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18351_T | Northern River (painting) | In Northern River (painting), how is the abstract discussed? | Northern River is a 1914–15 oil painting by Canadian painter Tom Thomson. The work was inspired by a sketch completed over the same winter, possibly in Algonquin Park. The completed canvas is large, measuring 115.1 × 102.0 cm (455⁄16 × 403⁄16 in). Painted over the winter of 1914–15, it was completed in Thomson's shack behind the Studio Building in Toronto. The painting was produced as he was entering the peak of his short art career and is considered one of his most notable works. In 1915 it was purchased by the National Gallery of Canada in Ottawa and has remained in the collection ever since. | [
"Ottawa",
"Algonquin Park",
"Toronto",
"Tom Thomson",
"Studio Building",
"oil painting",
"National Gallery of Canada"
] |
|
18351_NT | Northern River (painting) | In this artwork, how is the abstract discussed? | Northern River is a 1914–15 oil painting by Canadian painter Tom Thomson. The work was inspired by a sketch completed over the same winter, possibly in Algonquin Park. The completed canvas is large, measuring 115.1 × 102.0 cm (455⁄16 × 403⁄16 in). Painted over the winter of 1914–15, it was completed in Thomson's shack behind the Studio Building in Toronto. The painting was produced as he was entering the peak of his short art career and is considered one of his most notable works. In 1915 it was purchased by the National Gallery of Canada in Ottawa and has remained in the collection ever since. | [
"Ottawa",
"Algonquin Park",
"Toronto",
"Tom Thomson",
"Studio Building",
"oil painting",
"National Gallery of Canada"
] |
|
18352_T | Northern River (painting) | Focus on Northern River (painting) and explore the Background. | Thomson first visited Algonquin Park in May 1912, venturing through the area on a canoe trip with his Grip colleague Ben Jackson. Thomson's transition from commercial art towards his original style of painting began to be apparent around this time. His early works, such as Northern Lake (1912–13) and Evening (1913), were not outstanding technically, yet they did illustrate an above average ability regarding composition and colour handling.Northern River and the winter of 1914–15 stand as a point of transition in Thomson's art. In 1914 he made himself a sketch box to hold 8½ × 10½ inch (21.6 × 26.7 cm) panels, allowing him greater opportunity for sketching. A. Y. Jackson in particular taught him about the subtleties of composition, colour and technique in general, allowing the sketches that followed show a beginning desire to experiment with colour and texture rather than continue with the precision and subdued nature of his earlier works. | [
"Algonquin Park",
"A. Y. Jackson"
] |
|
18352_NT | Northern River (painting) | Focus on this artwork and explore the Background. | Thomson first visited Algonquin Park in May 1912, venturing through the area on a canoe trip with his Grip colleague Ben Jackson. Thomson's transition from commercial art towards his original style of painting began to be apparent around this time. His early works, such as Northern Lake (1912–13) and Evening (1913), were not outstanding technically, yet they did illustrate an above average ability regarding composition and colour handling.Northern River and the winter of 1914–15 stand as a point of transition in Thomson's art. In 1914 he made himself a sketch box to hold 8½ × 10½ inch (21.6 × 26.7 cm) panels, allowing him greater opportunity for sketching. A. Y. Jackson in particular taught him about the subtleties of composition, colour and technique in general, allowing the sketches that followed show a beginning desire to experiment with colour and texture rather than continue with the precision and subdued nature of his earlier works. | [
"Algonquin Park",
"A. Y. Jackson"
] |
|
18353_T | Northern River (painting) | Focus on Northern River (painting) and explain the Provenance and exhibition. | The National Gallery of Canada purchased the painting from Thomson in 1915 for $500 (equivalent to CAD$12,000 in 2021), essentially a years wage for a painter like himself. Since then, it has appeared in over 30 exhibitions, including shows at Musée & du Jeu de Paume in Paris; Los Angeles; London; and Mexico. | [
"Mexico",
"Los Angeles",
"CAD$",
"Musée & du Jeu de Paume",
"National Gallery of Canada",
"London",
"Paris"
] |
|
18353_NT | Northern River (painting) | Focus on this artwork and explain the Provenance and exhibition. | The National Gallery of Canada purchased the painting from Thomson in 1915 for $500 (equivalent to CAD$12,000 in 2021), essentially a years wage for a painter like himself. Since then, it has appeared in over 30 exhibitions, including shows at Musée & du Jeu de Paume in Paris; Los Angeles; London; and Mexico. | [
"Mexico",
"Los Angeles",
"CAD$",
"Musée & du Jeu de Paume",
"National Gallery of Canada",
"London",
"Paris"
] |
|
18354_T | The Torment of Saint Anthony | Explore the abstract of this artwork, The Torment of Saint Anthony. | The Torment of Saint Anthony (or The Temptation of Saint Anthony, c. 1487–88) is attributed to Michelangelo, who painted a close copy of the famous engraving by Martin Schongauer when he was only 12 or 13 years old. Whether the painting is actually by Michelangelo is disputed. This painting is now in the Kimbell Art Museum in Fort Worth, Texas. It shows the common medieval subject, included in the Golden Legend and other sources, of Saint Anthony (AD 251 – 356) being assailed in the desert by demons, whose temptations he resisted; the Temptation of St Anthony (or "Trial") is the more common name of the subject. But this composition apparently shows a later episode where St Anthony, normally flown about the desert supported by angels, was ambushed in mid-air by devils. | [
"the famous engraving",
"Michelangelo",
"demons",
"Saint Anthony",
"Fort Worth, Texas",
"Temptation of St Anthony",
"Golden Legend",
"angel",
"Martin Schongauer",
"devil",
"Kimbell Art Museum"
] |
|
18354_NT | The Torment of Saint Anthony | Explore the abstract of this artwork. | The Torment of Saint Anthony (or The Temptation of Saint Anthony, c. 1487–88) is attributed to Michelangelo, who painted a close copy of the famous engraving by Martin Schongauer when he was only 12 or 13 years old. Whether the painting is actually by Michelangelo is disputed. This painting is now in the Kimbell Art Museum in Fort Worth, Texas. It shows the common medieval subject, included in the Golden Legend and other sources, of Saint Anthony (AD 251 – 356) being assailed in the desert by demons, whose temptations he resisted; the Temptation of St Anthony (or "Trial") is the more common name of the subject. But this composition apparently shows a later episode where St Anthony, normally flown about the desert supported by angels, was ambushed in mid-air by devils. | [
"the famous engraving",
"Michelangelo",
"demons",
"Saint Anthony",
"Fort Worth, Texas",
"Temptation of St Anthony",
"Golden Legend",
"angel",
"Martin Schongauer",
"devil",
"Kimbell Art Museum"
] |
|
18355_T | The Torment of Saint Anthony | Focus on The Torment of Saint Anthony and discuss the Ownership. | The painting was previously attributed to the workshop of Domenico Ghirlandaio, under whom Michelangelo had served his apprenticeship. Under that attribution it was bought at a Sotheby's auction in July 2008 by an American art dealer for US$2 million. When the export license was obtained that September, it was brought to the Metropolitan Museum of Art in New York, where it was cleaned of discoloured varnish and later overpainting and closely examined for the first time. On the basis of stylistic hallmarks such as "emphatic cross hatching", it was decided that the painting was indeed by Michelangelo. It was soon bought by the Kimbell Art Museum for an undisclosed amount, believed to be in excess of $6 million. Though Giorgio Vasari states that Michelangelo painted a copy of Schongauer's print, experts disagree whether this is that painting. | [
"Giorgio Vasari",
"Michelangelo",
"Domenico Ghirlandaio",
"New York",
"Sotheby's",
"angel",
"Kimbell Art Museum",
"Metropolitan Museum of Art"
] |
|
18355_NT | The Torment of Saint Anthony | Focus on this artwork and discuss the Ownership. | The painting was previously attributed to the workshop of Domenico Ghirlandaio, under whom Michelangelo had served his apprenticeship. Under that attribution it was bought at a Sotheby's auction in July 2008 by an American art dealer for US$2 million. When the export license was obtained that September, it was brought to the Metropolitan Museum of Art in New York, where it was cleaned of discoloured varnish and later overpainting and closely examined for the first time. On the basis of stylistic hallmarks such as "emphatic cross hatching", it was decided that the painting was indeed by Michelangelo. It was soon bought by the Kimbell Art Museum for an undisclosed amount, believed to be in excess of $6 million. Though Giorgio Vasari states that Michelangelo painted a copy of Schongauer's print, experts disagree whether this is that painting. | [
"Giorgio Vasari",
"Michelangelo",
"Domenico Ghirlandaio",
"New York",
"Sotheby's",
"angel",
"Kimbell Art Museum",
"Metropolitan Museum of Art"
] |
|
18356_T | The Torment of Saint Anthony | How does The Torment of Saint Anthony elucidate its Characteristics? | Giorgio Vasari in his Lives of the Artists noted that Michelangelo had painted St. Anthony after a print by Schongauer, and Ascanio Condivi recorded that Michelangelo had gone to a market to draw fish scales, a feature not present in the original engraving. Besides this enhancement, Michelangelo also added a landscape below the figures, and altered the expression of the saint. | [
"Giorgio Vasari",
"Lives of the Artists",
"Michelangelo",
"Ascanio Condivi",
"St. Anthony",
"angel"
] |
|
18356_NT | The Torment of Saint Anthony | How does this artwork elucidate its Characteristics? | Giorgio Vasari in his Lives of the Artists noted that Michelangelo had painted St. Anthony after a print by Schongauer, and Ascanio Condivi recorded that Michelangelo had gone to a market to draw fish scales, a feature not present in the original engraving. Besides this enhancement, Michelangelo also added a landscape below the figures, and altered the expression of the saint. | [
"Giorgio Vasari",
"Lives of the Artists",
"Michelangelo",
"Ascanio Condivi",
"St. Anthony",
"angel"
] |
|
18357_T | The Torment of Saint Anthony | Focus on The Torment of Saint Anthony and analyze the Legacy. | It is one of only four surviving panel paintings by Michelangelo, whom Vasari records as speaking disparagingly of oil painting in later life, and the only one, if the new attribution holds, from his adolescence. Schongauer's late-Gothic style is also in strong contrast with the rest of Michelangelo's oeuvre, even in his youth. The prints of Schongauer, just reaching the end of his short life when Michelangelo copied him, were widely distributed in Europe, including Italy. | [
"panel",
"Michelangelo",
"panel painting",
"oil",
"oil painting",
"angel"
] |
|
18357_NT | The Torment of Saint Anthony | Focus on this artwork and analyze the Legacy. | It is one of only four surviving panel paintings by Michelangelo, whom Vasari records as speaking disparagingly of oil painting in later life, and the only one, if the new attribution holds, from his adolescence. Schongauer's late-Gothic style is also in strong contrast with the rest of Michelangelo's oeuvre, even in his youth. The prints of Schongauer, just reaching the end of his short life when Michelangelo copied him, were widely distributed in Europe, including Italy. | [
"panel",
"Michelangelo",
"panel painting",
"oil",
"oil painting",
"angel"
] |
|
18358_T | Le Travail interrompu | In Le Travail interrompu, how is the abstract discussed? | Le Travail interrompu (English: Work Interrupted) is a painting by nineteenth-century French painter William-Adolphe Bouguereau in 1891. The painting is currently held in the Mead Art Museum in Amherst, Massachusetts.The painting shows a woman seated beside an urn filled with balls of wool; Cupid is leaning across her shoulders applying perfume to her ear. The delicate luminous colours combined with the barely visible brush strokes are typical of the artist's work. | [
"Mead Art Museum",
"painting",
"William-Adolphe Bouguereau",
"Amherst, Massachusetts",
"Cupid"
] |
|
18358_NT | Le Travail interrompu | In this artwork, how is the abstract discussed? | Le Travail interrompu (English: Work Interrupted) is a painting by nineteenth-century French painter William-Adolphe Bouguereau in 1891. The painting is currently held in the Mead Art Museum in Amherst, Massachusetts.The painting shows a woman seated beside an urn filled with balls of wool; Cupid is leaning across her shoulders applying perfume to her ear. The delicate luminous colours combined with the barely visible brush strokes are typical of the artist's work. | [
"Mead Art Museum",
"painting",
"William-Adolphe Bouguereau",
"Amherst, Massachusetts",
"Cupid"
] |
|
18359_T | The Lackawanna Valley | Focus on The Lackawanna Valley and explore the abstract. | The Lackawanna Valley is a c. 1855 painting by the American artist George Inness. Painted in oil on canvas, it is one of Inness' most well-known works. It is in the collection of the National Gallery of Art in Washington, D.C.
The painting was commissioned from Inness by John Jay Phelps the first president of the Delaware, Lackawanna and Western Railroad, and depicts the Lackawanna Valley in Pennsylvania at the site of the railroad's first roundhouse in Scranton. | [
"Washington, D.C.",
"Scranton",
"oil on canvas",
"c.",
"Delaware, Lackawanna and Western Railroad",
"National Gallery of Art",
"George Inness",
"John Jay Phelps"
] |
|
18359_NT | The Lackawanna Valley | Focus on this artwork and explore the abstract. | The Lackawanna Valley is a c. 1855 painting by the American artist George Inness. Painted in oil on canvas, it is one of Inness' most well-known works. It is in the collection of the National Gallery of Art in Washington, D.C.
The painting was commissioned from Inness by John Jay Phelps the first president of the Delaware, Lackawanna and Western Railroad, and depicts the Lackawanna Valley in Pennsylvania at the site of the railroad's first roundhouse in Scranton. | [
"Washington, D.C.",
"Scranton",
"oil on canvas",
"c.",
"Delaware, Lackawanna and Western Railroad",
"National Gallery of Art",
"George Inness",
"John Jay Phelps"
] |
|
18360_T | Boy with Goose | Focus on Boy with Goose and explain the abstract. | Boy with Goose, is a public artwork by Italian artist Girolamo Piccoli, currently in storage in Milwaukee, Wisconsin, United States. | [
"Milwaukee",
"Girolamo Piccoli",
"Italian",
"Milwaukee, Wisconsin"
] |
|
18360_NT | Boy with Goose | Focus on this artwork and explain the abstract. | Boy with Goose, is a public artwork by Italian artist Girolamo Piccoli, currently in storage in Milwaukee, Wisconsin, United States. | [
"Milwaukee",
"Girolamo Piccoli",
"Italian",
"Milwaukee, Wisconsin"
] |
|
18361_T | Boy with Goose | Explore the Description of this artwork, Boy with Goose. | The work is cast bronze 3 feet 7 inches (109 cm) high x 1 foot 8 inches (51 cm) wide x 1 foot 1 inch (33 cm) deep. A small naked boy sits holding a pet goose in his lap. The boy holds the goose's head in his proper left hand. Water for the fountain comes from the bird's open beak. The sculpture is mounted on an irregularly shaped, tiered base and set in a planter. | [] |
|
18361_NT | Boy with Goose | Explore the Description of this artwork. | The work is cast bronze 3 feet 7 inches (109 cm) high x 1 foot 8 inches (51 cm) wide x 1 foot 1 inch (33 cm) deep. A small naked boy sits holding a pet goose in his lap. The boy holds the goose's head in his proper left hand. Water for the fountain comes from the bird's open beak. The sculpture is mounted on an irregularly shaped, tiered base and set in a planter. | [] |
|
18362_T | Boy with Goose | Focus on Boy with Goose and discuss the Historical information. | In 1925 Andrew A. McCabe, a local resident, commissioned the original Boy with Goose as a fountain for his home on North Lake Drive. According to a newspaper account, the real-life model for the figure was Dominic Joseph Balestrieri, who later became a city of Milwaukee fireman who died in 1961. Other citizens liked the work so much they raised $800 to have a replica cast in Bremen, Germany, and placed in Lake Park in 1927, north of the streetcar depot. The fountain charmed visitors to the park until 1964 when vandalism to the base caused park officials to remove it and place the bronze in storage. | [
"Milwaukee"
] |
|
18362_NT | Boy with Goose | Focus on this artwork and discuss the Historical information. | In 1925 Andrew A. McCabe, a local resident, commissioned the original Boy with Goose as a fountain for his home on North Lake Drive. According to a newspaper account, the real-life model for the figure was Dominic Joseph Balestrieri, who later became a city of Milwaukee fireman who died in 1961. Other citizens liked the work so much they raised $800 to have a replica cast in Bremen, Germany, and placed in Lake Park in 1927, north of the streetcar depot. The fountain charmed visitors to the park until 1964 when vandalism to the base caused park officials to remove it and place the bronze in storage. | [
"Milwaukee"
] |
|
18363_T | Boy with Goose | In Boy with Goose, how is the Location history of the Historical information elucidated? | When the Mandel Group, developers of East Point Commons, announced plans for multi-family housing to be located on nine blocks of the abandoned Park East freeway corridor, the City of Milwaukee dedicated part of the land to become a small public park to be maintained by the owners. An art advocacy citizens' group, Art Action, saw this development as an opportunity to retrieve the Boy with Goose bronze, which had languished in county storage for many years. Art Action coordinated the cooperation between the private sector, the city, and the county to find the work and subsequently have the bronze restored, re-patinated, and sited in its present location. | [
"Milwaukee"
] |
|
18363_NT | Boy with Goose | In this artwork, how is the Location history of the Historical information elucidated? | When the Mandel Group, developers of East Point Commons, announced plans for multi-family housing to be located on nine blocks of the abandoned Park East freeway corridor, the City of Milwaukee dedicated part of the land to become a small public park to be maintained by the owners. An art advocacy citizens' group, Art Action, saw this development as an opportunity to retrieve the Boy with Goose bronze, which had languished in county storage for many years. Art Action coordinated the cooperation between the private sector, the city, and the county to find the work and subsequently have the bronze restored, re-patinated, and sited in its present location. | [
"Milwaukee"
] |
|
18364_T | Boy with Goose | Focus on Boy with Goose and analyze the Artist. | The artist, Girolamo Piccoli, was born in Palermo, Italy in 1902. Brought to Milwaukee by his parents at the age of four, he later studied at the Wisconsin School of Art in Madison, and with Frank Vittor (1888–1968) in Pittsburgh (1921–1922), and Lorado Taft in Chicago (1923). Piccoli began teaching at the Layton School of Art in 1924 and became chair of the modeling (sculpture) department a year later.
From 1924 to 1928 the sculptor won several awards for his work from the Milwaukee Art Institute and completed many private commissions. Piccoli left Layton in 1928 for New York City, where he opened a studio with his wife, also an artist. In the 1930s he was named Director of Sculpture for New York City under the Federal Art Program of the Great Depression. | [
"Milwaukee",
"Girolamo Piccoli",
"Frank Vittor",
"Lorado Taft",
"Layton School of Art"
] |
|
18364_NT | Boy with Goose | Focus on this artwork and analyze the Artist. | The artist, Girolamo Piccoli, was born in Palermo, Italy in 1902. Brought to Milwaukee by his parents at the age of four, he later studied at the Wisconsin School of Art in Madison, and with Frank Vittor (1888–1968) in Pittsburgh (1921–1922), and Lorado Taft in Chicago (1923). Piccoli began teaching at the Layton School of Art in 1924 and became chair of the modeling (sculpture) department a year later.
From 1924 to 1928 the sculptor won several awards for his work from the Milwaukee Art Institute and completed many private commissions. Piccoli left Layton in 1928 for New York City, where he opened a studio with his wife, also an artist. In the 1930s he was named Director of Sculpture for New York City under the Federal Art Program of the Great Depression. | [
"Milwaukee",
"Girolamo Piccoli",
"Frank Vittor",
"Lorado Taft",
"Layton School of Art"
] |
|
18365_T | Catherine Brass Yates | In Catherine Brass Yates, how is the Painting discussed? | The painting shows Catherine Brass Yates, the wife of Richard Yates, a New York merchant; it was painted in oil on canvas in 1793–94. Stuart painted a portrait of Richard in the same period. Timothy Cahill, the editor of Art Conservator magazine considers that the Portrait of Mrs Richard Yates is "regarded as among the finest American portraits ever made".On returning to the United States from England and Ireland in 1793, Stuart found that the type of portrait in demand differed from those he had painted in Europe. The Yankee merchants' taste was for realism, so he portrays Catherine Yates, with her bony face and appraising glance, as too busy with her sewing to take time off to pose for the artist. Using different paint mediums and paying meticulous attention to detail, he employs a variety of techniques for the fabrics, sewing implements, wedding ring, skin tones, and fingernails.The painting was acquired in 1940 by the National Gallery of Art, Washington, D.C. The gallery consider that Stuart's painting is "one of his most compelling and unified efforts at conveying character", and "one of America's most famous paintings, both as an artistic masterpiece and as a visual symbol of the early republic's rectitude". "The painter, Stuart used the stiff angular lines of Mrs. Yates' silhouette so that he could communicate her capability and sharpness". "The surfaces of the painting also showed the virtuosity that Stuart had, for example the reflections of the coral upholstery". | [
"Washington, D.C.",
"National Gallery of Art",
"coral"
] |
|
18365_NT | Catherine Brass Yates | In this artwork, how is the Painting discussed? | The painting shows Catherine Brass Yates, the wife of Richard Yates, a New York merchant; it was painted in oil on canvas in 1793–94. Stuart painted a portrait of Richard in the same period. Timothy Cahill, the editor of Art Conservator magazine considers that the Portrait of Mrs Richard Yates is "regarded as among the finest American portraits ever made".On returning to the United States from England and Ireland in 1793, Stuart found that the type of portrait in demand differed from those he had painted in Europe. The Yankee merchants' taste was for realism, so he portrays Catherine Yates, with her bony face and appraising glance, as too busy with her sewing to take time off to pose for the artist. Using different paint mediums and paying meticulous attention to detail, he employs a variety of techniques for the fabrics, sewing implements, wedding ring, skin tones, and fingernails.The painting was acquired in 1940 by the National Gallery of Art, Washington, D.C. The gallery consider that Stuart's painting is "one of his most compelling and unified efforts at conveying character", and "one of America's most famous paintings, both as an artistic masterpiece and as a visual symbol of the early republic's rectitude". "The painter, Stuart used the stiff angular lines of Mrs. Yates' silhouette so that he could communicate her capability and sharpness". "The surfaces of the painting also showed the virtuosity that Stuart had, for example the reflections of the coral upholstery". | [
"Washington, D.C.",
"National Gallery of Art",
"coral"
] |
|
18366_T | Mimir and Balder Consult the Norns | Focus on Mimir and Balder Consult the Norns and explore the abstract. | Mimir and Balder Consult the Norns (Danish: Mimer og Balder rådspørger nornerne) is an 1822 relief by Hermann Ernst Freund now on display in the Ny Carlsberg Glyptotek in Copenhagen, Denmark. The winning entry in a competition launched to promote the interest in Norse mythology among Danish artists, it depicts Mimir and Balder consulting the Norns. Works of Norse mythology would later dominate the rest of Freund's oeuvre, culminating with his monumental Ragnarok Frieze for Christian Frederik Hansen's new Christiansborg Palace. | [
"Copenhagen",
"Christiansborg Palace",
"Ny Carlsberg Glyptotek",
"Balder",
"Mimir",
"Norse mythology",
"Norns",
"Hermann Ernst Freund",
"Christian Frederik Hansen"
] |
|
18366_NT | Mimir and Balder Consult the Norns | Focus on this artwork and explore the abstract. | Mimir and Balder Consult the Norns (Danish: Mimer og Balder rådspørger nornerne) is an 1822 relief by Hermann Ernst Freund now on display in the Ny Carlsberg Glyptotek in Copenhagen, Denmark. The winning entry in a competition launched to promote the interest in Norse mythology among Danish artists, it depicts Mimir and Balder consulting the Norns. Works of Norse mythology would later dominate the rest of Freund's oeuvre, culminating with his monumental Ragnarok Frieze for Christian Frederik Hansen's new Christiansborg Palace. | [
"Copenhagen",
"Christiansborg Palace",
"Ny Carlsberg Glyptotek",
"Balder",
"Mimir",
"Norse mythology",
"Norns",
"Hermann Ernst Freund",
"Christian Frederik Hansen"
] |
|
18367_T | Mimir and Balder Consult the Norns | Focus on Mimir and Balder Consult the Norns and explain the Background. | In 1801, Adam Oehlenschläger argued that Danish art should use Nordic themes instead of relying on Greek mythology for inspiration, as they would stimulate people's love for their homeland. A number of publications, including most notably N. F. S. Grundtvig's Nordens mytologi (1808) and Nordiske Digte (1807) and Adam Oehlenschläger's Nordens Guder (1819), contributed to promoting interest in the subject among both artists and the general public. The new trend was met with criticism from others, who observed that medieval sources did not provide any type of reference or information relevant to their images. This so-called Mythology Dispute dominated the Danish art scene in the years between 1812 and 1821, dividing the Royal Danish Academy of Fine Arts. In 1814, upon orders from Crown Prince Christian, it was made mandatory for the Academy's professor of history to include Nordic history and mythology in his teachings. It was also proposed to reproduce Johannes Wiedewelt's illustrations from the 1780s of Johannes Ewald's The Death of Balder (1669, published 1775). In 1819 and 1828, Finnur Magnússon was engaged as an instructor in mythology and Nordic literature for art students.Torkel Baden, secretary of the Academy of Fine Arts, refuted Jens Møller's ideas, stating that the Nordic themes were deformed and useless, unlike those of classical mythology, which was sublime, ideal and cultured. The painter C. F. Høyer supported him, asserting that classical and Christian motifs should prevail in Danish art. | [
"Adam Oehlenschläger",
"Finnur Magnússon",
"Johannes Ewald",
"Torkel Baden",
"The Death of Balder",
"Balder",
"Johannes Wiedewelt",
"C. F. Høyer",
"Crown Prince Christian",
"N. F. S. Grundtvig"
] |
|
18367_NT | Mimir and Balder Consult the Norns | Focus on this artwork and explain the Background. | In 1801, Adam Oehlenschläger argued that Danish art should use Nordic themes instead of relying on Greek mythology for inspiration, as they would stimulate people's love for their homeland. A number of publications, including most notably N. F. S. Grundtvig's Nordens mytologi (1808) and Nordiske Digte (1807) and Adam Oehlenschläger's Nordens Guder (1819), contributed to promoting interest in the subject among both artists and the general public. The new trend was met with criticism from others, who observed that medieval sources did not provide any type of reference or information relevant to their images. This so-called Mythology Dispute dominated the Danish art scene in the years between 1812 and 1821, dividing the Royal Danish Academy of Fine Arts. In 1814, upon orders from Crown Prince Christian, it was made mandatory for the Academy's professor of history to include Nordic history and mythology in his teachings. It was also proposed to reproduce Johannes Wiedewelt's illustrations from the 1780s of Johannes Ewald's The Death of Balder (1669, published 1775). In 1819 and 1828, Finnur Magnússon was engaged as an instructor in mythology and Nordic literature for art students.Torkel Baden, secretary of the Academy of Fine Arts, refuted Jens Møller's ideas, stating that the Nordic themes were deformed and useless, unlike those of classical mythology, which was sublime, ideal and cultured. The painter C. F. Høyer supported him, asserting that classical and Christian motifs should prevail in Danish art. | [
"Adam Oehlenschläger",
"Finnur Magnússon",
"Johannes Ewald",
"Torkel Baden",
"The Death of Balder",
"Balder",
"Johannes Wiedewelt",
"C. F. Høyer",
"Crown Prince Christian",
"N. F. S. Grundtvig"
] |
|
18368_T | Mimir and Balder Consult the Norns | Explore the 1821–22 Copenhagen Mythological Competition of this artwork, Mimir and Balder Consult the Norns. | In 1820, Jonas Collin, supported by Johan Bülow, fostered the idea of an artistic competition with a Nordic theme. On 21 May 1821, it was announced via advertisements in several Copenhagen newspapers. The competition was also promoted by the Scandinavian Literature Society. It comprised three categories: sketches for paintings, relief compositions and drawings of individual figures. The deadline for participation in the competition was 1 May 1822 and the first prize in each category was 200 species daler. The jury consisted of Jonas Collin, historian Peter Erasmus Müller, writer Adam Oehlenschläger, architects Christian Frederik Hansen and Gustav Friedrich Hetsch, and painters Christian August Lorentzen and C. W. Eckersberg.Hermann Ernst Freund won the first prize in the relief composition category for his relief of Mimir and Balder. Freund knew Collin from the Royal Mint. in a letter from October 1820, Collin had already prior to the competition suggested Freund create some works with inspiration from Norse mythology. In connection with the competition, he had also sent him Finnur Magnússon's translation of the Elder Edda and Oehlenschläger's Nordens Guder. The two other categories were won by J. L. Lund and Andreas Ludvig Koop. | [
"Copenhagen",
"C. W. Eckersberg",
"Gustav Friedrich Hetsch",
"Adam Oehlenschläger",
"Peter Erasmus Müller",
"Finnur Magnússon",
"Elder Edda",
"Balder",
"Royal Mint",
"Jonas Collin",
"Mimir",
"Andreas Ludvig Koop",
"Norse mythology",
"Hermann Ernst Freund",
"species daler",
"Christian Frederik Hansen",
"J. L. Lund",
"Johan Bülow",
"Christian August Lorentzen"
] |
|
18368_NT | Mimir and Balder Consult the Norns | Explore the 1821–22 Copenhagen Mythological Competition of this artwork. | In 1820, Jonas Collin, supported by Johan Bülow, fostered the idea of an artistic competition with a Nordic theme. On 21 May 1821, it was announced via advertisements in several Copenhagen newspapers. The competition was also promoted by the Scandinavian Literature Society. It comprised three categories: sketches for paintings, relief compositions and drawings of individual figures. The deadline for participation in the competition was 1 May 1822 and the first prize in each category was 200 species daler. The jury consisted of Jonas Collin, historian Peter Erasmus Müller, writer Adam Oehlenschläger, architects Christian Frederik Hansen and Gustav Friedrich Hetsch, and painters Christian August Lorentzen and C. W. Eckersberg.Hermann Ernst Freund won the first prize in the relief composition category for his relief of Mimir and Balder. Freund knew Collin from the Royal Mint. in a letter from October 1820, Collin had already prior to the competition suggested Freund create some works with inspiration from Norse mythology. In connection with the competition, he had also sent him Finnur Magnússon's translation of the Elder Edda and Oehlenschläger's Nordens Guder. The two other categories were won by J. L. Lund and Andreas Ludvig Koop. | [
"Copenhagen",
"C. W. Eckersberg",
"Gustav Friedrich Hetsch",
"Adam Oehlenschläger",
"Peter Erasmus Müller",
"Finnur Magnússon",
"Elder Edda",
"Balder",
"Royal Mint",
"Jonas Collin",
"Mimir",
"Andreas Ludvig Koop",
"Norse mythology",
"Hermann Ernst Freund",
"species daler",
"Christian Frederik Hansen",
"J. L. Lund",
"Johan Bülow",
"Christian August Lorentzen"
] |
|
18369_T | Mimir and Balder Consult the Norns | Focus on Mimir and Balder Consult the Norns and discuss the Description. | Freund's relief depicts Mimir and Balder consulting the Norns. The composition is very similar to that of Lund's winning entry in the painting category. The two artists were friends but it is not known who was inspired by whom. | [
"Balder",
"Mimir",
"Norns"
] |
|
18369_NT | Mimir and Balder Consult the Norns | Focus on this artwork and discuss the Description. | Freund's relief depicts Mimir and Balder consulting the Norns. The composition is very similar to that of Lund's winning entry in the painting category. The two artists were friends but it is not known who was inspired by whom. | [
"Balder",
"Mimir",
"Norns"
] |
|
18370_T | Mimir and Balder Consult the Norns | How does Mimir and Balder Consult the Norns elucidate its Rxternal links? | Mimer og Balder rådspørger nornerne at Kunstindeks Danmark
Source | [
"Balder",
"Kunstindeks Danmark"
] |
|
18370_NT | Mimir and Balder Consult the Norns | How does this artwork elucidate its Rxternal links? | Mimer og Balder rådspørger nornerne at Kunstindeks Danmark
Source | [
"Balder",
"Kunstindeks Danmark"
] |
|
18371_T | Dreamvision (paintings) | Focus on Dreamvision (paintings) and analyze the abstract. | Dreamvision (paintings) is a series of 28 oil paintings made by Nabil Kanso in 1980–81. The subjects of the works in the series are two figures of a man and woman whose characters and relations are reinforced by figurative allusions to their surroundings. | [
"painting",
"series",
"Nabil Kanso",
"oil"
] |
|
18371_NT | Dreamvision (paintings) | Focus on this artwork and analyze the abstract. | Dreamvision (paintings) is a series of 28 oil paintings made by Nabil Kanso in 1980–81. The subjects of the works in the series are two figures of a man and woman whose characters and relations are reinforced by figurative allusions to their surroundings. | [
"painting",
"series",
"Nabil Kanso",
"oil"
] |
|
18372_T | Christ at the Column (Antonello da Messina) | In Christ at the Column (Antonello da Messina), how is the abstract discussed? | Christ at the Column is a small painting by the Italian Renaissance artist Antonello da Messina, executed c. 1476–1478, showing the Flagellation of Christ. It is in the Louvre in Paris.
Painted in his final years, the pictures shows Antonello's assimilation of the Early Netherlandish and Venetian influences into a mature art. For long time the unusual small size and close-up view of the subject led scholars to think that the work had been cut down and originally extended lower, and that originally a parapet separated Christ from the watchers. This theory has been proved to be wrong.
The face of Christ was a common theme in Antonello's art: however, portraying Christ in the middle of his pain, in the moment in which the tortures have just begun, Antonello managed to obtain an emotive impact sometimes lacking in his similar works.
As usual, Antonello devoted high attention to the rendering of details: the sweaty hair, the beard (each hair of which can be distinguished), the half open mouth, in which teeth and tongue can be seen, the first stripes of blood marking the face, the perfectly transparent drops. | [
"Antonello da Messina",
"Louvre",
"Italian",
"Antonello",
"Early Netherlandish",
"Paris",
"Flagellation of Christ"
] |
|
18372_NT | Christ at the Column (Antonello da Messina) | In this artwork, how is the abstract discussed? | Christ at the Column is a small painting by the Italian Renaissance artist Antonello da Messina, executed c. 1476–1478, showing the Flagellation of Christ. It is in the Louvre in Paris.
Painted in his final years, the pictures shows Antonello's assimilation of the Early Netherlandish and Venetian influences into a mature art. For long time the unusual small size and close-up view of the subject led scholars to think that the work had been cut down and originally extended lower, and that originally a parapet separated Christ from the watchers. This theory has been proved to be wrong.
The face of Christ was a common theme in Antonello's art: however, portraying Christ in the middle of his pain, in the moment in which the tortures have just begun, Antonello managed to obtain an emotive impact sometimes lacking in his similar works.
As usual, Antonello devoted high attention to the rendering of details: the sweaty hair, the beard (each hair of which can be distinguished), the half open mouth, in which teeth and tongue can be seen, the first stripes of blood marking the face, the perfectly transparent drops. | [
"Antonello da Messina",
"Louvre",
"Italian",
"Antonello",
"Early Netherlandish",
"Paris",
"Flagellation of Christ"
] |
|
18373_T | Fontaine Louvois | Focus on Fontaine Louvois and explore the abstract. | The Fontaine Louvois is a monumental public fountain in Square Louvois on the rue Richelieu in the Second Arrondissement of Paris, near the entrance of the Bibliothèque nationale de France. It was built between 1836 and 1839 during the reign of King Louis-Philippe.Square Louvois was created in 1830, on the site of the former Théâtre National de la rue de la Loi which had been built in 1792 and demolished in 1820. The fountain was designed by Louis Visconti, and the sculpture is by Jean-Baptiste-Jules Klagmann. It was restored in 1859, 1874, and 1974. It also features in Episode 1 Season 4 of Gossip Girl. It is the fountain that Serena (Blake Lively) is pushed into by Blair (Leighton Meester).
The fountain was intended as an hommage to four great rivers of France: the Seine, the Garonne, the Loire, and the Saône, represented by four statues of women who support the upper basin. The base of the statue is decorated with four tritons mounted on dolphins. Around the rim of the large marble basin of the fountain are twelve carved signs of the zodiac, alternating with mascarons, the spouts which pour water. | [
"Jean-Baptiste-Jules Klagmann",
"zodiac",
"France",
"Seine",
"dolphins",
"Saône",
"Théâtre National de la rue de la Loi",
"Gossip Girl",
"Louis-Philippe",
"Blake Lively",
"Leighton Meester",
"Louis Visconti",
"fountain",
"Paris",
"tritons",
"Garonne",
"Loire",
"Bibliothèque nationale de France"
] |
|
18373_NT | Fontaine Louvois | Focus on this artwork and explore the abstract. | The Fontaine Louvois is a monumental public fountain in Square Louvois on the rue Richelieu in the Second Arrondissement of Paris, near the entrance of the Bibliothèque nationale de France. It was built between 1836 and 1839 during the reign of King Louis-Philippe.Square Louvois was created in 1830, on the site of the former Théâtre National de la rue de la Loi which had been built in 1792 and demolished in 1820. The fountain was designed by Louis Visconti, and the sculpture is by Jean-Baptiste-Jules Klagmann. It was restored in 1859, 1874, and 1974. It also features in Episode 1 Season 4 of Gossip Girl. It is the fountain that Serena (Blake Lively) is pushed into by Blair (Leighton Meester).
The fountain was intended as an hommage to four great rivers of France: the Seine, the Garonne, the Loire, and the Saône, represented by four statues of women who support the upper basin. The base of the statue is decorated with four tritons mounted on dolphins. Around the rim of the large marble basin of the fountain are twelve carved signs of the zodiac, alternating with mascarons, the spouts which pour water. | [
"Jean-Baptiste-Jules Klagmann",
"zodiac",
"France",
"Seine",
"dolphins",
"Saône",
"Théâtre National de la rue de la Loi",
"Gossip Girl",
"Louis-Philippe",
"Blake Lively",
"Leighton Meester",
"Louis Visconti",
"fountain",
"Paris",
"tritons",
"Garonne",
"Loire",
"Bibliothèque nationale de France"
] |
|
18374_T | Sleepwalker (Štyrský) | Explore the abstract of this artwork, Sleepwalker (Štyrský). | Sleepwalker, "Somnambulist" (in Czech: Náměsíčná) is a painting from 1925 by Czech surrealist Jindřich Štyrský. | [
"surrealist",
"Jindřich Štyrský"
] |
|
18374_NT | Sleepwalker (Štyrský) | Explore the abstract of this artwork. | Sleepwalker, "Somnambulist" (in Czech: Náměsíčná) is a painting from 1925 by Czech surrealist Jindřich Štyrský. | [
"surrealist",
"Jindřich Štyrský"
] |
|
18375_T | Sleepwalker (Štyrský) | Focus on Sleepwalker (Štyrský) and discuss the Description. | It is painted in oil on canvas and its dimensions are 60.3 x 30.8 centimeters. In 1965 the canvas was purchased by the Moravian Gallery in Brno. | [
"Moravian Gallery in Brno",
"Brno",
"Moravian Gallery"
] |
|
18375_NT | Sleepwalker (Štyrský) | Focus on this artwork and discuss the Description. | It is painted in oil on canvas and its dimensions are 60.3 x 30.8 centimeters. In 1965 the canvas was purchased by the Moravian Gallery in Brno. | [
"Moravian Gallery in Brno",
"Brno",
"Moravian Gallery"
] |
|
18376_T | Sleepwalker (Štyrský) | How does Sleepwalker (Štyrský) elucidate its Analysis? | In terms of style painting refers to the style of artificialism, developed by Shtirski in this period of his career. | [] |
|
18376_NT | Sleepwalker (Štyrský) | How does this artwork elucidate its Analysis? | In terms of style painting refers to the style of artificialism, developed by Shtirski in this period of his career. | [] |
|
18377_T | 1476 Altarpiece | Focus on 1476 Altarpiece and analyze the abstract. | The 1476 Altarpiece or San Domenico Altarpiece is a 1476 tempera and gold on panel altarpiece by Carlo Crivelli. Its central panel of the Pietà is now in the Metropolitan Museum of Art in New York, whilst the other nine are now in the National Gallery, London. | [
"National Gallery, London",
"Metropolitan Museum",
"Pietà",
"National Gallery",
"Carlo Crivelli",
"Metropolitan Museum of Art"
] |
|
18377_NT | 1476 Altarpiece | Focus on this artwork and analyze the abstract. | The 1476 Altarpiece or San Domenico Altarpiece is a 1476 tempera and gold on panel altarpiece by Carlo Crivelli. Its central panel of the Pietà is now in the Metropolitan Museum of Art in New York, whilst the other nine are now in the National Gallery, London. | [
"National Gallery, London",
"Metropolitan Museum",
"Pietà",
"National Gallery",
"Carlo Crivelli",
"Metropolitan Museum of Art"
] |
|
18378_T | 1476 Altarpiece | In 1476 Altarpiece, how is the History discussed? | The altarpiece was likely originally constructed for the Dominican church of Ascoli Piceno, given the inclusion of Dominican saints on the lower levels of the altarpiece. The church held another 1476 Crivelli work, the Saint Peter Martyr Altarpiece. Both works were dismantled from their altars c. 1776 due to renovations in the church. They were then sold to an antiquarian, Grossi, who further separated the panels and regrouped them. (The predellas that went with the altarpieces are lost.)
The altarpiece was seen by Luigi Lanzi and purchased by Francesco Saverio de Zelada in Rome in 1789, and it arrived in Florence with the Rinuccini family. The 1476 Altarpiece arrived at London's National Gallery in 1868, having come from the Demidov collection.
Art historians Federico Zeri and Rodolfo Pallucchini reintegrated the formerly separated altarpieces, referring first to the Pietà in the Metropolitan Museum and second to the Madonna in the Museum of Fine Arts of Budapest. In 1961, the National Gallery again disjoined its panels and reconstructed them into two separate polyptychs. | [
"Luigi Lanzi",
"Saint Peter Martyr Altarpiece",
"Federico Zeri",
"Rodolfo Pallucchini",
"Metropolitan Museum",
"Dominican",
"Ascoli Piceno",
"Pietà",
"National Gallery",
"Museum of Fine Arts",
"Francesco Saverio de Zelada",
"Rinuccini family",
"predella",
"Demidov"
] |
|
18378_NT | 1476 Altarpiece | In this artwork, how is the History discussed? | The altarpiece was likely originally constructed for the Dominican church of Ascoli Piceno, given the inclusion of Dominican saints on the lower levels of the altarpiece. The church held another 1476 Crivelli work, the Saint Peter Martyr Altarpiece. Both works were dismantled from their altars c. 1776 due to renovations in the church. They were then sold to an antiquarian, Grossi, who further separated the panels and regrouped them. (The predellas that went with the altarpieces are lost.)
The altarpiece was seen by Luigi Lanzi and purchased by Francesco Saverio de Zelada in Rome in 1789, and it arrived in Florence with the Rinuccini family. The 1476 Altarpiece arrived at London's National Gallery in 1868, having come from the Demidov collection.
Art historians Federico Zeri and Rodolfo Pallucchini reintegrated the formerly separated altarpieces, referring first to the Pietà in the Metropolitan Museum and second to the Madonna in the Museum of Fine Arts of Budapest. In 1961, the National Gallery again disjoined its panels and reconstructed them into two separate polyptychs. | [
"Luigi Lanzi",
"Saint Peter Martyr Altarpiece",
"Federico Zeri",
"Rodolfo Pallucchini",
"Metropolitan Museum",
"Dominican",
"Ascoli Piceno",
"Pietà",
"National Gallery",
"Museum of Fine Arts",
"Francesco Saverio de Zelada",
"Rinuccini family",
"predella",
"Demidov"
] |
|
18379_T | 1476 Altarpiece | Focus on 1476 Altarpiece and explore the Description and style. | The altarpiece has a traditional setting, with a Madonna Enthroned with Child at the center, the saints depicted to the sides, and on the upper level a Pietà and half-figure saints.
The structure of the altarpiece perplexed critics for a long time. Art historians eventually adopted the theory that the altarpiece was actually an assemblage of panels from different sources. | [
"Madonna Enthroned with Child",
"Pietà"
] |
|
18379_NT | 1476 Altarpiece | Focus on this artwork and explore the Description and style. | The altarpiece has a traditional setting, with a Madonna Enthroned with Child at the center, the saints depicted to the sides, and on the upper level a Pietà and half-figure saints.
The structure of the altarpiece perplexed critics for a long time. Art historians eventually adopted the theory that the altarpiece was actually an assemblage of panels from different sources. | [
"Madonna Enthroned with Child",
"Pietà"
] |
|
18380_T | 1476 Altarpiece | In the context of 1476 Altarpiece, explain the Panels of the Description and style. | Lower register:Madonna and Child, 148x63 cm, signed OPVS KAROLI CRIVELLI VENETI 1476
Saint John the Baptist, 138x40 cm
Saint Peter, 138x40 cm
Saint Catherine of Alexandria, 138x40 cm
Saint Dominic, 138x40 cmUpper register:Saint Francis, 61x40 cm
Saint Andrew, 61x40 cm
Pietà, 69x63,5 cm
Saint Stephen, 61x40 cm
Saint Thomas, 61x40 cm | [
"Pietà"
] |
|
18380_NT | 1476 Altarpiece | In the context of this artwork, explain the Panels of the Description and style. | Lower register:Madonna and Child, 148x63 cm, signed OPVS KAROLI CRIVELLI VENETI 1476
Saint John the Baptist, 138x40 cm
Saint Peter, 138x40 cm
Saint Catherine of Alexandria, 138x40 cm
Saint Dominic, 138x40 cmUpper register:Saint Francis, 61x40 cm
Saint Andrew, 61x40 cm
Pietà, 69x63,5 cm
Saint Stephen, 61x40 cm
Saint Thomas, 61x40 cm | [
"Pietà"
] |
|
18381_T | The Sisters (Thayer) | Focus on The Sisters (Thayer) and discuss the abstract. | The Sisters is an 1884 oil on canvas painting by Abbott Handerson Thayer. It depicts Bessie and Clara Stillman, and was commissioned from Thayer by their brother, the banker James Stillman. It has been cited as one of Thayer's best works, a composition of grandeur. | [
"Abbott Handerson Thayer"
] |
|
18381_NT | The Sisters (Thayer) | Focus on this artwork and discuss the abstract. | The Sisters is an 1884 oil on canvas painting by Abbott Handerson Thayer. It depicts Bessie and Clara Stillman, and was commissioned from Thayer by their brother, the banker James Stillman. It has been cited as one of Thayer's best works, a composition of grandeur. | [
"Abbott Handerson Thayer"
] |
|
18382_T | The Sisters (Thayer) | How does The Sisters (Thayer) elucidate its Background? | After studying in New York City and Paris, Thayer took a studio in Brooklyn in 1880. He traveled often, summering for the next few years in Nantucket or Pittsfield, Massachusetts; in 1881, he went to Hartford, Connecticut to paint Mark Twain, and in 1882 he spent the winter in a cottage owned by Henry Ward Beecher in Peekskill, New York. In 1883, Thayer rented a home at Cornwell-on-Hudson, and built a studio on James Stillman's property. It was there that he painted two portraits of the sisters, one of Bessie alone, completed in 1883, and the double portrait, which he worked on until January 1884. Together, the paintings are quite different from his previous portraits, which had featured more opulent wardrobes in keeping with the fashionable style of the Paris Salon—an art reviewer had found fault with the "poor taste" of the glamorous finery of Thayer's 1881 Portrait of Mrs. William F. Milton, and thereafter the artist avoided ostentatious dress.Thayer began The Sisters in the summer of 1883. It was the largest portrait he had attempted at the time and the composition was arrived upon only after much trial and error. Thayer wrote:I have spent such an immense amount of their time and mine in experimenting on different poses, always trying to make a pretty handsome thing of each part in each new pose so as not to ascribe the fault to the composition when it really lay at the door of ugliness of the rendering that I have far from done, now, but am full of conviction that it represents progress to say the least.
and laterI have not quite done my big portrait of the two wonderful young women, one of them having been ill, but she is mending. I still hope it will be a respectable picture. | [
"New York City",
"Mark Twain",
"Paris Salon",
"Henry Ward Beecher"
] |
|
18382_NT | The Sisters (Thayer) | How does this artwork elucidate its Background? | After studying in New York City and Paris, Thayer took a studio in Brooklyn in 1880. He traveled often, summering for the next few years in Nantucket or Pittsfield, Massachusetts; in 1881, he went to Hartford, Connecticut to paint Mark Twain, and in 1882 he spent the winter in a cottage owned by Henry Ward Beecher in Peekskill, New York. In 1883, Thayer rented a home at Cornwell-on-Hudson, and built a studio on James Stillman's property. It was there that he painted two portraits of the sisters, one of Bessie alone, completed in 1883, and the double portrait, which he worked on until January 1884. Together, the paintings are quite different from his previous portraits, which had featured more opulent wardrobes in keeping with the fashionable style of the Paris Salon—an art reviewer had found fault with the "poor taste" of the glamorous finery of Thayer's 1881 Portrait of Mrs. William F. Milton, and thereafter the artist avoided ostentatious dress.Thayer began The Sisters in the summer of 1883. It was the largest portrait he had attempted at the time and the composition was arrived upon only after much trial and error. Thayer wrote:I have spent such an immense amount of their time and mine in experimenting on different poses, always trying to make a pretty handsome thing of each part in each new pose so as not to ascribe the fault to the composition when it really lay at the door of ugliness of the rendering that I have far from done, now, but am full of conviction that it represents progress to say the least.
and laterI have not quite done my big portrait of the two wonderful young women, one of them having been ill, but she is mending. I still hope it will be a respectable picture. | [
"New York City",
"Mark Twain",
"Paris Salon",
"Henry Ward Beecher"
] |
|
18383_T | The Sisters (Thayer) | Focus on The Sisters (Thayer) and analyze the Description. | Dressed in black and set against a muted green background, the sisters are seen in a doorway. Bessie stands in front, her arms down and hands clasped in front of her. Clara stands directly behind, and wraps her left hand around Bessie's waist while resting her upraised right hand on the entryway's frame. The sisters are noble in comportment and remote in expression. The unusual positioning of their figures implies a complex and intimate relationship.
Though the overall impression is successful, the painting has been faulted for lapses in execution. The drawing of Bessie's right forearm is meager, Clara's left hand is weak, and the brushwork throughout is labored. Commissioned portraits were expected to be more highly finished, and although The Sisters was given a place of honor at the Society of American Artists exhibition of 1884, it received harsh criticism for the perceived "flimsiness" of its details. Technical faults notwithstanding, the nobility of its composition has been compared to the portraits of Thomas Eakins.For their elegance and restrained tones, Thayer's portraits of the mid-1880s, and particularly The Sisters, have been cited as influential to the work of his younger colleague Dennis Miller Bunker. | [
"Thomas Eakins",
"Dennis Miller Bunker",
"left",
"Society of American Artists"
] |
|
18383_NT | The Sisters (Thayer) | Focus on this artwork and analyze the Description. | Dressed in black and set against a muted green background, the sisters are seen in a doorway. Bessie stands in front, her arms down and hands clasped in front of her. Clara stands directly behind, and wraps her left hand around Bessie's waist while resting her upraised right hand on the entryway's frame. The sisters are noble in comportment and remote in expression. The unusual positioning of their figures implies a complex and intimate relationship.
Though the overall impression is successful, the painting has been faulted for lapses in execution. The drawing of Bessie's right forearm is meager, Clara's left hand is weak, and the brushwork throughout is labored. Commissioned portraits were expected to be more highly finished, and although The Sisters was given a place of honor at the Society of American Artists exhibition of 1884, it received harsh criticism for the perceived "flimsiness" of its details. Technical faults notwithstanding, the nobility of its composition has been compared to the portraits of Thomas Eakins.For their elegance and restrained tones, Thayer's portraits of the mid-1880s, and particularly The Sisters, have been cited as influential to the work of his younger colleague Dennis Miller Bunker. | [
"Thomas Eakins",
"Dennis Miller Bunker",
"left",
"Society of American Artists"
] |
|
18384_T | The Dream of Aeneas (Salvator Rosa) | In The Dream of Aeneas (Salvator Rosa), how is the abstract discussed? | The Dream of Aeneas is an oil-on-canvas painting by Italian artist Salvator Rosa dating to c. 1660–1665. It depicts a scene from the Roman poet Virgil's Aeneid in which an embodiment of the Tiber river speaks to the Trojan hero Aeneas. The work is in the collection of the Metropolitan Museum of Art, in New York. | [
"Aeneid",
"Virgil",
"New York",
"Tiber river",
"Aeneas",
"Metropolitan Museum of Art",
"Salvator Rosa"
] |
|
18384_NT | The Dream of Aeneas (Salvator Rosa) | In this artwork, how is the abstract discussed? | The Dream of Aeneas is an oil-on-canvas painting by Italian artist Salvator Rosa dating to c. 1660–1665. It depicts a scene from the Roman poet Virgil's Aeneid in which an embodiment of the Tiber river speaks to the Trojan hero Aeneas. The work is in the collection of the Metropolitan Museum of Art, in New York. | [
"Aeneid",
"Virgil",
"New York",
"Tiber river",
"Aeneas",
"Metropolitan Museum of Art",
"Salvator Rosa"
] |
|
18385_T | Evocation of a Form: Human, Lunar, Spectral | Focus on Evocation of a Form: Human, Lunar, Spectral and explore the abstract. | Evocation of a Form: Human, Lunar, Spectral is an abstract bronze sculpture by Jean Arp. Modeled in 1950; it was cast in 1957.It is in the Hirshhorn Museum and Sculpture Garden. | [
"Hirshhorn Museum and Sculpture Garden",
"Jean Arp"
] |
|
18385_NT | Evocation of a Form: Human, Lunar, Spectral | Focus on this artwork and explore the abstract. | Evocation of a Form: Human, Lunar, Spectral is an abstract bronze sculpture by Jean Arp. Modeled in 1950; it was cast in 1957.It is in the Hirshhorn Museum and Sculpture Garden. | [
"Hirshhorn Museum and Sculpture Garden",
"Jean Arp"
] |
|
18386_T | Le Jardin sonore | Focus on Le Jardin sonore and explain the abstract. | Le Jardin sonore is a permanent public artwork located in Douala (Cameroon). It was created by Lucas Grandin in 2010 and is made of a wooden structure built on three floors that serves as a panoramic viewpoint on the Wouri River, as a botanical garden and as a dewdrop percussion organ. | [
"Wouri River",
"Cameroon",
"public artwork",
"botanical garden",
"Douala",
"Lucas Grandin",
"artwork"
] |
|
18386_NT | Le Jardin sonore | Focus on this artwork and explain the abstract. | Le Jardin sonore is a permanent public artwork located in Douala (Cameroon). It was created by Lucas Grandin in 2010 and is made of a wooden structure built on three floors that serves as a panoramic viewpoint on the Wouri River, as a botanical garden and as a dewdrop percussion organ. | [
"Wouri River",
"Cameroon",
"public artwork",
"botanical garden",
"Douala",
"Lucas Grandin",
"artwork"
] |
|
18387_T | Le Jardin sonore | Explore the The artwork of this artwork, Le Jardin sonore. | Le Jardin sonore est d'une hauteur de 10 mètres, longueur de 6,83 mètres, une largeur maximale de 4,52 mètres. Sa superficie totale est de 35 mètre carrés d’espace repartis sur trois niveaux (Rez de chaussée 20 m2, 1er étage 10m2 et 2ième étage 5m2)
Il fut inauguré pendant le SUD - Salon Urbain de Douala 2010.
In February 2010, Lucas Grandin started working at his Jardin Sonore, a wooden structure built on three floors that serves as a panoramic viewpoint on the Wouri River, as a botanical garden and as a dewdrop percussion organ. Lucas Grandin's work aroused the passionate interest of the inhabitants of the district, creating a place for socializing and contemplation and covering the urban cacophony inside its water walls. During SUD 2010, the artist engaged the inhabitants of Bonamouti in the production process of the work though preparatory meetings, the requalification of the area (used before as dumpster on the edge of the river), and the building structure.
The botanical garden, located on the perimeter of the wooden structure, hosts flowering, cosmetics, grocery and light pharmaceutical plants. The Jardin Sonore is equipped with a sustainable "drop by drop" irrigation system, which allows reaching water autonomy up to 6 months. The water is collected by the rainfall, stocked in barrels and offered to the vertical garden through transparent tubes using a hydroponic dripping system. This system does not allow for water dispersion and, at the same time, it does not require regular watering from inhabitants.
Drops of water drip into cans of different sizes, creating notes and feeding plants for the neighborhood of Bonamouti. Different kinds of sound are directly conducted by the plants different needs of water. This elevated garden growing at the sound of the water and invites the public to contemplate at the river Wouri from each of its three levels.
This building is a water sound garden, to gain conscience of the importance of the water in our life, to give Douala its right to the water back and to show its origins, to give a free new social meeting place in Bonamouti where everybody can go when he wants to have some rest with the water melody, to smell of the flowers, to see the Wouri river and its original mangrove (where everybody came) and feel the wind of the nature... a new social area to talk, to plant, to listen, to re-create a new inter-generational communication through the garden. The Jardin Sonore has also become a romantic area for young lovers, who meet on the upper floors to contemplate the river view.
Le Jardin sonore was restored in 2012 and 2013 with the repair and replacement of deteriorated wooden pieces. | [
"mangrove",
"SUD 2010",
"Wouri River",
"hydroponic",
"irrigation",
"botanical garden",
"Douala",
"Lucas Grandin",
"cosmetics",
"artwork",
"Bonamouti",
"flower",
"water",
"SUD - Salon Urbain de Douala 2010"
] |
|
18387_NT | Le Jardin sonore | Explore the The artwork of this artwork. | Le Jardin sonore est d'une hauteur de 10 mètres, longueur de 6,83 mètres, une largeur maximale de 4,52 mètres. Sa superficie totale est de 35 mètre carrés d’espace repartis sur trois niveaux (Rez de chaussée 20 m2, 1er étage 10m2 et 2ième étage 5m2)
Il fut inauguré pendant le SUD - Salon Urbain de Douala 2010.
In February 2010, Lucas Grandin started working at his Jardin Sonore, a wooden structure built on three floors that serves as a panoramic viewpoint on the Wouri River, as a botanical garden and as a dewdrop percussion organ. Lucas Grandin's work aroused the passionate interest of the inhabitants of the district, creating a place for socializing and contemplation and covering the urban cacophony inside its water walls. During SUD 2010, the artist engaged the inhabitants of Bonamouti in the production process of the work though preparatory meetings, the requalification of the area (used before as dumpster on the edge of the river), and the building structure.
The botanical garden, located on the perimeter of the wooden structure, hosts flowering, cosmetics, grocery and light pharmaceutical plants. The Jardin Sonore is equipped with a sustainable "drop by drop" irrigation system, which allows reaching water autonomy up to 6 months. The water is collected by the rainfall, stocked in barrels and offered to the vertical garden through transparent tubes using a hydroponic dripping system. This system does not allow for water dispersion and, at the same time, it does not require regular watering from inhabitants.
Drops of water drip into cans of different sizes, creating notes and feeding plants for the neighborhood of Bonamouti. Different kinds of sound are directly conducted by the plants different needs of water. This elevated garden growing at the sound of the water and invites the public to contemplate at the river Wouri from each of its three levels.
This building is a water sound garden, to gain conscience of the importance of the water in our life, to give Douala its right to the water back and to show its origins, to give a free new social meeting place in Bonamouti where everybody can go when he wants to have some rest with the water melody, to smell of the flowers, to see the Wouri river and its original mangrove (where everybody came) and feel the wind of the nature... a new social area to talk, to plant, to listen, to re-create a new inter-generational communication through the garden. The Jardin Sonore has also become a romantic area for young lovers, who meet on the upper floors to contemplate the river view.
Le Jardin sonore was restored in 2012 and 2013 with the repair and replacement of deteriorated wooden pieces. | [
"mangrove",
"SUD 2010",
"Wouri River",
"hydroponic",
"irrigation",
"botanical garden",
"Douala",
"Lucas Grandin",
"cosmetics",
"artwork",
"Bonamouti",
"flower",
"water",
"SUD - Salon Urbain de Douala 2010"
] |
|
18388_T | Munich-Montserrat Book of Hours | Focus on Munich-Montserrat Book of Hours and discuss the abstract. | The Munich-Montserrat Book of Hours is a 1535 illuminated manuscript book of hours. It measured 10 by 14 cm in its original form. It was produced by Simon Bening and his workshop, possibly for Alonso de Idiaquez (died 1547), royal secretary to Charles V, Holy Roman Emperor. Its miniatures are stylistically similar to other books of hours by Bening and his workshop, such as the Da Costa Book of Hours, the Hennessy Book of Hours and the Hours of Isabella of Portugal, all produced for Spanish nobles.202 of its sheets are now in Montserrat Abbey, forming most of the text except for those on the reverse of dispersed full-page miniatures. Those sheets include 20 small miniatures as high as 6 or 7 lines of text, 5 historiated initials at a height of 5 lines, 8 historiated page borders, and several letters and borders with floral ornament. A total of 35 leaves are now in the Bavarian State Library in Munich, the J. Paul Getty Museum (Los Angeles) and a private collection. The leaves in Munich include 12 full page miniatures illustrating the months of the year, each with a historiated border, as well as two other full-page miniatures. Five other full-page miniatures are held individually by private owners. | [
"Alonso de Idiaquez",
"illuminated manuscript",
"Munich-Montserrat",
"book of hours",
"Da Costa Book of Hours",
"Montserrat Abbey",
"Los Angeles",
"Hennessy Book of Hours",
"Simon Bening",
"Bavarian State Library",
"J. Paul Getty Museum",
"historiated initial",
"Charles V, Holy Roman Emperor"
] |
|
18388_NT | Munich-Montserrat Book of Hours | Focus on this artwork and discuss the abstract. | The Munich-Montserrat Book of Hours is a 1535 illuminated manuscript book of hours. It measured 10 by 14 cm in its original form. It was produced by Simon Bening and his workshop, possibly for Alonso de Idiaquez (died 1547), royal secretary to Charles V, Holy Roman Emperor. Its miniatures are stylistically similar to other books of hours by Bening and his workshop, such as the Da Costa Book of Hours, the Hennessy Book of Hours and the Hours of Isabella of Portugal, all produced for Spanish nobles.202 of its sheets are now in Montserrat Abbey, forming most of the text except for those on the reverse of dispersed full-page miniatures. Those sheets include 20 small miniatures as high as 6 or 7 lines of text, 5 historiated initials at a height of 5 lines, 8 historiated page borders, and several letters and borders with floral ornament. A total of 35 leaves are now in the Bavarian State Library in Munich, the J. Paul Getty Museum (Los Angeles) and a private collection. The leaves in Munich include 12 full page miniatures illustrating the months of the year, each with a historiated border, as well as two other full-page miniatures. Five other full-page miniatures are held individually by private owners. | [
"Alonso de Idiaquez",
"illuminated manuscript",
"Munich-Montserrat",
"book of hours",
"Da Costa Book of Hours",
"Montserrat Abbey",
"Los Angeles",
"Hennessy Book of Hours",
"Simon Bening",
"Bavarian State Library",
"J. Paul Getty Museum",
"historiated initial",
"Charles V, Holy Roman Emperor"
] |
|
18389_T | Munich-Montserrat Book of Hours | In the context of Munich-Montserrat Book of Hours, analyze the Commissioning of the History. | The part held in Montserrat Abbey includes a 1578 inscription by the Spanish Inquisition guaranteeing that the work was not heretical. At that time it was in the Dominican monastery of San Telmo in San Sebastián in northern Spain and may have belonged to that monastery's founder Alonso de Idiaquez. Its images of the sufferings of the saints includes those of saint Sebastian, a favourite saint of the Habsburg rulers and their court, which may confirm that Idiaquez commissioned the work. Whilst based in Spain, he went on regular trips to the Low Countries between around 1535 and 1540 and might have commissioned the work whilst there, as did several other Spanish nobles of the period. | [
"Alonso de Idiaquez",
"San Sebastián",
"Spanish Inquisition",
"Montserrat Abbey",
"saint Sebastian",
"Dominican monastery of San Telmo"
] |
|
18389_NT | Munich-Montserrat Book of Hours | In the context of this artwork, analyze the Commissioning of the History. | The part held in Montserrat Abbey includes a 1578 inscription by the Spanish Inquisition guaranteeing that the work was not heretical. At that time it was in the Dominican monastery of San Telmo in San Sebastián in northern Spain and may have belonged to that monastery's founder Alonso de Idiaquez. Its images of the sufferings of the saints includes those of saint Sebastian, a favourite saint of the Habsburg rulers and their court, which may confirm that Idiaquez commissioned the work. Whilst based in Spain, he went on regular trips to the Low Countries between around 1535 and 1540 and might have commissioned the work whilst there, as did several other Spanish nobles of the period. | [
"Alonso de Idiaquez",
"San Sebastián",
"Spanish Inquisition",
"Montserrat Abbey",
"saint Sebastian",
"Dominican monastery of San Telmo"
] |
|
18390_T | Munich-Montserrat Book of Hours | Describe the characteristics of the Later fate in Munich-Montserrat Book of Hours's History. | Most of the book has been in Montserrat Abbey since 1858. Long before then, it had lost all its full-page miniatures and the calendar, totalling between 29 and 32 miniatures removed and dispersed. The calendar pages and two other miniatures were rediscovered in Ferdinand Maria's collection in the 17th century, possibly acquired by him around 1660 from the painter Joseph Werner. Ferdinand Maria's collections formed the original core of the State Library of Bavaria.
Other sheets were rediscovered over the course of the 20th century, with two miniatures from an English private collection bought in 1984 by the J. Paul Getty Museum in Los Angeles. Another miniature titled Christ's Arrest is known to be in the former collection of Bernard H. Breslauer and two other miniatures were recently identified at two Christie's auctions, Penitent King David (sold on 11 July 2002 as lot 13) and Pentecost (sold on 16 November 2005 as lot 6). | [
"Bernard H. Breslauer",
"Montserrat Abbey",
"Los Angeles",
"Ferdinand Maria",
"J. Paul Getty Museum",
"Pentecost",
"Joseph Werner"
] |
|
18390_NT | Munich-Montserrat Book of Hours | Describe the characteristics of the Later fate in this artwork's History. | Most of the book has been in Montserrat Abbey since 1858. Long before then, it had lost all its full-page miniatures and the calendar, totalling between 29 and 32 miniatures removed and dispersed. The calendar pages and two other miniatures were rediscovered in Ferdinand Maria's collection in the 17th century, possibly acquired by him around 1660 from the painter Joseph Werner. Ferdinand Maria's collections formed the original core of the State Library of Bavaria.
Other sheets were rediscovered over the course of the 20th century, with two miniatures from an English private collection bought in 1984 by the J. Paul Getty Museum in Los Angeles. Another miniature titled Christ's Arrest is known to be in the former collection of Bernard H. Breslauer and two other miniatures were recently identified at two Christie's auctions, Penitent King David (sold on 11 July 2002 as lot 13) and Pentecost (sold on 16 November 2005 as lot 6). | [
"Bernard H. Breslauer",
"Montserrat Abbey",
"Los Angeles",
"Ferdinand Maria",
"J. Paul Getty Museum",
"Pentecost",
"Joseph Werner"
] |
|
18391_T | Munich-Montserrat Book of Hours | Focus on Munich-Montserrat Book of Hours and explore the Original composition. | This was reconstructed by the US art historian Thomas Kren. | [
"Thomas Kren"
] |
|
18391_NT | Munich-Montserrat Book of Hours | Focus on this artwork and explore the Original composition. | This was reconstructed by the US art historian Thomas Kren. | [
"Thomas Kren"
] |
|
18392_T | San Giovenale Triptych | Focus on San Giovenale Triptych and explain the abstract. | San Giovenale Triptych is a 1422 painting by Italian Renaissance artist Masaccio, housed in the Masaccio Museum of Sacred Art at Cascia di Reggello, in the Metropolitan City of Florence. The triptych is the first work attributed to Masaccio and the earliest known painting essay using the geometric Renaissance perspective. | [
"Reggello",
"Masaccio",
"Metropolitan City of Florence",
"Renaissance",
"perspective",
"Cascia di Reggello"
] |
|
18392_NT | San Giovenale Triptych | Focus on this artwork and explain the abstract. | San Giovenale Triptych is a 1422 painting by Italian Renaissance artist Masaccio, housed in the Masaccio Museum of Sacred Art at Cascia di Reggello, in the Metropolitan City of Florence. The triptych is the first work attributed to Masaccio and the earliest known painting essay using the geometric Renaissance perspective. | [
"Reggello",
"Masaccio",
"Metropolitan City of Florence",
"Renaissance",
"perspective",
"Cascia di Reggello"
] |
|
18393_T | San Giovenale Triptych | Explore the Description of this artwork, San Giovenale Triptych. | The Triptych is a tempera on wooden panels . The central panel is 108 cm × 65 cm (43 in × 26 in) and the two side panels are 88 cm × 44 cm (35 in × 17 in).
At the bottom of the panels, the inscriptions are in modern humanist letters for the first time in Europe, not inscribed in Gothic characters:(ANNO DO)MINI MCCCCXXII A DI VENTITRE D'AP(RILE) - [April 23, 1422] - under the central panel
(PLE)NA DOMINUS. TECUM. BENEDICTA - on the throne step
and traces of the saints' names on the side panels.
The central panel shows the Madonna enthroned with two angels and the child Jesus. The halo of the Madonna bears the Shahada written backwards. The left panel depicts Saint Bartholomew and Saint Blaise, and the right panel depicts Saint Anthony Abbot and Saint Juvenal (Giovenale). The left and right panels show a marked influence of 14th-century models, while the center panel's complex perspective has been something new for its time. Also, the use of three-dimensional solidity makes the painting revolutionary for its time. | [
"Madonna",
"Saint Blaise",
"Saint Anthony Abbot",
"child Jesus",
"Shahada",
"perspective",
"Saint Juvenal",
"Saint Bartholomew"
] |
|
18393_NT | San Giovenale Triptych | Explore the Description of this artwork. | The Triptych is a tempera on wooden panels . The central panel is 108 cm × 65 cm (43 in × 26 in) and the two side panels are 88 cm × 44 cm (35 in × 17 in).
At the bottom of the panels, the inscriptions are in modern humanist letters for the first time in Europe, not inscribed in Gothic characters:(ANNO DO)MINI MCCCCXXII A DI VENTITRE D'AP(RILE) - [April 23, 1422] - under the central panel
(PLE)NA DOMINUS. TECUM. BENEDICTA - on the throne step
and traces of the saints' names on the side panels.
The central panel shows the Madonna enthroned with two angels and the child Jesus. The halo of the Madonna bears the Shahada written backwards. The left panel depicts Saint Bartholomew and Saint Blaise, and the right panel depicts Saint Anthony Abbot and Saint Juvenal (Giovenale). The left and right panels show a marked influence of 14th-century models, while the center panel's complex perspective has been something new for its time. Also, the use of three-dimensional solidity makes the painting revolutionary for its time. | [
"Madonna",
"Saint Blaise",
"Saint Anthony Abbot",
"child Jesus",
"Shahada",
"perspective",
"Saint Juvenal",
"Saint Bartholomew"
] |
|
18394_T | San Giovenale Triptych | Focus on San Giovenale Triptych and discuss the History. | Masaccio painted the Triptych when he was 21 years old, probably commissioned by the family of Castellani or by that of Carnesecchi for the small church of San Giovenale, 2 km (1.2 mi) from the Romanic Church at Cascia di Reggello. The presence on the painting of the eponymous saint confirms its original location. Furthermore, the church is about 20 km from Castel San Giovanni in Altura (San Giovanni Valdarno), Masaccio's birthplace.
The Triptych remained in San Giovenale Church for centuries until its rediscovering in 1961. The work was in a state of poor preservation, and the first who took care of it was the art historian Luciano Berti. After 27 years, meanwhile kept in the superintendency's storage areas, it was placed in the Romanesque church of San Pietro a Cascia, and then in 2002, in the Museum of Sacred Art. | [
"Reggello",
"Masaccio",
"San Giovanni Valdarno",
"Cascia di Reggello"
] |
|
18394_NT | San Giovenale Triptych | Focus on this artwork and discuss the History. | Masaccio painted the Triptych when he was 21 years old, probably commissioned by the family of Castellani or by that of Carnesecchi for the small church of San Giovenale, 2 km (1.2 mi) from the Romanic Church at Cascia di Reggello. The presence on the painting of the eponymous saint confirms its original location. Furthermore, the church is about 20 km from Castel San Giovanni in Altura (San Giovanni Valdarno), Masaccio's birthplace.
The Triptych remained in San Giovenale Church for centuries until its rediscovering in 1961. The work was in a state of poor preservation, and the first who took care of it was the art historian Luciano Berti. After 27 years, meanwhile kept in the superintendency's storage areas, it was placed in the Romanesque church of San Pietro a Cascia, and then in 2002, in the Museum of Sacred Art. | [
"Reggello",
"Masaccio",
"San Giovanni Valdarno",
"Cascia di Reggello"
] |
|
18395_T | Perre's Ventaglio III | How does Perre's Ventaglio III elucidate its abstract? | Perre's Ventaglio III is an outdoor 1967 stainless steel and enamel sculpture by Beverly Pepper, installed at Olympic Sculpture Park in Seattle, Washington. | [
"Seattle",
"Beverly Pepper",
"Olympic Sculpture Park"
] |
|
18395_NT | Perre's Ventaglio III | How does this artwork elucidate its abstract? | Perre's Ventaglio III is an outdoor 1967 stainless steel and enamel sculpture by Beverly Pepper, installed at Olympic Sculpture Park in Seattle, Washington. | [
"Seattle",
"Beverly Pepper",
"Olympic Sculpture Park"
] |
|
18396_T | Twenty Four Hours (sculpture) | Focus on Twenty Four Hours (sculpture) and analyze the abstract. | Twenty Four Hours is a 1960 painted steel sculpture by Sir Anthony Caro, located in Tate Britain, central London, England. It was purchased by Tate in 1975.
The sculpture is important in the history of British sculpture since it is Caro's first abstract sculpture and his first welded sculpture. It was previously owned by the American art critic Clement Greenberg, who Caro met, along with abstract painters such as Kenneth Noland, during a visit to the United States in 1959. The sculpture is constructed out of found pieces of steel.
This sculpture was previously exhibited at the Whitechapel Art Gallery (September–October 1963), UCLA Art Galleries (Los Angeles, 1963), Washington Gallery of Modern Art (February–March 1965), and the Hayward Gallery (January–March 1969). | [
"Whitechapel Art Gallery",
"Clement Greenberg",
"steel sculpture",
"Tate",
"Hayward Gallery",
"Tate Britain",
"United States",
"Kenneth Noland",
"Anthony Caro",
"UCLA",
"abstract sculpture",
"London",
"England",
"Washington Gallery of Modern Art"
] |
|
18396_NT | Twenty Four Hours (sculpture) | Focus on this artwork and analyze the abstract. | Twenty Four Hours is a 1960 painted steel sculpture by Sir Anthony Caro, located in Tate Britain, central London, England. It was purchased by Tate in 1975.
The sculpture is important in the history of British sculpture since it is Caro's first abstract sculpture and his first welded sculpture. It was previously owned by the American art critic Clement Greenberg, who Caro met, along with abstract painters such as Kenneth Noland, during a visit to the United States in 1959. The sculpture is constructed out of found pieces of steel.
This sculpture was previously exhibited at the Whitechapel Art Gallery (September–October 1963), UCLA Art Galleries (Los Angeles, 1963), Washington Gallery of Modern Art (February–March 1965), and the Hayward Gallery (January–March 1969). | [
"Whitechapel Art Gallery",
"Clement Greenberg",
"steel sculpture",
"Tate",
"Hayward Gallery",
"Tate Britain",
"United States",
"Kenneth Noland",
"Anthony Caro",
"UCLA",
"abstract sculpture",
"London",
"England",
"Washington Gallery of Modern Art"
] |
|
18397_T | Lucretia (Rembrandt, 1666) | In Lucretia (Rembrandt, 1666), how is the abstract discussed? | Lucretia is a 1666 history painting by the Dutch Golden Age painter Rembrandt Harmensz van Rijn in the collection of the Minneapolis Institute of Art. It is an oil painting on canvas that depicts a myth about a woman named Lucretia who lived during the ancient Roman eras. She committed suicide to defend her honor after being raped by an Etruscan king's son. For her self-sacrifice she is known as a heroine to the Romans, who celebrated the feminine ideals of virtue and chastity. | [
"history painting",
"Lucretia",
"Minneapolis Institute of Art",
"Minneapolis",
"Rembrandt",
"Dutch Golden Age",
"Rembrandt Harmensz van Rijn",
"ancient Roman"
] |
|
18397_NT | Lucretia (Rembrandt, 1666) | In this artwork, how is the abstract discussed? | Lucretia is a 1666 history painting by the Dutch Golden Age painter Rembrandt Harmensz van Rijn in the collection of the Minneapolis Institute of Art. It is an oil painting on canvas that depicts a myth about a woman named Lucretia who lived during the ancient Roman eras. She committed suicide to defend her honor after being raped by an Etruscan king's son. For her self-sacrifice she is known as a heroine to the Romans, who celebrated the feminine ideals of virtue and chastity. | [
"history painting",
"Lucretia",
"Minneapolis Institute of Art",
"Minneapolis",
"Rembrandt",
"Dutch Golden Age",
"Rembrandt Harmensz van Rijn",
"ancient Roman"
] |
|
18398_T | Lucretia (Rembrandt, 1666) | Focus on Lucretia (Rembrandt, 1666) and explore the Description. | In this depiction of Lucretia, she is wearing an ornate gold dress and pearl earrings, indicating her status as a woman of wealth. Her dress is somewhat disarrayed, exposing her under garment. The fabric of her undergarment is stained with blood, signifying her own acceptance of impending death. In her right hand, she grips the dagger which has caused the wound to her heart, while the left hand is gripping what appears to be a bed tassel. This depiction of Lucretia is not supposed to represent idealised beauty, rather, it accentuates the anguish she is experiencing after losing her honour. Her face embodies her despair and hopelessness, her skin is pale, and her lips are small and express her grief. | [
"Lucretia"
] |
|
18398_NT | Lucretia (Rembrandt, 1666) | Focus on this artwork and explore the Description. | In this depiction of Lucretia, she is wearing an ornate gold dress and pearl earrings, indicating her status as a woman of wealth. Her dress is somewhat disarrayed, exposing her under garment. The fabric of her undergarment is stained with blood, signifying her own acceptance of impending death. In her right hand, she grips the dagger which has caused the wound to her heart, while the left hand is gripping what appears to be a bed tassel. This depiction of Lucretia is not supposed to represent idealised beauty, rather, it accentuates the anguish she is experiencing after losing her honour. Her face embodies her despair and hopelessness, her skin is pale, and her lips are small and express her grief. | [
"Lucretia"
] |
|
18399_T | Lucretia (Rembrandt, 1666) | Focus on Lucretia (Rembrandt, 1666) and explain the Subject. | This painting depicts an ancient Roman legend written by Roman historian Livy, who covered the period from early Rome through to the reign of Augustus. During the ancient Roman and Greek era, legends of women committing suicide to keep their virtue pure were popular. It was a way to promote feminine ideals to women. As the legend goes, Lucretia was a noblewoman who was married to Lucius. While her husband was out doing his duty, her husband's friend Sextus and few of his men went to visit her. They wanted to see which man had the most virtuous wife. Lucretia graciously hosted her husband's guests, and as nightfall came all the men left, except Sextus. He was determined to have Lucretia for himself. After a couple of days had passed, he went back and told her she either sleep with him, or be killed with her servant, to be framed as an affair gone wrong.
The next day, she sent a letter to her father, Lucretius, and her husband. When they arrived, she explained what had happened to her. She considered death as the only suitable punishment for her losing her chastity and value as a wife, by being raped. She stabbed herself. | [
"Lucretia",
"Livy",
"Lucius",
"Lucretius",
"ancient Roman",
"Augustus"
] |
|
18399_NT | Lucretia (Rembrandt, 1666) | Focus on this artwork and explain the Subject. | This painting depicts an ancient Roman legend written by Roman historian Livy, who covered the period from early Rome through to the reign of Augustus. During the ancient Roman and Greek era, legends of women committing suicide to keep their virtue pure were popular. It was a way to promote feminine ideals to women. As the legend goes, Lucretia was a noblewoman who was married to Lucius. While her husband was out doing his duty, her husband's friend Sextus and few of his men went to visit her. They wanted to see which man had the most virtuous wife. Lucretia graciously hosted her husband's guests, and as nightfall came all the men left, except Sextus. He was determined to have Lucretia for himself. After a couple of days had passed, he went back and told her she either sleep with him, or be killed with her servant, to be framed as an affair gone wrong.
The next day, she sent a letter to her father, Lucretius, and her husband. When they arrived, she explained what had happened to her. She considered death as the only suitable punishment for her losing her chastity and value as a wife, by being raped. She stabbed herself. | [
"Lucretia",
"Livy",
"Lucius",
"Lucretius",
"ancient Roman",
"Augustus"
] |
|
18400_T | Lucretia (Rembrandt, 1666) | Explore the Similar work of this artwork, Lucretia (Rembrandt, 1666). | Rembrandt painted another depiction of Lucretia in 1664, now in the National Gallery of Art. It follows the iconographic tradition which shows Lucretia clutching the dagger before she stabbed herself. Rembrandt was known to have used family and friends as models for his paintings; the 1664 Lucretia is in the likeness of his daughter-in-law Magdalena Van Loo.There has been speculation by Sir Lawrence Gowing that the 1666 figure is not Lucretia, but in fact another Roman heroine, Arria, who stabbed herself to encourage her husband, Paetus, who was sentenced to death by suicide. | [
"National Gallery of Art",
"Lucretia",
"Arria",
"Lawrence Gowing",
"Sir Lawrence Gowing",
"Rembrandt",
"Paetus"
] |
|
18400_NT | Lucretia (Rembrandt, 1666) | Explore the Similar work of this artwork. | Rembrandt painted another depiction of Lucretia in 1664, now in the National Gallery of Art. It follows the iconographic tradition which shows Lucretia clutching the dagger before she stabbed herself. Rembrandt was known to have used family and friends as models for his paintings; the 1664 Lucretia is in the likeness of his daughter-in-law Magdalena Van Loo.There has been speculation by Sir Lawrence Gowing that the 1666 figure is not Lucretia, but in fact another Roman heroine, Arria, who stabbed herself to encourage her husband, Paetus, who was sentenced to death by suicide. | [
"National Gallery of Art",
"Lucretia",
"Arria",
"Lawrence Gowing",
"Sir Lawrence Gowing",
"Rembrandt",
"Paetus"
] |
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