erected • and given to the city • september 20, 1882 • by Samuel James Bridge • of the sixth generation • from John Bridge.
"They that wait upon the Lord shall renew their strength." | [
"braintree",
"Samuel James Bridge",
"essex"
] |
|
18328_T | Statue of John Bridge | Explore the The Life of John Bridge of this artwork, Statue of John Bridge. | John Bridge was born in Essex County, England in 1578.He came to Cambridge in the 1630s in conjunction with the Braintree Company. John Bridge apparently helped to convince Thomas Shepard to come to Massachusetts. When some colonists led by Thomas Hooker left Cambridge for Connecticut, Bridge remained. He served as a selectman for multiple terms, and helped to supervise the local school.He died in 1665, and was buried in Harvard Square.Prior to donating the statue of his ancestor, Samuel J. Bridge added memorial stones over John Bridge's burial place on July 4, 1876. | [
"Essex",
"Thomas Shepard"
] |
|
18328_NT | Statue of John Bridge | Explore the The Life of John Bridge of this artwork. | John Bridge was born in Essex County, England in 1578.He came to Cambridge in the 1630s in conjunction with the Braintree Company. John Bridge apparently helped to convince Thomas Shepard to come to Massachusetts. When some colonists led by Thomas Hooker left Cambridge for Connecticut, Bridge remained. He served as a selectman for multiple terms, and helped to supervise the local school.He died in 1665, and was buried in Harvard Square.Prior to donating the statue of his ancestor, Samuel J. Bridge added memorial stones over John Bridge's burial place on July 4, 1876. | [
"Essex",
"Thomas Shepard"
] |
|
18329_T | Statue of John Bridge | Focus on Statue of John Bridge and discuss the History of the Monument. | The statue was dedicated on Nov. 28, 1882. It was donated by Samuel J. Bridge. It was sculpted by Thomas R. Gould and, after he died while working on it, his son Marshall S. Gould. Bridge also donated the statue of John Harvard on Harvard University's campus. Samuel J. Bridge served as appraiser of the port of Boston and, subsequently, appraiser general at San Francisco.Dedication ceremonies took place at Shepard Memorial Church. Thomas Wentworth Higginson addressed the crowd on the occasion. Higginson described the statue as being noteworthy in representing "the common man," and even suggested that it was "the first time...that the every-day Puritan has appeared in sculpture." He further stated that Bridge "was one of those who kept back the Indian and brought civilization forward." Harvard President Charles William Eliot also addressed the crowd, and hailed how Bridge's life "foretold the life of the teeming millions who in two centuries were to vivify the wild continent."At the time of its construction, some believed that the statue was "the first...of a Puritan pioneer that has been erected in New England."A tablet in memory of Bridge was also placed in Shepard Memorial Church.The statue accompanied many other Gilded Age erections of this genre, in which Puritans or Pilgrims stood for American ideals and reasserted a fantasy of the "moral values, social dominance, and political leadership of the nation's New England, and specifically Anglo Saxon, colonists." Other examples from the post-Civil War period include The Puritan by Augustus Saint-Gaudens in Springfield, Massachusetts, The Pilgrim also by Saint-Gaudens in Philadelphia, and The Pilgrim by John Quincy Adams Ward in Central Park.The statue has been toppled on a number of occasions. In 1922, the figure was found with a rope around the neck, and newspapers speculated that "college boys or other young men of Cambridge" had committed the act. In 1935, it was found again toppled, this time with wire around the neck. It took several weeks for it to be restored. | [
"Augustus Saint-Gaudens",
"Harvard University",
"Charles William Eliot",
"Thomas Wentworth Higginson",
"statue of John Harvard",
"John Quincy Adams Ward",
"Springfield, Massachusetts",
"Thomas R. Gould",
"Central Park",
"Harvard University's"
] |
|
18329_NT | Statue of John Bridge | Focus on this artwork and discuss the History of the Monument. | The statue was dedicated on Nov. 28, 1882. It was donated by Samuel J. Bridge. It was sculpted by Thomas R. Gould and, after he died while working on it, his son Marshall S. Gould. Bridge also donated the statue of John Harvard on Harvard University's campus. Samuel J. Bridge served as appraiser of the port of Boston and, subsequently, appraiser general at San Francisco.Dedication ceremonies took place at Shepard Memorial Church. Thomas Wentworth Higginson addressed the crowd on the occasion. Higginson described the statue as being noteworthy in representing "the common man," and even suggested that it was "the first time...that the every-day Puritan has appeared in sculpture." He further stated that Bridge "was one of those who kept back the Indian and brought civilization forward." Harvard President Charles William Eliot also addressed the crowd, and hailed how Bridge's life "foretold the life of the teeming millions who in two centuries were to vivify the wild continent."At the time of its construction, some believed that the statue was "the first...of a Puritan pioneer that has been erected in New England."A tablet in memory of Bridge was also placed in Shepard Memorial Church.The statue accompanied many other Gilded Age erections of this genre, in which Puritans or Pilgrims stood for American ideals and reasserted a fantasy of the "moral values, social dominance, and political leadership of the nation's New England, and specifically Anglo Saxon, colonists." Other examples from the post-Civil War period include The Puritan by Augustus Saint-Gaudens in Springfield, Massachusetts, The Pilgrim also by Saint-Gaudens in Philadelphia, and The Pilgrim by John Quincy Adams Ward in Central Park.The statue has been toppled on a number of occasions. In 1922, the figure was found with a rope around the neck, and newspapers speculated that "college boys or other young men of Cambridge" had committed the act. In 1935, it was found again toppled, this time with wire around the neck. It took several weeks for it to be restored. | [
"Augustus Saint-Gaudens",
"Harvard University",
"Charles William Eliot",
"Thomas Wentworth Higginson",
"statue of John Harvard",
"John Quincy Adams Ward",
"Springfield, Massachusetts",
"Thomas R. Gould",
"Central Park",
"Harvard University's"
] |
|
18330_T | William Tecumseh Sherman (Saint-Gaudens) | How does William Tecumseh Sherman (Saint-Gaudens) elucidate its abstract? | William Tecumseh Sherman, also known as the Sherman Memorial or Sherman Monument, is a sculpture group honoring William Tecumseh Sherman, created by Augustus Saint-Gaudens and located at Grand Army Plaza in Manhattan, New York. Cast in 1902 and dedicated on May 30, 1903, the gilded-bronze monument consists of an equestrian statue of Sherman and an accompanying statue, Victory, an allegorical female figure of the Greek goddess Nike. The statues are set on a Stony Creek granite pedestal designed by the architect Charles Follen McKim. | [
"Augustus Saint-Gaudens",
"Saint-Gaudens",
"Nike",
"equestrian statue",
"William Tecumseh Sherman",
"Manhattan",
"Grand Army Plaza",
"Charles Follen McKim"
] |
|
18330_NT | William Tecumseh Sherman (Saint-Gaudens) | How does this artwork elucidate its abstract? | William Tecumseh Sherman, also known as the Sherman Memorial or Sherman Monument, is a sculpture group honoring William Tecumseh Sherman, created by Augustus Saint-Gaudens and located at Grand Army Plaza in Manhattan, New York. Cast in 1902 and dedicated on May 30, 1903, the gilded-bronze monument consists of an equestrian statue of Sherman and an accompanying statue, Victory, an allegorical female figure of the Greek goddess Nike. The statues are set on a Stony Creek granite pedestal designed by the architect Charles Follen McKim. | [
"Augustus Saint-Gaudens",
"Saint-Gaudens",
"Nike",
"equestrian statue",
"William Tecumseh Sherman",
"Manhattan",
"Grand Army Plaza",
"Charles Follen McKim"
] |
|
18331_T | William Tecumseh Sherman (Saint-Gaudens) | Describe the characteristics of the 1913 plaza design and statue relocation in William Tecumseh Sherman (Saint-Gaudens)'s History. | The newspaper publisher Joseph Pulitzer died in 1911 having bequeathed $50,000 for the creation of a memorial fountain to be "like those in the Place de la Concorde, Paris France". In December 1912, the executors of Pulitzer's estate announced that New York City had approved the fountain's proposed location, in the plaza between 58th Street and 60th Street, just west of Fifth Avenue, the same plaza where the equestrian Sherman Monument stood since 1903. The executors invited five architecture firms to participate in a competition to determine the fountain's design, and to provide designs for a "good architectural treatment of the whole plaza". In January 1913, the five schemes were exhibited at the New York Public Library, including the winning scheme, designed by Carrère and Hastings. Architect Thomas Hasting's design placed the fountain in the southern half of the plaza, whereas the Sherman Monument remained in the northern half (but moved 15 feet (4.6 m) west to be symmetrically opposite the fountain). Construction of the new plaza began in 1915, and by November one newspaper reported: "The Pulitzer Fountain...is now finished and bubbling with the purest Croton water," noting that work on the northern portion of the plaza was delayed by subway construction. | [
"Joseph Pulitzer",
"memorial fountain",
"Carrère and Hastings",
"Pulitzer Fountain",
"Place de la Concorde",
"Fifth Avenue"
] |
|
18331_NT | William Tecumseh Sherman (Saint-Gaudens) | Describe the characteristics of the 1913 plaza design and statue relocation in this artwork's History. | The newspaper publisher Joseph Pulitzer died in 1911 having bequeathed $50,000 for the creation of a memorial fountain to be "like those in the Place de la Concorde, Paris France". In December 1912, the executors of Pulitzer's estate announced that New York City had approved the fountain's proposed location, in the plaza between 58th Street and 60th Street, just west of Fifth Avenue, the same plaza where the equestrian Sherman Monument stood since 1903. The executors invited five architecture firms to participate in a competition to determine the fountain's design, and to provide designs for a "good architectural treatment of the whole plaza". In January 1913, the five schemes were exhibited at the New York Public Library, including the winning scheme, designed by Carrère and Hastings. Architect Thomas Hasting's design placed the fountain in the southern half of the plaza, whereas the Sherman Monument remained in the northern half (but moved 15 feet (4.6 m) west to be symmetrically opposite the fountain). Construction of the new plaza began in 1915, and by November one newspaper reported: "The Pulitzer Fountain...is now finished and bubbling with the purest Croton water," noting that work on the northern portion of the plaza was delayed by subway construction. | [
"Joseph Pulitzer",
"memorial fountain",
"Carrère and Hastings",
"Pulitzer Fountain",
"Place de la Concorde",
"Fifth Avenue"
] |
|
18332_T | William Tecumseh Sherman (Saint-Gaudens) | In the context of William Tecumseh Sherman (Saint-Gaudens), explore the 1974 landmarks designation of the History. | On May 30, 1974, the Landmarks Preservation Commission held a public hearing to consider designation of the Grand Army Plaza, including the Sherman Monument, as a Scenic Landmark. The measure was approved on July 23, 1974. | [
"Landmarks Preservation Commission",
"Grand Army Plaza"
] |
|
18332_NT | William Tecumseh Sherman (Saint-Gaudens) | In the context of this artwork, explore the 1974 landmarks designation of the History. | On May 30, 1974, the Landmarks Preservation Commission held a public hearing to consider designation of the Grand Army Plaza, including the Sherman Monument, as a Scenic Landmark. The measure was approved on July 23, 1974. | [
"Landmarks Preservation Commission",
"Grand Army Plaza"
] |
|
18333_T | William Tecumseh Sherman (Saint-Gaudens) | In the context of William Tecumseh Sherman (Saint-Gaudens), explain the Restoration of the History. | On March 26, 1985, the Central Park Conservancy and the architecture firm of Buttrick White & Burtis presented plans to the Landmarks Preservation Commission for a full restoration of the plaza, including the Sherman Monument. The work was completed in June 1990, including a re-gilding of the statue, and the replacement of a palm frond and a sword that had been removed previously.The Grand Army Plaza was renewed again in 2013, including a re-gilding of the statue of William Tecumseh Sherman. | [
"Central Park Conservancy",
"Landmarks Preservation Commission",
"William Tecumseh Sherman",
"Grand Army Plaza",
"Central Park",
"Buttrick White & Burtis"
] |
|
18333_NT | William Tecumseh Sherman (Saint-Gaudens) | In the context of this artwork, explain the Restoration of the History. | On March 26, 1985, the Central Park Conservancy and the architecture firm of Buttrick White & Burtis presented plans to the Landmarks Preservation Commission for a full restoration of the plaza, including the Sherman Monument. The work was completed in June 1990, including a re-gilding of the statue, and the replacement of a palm frond and a sword that had been removed previously.The Grand Army Plaza was renewed again in 2013, including a re-gilding of the statue of William Tecumseh Sherman. | [
"Central Park Conservancy",
"Landmarks Preservation Commission",
"William Tecumseh Sherman",
"Grand Army Plaza",
"Central Park",
"Buttrick White & Burtis"
] |
|
18334_T | William Tecumseh Sherman (Saint-Gaudens) | Explore the Critiques of this artwork, William Tecumseh Sherman (Saint-Gaudens). | According to the report prepared by the Landmarks Commission for its 1974 designation, many consider the Sherman Monument to be Saint-Gaudens’ finest work. Not everyone agreed; according to Frank Weitenkampf, sculptor John Quincy Adams Ward was less than enthusiastic about the equestrian composition: "Saint-Gaudens was a timid rider and it showed in this work.... if the horse should stumble the general would inevitably be thrown over his head." | [
"Saint-Gaudens",
"Frank Weitenkampf",
"John Quincy Adams Ward"
] |
|
18334_NT | William Tecumseh Sherman (Saint-Gaudens) | Explore the Critiques of this artwork. | According to the report prepared by the Landmarks Commission for its 1974 designation, many consider the Sherman Monument to be Saint-Gaudens’ finest work. Not everyone agreed; according to Frank Weitenkampf, sculptor John Quincy Adams Ward was less than enthusiastic about the equestrian composition: "Saint-Gaudens was a timid rider and it showed in this work.... if the horse should stumble the general would inevitably be thrown over his head." | [
"Saint-Gaudens",
"Frank Weitenkampf",
"John Quincy Adams Ward"
] |
|
18335_T | William Tecumseh Sherman (Saint-Gaudens) | Focus on William Tecumseh Sherman (Saint-Gaudens) and discuss the Use on coinage. | The obverse of Saint-Gaudens' 1907 United States Saint-Gaudens double eagle coin, portraying Liberty, is based on his sculpture of Victory. | [
"Saint-Gaudens",
"Saint-Gaudens double eagle",
"Liberty"
] |
|
18335_NT | William Tecumseh Sherman (Saint-Gaudens) | Focus on this artwork and discuss the Use on coinage. | The obverse of Saint-Gaudens' 1907 United States Saint-Gaudens double eagle coin, portraying Liberty, is based on his sculpture of Victory. | [
"Saint-Gaudens",
"Saint-Gaudens double eagle",
"Liberty"
] |
|
18336_T | Erastus B. Wolcott (statue) | How does Erastus B. Wolcott (statue) elucidate its abstract? | Erastus B. Wolcott is a public art work by American artist Francis Herman Packer, located in Lake Park on the east side of Milwaukee, Wisconsin. The bronze equestrian commemorates military officer and physician Erastus B. Wolcott. It is located in the center of Lake Park, near Eight Stone Lions and the North Point Lighthouse.
It is said that his wife wrote the epitaph. The inscription reads:Gen. Erastus B. Wolcott. Surgeon General of Wisconsin in the Civil War and for thirteen years afterward. He lived a blameless life. Eminent in his profession. A lover of humanity. Who delighted to serve his fellowmen, his city state and nation.Fraternity - Charity - Equality - Devotion to Country | [
"American",
"Francis Herman Packer",
"Lake Park",
"North Point Lighthouse",
"North Point Light",
"Wisconsin",
"public art",
"Milwaukee",
"Eight Stone Lions",
"Erastus B. Wolcott"
] |
|
18336_NT | Erastus B. Wolcott (statue) | How does this artwork elucidate its abstract? | Erastus B. Wolcott is a public art work by American artist Francis Herman Packer, located in Lake Park on the east side of Milwaukee, Wisconsin. The bronze equestrian commemorates military officer and physician Erastus B. Wolcott. It is located in the center of Lake Park, near Eight Stone Lions and the North Point Lighthouse.
It is said that his wife wrote the epitaph. The inscription reads:Gen. Erastus B. Wolcott. Surgeon General of Wisconsin in the Civil War and for thirteen years afterward. He lived a blameless life. Eminent in his profession. A lover of humanity. Who delighted to serve his fellowmen, his city state and nation.Fraternity - Charity - Equality - Devotion to Country | [
"American",
"Francis Herman Packer",
"Lake Park",
"North Point Lighthouse",
"North Point Light",
"Wisconsin",
"public art",
"Milwaukee",
"Eight Stone Lions",
"Erastus B. Wolcott"
] |
|
18337_T | We're Here Because We're Here (art event) | Focus on We're Here Because We're Here (art event) and analyze the abstract. | We're Here Because We're Here was an artwork in the form of an event, devised by Jeremy Deller, that occurred across the United Kingdom on 1 July 2016, the 100th anniversary of the Battle of the Somme, which it commemorated. | [
"Battle of the Somme",
"Jeremy Deller",
"United Kingdom"
] |
|
18337_NT | We're Here Because We're Here (art event) | Focus on this artwork and analyze the abstract. | We're Here Because We're Here was an artwork in the form of an event, devised by Jeremy Deller, that occurred across the United Kingdom on 1 July 2016, the 100th anniversary of the Battle of the Somme, which it commemorated. | [
"Battle of the Somme",
"Jeremy Deller",
"United Kingdom"
] |
|
18338_T | We're Here Because We're Here (art event) | In We're Here Because We're Here (art event), how is the The event discussed? | Throughout the day, some 1,600 volunteers, all men, dressed in replica British army uniforms of World War I, appeared in groups at railway stations, shopping centres and other places. Each volunteer represented an individual, named, soldier who died on the first day of the battle. When approached, they did not speak, but instead handed cards to members of the public, bearing the name, age and regiment of the person they represented, and the hashtag #wearehere. Deller described these cards as "like small tombstones". From time to time, the volunteers would sing the recursive refrain "We're Here Because We're Here..." to the tune of Auld Lang Syne, as sung in the trenches before the battle. | [
"World War I",
"hashtag",
"Auld Lang Syne",
"British army",
"recursive"
] |
|
18338_NT | We're Here Because We're Here (art event) | In this artwork, how is the The event discussed? | Throughout the day, some 1,600 volunteers, all men, dressed in replica British army uniforms of World War I, appeared in groups at railway stations, shopping centres and other places. Each volunteer represented an individual, named, soldier who died on the first day of the battle. When approached, they did not speak, but instead handed cards to members of the public, bearing the name, age and regiment of the person they represented, and the hashtag #wearehere. Deller described these cards as "like small tombstones". From time to time, the volunteers would sing the recursive refrain "We're Here Because We're Here..." to the tune of Auld Lang Syne, as sung in the trenches before the battle. | [
"World War I",
"hashtag",
"Auld Lang Syne",
"British army",
"recursive"
] |
|
18339_T | We're Here Because We're Here (art event) | Focus on We're Here Because We're Here (art event) and explore the Preparation. | During planning, the event was kept secret, and it occurred with no advance publicity. Nonetheless, many pictures subsequently appeared on social media, with the advertised hashtag.Deller was assisted by Rufus Norris, artistic director of the National Theatre, who came up with the idea of asking the volunteers not to speak to each other or the public. The event was produced by Birmingham Repertory Theatre and the National Theatre, and the volunteers were trained in conjunction with a number of regional theatres. The project was commissioned by the UK's arts programme 14-18 NOW, which was set up for the World War I centenary. | [
"World War I",
"14-18 NOW",
"hashtag",
"Birmingham",
"Rufus Norris",
"Birmingham Repertory Theatre",
"National Theatre"
] |
|
18339_NT | We're Here Because We're Here (art event) | Focus on this artwork and explore the Preparation. | During planning, the event was kept secret, and it occurred with no advance publicity. Nonetheless, many pictures subsequently appeared on social media, with the advertised hashtag.Deller was assisted by Rufus Norris, artistic director of the National Theatre, who came up with the idea of asking the volunteers not to speak to each other or the public. The event was produced by Birmingham Repertory Theatre and the National Theatre, and the volunteers were trained in conjunction with a number of regional theatres. The project was commissioned by the UK's arts programme 14-18 NOW, which was set up for the World War I centenary. | [
"World War I",
"14-18 NOW",
"hashtag",
"Birmingham",
"Rufus Norris",
"Birmingham Repertory Theatre",
"National Theatre"
] |
|
18340_T | We're Here Because We're Here (art event) | Focus on We're Here Because We're Here (art event) and explain the Reaction and legacy. | The public's reaction was overwhelmingly positive. Journalist Simon Ricketts described the project as having:
the power of art, of human tribute, of sombre significance. #Wearehere is a deeply uplifting action that was much needed.
and Creative Review called it:
one of the most meaningful UK public art projects of recent times
On the evening of the day of the event, Deller and Norris discussed it on BBC Radio 4's Front Row programme.A documentary, Jeremy Deller: We're here because we're here was broadcast on BBC television on 13 November 2016, Remembrance Sunday.Deller and Norris's book, with 100 photographs of the event, was published on the battle's 101st anniversary. | [
"BBC Radio 4",
"Jeremy Deller",
"Remembrance Sunday",
"Creative Review",
"BBC television",
"Front Row"
] |
|
18340_NT | We're Here Because We're Here (art event) | Focus on this artwork and explain the Reaction and legacy. | The public's reaction was overwhelmingly positive. Journalist Simon Ricketts described the project as having:
the power of art, of human tribute, of sombre significance. #Wearehere is a deeply uplifting action that was much needed.
and Creative Review called it:
one of the most meaningful UK public art projects of recent times
On the evening of the day of the event, Deller and Norris discussed it on BBC Radio 4's Front Row programme.A documentary, Jeremy Deller: We're here because we're here was broadcast on BBC television on 13 November 2016, Remembrance Sunday.Deller and Norris's book, with 100 photographs of the event, was published on the battle's 101st anniversary. | [
"BBC Radio 4",
"Jeremy Deller",
"Remembrance Sunday",
"Creative Review",
"BBC television",
"Front Row"
] |
|
18341_T | Annunciation (Lippi, Munich) | Focus on Annunciation (Lippi, Munich) and discuss the abstract. | The Annunciation, also known as Murate Annunciation, is a painting by the Italian Renaissance painter Filippo Lippi, finished around 1443–1450. It is housed in the Alte Pinakothek, Munich, Germany.
It depicts the Virgin humbly accepting her role as mother of Jesus, with a hand on her breast, while the dove, symbol of the Holy Spirit, is given to her. The angel is kneeling next to her, also with a hand on his breast a greeting sign. The scene is framed into a portico opening to a close garden. | [
"Filippo Lippi",
"Munich",
"Alte Pinakothek"
] |
|
18341_NT | Annunciation (Lippi, Munich) | Focus on this artwork and discuss the abstract. | The Annunciation, also known as Murate Annunciation, is a painting by the Italian Renaissance painter Filippo Lippi, finished around 1443–1450. It is housed in the Alte Pinakothek, Munich, Germany.
It depicts the Virgin humbly accepting her role as mother of Jesus, with a hand on her breast, while the dove, symbol of the Holy Spirit, is given to her. The angel is kneeling next to her, also with a hand on his breast a greeting sign. The scene is framed into a portico opening to a close garden. | [
"Filippo Lippi",
"Munich",
"Alte Pinakothek"
] |
|
18342_T | Portrait of Bishop Bernardo de' Rossi | How does Portrait of Bishop Bernardo de' Rossi elucidate its abstract? | The Portrait of Bishop Bernardo de' Rossi is an oil-on-panel painting by the Italian High Renaissance painter Lorenzo Lotto, dating to 1505. It is housed in the National Museum of Capodimonte of Naples, southern Italy.
The work dates to Lotto's stay in Treviso, and featured a cover with title, signature and dates, identified as the Allegory of Virtues and Vices now at the National Gallery of Art in Washington, United States. The portrait was brought to Parma by Bernardo de' Rossi when he fled there in 1524. Here it became part of the Farnese collection, which was transferred to Naples in 1760. | [
"Bernardo de' Rossi",
"National Gallery of Art",
"Treviso",
"oil-on-panel",
"Naples",
"High Renaissance",
"Allegory of Virtues and Vices",
"Washington",
"United States",
"Italy",
"Italian",
"Lorenzo Lotto",
"Farnese",
"Parma",
"southern Italy",
"National Museum of Capodimonte"
] |
|
18342_NT | Portrait of Bishop Bernardo de' Rossi | How does this artwork elucidate its abstract? | The Portrait of Bishop Bernardo de' Rossi is an oil-on-panel painting by the Italian High Renaissance painter Lorenzo Lotto, dating to 1505. It is housed in the National Museum of Capodimonte of Naples, southern Italy.
The work dates to Lotto's stay in Treviso, and featured a cover with title, signature and dates, identified as the Allegory of Virtues and Vices now at the National Gallery of Art in Washington, United States. The portrait was brought to Parma by Bernardo de' Rossi when he fled there in 1524. Here it became part of the Farnese collection, which was transferred to Naples in 1760. | [
"Bernardo de' Rossi",
"National Gallery of Art",
"Treviso",
"oil-on-panel",
"Naples",
"High Renaissance",
"Allegory of Virtues and Vices",
"Washington",
"United States",
"Italy",
"Italian",
"Lorenzo Lotto",
"Farnese",
"Parma",
"southern Italy",
"National Museum of Capodimonte"
] |
|
18343_T | Portrait of Bishop Bernardo de' Rossi | Focus on Portrait of Bishop Bernardo de' Rossi and analyze the Description. | The painting shows the donor's bust from three-quarters, the face looking at the viewer. As in other portraits by Lotto, the subject is portrayed with a striking realism, including the reddish complexion, the hollows under the eyes, the expressive blue eyes and the light epidermic imperfections. The curly hair is partially getting out from the black biretta. Such an attention to details was inspired by Antonello da Messina, in turn influenced by the Flemish art and perhaps directly by Northern European artists such as Albrecht Dürer, whose drawings could have been seen by Lotto
The red mantel is backed by a green embroidered drapery, a common element of Venetian painting of the period. The roll is perhaps an allusion to the sentence against the conjurers who had attempted to de Rossi's life two years before.
The Allegory has an inscription on its reverse which describes the portrait: | [
"de Rossi",
"Antonello da Messina",
"biretta",
"Flemish art",
"Albrecht Dürer"
] |
|
18343_NT | Portrait of Bishop Bernardo de' Rossi | Focus on this artwork and analyze the Description. | The painting shows the donor's bust from three-quarters, the face looking at the viewer. As in other portraits by Lotto, the subject is portrayed with a striking realism, including the reddish complexion, the hollows under the eyes, the expressive blue eyes and the light epidermic imperfections. The curly hair is partially getting out from the black biretta. Such an attention to details was inspired by Antonello da Messina, in turn influenced by the Flemish art and perhaps directly by Northern European artists such as Albrecht Dürer, whose drawings could have been seen by Lotto
The red mantel is backed by a green embroidered drapery, a common element of Venetian painting of the period. The roll is perhaps an allusion to the sentence against the conjurers who had attempted to de Rossi's life two years before.
The Allegory has an inscription on its reverse which describes the portrait: | [
"de Rossi",
"Antonello da Messina",
"biretta",
"Flemish art",
"Albrecht Dürer"
] |
|
18344_T | The Croquet Game | In The Croquet Game, how is the abstract discussed? | The Croquet Game (French: 'La Partie de Croquet') is an 1873 oil on canvas painting by Édouard Manet, now in the Städel Museum in Frankfurt. It shows a group of people playing croquet, a very fashionable game at that time. The group comprises the painter Alfred Stevens, artists' models Victorine Meurent and Alice Legouvé and, in the background, Manet's friend Paul Rodier.In style this painting represented Manet's closest approach to impressionism. He had visited the theme of croquet before in 1871 with his painting Croquet at Boulogne
This painting was bought by the impressionist art collector Albert Hecht. After his death the paint passed to his daughter it:Suzanne Hecht Pontremoli. | [
"Victorine Meurent",
"Städel Museum",
"Croquet",
"croquet",
"Frankfurt",
"canvas",
"Albert Hecht",
"Städel",
"Édouard Manet",
"it:Suzanne Hecht Pontremoli",
"Alfred Stevens"
] |
|
18344_NT | The Croquet Game | In this artwork, how is the abstract discussed? | The Croquet Game (French: 'La Partie de Croquet') is an 1873 oil on canvas painting by Édouard Manet, now in the Städel Museum in Frankfurt. It shows a group of people playing croquet, a very fashionable game at that time. The group comprises the painter Alfred Stevens, artists' models Victorine Meurent and Alice Legouvé and, in the background, Manet's friend Paul Rodier.In style this painting represented Manet's closest approach to impressionism. He had visited the theme of croquet before in 1871 with his painting Croquet at Boulogne
This painting was bought by the impressionist art collector Albert Hecht. After his death the paint passed to his daughter it:Suzanne Hecht Pontremoli. | [
"Victorine Meurent",
"Städel Museum",
"Croquet",
"croquet",
"Frankfurt",
"canvas",
"Albert Hecht",
"Städel",
"Édouard Manet",
"it:Suzanne Hecht Pontremoli",
"Alfred Stevens"
] |
|
18345_T | The Croquet Game | Focus on The Croquet Game and explore the Classification. | The Impressionists, including Édouard Manet, dealt intensively with plein air painting. Édouard Manet only took up the special challenge of this painting from 1870, after his artist colleague Berthe Morisot had suggested it. The garden is only shown very briefly. Floral details are missing. Compared to other impressionist plein air paintings, the picture appears static due to its well thought-out depth gradation. | [
"Berthe Morisot",
"Édouard Manet"
] |
|
18345_NT | The Croquet Game | Focus on this artwork and explore the Classification. | The Impressionists, including Édouard Manet, dealt intensively with plein air painting. Édouard Manet only took up the special challenge of this painting from 1870, after his artist colleague Berthe Morisot had suggested it. The garden is only shown very briefly. Floral details are missing. Compared to other impressionist plein air paintings, the picture appears static due to its well thought-out depth gradation. | [
"Berthe Morisot",
"Édouard Manet"
] |
|
18346_T | Preaching Buddha (Salt Lake City) | Focus on Preaching Buddha (Salt Lake City) and explain the Description and history. | The bronze bas-relief, which depicts Buddha on a lotus blossom, is set within a concrete base. Dedicated in 1965, the artwork measures approximately 35 x 18 x 7 in. A nearby plaque reads: "PREACHING BUDDHA / PRESENTED BY / GOVERNMENT OF INDIA / MINISTRY OF EDUCATION / TO / INTERNATIONAL PEACE GARDENS / BY / CONSUL GENERAL, P. N. MENON / DEDICATED APRIL 22, 1965". The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"Smithsonian Institution",
"bronze",
"Save Outdoor Sculpture!",
"Buddha"
] |
|
18346_NT | Preaching Buddha (Salt Lake City) | Focus on this artwork and explain the Description and history. | The bronze bas-relief, which depicts Buddha on a lotus blossom, is set within a concrete base. Dedicated in 1965, the artwork measures approximately 35 x 18 x 7 in. A nearby plaque reads: "PREACHING BUDDHA / PRESENTED BY / GOVERNMENT OF INDIA / MINISTRY OF EDUCATION / TO / INTERNATIONAL PEACE GARDENS / BY / CONSUL GENERAL, P. N. MENON / DEDICATED APRIL 22, 1965". The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. | [
"Smithsonian Institution",
"bronze",
"Save Outdoor Sculpture!",
"Buddha"
] |
|
18347_T | David (Bernini) | Explore the abstract of this artwork, David (Bernini). | David is a life-size marble sculpture by Gian Lorenzo Bernini. The sculpture was one of many commissions to decorate the villa of Bernini's patron Cardinal Scipione Borghese – where it still resides today, as part of the Galleria Borghese. It was completed in the course of eight months from 1623 to 1624.
The subject of the work is the biblical David, about to throw the stone that will bring down Goliath, which will allow David to behead him. Compared to earlier works on the same theme (notably the David of Michelangelo), the sculpture broke new ground in its implied movement and its psychological intensity. | [
"Scipione Borghese",
"Galleria Borghese",
"Michelangelo",
"David",
" ",
"Goliath",
"Gian Lorenzo Bernini"
] |
|
18347_NT | David (Bernini) | Explore the abstract of this artwork. | David is a life-size marble sculpture by Gian Lorenzo Bernini. The sculpture was one of many commissions to decorate the villa of Bernini's patron Cardinal Scipione Borghese – where it still resides today, as part of the Galleria Borghese. It was completed in the course of eight months from 1623 to 1624.
The subject of the work is the biblical David, about to throw the stone that will bring down Goliath, which will allow David to behead him. Compared to earlier works on the same theme (notably the David of Michelangelo), the sculpture broke new ground in its implied movement and its psychological intensity. | [
"Scipione Borghese",
"Galleria Borghese",
"Michelangelo",
"David",
" ",
"Goliath",
"Gian Lorenzo Bernini"
] |
|
18348_T | David (Bernini) | Focus on David (Bernini) and discuss the Subject matter. | The sculpture shows a scene from the Old Testament First Book of Samuel. The Israelites are at war with the Philistines whose champion, Goliath, has challenged the Israelite army to settle the conflict by single combat. The young shepherd David has just taken up the challenge, and is about to slay Goliath with a stone from his sling:48 When the Philistine [Goliath] arose and came and drew near to meet David, David ran quickly toward the battle line to meet the Philistine. 49 And David put his hand in his bag and took out a stone and slung it and struck the Philistine on his forehead. The stone sank into his forehead, and he fell on his face to the ground.
David's clothing is typical of shepherd's attire. At his feet lies the armour of Israel's King, Saul, given to David for battle. The armor was shed, as David was unaccustomed to it and he can fight better without. At his feet is his harp, often included as an iconographic device of David in reference to David the Psalmist and being a talented harpist. | [
"Israelites",
"shepherd",
"harp",
"David",
" ",
"single combat",
"Goliath",
"sling",
"Philistines",
"armour",
"Samuel",
"Old Testament"
] |
|
18348_NT | David (Bernini) | Focus on this artwork and discuss the Subject matter. | The sculpture shows a scene from the Old Testament First Book of Samuel. The Israelites are at war with the Philistines whose champion, Goliath, has challenged the Israelite army to settle the conflict by single combat. The young shepherd David has just taken up the challenge, and is about to slay Goliath with a stone from his sling:48 When the Philistine [Goliath] arose and came and drew near to meet David, David ran quickly toward the battle line to meet the Philistine. 49 And David put his hand in his bag and took out a stone and slung it and struck the Philistine on his forehead. The stone sank into his forehead, and he fell on his face to the ground.
David's clothing is typical of shepherd's attire. At his feet lies the armour of Israel's King, Saul, given to David for battle. The armor was shed, as David was unaccustomed to it and he can fight better without. At his feet is his harp, often included as an iconographic device of David in reference to David the Psalmist and being a talented harpist. | [
"Israelites",
"shepherd",
"harp",
"David",
" ",
"single combat",
"Goliath",
"sling",
"Philistines",
"armour",
"Samuel",
"Old Testament"
] |
|
18349_T | David (Bernini) | How does David (Bernini) elucidate its Influences? | The biblical David was a popular subject among Renaissance artists and had been treated by sculptors such as Donatello (c.1440s), Verrocchio (1473-1475) and Michelangelo (1501-1504). Bernini's David, though engaging with these works, differed from them in some significant ways.
For one thing, the sculpture is no longer self-contained, but interacts with the space around it. Not since the sculptures of the Hellenistic period, such as the Winged Victory of Samothrace, had sculptures been involved in their surroundings like those of Bernini. A likely source for Bernini's figure was the Hellenistic Borghese Gladiator. The motion of the gladiator preparing to attack is similar to how David is swinging his sling. Another difference lies in the moment that Bernini has chosen to depict. Michelangelo's David differs from those of Donatello and Verrocchio in that it shows David preparing for the battle, rather than victorious afterwards. Bernini, on the other hand, chose to portray David in the act of throwing the stone. This represented a novelty; throwing figures were extremely rare in post-Antiquity sculptures. The motion motif did exist in painting, however, and one example was Annibale Carracci's fresco of the Cyclops Polyphemus throwing a stone. Bernini is likely to have known Carracci's Polyphemus; not only was it to be found in the Galleria Farnese in Rome, but Carracci was the painter Bernini ranked as fourth among the greatest ever.Bernini may also have been familiar with the writings of Leonardo da Vinci on the subject. Da Vinci, in his Treatise on Painting, deals with exactly the question of how to portray a throwing figure. It is possible that Bernini applies this theory to his David:If you represent him beginning the motion, then the inner side of the outstretched foot will be in line with the chest, and will bring the opposite shoulder over the foot on which his weight rests. That is: the right foot will be under his weight, and the left shoulder will be above the tip of the right foot.
Another potential candidate as inspiration for Bernini's David is the celebrated 5th century BC Discobolus by Myron. However, the problem with this theory is that the Discobolus was in the early 17th century only known from literary sources; the torsos of copies that had survived were not correctly identified until 1781. Both Quintilian and Lucian wrote of the statue, but the descriptions were of a figure stretching or flexing, rather than being in the act of throwing. | [
"Borghese Gladiator",
"Annibale Carracci",
"Winged Victory of Samothrace",
"Lucian",
"Hellenistic",
"Cyclops",
"Michelangelo",
"Galleria Farnese",
"Renaissance",
"Rome",
"Discobolus",
"David",
" ",
"fresco",
"Treatise on Painting",
"Myron",
"Polyphemus",
"Donatello",
"Leonardo da Vinci",
"sling",
"Quintilian",
"Verrocchio"
] |
|
18349_NT | David (Bernini) | How does this artwork elucidate its Influences? | The biblical David was a popular subject among Renaissance artists and had been treated by sculptors such as Donatello (c.1440s), Verrocchio (1473-1475) and Michelangelo (1501-1504). Bernini's David, though engaging with these works, differed from them in some significant ways.
For one thing, the sculpture is no longer self-contained, but interacts with the space around it. Not since the sculptures of the Hellenistic period, such as the Winged Victory of Samothrace, had sculptures been involved in their surroundings like those of Bernini. A likely source for Bernini's figure was the Hellenistic Borghese Gladiator. The motion of the gladiator preparing to attack is similar to how David is swinging his sling. Another difference lies in the moment that Bernini has chosen to depict. Michelangelo's David differs from those of Donatello and Verrocchio in that it shows David preparing for the battle, rather than victorious afterwards. Bernini, on the other hand, chose to portray David in the act of throwing the stone. This represented a novelty; throwing figures were extremely rare in post-Antiquity sculptures. The motion motif did exist in painting, however, and one example was Annibale Carracci's fresco of the Cyclops Polyphemus throwing a stone. Bernini is likely to have known Carracci's Polyphemus; not only was it to be found in the Galleria Farnese in Rome, but Carracci was the painter Bernini ranked as fourth among the greatest ever.Bernini may also have been familiar with the writings of Leonardo da Vinci on the subject. Da Vinci, in his Treatise on Painting, deals with exactly the question of how to portray a throwing figure. It is possible that Bernini applies this theory to his David:If you represent him beginning the motion, then the inner side of the outstretched foot will be in line with the chest, and will bring the opposite shoulder over the foot on which his weight rests. That is: the right foot will be under his weight, and the left shoulder will be above the tip of the right foot.
Another potential candidate as inspiration for Bernini's David is the celebrated 5th century BC Discobolus by Myron. However, the problem with this theory is that the Discobolus was in the early 17th century only known from literary sources; the torsos of copies that had survived were not correctly identified until 1781. Both Quintilian and Lucian wrote of the statue, but the descriptions were of a figure stretching or flexing, rather than being in the act of throwing. | [
"Borghese Gladiator",
"Annibale Carracci",
"Winged Victory of Samothrace",
"Lucian",
"Hellenistic",
"Cyclops",
"Michelangelo",
"Galleria Farnese",
"Renaissance",
"Rome",
"Discobolus",
"David",
" ",
"fresco",
"Treatise on Painting",
"Myron",
"Polyphemus",
"Donatello",
"Leonardo da Vinci",
"sling",
"Quintilian",
"Verrocchio"
] |
|
18350_T | David (Bernini) | Focus on David (Bernini) and analyze the Style and composition. | The Baroque saw significant changes in the art of sculpture; Bernini was at the forefront of this. The statues of the Renaissance masters had been strictly frontal, dictating the spectator to view it from one side, and one side only. Bernini's David is a three-dimensional work that needs space around it and challenges the viewer to walk around it, in order to contemplate its changing nature depending on the angle from which it is seen. The sculpture relates to an unseen entity – in the form of Goliath, the object of David's aggression – as well as to the spectator, caught in the middle of the conflict. The warrior even literally oversteps the boundaries between life and art, putting his toes over the edge of the plinth. The conventions of time, as well as space, were challenged. Instead of the serene constancy of, for example, Michelangelo's David, Bernini has chosen to capture a fraction of time in the course of a continuous movement. Thus the latent energy that permeates Michelangelo's David is here in the process of being unleashed.On an emotional level, Bernini's sculptures were revolutionary for exploring a variety of extreme mental states, such as the anger seen here. David's face, frowning and biting his lower lip, is contorted in concentrated aggression. Baldinucci and Gian's son tells an anecdote of how Barberini would hold a mirror up to Bernini's face so the artist could model the sculpture on himself. This bears witness to Bernini's working methods, as well as to the close relationship he enjoyed with the future pope.
In addition to attempts at realism, David also followed contemporary conventions about how a military figure should be portrayed. As Albrecht Dürer previously had postulated, the vir bellicosus—the "bellicose man"—was best represented with the rather extreme proportions of a 1:10 head-to-body ratio. Furthermore, the warrior has a facies leonina, or the face of a lion, characterized by a receding forehead, protruding eyebrows, and a curved nose (David was later to become the "Lion of Judah"). | [
"Lion of Judah",
"proportions",
"Michelangelo",
"Baroque",
"Renaissance",
"David",
" ",
"Goliath",
"Gian's son",
"plinth",
"Albrecht Dürer"
] |
|
18350_NT | David (Bernini) | Focus on this artwork and analyze the Style and composition. | The Baroque saw significant changes in the art of sculpture; Bernini was at the forefront of this. The statues of the Renaissance masters had been strictly frontal, dictating the spectator to view it from one side, and one side only. Bernini's David is a three-dimensional work that needs space around it and challenges the viewer to walk around it, in order to contemplate its changing nature depending on the angle from which it is seen. The sculpture relates to an unseen entity – in the form of Goliath, the object of David's aggression – as well as to the spectator, caught in the middle of the conflict. The warrior even literally oversteps the boundaries between life and art, putting his toes over the edge of the plinth. The conventions of time, as well as space, were challenged. Instead of the serene constancy of, for example, Michelangelo's David, Bernini has chosen to capture a fraction of time in the course of a continuous movement. Thus the latent energy that permeates Michelangelo's David is here in the process of being unleashed.On an emotional level, Bernini's sculptures were revolutionary for exploring a variety of extreme mental states, such as the anger seen here. David's face, frowning and biting his lower lip, is contorted in concentrated aggression. Baldinucci and Gian's son tells an anecdote of how Barberini would hold a mirror up to Bernini's face so the artist could model the sculpture on himself. This bears witness to Bernini's working methods, as well as to the close relationship he enjoyed with the future pope.
In addition to attempts at realism, David also followed contemporary conventions about how a military figure should be portrayed. As Albrecht Dürer previously had postulated, the vir bellicosus—the "bellicose man"—was best represented with the rather extreme proportions of a 1:10 head-to-body ratio. Furthermore, the warrior has a facies leonina, or the face of a lion, characterized by a receding forehead, protruding eyebrows, and a curved nose (David was later to become the "Lion of Judah"). | [
"Lion of Judah",
"proportions",
"Michelangelo",
"Baroque",
"Renaissance",
"David",
" ",
"Goliath",
"Gian's son",
"plinth",
"Albrecht Dürer"
] |
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