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18401_T | Lucretia (Rembrandt, 1666) | Focus on Lucretia (Rembrandt, 1666) and discuss the Influence. | Caravaggio's influence spread to the Netherlands and provided adaptation of figural postures, structural principle and dark shadows. Caravaggio's style often included illuminated figures, spot-lit, emerging from surrounding shadow – a technique called tenebrism. Rembrandt borrowed influence from this style of artwork, evident in Lucretia; she is illuminated as the focus of the painting. The dark shadowing on her face and the dark background pull her towards the viewer. There is evidence that Rembrandt pulled inspiration from Caravaggio's compositions, especially Caravaggio's David, in the case of Rembrandt's Lucretia. The head and body's composition are similar: both have their head slightly tiled to an angle, both forms end below the waist, horizontal marks on Lucretia dress may mirror David's bone structure, and Lucretia's chain across her dress is similar to the line of David’s shirt. While David is holding the head of Goliath, the Rembrandt shows Lucretia holding her bed tassel. Recent scholarship and exhibitions have unearthed striking connections between Rembrandt and Caravaggio. Art historian Jeremy Caniglia published a study in 2020 that uses x-rays, palette comparisons and overlay analysis technology to show how Rembrandt created Lucretia as a feminized copy of Caravaggio's David. | [
"Caravaggio's David",
"Lucretia",
"tenebrism",
"Caravaggio",
"Rembrandt",
"Jeremy Caniglia"
] |
|
18401_NT | Lucretia (Rembrandt, 1666) | Focus on this artwork and discuss the Influence. | Caravaggio's influence spread to the Netherlands and provided adaptation of figural postures, structural principle and dark shadows. Caravaggio's style often included illuminated figures, spot-lit, emerging from surrounding shadow – a technique called tenebrism. Rembrandt borrowed influence from this style of artwork, evident in Lucretia; she is illuminated as the focus of the painting. The dark shadowing on her face and the dark background pull her towards the viewer. There is evidence that Rembrandt pulled inspiration from Caravaggio's compositions, especially Caravaggio's David, in the case of Rembrandt's Lucretia. The head and body's composition are similar: both have their head slightly tiled to an angle, both forms end below the waist, horizontal marks on Lucretia dress may mirror David's bone structure, and Lucretia's chain across her dress is similar to the line of David’s shirt. While David is holding the head of Goliath, the Rembrandt shows Lucretia holding her bed tassel. Recent scholarship and exhibitions have unearthed striking connections between Rembrandt and Caravaggio. Art historian Jeremy Caniglia published a study in 2020 that uses x-rays, palette comparisons and overlay analysis technology to show how Rembrandt created Lucretia as a feminized copy of Caravaggio's David. | [
"Caravaggio's David",
"Lucretia",
"tenebrism",
"Caravaggio",
"Rembrandt",
"Jeremy Caniglia"
] |
|
18402_T | Lucretia (Rembrandt, 1666) | How does Lucretia (Rembrandt, 1666) elucidate its Provenance? | Private collection Jean-Baptiste Wiscar, Lille/Rome
possibly part of the collection of Jean-Baptist, by Nov. 1802 (Biikker/Schapelhouman/Krekeler 2014, online supplement p.21-22)
Private collection Michal Hieronim Radziwill, Nieborów
Private collection
Private Collection John Calvert Wombwell, London (England)
1853-06-04 date of auction
Private Collection William W. Burdon, Newcastle upon Tyne
1853-06-04 – 1862-06-28 date of auction
Private Collection J. Purvis Carter, London/Florence
1877-after 1877 (Hudson 1969, no.21)
Reinhardt Galleries, New York City
1926-1926 (Judson 1969, no.21)
Private Collection H.V. Jones, Minneapolis (Minnesota)
1928-1927/1928 (Weller et al. 2011, no.50)
Private Collection Lydia Augusta Jones, Minneapolis (Minnesota)
Descent from her husband Herschel V. Jones
Minneapolis Institute of Art, Minneapolis (Minnesota)
1934 – | [
"Minneapolis Institute of Art",
"Minneapolis",
"Herschel V. Jones",
"H.V. Jones",
"William W. Burdon"
] |
|
18402_NT | Lucretia (Rembrandt, 1666) | How does this artwork elucidate its Provenance? | Private collection Jean-Baptiste Wiscar, Lille/Rome
possibly part of the collection of Jean-Baptist, by Nov. 1802 (Biikker/Schapelhouman/Krekeler 2014, online supplement p.21-22)
Private collection Michal Hieronim Radziwill, Nieborów
Private collection
Private Collection John Calvert Wombwell, London (England)
1853-06-04 date of auction
Private Collection William W. Burdon, Newcastle upon Tyne
1853-06-04 – 1862-06-28 date of auction
Private Collection J. Purvis Carter, London/Florence
1877-after 1877 (Hudson 1969, no.21)
Reinhardt Galleries, New York City
1926-1926 (Judson 1969, no.21)
Private Collection H.V. Jones, Minneapolis (Minnesota)
1928-1927/1928 (Weller et al. 2011, no.50)
Private Collection Lydia Augusta Jones, Minneapolis (Minnesota)
Descent from her husband Herschel V. Jones
Minneapolis Institute of Art, Minneapolis (Minnesota)
1934 – | [
"Minneapolis Institute of Art",
"Minneapolis",
"Herschel V. Jones",
"H.V. Jones",
"William W. Burdon"
] |
|
18403_T | Statue of Jim Hogg | Focus on Statue of Jim Hogg and analyze the abstract. | James Stephen Hogg is an outdoor sculpture depicting the American lawyer and statesman of the same name by Pompeo Coppini. The sculpture was commissioned in 1919 by George W. Littlefield to be included in the Littlefield Fountain on the campus of the University of Texas at Austin. It was installed on the university's South Mall in Austin, Texas from 1933 until its removal in 2017. | [
"American lawyer and statesman of the same name",
"James Stephen Hogg",
"George W. Littlefield",
"Littlefield Fountain",
"Pompeo Coppini",
"Austin, Texas",
"University of Texas at Austin"
] |
|
18403_NT | Statue of Jim Hogg | Focus on this artwork and analyze the abstract. | James Stephen Hogg is an outdoor sculpture depicting the American lawyer and statesman of the same name by Pompeo Coppini. The sculpture was commissioned in 1919 by George W. Littlefield to be included in the Littlefield Fountain on the campus of the University of Texas at Austin. It was installed on the university's South Mall in Austin, Texas from 1933 until its removal in 2017. | [
"American lawyer and statesman of the same name",
"James Stephen Hogg",
"George W. Littlefield",
"Littlefield Fountain",
"Pompeo Coppini",
"Austin, Texas",
"University of Texas at Austin"
] |
|
18404_T | Statue of Jim Hogg | In Statue of Jim Hogg, how is the History discussed? | In 1919, University of Texas regent George W. Littlefield donated funds to pay for the construction of a "Memorial Gateway" at the south entrance to the university's campus that would honor the Confederate dead from the Civil War. He hired San Antonio-based Italian-born sculptor Pompeo Coppini to design the monument, which was to include a number of statues of notable figures from the history of Texas and the American South. The memorial was ultimately redesigned as the Littlefield Fountain and instead dedicated to the university's students and alumni who had died in the Great War (now known as World War I).As part of the memorial project, in the 1920s Coppini sculpted bronze statues of James Stephen Hogg and five other Texan and Confederate notables selected by Littlefield, which he intended to display around the fountain. However, as construction on the memorial proceeded in the early 1930s, campus architect Paul Cret decided to instead install the six statues along the university's South Mall, where they were placed in 1933 as the construction of the fountain complex was completed. | [
"World War I",
"James Stephen Hogg",
"George W. Littlefield",
"Littlefield Fountain",
"Pompeo Coppini",
"Paul Cret",
"Civil War",
"San Antonio",
"Confederate"
] |
|
18404_NT | Statue of Jim Hogg | In this artwork, how is the History discussed? | In 1919, University of Texas regent George W. Littlefield donated funds to pay for the construction of a "Memorial Gateway" at the south entrance to the university's campus that would honor the Confederate dead from the Civil War. He hired San Antonio-based Italian-born sculptor Pompeo Coppini to design the monument, which was to include a number of statues of notable figures from the history of Texas and the American South. The memorial was ultimately redesigned as the Littlefield Fountain and instead dedicated to the university's students and alumni who had died in the Great War (now known as World War I).As part of the memorial project, in the 1920s Coppini sculpted bronze statues of James Stephen Hogg and five other Texan and Confederate notables selected by Littlefield, which he intended to display around the fountain. However, as construction on the memorial proceeded in the early 1930s, campus architect Paul Cret decided to instead install the six statues along the university's South Mall, where they were placed in 1933 as the construction of the fountain complex was completed. | [
"World War I",
"James Stephen Hogg",
"George W. Littlefield",
"Littlefield Fountain",
"Pompeo Coppini",
"Paul Cret",
"Civil War",
"San Antonio",
"Confederate"
] |
|
18405_T | Statue of Jim Hogg | In the context of Statue of Jim Hogg, explore the Controversy, removal, and relocation of the History. |
Beginning in 2015 and accelerating in 2017, a national controversy grew over the prominent positions of monuments and memorials to the Confederacy in many public spaces across the United States, and particularly in the American South. In this context, the statues of Confederate notables along the university's South Mall that Coppini had designed for the Littlefield Fountain attracted increased public criticism.
In March 2015, UT's student government passed a resolution calling for the removal of Coppini's statue of Jefferson Davis from the South Mall. That August, the university in fact removed the statues of both Davis and Woodrow Wilson from the Mall and placed them in storage, despite a lawsuit from the Texas Division of the Sons of Confederate Veterans, which failed to persuade the Texas Supreme Court to block the plan. On August 20, 2017, in the aftermath of the Unite the Right rally in Charlottesville, Virginia, the university removed Hogg and the three other remaining Coppini statues of Confederate-Texan notables from the South Mall.On December 6, 2018, UT President Gregory L. Fenves announced that the statue of James Stephen Hogg will be reinstalled on campus. Mr. Fenves cited the importance of Governor Hogg as a Texas historical figure, as well as the contributions of his descendants to the University. | [
"Jefferson Davis",
"James Stephen Hogg",
"Unite the Right rally",
"Littlefield Fountain",
"Charlottesville, Virginia",
"Woodrow Wilson",
"Sons of Confederate Veterans",
"Texas Supreme Court",
"Confederate"
] |
|
18405_NT | Statue of Jim Hogg | In the context of this artwork, explore the Controversy, removal, and relocation of the History. |
Beginning in 2015 and accelerating in 2017, a national controversy grew over the prominent positions of monuments and memorials to the Confederacy in many public spaces across the United States, and particularly in the American South. In this context, the statues of Confederate notables along the university's South Mall that Coppini had designed for the Littlefield Fountain attracted increased public criticism.
In March 2015, UT's student government passed a resolution calling for the removal of Coppini's statue of Jefferson Davis from the South Mall. That August, the university in fact removed the statues of both Davis and Woodrow Wilson from the Mall and placed them in storage, despite a lawsuit from the Texas Division of the Sons of Confederate Veterans, which failed to persuade the Texas Supreme Court to block the plan. On August 20, 2017, in the aftermath of the Unite the Right rally in Charlottesville, Virginia, the university removed Hogg and the three other remaining Coppini statues of Confederate-Texan notables from the South Mall.On December 6, 2018, UT President Gregory L. Fenves announced that the statue of James Stephen Hogg will be reinstalled on campus. Mr. Fenves cited the importance of Governor Hogg as a Texas historical figure, as well as the contributions of his descendants to the University. | [
"Jefferson Davis",
"James Stephen Hogg",
"Unite the Right rally",
"Littlefield Fountain",
"Charlottesville, Virginia",
"Woodrow Wilson",
"Sons of Confederate Veterans",
"Texas Supreme Court",
"Confederate"
] |
|
18406_T | The Crowning with Thorns (Caravaggio, Vienna) | Focus on The Crowning with Thorns (Caravaggio, Vienna) and explain the abstract. | The Crowning with Thorns is a painting by the Italian painter Michelangelo Merisi da Caravaggio. Made probably in 1602/1604 or possibly around 1607, it is now located in the Kunsthistorisches Museum, Vienna. It was bought in Rome by the Imperial ambassador, Baron Ludwig von Lebzelter in 1809, but did not arrive in Vienna until 1816. | [
"Michelangelo Merisi da Caravaggio",
"M",
"Kunsthistorisches Museum",
"Caravaggio",
"Italian",
"Kunsthistorisches Museum, Vienna",
"Ludwig von Lebzelter",
"The Crowning with Thorns"
] |
|
18406_NT | The Crowning with Thorns (Caravaggio, Vienna) | Focus on this artwork and explain the abstract. | The Crowning with Thorns is a painting by the Italian painter Michelangelo Merisi da Caravaggio. Made probably in 1602/1604 or possibly around 1607, it is now located in the Kunsthistorisches Museum, Vienna. It was bought in Rome by the Imperial ambassador, Baron Ludwig von Lebzelter in 1809, but did not arrive in Vienna until 1816. | [
"Michelangelo Merisi da Caravaggio",
"M",
"Kunsthistorisches Museum",
"Caravaggio",
"Italian",
"Kunsthistorisches Museum, Vienna",
"Ludwig von Lebzelter",
"The Crowning with Thorns"
] |
|
18407_T | The Crowning with Thorns (Caravaggio, Vienna) | Explore the History of this artwork, The Crowning with Thorns (Caravaggio, Vienna). | According to Caravaggio's biographer Giovanni Bellori a Crowning with Thorns was made for Caravaggio's patron Vincenzo Giustiniani, and this painting can be traced convincingly to the Giustiniani collection. An attribution to Giustiniani would place it in the period before 1606, when Caravaggio fled Rome, but Peter Robb dates it to 1607, when the artist was in Naples.The painting depicts a crown of thorns being forced onto the head of Jesus before his crucifixion, to mock his claim to authority. The twisted body of Christ was influenced by the Belvedere Torso. The painting was designed as a supraporte, to be hung over a doorway. | [
"claim to authority",
"crucifixion",
"supraporte",
"Giovanni Bellori",
"Belvedere Torso",
"Caravaggio",
"Vincenzo Giustiniani",
"crown of thorns",
"Peter Robb"
] |
|
18407_NT | The Crowning with Thorns (Caravaggio, Vienna) | Explore the History of this artwork. | According to Caravaggio's biographer Giovanni Bellori a Crowning with Thorns was made for Caravaggio's patron Vincenzo Giustiniani, and this painting can be traced convincingly to the Giustiniani collection. An attribution to Giustiniani would place it in the period before 1606, when Caravaggio fled Rome, but Peter Robb dates it to 1607, when the artist was in Naples.The painting depicts a crown of thorns being forced onto the head of Jesus before his crucifixion, to mock his claim to authority. The twisted body of Christ was influenced by the Belvedere Torso. The painting was designed as a supraporte, to be hung over a doorway. | [
"claim to authority",
"crucifixion",
"supraporte",
"Giovanni Bellori",
"Belvedere Torso",
"Caravaggio",
"Vincenzo Giustiniani",
"crown of thorns",
"Peter Robb"
] |
|
18408_T | The Crowning with Thorns (Caravaggio, Vienna) | Focus on The Crowning with Thorns (Caravaggio, Vienna) and discuss the Style. | Caravaggio's patron Vincenzo Giustiniani was an intellectual as well as a collector, and late in life he wrote a paper about art in which he identified twelve grades of accomplishment. In the highest class he named just two artists, Caravaggio and Annibale Carracci, as those capable of combining realism and style in the most accomplished manner. This Crowning with Thorns illustrates what Giustiniani meant: the cruelty of the two torturers hammering home the thorns is depicted as acutely observed reality, as is the bored slouch of the official leaning on the rail as he oversees the death of God; meanwhile Christ is suffering real pain with patient endurance; all depicted within a classical composition of contrasting and intersecting horizontals and diagonals.
The theme of pain and sadism is central to the work. John Gash points to the way the two torturers ram the crown down with the butts of their staffs, "a rhythmic and sadistic hammering." Robb mentions that the painting is about "how ... to give pain and feel pain, and how close pain and pleasure sometimes were, how voluptuous suffering could be on a golden afternoon." | [
"Annibale Carracci",
"Caravaggio",
"Vincenzo Giustiniani"
] |
|
18408_NT | The Crowning with Thorns (Caravaggio, Vienna) | Focus on this artwork and discuss the Style. | Caravaggio's patron Vincenzo Giustiniani was an intellectual as well as a collector, and late in life he wrote a paper about art in which he identified twelve grades of accomplishment. In the highest class he named just two artists, Caravaggio and Annibale Carracci, as those capable of combining realism and style in the most accomplished manner. This Crowning with Thorns illustrates what Giustiniani meant: the cruelty of the two torturers hammering home the thorns is depicted as acutely observed reality, as is the bored slouch of the official leaning on the rail as he oversees the death of God; meanwhile Christ is suffering real pain with patient endurance; all depicted within a classical composition of contrasting and intersecting horizontals and diagonals.
The theme of pain and sadism is central to the work. John Gash points to the way the two torturers ram the crown down with the butts of their staffs, "a rhythmic and sadistic hammering." Robb mentions that the painting is about "how ... to give pain and feel pain, and how close pain and pleasure sometimes were, how voluptuous suffering could be on a golden afternoon." | [
"Annibale Carracci",
"Caravaggio",
"Vincenzo Giustiniani"
] |
|
18409_T | Statue of Christopher Columbus (Newark, New Jersey) | How does Statue of Christopher Columbus (Newark, New Jersey) elucidate its abstract? | A statue of Christopher Columbus was a memorial in Washington Park (now Harriet Tubman Square) in Newark, New Jersey within the James Street Commons Historic District. It was made in Rome by Giuseppe Ciochetti and presented to the city by Newark's Italians in 1927. The statue was removed by the city (with pedestal left in place) in June 2020 to prevent its toppling in a Black Lives Matter protest.A second statue of Columbus in Newark, also ordered removed by Mayor Ras Baraka, was subsequently re-erected in Sussex County, New Jersey.The pedestal of the statue was removed in 2022 in preparation for the installation of A Shadow of a Face, a memorial to Harriet Tubman. The outline of the statue's plinth is inscribed on the ground as part of the new monument. As of October 2020, the statue was being stored on a vacant city lot in Newark's North Ward. | [
"Harriet Tubman",
"Shadow of a Face",
"A Shadow of a Face",
"Sussex County, New Jersey",
"Black Lives Matter",
"James Street Commons Historic District",
"Newark, New Jersey",
"Washington Park",
"Christopher Columbus"
] |
|
18409_NT | Statue of Christopher Columbus (Newark, New Jersey) | How does this artwork elucidate its abstract? | A statue of Christopher Columbus was a memorial in Washington Park (now Harriet Tubman Square) in Newark, New Jersey within the James Street Commons Historic District. It was made in Rome by Giuseppe Ciochetti and presented to the city by Newark's Italians in 1927. The statue was removed by the city (with pedestal left in place) in June 2020 to prevent its toppling in a Black Lives Matter protest.A second statue of Columbus in Newark, also ordered removed by Mayor Ras Baraka, was subsequently re-erected in Sussex County, New Jersey.The pedestal of the statue was removed in 2022 in preparation for the installation of A Shadow of a Face, a memorial to Harriet Tubman. The outline of the statue's plinth is inscribed on the ground as part of the new monument. As of October 2020, the statue was being stored on a vacant city lot in Newark's North Ward. | [
"Harriet Tubman",
"Shadow of a Face",
"A Shadow of a Face",
"Sussex County, New Jersey",
"Black Lives Matter",
"James Street Commons Historic District",
"Newark, New Jersey",
"Washington Park",
"Christopher Columbus"
] |
|
18410_T | Ksitigarbha bodhisattva | Focus on Ksitigarbha bodhisattva and analyze the Style. | The style of this statue is reflective of the transitioning attitudes and ideals observed in the early Kamakura period. During this time Japan faced a shift from the nobility that governed the late Fujiwara period to the "landowning military men" that seized power at the start of the Kamakura period. Dramatic shifts in politics, society, and culture resulted in a transformation of artistic design, with focus placed heavily on realism and honesty. Additionally, the Kamakura era marked a turning point in religious activity, with Buddhism becoming more heavily practiced among the masses Stylistically, Ksitigarbha Bodhisattva (Jizō Bosatsu) reflects this shift towards Buddhism in its depiction of the Bodhisattva, as well as the realism of early Kamakura art in the "highly stylized geometric" shaping of the statue's head and torso. | [
"Kamakura period",
"Bodhisattva",
"Fujiwara",
"Jizō"
] |
|
18410_NT | Ksitigarbha bodhisattva | Focus on this artwork and analyze the Style. | The style of this statue is reflective of the transitioning attitudes and ideals observed in the early Kamakura period. During this time Japan faced a shift from the nobility that governed the late Fujiwara period to the "landowning military men" that seized power at the start of the Kamakura period. Dramatic shifts in politics, society, and culture resulted in a transformation of artistic design, with focus placed heavily on realism and honesty. Additionally, the Kamakura era marked a turning point in religious activity, with Buddhism becoming more heavily practiced among the masses Stylistically, Ksitigarbha Bodhisattva (Jizō Bosatsu) reflects this shift towards Buddhism in its depiction of the Bodhisattva, as well as the realism of early Kamakura art in the "highly stylized geometric" shaping of the statue's head and torso. | [
"Kamakura period",
"Bodhisattva",
"Fujiwara",
"Jizō"
] |
|
18411_T | Ksitigarbha bodhisattva | In Ksitigarbha bodhisattva, how is the Acquisition discussed? | A detailed history of this statue is unknown. The work has however been dated to approximately 1175; it was acquired through the Evans Woollen Jr. Memorial Fund in 1959. | [] |
|
18411_NT | Ksitigarbha bodhisattva | In this artwork, how is the Acquisition discussed? | A detailed history of this statue is unknown. The work has however been dated to approximately 1175; it was acquired through the Evans Woollen Jr. Memorial Fund in 1959. | [] |
|
18412_T | Monument au Fantôme | Focus on Monument au Fantôme and explore the abstract. | Monument au Fantôme (English: Monument to the Phantom) is an outdoor sculpture by French sculptor Jean Dubuffet, in 1977. It was originally inaugurated at the plaza of 1100 Louisiana. It is installed on Avenida de las Americas at Discovery Green in Houston, Texas, United States, since 2008. The painted fiberglass and steel frame sculpture features seven individual forms that represent features of Houston, including a chimney, church, dog, hedge, mast, phantom, and tree. Donated by the Dan Duncan family, it is part of Dubuffet's Hourloupe series, which has companion sculptures in Chicago, New York, and in Europe. | [
"Houston",
"Discovery Green",
"Texas",
"Jean Dubuffet"
] |
|
18412_NT | Monument au Fantôme | Focus on this artwork and explore the abstract. | Monument au Fantôme (English: Monument to the Phantom) is an outdoor sculpture by French sculptor Jean Dubuffet, in 1977. It was originally inaugurated at the plaza of 1100 Louisiana. It is installed on Avenida de las Americas at Discovery Green in Houston, Texas, United States, since 2008. The painted fiberglass and steel frame sculpture features seven individual forms that represent features of Houston, including a chimney, church, dog, hedge, mast, phantom, and tree. Donated by the Dan Duncan family, it is part of Dubuffet's Hourloupe series, which has companion sculptures in Chicago, New York, and in Europe. | [
"Houston",
"Discovery Green",
"Texas",
"Jean Dubuffet"
] |
|
18413_T | Samuel Gross (Calder) | Focus on Samuel Gross (Calder) and explain the abstract. | Samuel Gross (1897) is a bronze statue by sculptor Alexander Stirling Calder that was created as a monument to the American surgeon Dr. Samuel D. Gross (1805–1884). It was commissioned for and originally installed at the Army Medical School in Washington, D.C., on what is now the National Mall.
In April 1970, it was relocated to the campus of Jefferson Medical College (now Thomas Jefferson University) in Philadelphia, Pennsylvania. It currently stands on the Sidney and Ethal Lubert Plaza, within the square bordered by 10th, Walnut, 11th and Locust Streets. | [
"American",
"Thomas Jefferson University",
"Samuel D. Gross",
"Philadelphia",
"National Mall",
"Army Medical School",
"Alexander Stirling Calder",
"Philadelphia, Pennsylvania"
] |
|
18413_NT | Samuel Gross (Calder) | Focus on this artwork and explain the abstract. | Samuel Gross (1897) is a bronze statue by sculptor Alexander Stirling Calder that was created as a monument to the American surgeon Dr. Samuel D. Gross (1805–1884). It was commissioned for and originally installed at the Army Medical School in Washington, D.C., on what is now the National Mall.
In April 1970, it was relocated to the campus of Jefferson Medical College (now Thomas Jefferson University) in Philadelphia, Pennsylvania. It currently stands on the Sidney and Ethal Lubert Plaza, within the square bordered by 10th, Walnut, 11th and Locust Streets. | [
"American",
"Thomas Jefferson University",
"Samuel D. Gross",
"Philadelphia",
"National Mall",
"Army Medical School",
"Alexander Stirling Calder",
"Philadelphia, Pennsylvania"
] |
|
18414_T | Samuel Gross (Calder) | Explore the History of this artwork, Samuel Gross (Calder). | Dr. Gross was considered the greatest American surgeon of his time.He trained more than a generation of surgeons at Jefferson Medical College, and was the author of A Manual of Military Surgery (1861), the military field surgery manual used by the Union Army during the Civil War (and subsequently used by the Confederate States Army).He later served as president of the American Medical Association and was a founder and the first president of the American Surgical Association. | [
"Union Army",
"American",
"Confederate States Army",
"Civil War",
"American Surgical Association",
"American Medical Association"
] |
|
18414_NT | Samuel Gross (Calder) | Explore the History of this artwork. | Dr. Gross was considered the greatest American surgeon of his time.He trained more than a generation of surgeons at Jefferson Medical College, and was the author of A Manual of Military Surgery (1861), the military field surgery manual used by the Union Army during the Civil War (and subsequently used by the Confederate States Army).He later served as president of the American Medical Association and was a founder and the first president of the American Surgical Association. | [
"Union Army",
"American",
"Confederate States Army",
"Civil War",
"American Surgical Association",
"American Medical Association"
] |
|
18415_T | Samuel Gross (Calder) | In the context of Samuel Gross (Calder), discuss the Creation of the statue of the History. | The formal proposal for a statue of Dr. Gross originated at the September 24, 1891 business meeting of the ASA.: 1535 By the end of 1892, more than $6,000 had been raised from members of the ASA and the Jefferson Medical College Alumni Association.: 1538 Members of the AMA also were solicited for contributions:Mr. Geo. Keil of Philadelphia is in Chicago this week, representing the S. D. Gross Monument Fund, and will call on the leading members of the profession in this city. Twelve thousand dollars is the minimum amount required, and the raising of the amount should not be doubtful. Gentlemen desiring to anticipate Mr. Keil's visit may leave contributions for him at the JOURNAL office, if more convenient.
Calder won the commission for the statue through an 1894 national design competition. He based his likeness of Dr. Gross on photographs that his former teacher, Thomas Eakins, had taken in preparation for the 1876 painting, The Gross Clinic. Other sculptors in the design competition included Charles Grafly and Samuel Murray, fellow former students of Eakins, with whom Eakins also shared copies of the negatives.Calder completed his larger-than-life-size plaster statue in Philadelphia, and it was shipped to Paris to be cast in bronze at the Jaboeuf & Bezout foundry. Congress appropriated funds for the statue's pink granite base—three square steps and pedestal, 108 in (270 cm) in height—and the completed bronze was shipped to Washington, D.C. The monument was installed at the northeast corner of 9th Street and Independence Avenue, between the Army Medical School and the Smithsonian Institution Building.The monument's May 6, 1897 dedication was timed to coincide with the Washington, D.C. convention of the Congress of American Physicians and Surgeons. President William McKinley spoke at the ceremony, as did Surgeon General of the U.S. Army George M. Sternberg, and William Williams Keen, Dr. Gross's former student and successor as Professor of Surgery at Jefferson Medical College, and America's first brain surgeon. Dr. Gross's granddaughter and great-grandson unveiled the statue. | [
"Thomas Eakins",
"negative",
"American",
"Charles Grafly",
"William Williams Keen",
"Philadelphia",
"George M. Sternberg",
"Army Medical School",
"Smithsonian Institution Building",
"The Gross Clinic",
"Congress",
"foundry",
"Samuel Murray",
"William McKinley"
] |
|
18415_NT | Samuel Gross (Calder) | In the context of this artwork, discuss the Creation of the statue of the History. | The formal proposal for a statue of Dr. Gross originated at the September 24, 1891 business meeting of the ASA.: 1535 By the end of 1892, more than $6,000 had been raised from members of the ASA and the Jefferson Medical College Alumni Association.: 1538 Members of the AMA also were solicited for contributions:Mr. Geo. Keil of Philadelphia is in Chicago this week, representing the S. D. Gross Monument Fund, and will call on the leading members of the profession in this city. Twelve thousand dollars is the minimum amount required, and the raising of the amount should not be doubtful. Gentlemen desiring to anticipate Mr. Keil's visit may leave contributions for him at the JOURNAL office, if more convenient.
Calder won the commission for the statue through an 1894 national design competition. He based his likeness of Dr. Gross on photographs that his former teacher, Thomas Eakins, had taken in preparation for the 1876 painting, The Gross Clinic. Other sculptors in the design competition included Charles Grafly and Samuel Murray, fellow former students of Eakins, with whom Eakins also shared copies of the negatives.Calder completed his larger-than-life-size plaster statue in Philadelphia, and it was shipped to Paris to be cast in bronze at the Jaboeuf & Bezout foundry. Congress appropriated funds for the statue's pink granite base—three square steps and pedestal, 108 in (270 cm) in height—and the completed bronze was shipped to Washington, D.C. The monument was installed at the northeast corner of 9th Street and Independence Avenue, between the Army Medical School and the Smithsonian Institution Building.The monument's May 6, 1897 dedication was timed to coincide with the Washington, D.C. convention of the Congress of American Physicians and Surgeons. President William McKinley spoke at the ceremony, as did Surgeon General of the U.S. Army George M. Sternberg, and William Williams Keen, Dr. Gross's former student and successor as Professor of Surgery at Jefferson Medical College, and America's first brain surgeon. Dr. Gross's granddaughter and great-grandson unveiled the statue. | [
"Thomas Eakins",
"negative",
"American",
"Charles Grafly",
"William Williams Keen",
"Philadelphia",
"George M. Sternberg",
"Army Medical School",
"Smithsonian Institution Building",
"The Gross Clinic",
"Congress",
"foundry",
"Samuel Murray",
"William McKinley"
] |
|
18416_T | Samuel Gross (Calder) | In Samuel Gross (Calder), how is the Relocation of the History elucidated? | In preparation for excavation of the 9th Street Tunnel under the National Mall, the monument was removed and placed in storage in the late 1960s. The Army Medical Museum and Library (formerly the Army Medical School Building) was demolished in 1969, and the Hirshhorn Museum and Sculpture Garden (completed 1974) was built on its site. In April 1970, the statue and its base were relocated to the campus of Jefferson Medical College, where Dr. Gross had gone to medical school and been Professor of Surgery for 28 years.
Alexander Stirling Calder's statue of Samuel D. Gross, which Jefferson retrieved from the warehouses of the Federal Government in Washington, where it had been moved from the Mall during construction of an expressway underpass, was placed to the rear of the Scott Building some months ago. The real question is why Jefferson placed it overlooking the parking lot rather than on the Walnut Street front, as the architects suggested. One assumes that it is to relate eventually to an open area in the center of the block which would result if new construction proceeds along Eleventh and Locust Streets and parking is placed underground. | [
"Hirshhorn Museum and Sculpture Garden",
"9th Street Tunnel",
"Samuel D. Gross",
"National Mall",
"Army Medical School",
"Alexander Stirling Calder",
"Army Medical Museum and Library"
] |
|
18416_NT | Samuel Gross (Calder) | In this artwork, how is the Relocation of the History elucidated? | In preparation for excavation of the 9th Street Tunnel under the National Mall, the monument was removed and placed in storage in the late 1960s. The Army Medical Museum and Library (formerly the Army Medical School Building) was demolished in 1969, and the Hirshhorn Museum and Sculpture Garden (completed 1974) was built on its site. In April 1970, the statue and its base were relocated to the campus of Jefferson Medical College, where Dr. Gross had gone to medical school and been Professor of Surgery for 28 years.
Alexander Stirling Calder's statue of Samuel D. Gross, which Jefferson retrieved from the warehouses of the Federal Government in Washington, where it had been moved from the Mall during construction of an expressway underpass, was placed to the rear of the Scott Building some months ago. The real question is why Jefferson placed it overlooking the parking lot rather than on the Walnut Street front, as the architects suggested. One assumes that it is to relate eventually to an open area in the center of the block which would result if new construction proceeds along Eleventh and Locust Streets and parking is placed underground. | [
"Hirshhorn Museum and Sculpture Garden",
"9th Street Tunnel",
"Samuel D. Gross",
"National Mall",
"Army Medical School",
"Alexander Stirling Calder",
"Army Medical Museum and Library"
] |
|
18417_T | Samuel Gross (Calder) | In the context of Samuel Gross (Calder), analyze the Inscriptions of the History. | (Sculpture, Lower proper left side):
JABOEUF & BEZOUT FONDEURS A PARIS [a Founder's mark appears](Sculpture, Lower proper right side):
CALDER(Granite base, front): | [
"right"
] |
|
18417_NT | Samuel Gross (Calder) | In the context of this artwork, analyze the Inscriptions of the History. | (Sculpture, Lower proper left side):
JABOEUF & BEZOUT FONDEURS A PARIS [a Founder's mark appears](Sculpture, Lower proper right side):
CALDER(Granite base, front): | [
"right"
] |
|
18418_T | The Judgement of Cambyses | In The Judgement of Cambyses, how is the abstract discussed? | The Judgement of Cambyses is an oil-on-wood diptych by Dutch artist Gerard David, depicting the arrest and flaying of the corrupt Persian judge Sisamnes on the order of Cambyses, based on Herodotus' Histories. The diptych was commissioned in 1487/1488 by the municipal authorities of Bruges which requested a series of panels for the deputy burgomaster's room in the town hall.The diptych was painted on oak panels and was first mentioned in the Bruges' archives as The Last Judgement. It was used by the town burghers to encourage honesty among the magistrates and as a symbolic public apology for the imprisonment of Maximilian I in Bruges in 1488. The top right corner of the flaying scene features Sisamnes' son dispensing justice from his father's chair, now draped with the flayed skin.
It is one of the few works by David that is not based on traditional religious themes.There are also other paintings with the same subject, such as that by Dirck Vellert from 1542. | [
"oak",
"flaying",
"town hall",
"Dirck Vellert",
"Maximilian I",
"diptych",
"Histories",
"Bruges",
"oil-on-wood",
"burgomaster",
"Herodotus",
"Sisamnes",
"Gerard David",
"Cambyses"
] |
|
18418_NT | The Judgement of Cambyses | In this artwork, how is the abstract discussed? | The Judgement of Cambyses is an oil-on-wood diptych by Dutch artist Gerard David, depicting the arrest and flaying of the corrupt Persian judge Sisamnes on the order of Cambyses, based on Herodotus' Histories. The diptych was commissioned in 1487/1488 by the municipal authorities of Bruges which requested a series of panels for the deputy burgomaster's room in the town hall.The diptych was painted on oak panels and was first mentioned in the Bruges' archives as The Last Judgement. It was used by the town burghers to encourage honesty among the magistrates and as a symbolic public apology for the imprisonment of Maximilian I in Bruges in 1488. The top right corner of the flaying scene features Sisamnes' son dispensing justice from his father's chair, now draped with the flayed skin.
It is one of the few works by David that is not based on traditional religious themes.There are also other paintings with the same subject, such as that by Dirck Vellert from 1542. | [
"oak",
"flaying",
"town hall",
"Dirck Vellert",
"Maximilian I",
"diptych",
"Histories",
"Bruges",
"oil-on-wood",
"burgomaster",
"Herodotus",
"Sisamnes",
"Gerard David",
"Cambyses"
] |
|
18419_T | The Judgement of Cambyses | Focus on The Judgement of Cambyses and explore the Usage in protests. | David's The Judgement of Cambyses was used in August 2012 by the supporters of Yulia Timoshenko when they showed the reproduction of the work to the judge who was reviewing her case. In November of the same year two activists showed the reproduction of The Judgement of Cambyses to the judge Andrey Fedin, who convicted Maxim Luzyanin, involved in the Bolotnaya Square case. | [
"Bolotnaya Square case",
"Yulia Timoshenko",
"Cambyses"
] |
|
18419_NT | The Judgement of Cambyses | Focus on this artwork and explore the Usage in protests. | David's The Judgement of Cambyses was used in August 2012 by the supporters of Yulia Timoshenko when they showed the reproduction of the work to the judge who was reviewing her case. In November of the same year two activists showed the reproduction of The Judgement of Cambyses to the judge Andrey Fedin, who convicted Maxim Luzyanin, involved in the Bolotnaya Square case. | [
"Bolotnaya Square case",
"Yulia Timoshenko",
"Cambyses"
] |
|
18420_T | Portrait of Lavinia Vecellio | Focus on Portrait of Lavinia Vecellio and explain the abstract. | Portrait of Lavinia Vecellio is a c.1545 portrait by Tiziano Vecellio (Titian) of his daughter Lavinia. This oil on wood painting is held in the Museo di Capodimonte, Naples. | [
"Naples",
"Titian",
"Museo di Capodimonte"
] |
|
18420_NT | Portrait of Lavinia Vecellio | Focus on this artwork and explain the abstract. | Portrait of Lavinia Vecellio is a c.1545 portrait by Tiziano Vecellio (Titian) of his daughter Lavinia. This oil on wood painting is held in the Museo di Capodimonte, Naples. | [
"Naples",
"Titian",
"Museo di Capodimonte"
] |
|
18421_T | Statue of Manuel López Cotilla | Explore the abstract of this artwork, Statue of Manuel López Cotilla. | A statue of Manuel López Cotilla is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco. | [
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Guadalajara",
"Manuel López Cotilla",
"Centro, Guadalajara"
] |
|
18421_NT | Statue of Manuel López Cotilla | Explore the abstract of this artwork. | A statue of Manuel López Cotilla is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco. | [
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Guadalajara",
"Manuel López Cotilla",
"Centro, Guadalajara"
] |
|
18422_T | Sha-Amun-en-su | Focus on Sha-Amun-en-su and discuss the abstract. | Sha-Amun-en-su (Ancient Egyptian: the fertile fields of Amun) was an Egyptian priestess and singer who lived in Thebes during the first half of the 8th century B.C., responsible for ceremonial duties at the Temple of Karnak, dedicated to the god Amun. Sha-Amun-en-su was a Heset, i.e., a member of the foremost group of singers with ritualistic functions active in the temple of Amun. After her death, which is estimated to have occurred around the age of 50, the singer was mummified and placed in a sarcophagus made of stucco and polychrome wood. Since its sealing, more than 2700 years ago, Sha-Amun-en-su's sarcophagus had never been opened, throughout its history, conserving inside the singer's mummy, a feature that gave it extreme rarity.The sarcophagus and its mummy were given as presents to the Brazilian emperor Dom Pedro II during his second travel to Egypt, in 1876, by the Khedive Ismail Pasha. They became featured items displayed in the Palace of São Cristóvão, integrating Pedro II's private collection until the Proclamation of the Republic, in 1889, when they became part of the Egyptian collection of the National Museum of Rio de Janeiro. However, a large-scale fire in the museum on 2 September 2018, destroyed the sarcophagus and the mummy, as well as almost all archaeological artifacts in permanent display. | [
"Ismail Pasha",
"Khedive",
"Dom Pedro II",
"Karnak",
"large-scale fire in the museum",
"Thebes",
"sarcophagus",
"Palace of São Cristóvão",
"Amun",
"Rio de Janeiro",
"stucco",
"8th century B.C.",
"National Museum",
"mummified",
"polychrome",
"Proclamation of the Republic",
"Egyptian",
"Temple of Karnak",
"Ancient Egypt"
] |
|
18422_NT | Sha-Amun-en-su | Focus on this artwork and discuss the abstract. | Sha-Amun-en-su (Ancient Egyptian: the fertile fields of Amun) was an Egyptian priestess and singer who lived in Thebes during the first half of the 8th century B.C., responsible for ceremonial duties at the Temple of Karnak, dedicated to the god Amun. Sha-Amun-en-su was a Heset, i.e., a member of the foremost group of singers with ritualistic functions active in the temple of Amun. After her death, which is estimated to have occurred around the age of 50, the singer was mummified and placed in a sarcophagus made of stucco and polychrome wood. Since its sealing, more than 2700 years ago, Sha-Amun-en-su's sarcophagus had never been opened, throughout its history, conserving inside the singer's mummy, a feature that gave it extreme rarity.The sarcophagus and its mummy were given as presents to the Brazilian emperor Dom Pedro II during his second travel to Egypt, in 1876, by the Khedive Ismail Pasha. They became featured items displayed in the Palace of São Cristóvão, integrating Pedro II's private collection until the Proclamation of the Republic, in 1889, when they became part of the Egyptian collection of the National Museum of Rio de Janeiro. However, a large-scale fire in the museum on 2 September 2018, destroyed the sarcophagus and the mummy, as well as almost all archaeological artifacts in permanent display. | [
"Ismail Pasha",
"Khedive",
"Dom Pedro II",
"Karnak",
"large-scale fire in the museum",
"Thebes",
"sarcophagus",
"Palace of São Cristóvão",
"Amun",
"Rio de Janeiro",
"stucco",
"8th century B.C.",
"National Museum",
"mummified",
"polychrome",
"Proclamation of the Republic",
"Egyptian",
"Temple of Karnak",
"Ancient Egypt"
] |
|
18423_T | Sha-Amun-en-su | How does Sha-Amun-en-su elucidate its Biography? | Sha-Amun-en-su was born circa 800 B.C., during the Twenty-second Dynasty of Egypt. Her name and almost all information about her life comes from the hieroglyphic inscriptions in her sarcophagus.
It is known that she was a "singer of Amun's sanctuary", meaning she was a singer with priestly assignments in the service of the Temple of Karnak in the ancient city of Thebes (currently Luxor), devoted to the god Amun. Thebes was one of the most important religious centers in Ancient Egypt, congregating a complex of temples and hundreds of workers, among them priests, scribes, singers, musicians, managers and employees, with Karnak as its main temple.There were several categories of priestly singers at Amun's shrine. Sha-Amun-en-su belonged to the main group, called Heset, women who exercised ritualistic functions and sang hymns in honor of the god Amun at sacred ceremonies and festivals, either as soloists or accompanied by female choirs. The Heset tradition lasted in Thebes between the 9th to 6th centuries B.C. Besides singing the religious hymns, they were responsible for helping the "God's Wife of Amun" during the temple rites.
The Heset were not obliged to live permanently in the temple and many of them attended only for the execution of the ceremonies. Nevertheless, they obeyed to strict codes of conduct. Preferably, they were to remain chaste, but regardless, they were considered pure to such extent as to perform their gifts in an important and symbolic edification as the temple of Amun. Although they were not members of the Egyptian nobility, the singers were chosen among members of local elites and prepared for the function from an early age, being "adopted" by an older singer who served as their tutor and, in fact, as an "adoptive mother".There is no information about Sha-Amun-en-su's biological family or foster mother. It is likely that, like most Heset, she came from a wealthy family traditionally linked to priestly activities. It is known, however, that she had an "adopted daughter," based on the inscriptions of another sarcophagus currently preserved in the Egyptian Museum in Cairo — the casket of a singer called Merset-Amun, whose hieroglyphs report that she was "daughter of Sha-Amun-en-su, singer of the shrine of Amun". Sha-Amun-en-su lived until around 50 years old, according to researches led by the National Museum's Laboratory of Egyptology. The death causes could not be determined. | [
"Luxor",
"Egyptian Museum",
"Karnak",
"Thebes",
"sarcophagus",
"Twenty-second Dynasty of Egypt",
"Amun",
"National Museum",
"chaste",
"Egyptian",
"Temple of Karnak",
"Ancient Egypt",
"hieroglyphic inscriptions"
] |
|
18423_NT | Sha-Amun-en-su | How does this artwork elucidate its Biography? | Sha-Amun-en-su was born circa 800 B.C., during the Twenty-second Dynasty of Egypt. Her name and almost all information about her life comes from the hieroglyphic inscriptions in her sarcophagus.
It is known that she was a "singer of Amun's sanctuary", meaning she was a singer with priestly assignments in the service of the Temple of Karnak in the ancient city of Thebes (currently Luxor), devoted to the god Amun. Thebes was one of the most important religious centers in Ancient Egypt, congregating a complex of temples and hundreds of workers, among them priests, scribes, singers, musicians, managers and employees, with Karnak as its main temple.There were several categories of priestly singers at Amun's shrine. Sha-Amun-en-su belonged to the main group, called Heset, women who exercised ritualistic functions and sang hymns in honor of the god Amun at sacred ceremonies and festivals, either as soloists or accompanied by female choirs. The Heset tradition lasted in Thebes between the 9th to 6th centuries B.C. Besides singing the religious hymns, they were responsible for helping the "God's Wife of Amun" during the temple rites.
The Heset were not obliged to live permanently in the temple and many of them attended only for the execution of the ceremonies. Nevertheless, they obeyed to strict codes of conduct. Preferably, they were to remain chaste, but regardless, they were considered pure to such extent as to perform their gifts in an important and symbolic edification as the temple of Amun. Although they were not members of the Egyptian nobility, the singers were chosen among members of local elites and prepared for the function from an early age, being "adopted" by an older singer who served as their tutor and, in fact, as an "adoptive mother".There is no information about Sha-Amun-en-su's biological family or foster mother. It is likely that, like most Heset, she came from a wealthy family traditionally linked to priestly activities. It is known, however, that she had an "adopted daughter," based on the inscriptions of another sarcophagus currently preserved in the Egyptian Museum in Cairo — the casket of a singer called Merset-Amun, whose hieroglyphs report that she was "daughter of Sha-Amun-en-su, singer of the shrine of Amun". Sha-Amun-en-su lived until around 50 years old, according to researches led by the National Museum's Laboratory of Egyptology. The death causes could not be determined. | [
"Luxor",
"Egyptian Museum",
"Karnak",
"Thebes",
"sarcophagus",
"Twenty-second Dynasty of Egypt",
"Amun",
"National Museum",
"chaste",
"Egyptian",
"Temple of Karnak",
"Ancient Egypt",
"hieroglyphic inscriptions"
] |
|
18424_T | Sha-Amun-en-su | Focus on Sha-Amun-en-su and analyze the Mummy. | After the singer's death, her body was mummified by Egyptian priests and placed into a sarcophagus. Sha-Amun-en-su's coffin cover has never been removed, preventing the mummy from being studied by the naked eye. Thus, all analyzes of the coffin's inner structure and mummy status depended on X-ray examinations, computerized tomography, and three-dimensional scans. The set consisting of the sarcophagus and its mummy possessed great historical and scientific value, especially in relation to the knowledge of the funerary practices and rituals of the Temple of Ámon, since mummies of Egyptian singers are rare and even rarer are mummies of singers deposited in sealed coffins.Some features of the Sha-Amun-en-su mummification process were also quite specific and accentuated its rarity. Although most of the mummification process has followed traditional procedures, such as evisceration of the body and its wrapping with linen bandages, research coordinated by archaeologist Antonio Brancaglion Junior, curator of the Egyptian collection of the National Museum, revealed that the mummy's throat was covered with resin-coated bandages. This particularity indicates a concern of the mummifying priests to protect a zone seen as "vital" for a singer with ritualistic functions that, according to the Egyptian beliefs, would continue using her gift in the afterlife.The Institute of Oriental Studies at the University of Chicago preserves in its collection another mummy, also in a sealed sarcophagus, called Meresamun ("Amun's beloved", in Egyptian language). Like Sha-Amun-en-su, she was also a singer of the Amun temple during the 22nd Dynasty and her mummy also boasts a kind of protection in her throat. Meresamun was about 30 years old at her death. Her mouth and throat are lined with a padded protection, apparently made with pressed earth and bandages. Based on these common characteristics between the two mummies, Brancaglion hypothesized that there were specific standards of mummification for the women in charge of chanting hymns and songs in the Temple of Karnak.Anatomical analysis of the Sha-Amun-en-su mummy failed to determine the cause of her death. It is known, anyway, that the singer was around 50 years old when she died. The mummy's body appeared to be in good condition, with no traumas or injuries. The examinations also allowed to observe a very rare dental curiosity: the mummy still kept almost all her teeth, missing only one. The Sha-Amun-en-su mummy also underwent a three-dimensional laser scan coordinated by Jorge Lopes, from the Tri-dimensional Experimentation Nucleus of the Pontifical Catholic University of Rio de Janeiro. That procedure allowed the generation of three-dimensional data files (called "orthogonal coordinates") that served as the basis for making a small-scale replica of the singer's skeleton. | [
"Mummy",
"Ba",
"Karnak",
"sarcophagus",
"Amun",
"Rio de Janeiro",
"National Museum",
"mummified",
"Meresamun",
"Egyptian",
"University of Chicago",
"Pontifical Catholic University of Rio de Janeiro",
"Antonio Brancaglion Junior",
"Temple of Karnak"
] |
|
18424_NT | Sha-Amun-en-su | Focus on this artwork and analyze the Mummy. | After the singer's death, her body was mummified by Egyptian priests and placed into a sarcophagus. Sha-Amun-en-su's coffin cover has never been removed, preventing the mummy from being studied by the naked eye. Thus, all analyzes of the coffin's inner structure and mummy status depended on X-ray examinations, computerized tomography, and three-dimensional scans. The set consisting of the sarcophagus and its mummy possessed great historical and scientific value, especially in relation to the knowledge of the funerary practices and rituals of the Temple of Ámon, since mummies of Egyptian singers are rare and even rarer are mummies of singers deposited in sealed coffins.Some features of the Sha-Amun-en-su mummification process were also quite specific and accentuated its rarity. Although most of the mummification process has followed traditional procedures, such as evisceration of the body and its wrapping with linen bandages, research coordinated by archaeologist Antonio Brancaglion Junior, curator of the Egyptian collection of the National Museum, revealed that the mummy's throat was covered with resin-coated bandages. This particularity indicates a concern of the mummifying priests to protect a zone seen as "vital" for a singer with ritualistic functions that, according to the Egyptian beliefs, would continue using her gift in the afterlife.The Institute of Oriental Studies at the University of Chicago preserves in its collection another mummy, also in a sealed sarcophagus, called Meresamun ("Amun's beloved", in Egyptian language). Like Sha-Amun-en-su, she was also a singer of the Amun temple during the 22nd Dynasty and her mummy also boasts a kind of protection in her throat. Meresamun was about 30 years old at her death. Her mouth and throat are lined with a padded protection, apparently made with pressed earth and bandages. Based on these common characteristics between the two mummies, Brancaglion hypothesized that there were specific standards of mummification for the women in charge of chanting hymns and songs in the Temple of Karnak.Anatomical analysis of the Sha-Amun-en-su mummy failed to determine the cause of her death. It is known, anyway, that the singer was around 50 years old when she died. The mummy's body appeared to be in good condition, with no traumas or injuries. The examinations also allowed to observe a very rare dental curiosity: the mummy still kept almost all her teeth, missing only one. The Sha-Amun-en-su mummy also underwent a three-dimensional laser scan coordinated by Jorge Lopes, from the Tri-dimensional Experimentation Nucleus of the Pontifical Catholic University of Rio de Janeiro. That procedure allowed the generation of three-dimensional data files (called "orthogonal coordinates") that served as the basis for making a small-scale replica of the singer's skeleton. | [
"Mummy",
"Ba",
"Karnak",
"sarcophagus",
"Amun",
"Rio de Janeiro",
"National Museum",
"mummified",
"Meresamun",
"Egyptian",
"University of Chicago",
"Pontifical Catholic University of Rio de Janeiro",
"Antonio Brancaglion Junior",
"Temple of Karnak"
] |
|
18425_T | Sha-Amun-en-su | In Sha-Amun-en-su, how is the Funerary artifacts discussed? | Computed tomography analysis, coordinated by radiologist Iugiro Kuroki, under the supervision of paleopathologist Sheila Mendonça of Fiocruz, identified several amulets with votive functions stored inside the coffin, including a heart-scarab, an artifact related to Egyptian belief in the resurrection of the dead. Sha-Amun-en-su's heart-scarab consisted of a green stone of oval shape, set in a gold plaque and attached to a golden cord, with the name of the singer written in hieroglyphs. These artifacts were often placed on the heart of the mummy and had the function of "replacing" it in cases in which the organ was extracted during the evisceration process. In this way the priests sought to preserve the "integrity" of the deceased in the afterlife, as well as the functions, states, characteristics, and other attributes that ancient Egyptians attached to the heart, such as intelligence and feelings. | [
"Amun",
"Egyptian",
"Fiocruz"
] |
|
18425_NT | Sha-Amun-en-su | In this artwork, how is the Funerary artifacts discussed? | Computed tomography analysis, coordinated by radiologist Iugiro Kuroki, under the supervision of paleopathologist Sheila Mendonça of Fiocruz, identified several amulets with votive functions stored inside the coffin, including a heart-scarab, an artifact related to Egyptian belief in the resurrection of the dead. Sha-Amun-en-su's heart-scarab consisted of a green stone of oval shape, set in a gold plaque and attached to a golden cord, with the name of the singer written in hieroglyphs. These artifacts were often placed on the heart of the mummy and had the function of "replacing" it in cases in which the organ was extracted during the evisceration process. In this way the priests sought to preserve the "integrity" of the deceased in the afterlife, as well as the functions, states, characteristics, and other attributes that ancient Egyptians attached to the heart, such as intelligence and feelings. | [
"Amun",
"Egyptian",
"Fiocruz"
] |
|
18426_T | Sha-Amun-en-su | Focus on Sha-Amun-en-su and explore the Sarcophagus. | The Sha-Amun-en-su sarcophagus was composed of box and lid, both carved in polychrome stuccoed wood. It was 1,58 meters high and was made around 750 BC. Throughout its nearly three millennia of history, since it had been sealed with the mummified body of the singer and her votive amulets, the sarcophagus had never been opened. It was a highly representative example of Egyptian funerary art from the 8th and 9th centuries BC, characterized by the profusion of references to Heliopolitan theology.The top of the sarcophagus cover was decorated with a female face, which sought to represent the natural color of the skin, topped with a blue headdress, decorated with yellow vulture wings and yellow and red ribbons. Shades of dark green, red and yellow stood out against a white background. At the breast height, there was the figure of the goddess Nut and a representation of a ram-headed bird with wings outstretched over the lid, symbolizing protection. The bird's claws and tail were flanked by two uraeus serpents, one with the crown of Upper Egypt and one with the crown of Lower Egypt The four Sons of Horus were represented in two pairs, one pair in front of each snake.On the right side were Imset with a human head and Hapy with a baboon's head, and on the left side Duamutef with a jackal's head and Qebehsenuf with a hawk's head. In the region of the legs were represented the amulets of the god Osiris, flanked by divinities. The two halves of the sarcophagus were separated by the sign Ankh, the symbol of life, which was repeated in two other ribbons. Finally, there was a representation of the singer's Ba - Ba was understood at the same time as a spiritual component of human beings, gods and animals, as a metaphysical principle related to the individuality of being and as a dynamic element that separates from the body after death, approaching, in this sense, the Western concept of soul.At the back and outside of the sarcophagus was a representation of the great Djed pillar, a sign of stability associated with Osiris, the Egyptian god of the afterlife, who ruled the underworld and the dead. In different parts of the coffin, there were bands with hieroglyphic inscriptions, analyzed and studied by different Egyptologists, such as Kenneth Kitchen and Alberto Childe. Kitchen was the first to identify the mummy, deciphering two bands of distinct hieroglyphs that associated her name to her occupation. The first band bore the inscription "An offering that the king makes [to] Osiris, Chief of the West, great God, Lord of Abydos - made for [?] The Singer of the Shrine [of Ammon], Sha-Amun-en-su ". In the second line of hieroglyphs was read: "An offering that the king makes [to] Ptah-Sokar-Osiris, Lord of the [shrine] Shetayet - made for [?] The Singer of the Shrine of Ammon, Sha-Amun-en-su". | [
"Heliopolitan",
"Hapy",
"Sarcophagus",
"Ba",
"right",
"Kenneth Kitchen",
"sarcophagus",
"Ankh",
"Nut",
"Amun",
"Lower Egypt",
"Upper Egypt",
"stucco",
"Imset",
"Qebehsenuf",
"Osiris",
"mummified",
"polychrome",
"Duamutef",
"uraeus",
"Djed",
"Egyptian",
"left",
"Sons of Horus",
"hieroglyphic inscriptions"
] |
|
18426_NT | Sha-Amun-en-su | Focus on this artwork and explore the Sarcophagus. | The Sha-Amun-en-su sarcophagus was composed of box and lid, both carved in polychrome stuccoed wood. It was 1,58 meters high and was made around 750 BC. Throughout its nearly three millennia of history, since it had been sealed with the mummified body of the singer and her votive amulets, the sarcophagus had never been opened. It was a highly representative example of Egyptian funerary art from the 8th and 9th centuries BC, characterized by the profusion of references to Heliopolitan theology.The top of the sarcophagus cover was decorated with a female face, which sought to represent the natural color of the skin, topped with a blue headdress, decorated with yellow vulture wings and yellow and red ribbons. Shades of dark green, red and yellow stood out against a white background. At the breast height, there was the figure of the goddess Nut and a representation of a ram-headed bird with wings outstretched over the lid, symbolizing protection. The bird's claws and tail were flanked by two uraeus serpents, one with the crown of Upper Egypt and one with the crown of Lower Egypt The four Sons of Horus were represented in two pairs, one pair in front of each snake.On the right side were Imset with a human head and Hapy with a baboon's head, and on the left side Duamutef with a jackal's head and Qebehsenuf with a hawk's head. In the region of the legs were represented the amulets of the god Osiris, flanked by divinities. The two halves of the sarcophagus were separated by the sign Ankh, the symbol of life, which was repeated in two other ribbons. Finally, there was a representation of the singer's Ba - Ba was understood at the same time as a spiritual component of human beings, gods and animals, as a metaphysical principle related to the individuality of being and as a dynamic element that separates from the body after death, approaching, in this sense, the Western concept of soul.At the back and outside of the sarcophagus was a representation of the great Djed pillar, a sign of stability associated with Osiris, the Egyptian god of the afterlife, who ruled the underworld and the dead. In different parts of the coffin, there were bands with hieroglyphic inscriptions, analyzed and studied by different Egyptologists, such as Kenneth Kitchen and Alberto Childe. Kitchen was the first to identify the mummy, deciphering two bands of distinct hieroglyphs that associated her name to her occupation. The first band bore the inscription "An offering that the king makes [to] Osiris, Chief of the West, great God, Lord of Abydos - made for [?] The Singer of the Shrine [of Ammon], Sha-Amun-en-su ". In the second line of hieroglyphs was read: "An offering that the king makes [to] Ptah-Sokar-Osiris, Lord of the [shrine] Shetayet - made for [?] The Singer of the Shrine of Ammon, Sha-Amun-en-su". | [
"Heliopolitan",
"Hapy",
"Sarcophagus",
"Ba",
"right",
"Kenneth Kitchen",
"sarcophagus",
"Ankh",
"Nut",
"Amun",
"Lower Egypt",
"Upper Egypt",
"stucco",
"Imset",
"Qebehsenuf",
"Osiris",
"mummified",
"polychrome",
"Duamutef",
"uraeus",
"Djed",
"Egyptian",
"left",
"Sons of Horus",
"hieroglyphic inscriptions"
] |
|
18427_T | Sha-Amun-en-su | Focus on Sha-Amun-en-su and explain the History. | There is scarce information on the sarcophagus of Sha-Amun-en-su in the pre-nineteenth century period. There is no record of the date or exact archaeological site where the coffin was found (although it is known to come from the vast western Thebes complex), nor is there any information on the process of integrating the coffin into the Egyptian Khedivate collections.In 1876, during the second visit of Emperor Dom Pedro II to Egypt, the sarcophagus was offered as a gift to the Brazilian monarch by Ismail Pasha. In return, Pedro II offered a book to the Khedive. An amateur Egyptologist and enthusiast of Egyptian culture, Pedro II had a special affection for the sarcophagus, which soon became one of the most relevant pieces of his private collection. The emperor kept him standing in his study in the Palace of São Cristóvão.During its passage through the collection of Pedro II, the sarcophagus was damaged in the event of a storm. Knocked down by the wind, the sarcophagus fell, crashing into one of the emperor's office windows and having its left side fragmented. It was later restored, but the intervention would remain visible ever since. Other restorations would be carried out in the following decades aiming at eliminating, above all, the threats of termites and wasps, attracted by the oldness of the wood.The sarcophagus remained in the Palace of São Cristóvão after the Proclamation of the Republic in 1889, and was later integrated into the collection of Egyptian archeology of the National Museum of Rio de Janeiro. Since its integration into the museum collection, the sarcophagus has always been one of the most outstanding pieces of the collection, having served as the basis for a large number of scientific researches, theses and monographs, developed by researchers from the Federal University of Rio de Janeiro and others Brazilian scientific institutions and academics from different parts of the world. In 2015, commenting on the importance and uniqueness of the sarcophagus and the mummy of Sha-Amun-en-su, the curator of the Egyptian National Museum's collection, Antonio Brancaglion Junior, stated:If you have a mummy, you have a mummy, if you have not, you won't get one anymore. If we lose it, we will never get anything else remotely similar. We have to keep it to the end.
On 2 September 2018, a major fire destroyed the building of the National Museum and much of the collection on display, including the sarcophagus of Sha-Amun-en-su, with its mummy and all the votive artifacts conserved within it. In the fire, the other mummies and sarcophagi of the collection, along with most of the archaeological collection, were also lost. The fire caused great commotion in the academic, scientific and cultural circles of Brazil and the world. | [
"Ismail Pasha",
"Khedive",
"Dom Pedro II",
"Egyptian Khedivate",
"Thebes",
"sarcophagus",
"Palace of São Cristóvão",
"major fire",
"Amun",
"Rio de Janeiro",
"National Museum",
"Proclamation of the Republic",
"Egyptian",
"Antonio Brancaglion Junior",
"left",
"Federal University of Rio de Janeiro"
] |
|
18427_NT | Sha-Amun-en-su | Focus on this artwork and explain the History. | There is scarce information on the sarcophagus of Sha-Amun-en-su in the pre-nineteenth century period. There is no record of the date or exact archaeological site where the coffin was found (although it is known to come from the vast western Thebes complex), nor is there any information on the process of integrating the coffin into the Egyptian Khedivate collections.In 1876, during the second visit of Emperor Dom Pedro II to Egypt, the sarcophagus was offered as a gift to the Brazilian monarch by Ismail Pasha. In return, Pedro II offered a book to the Khedive. An amateur Egyptologist and enthusiast of Egyptian culture, Pedro II had a special affection for the sarcophagus, which soon became one of the most relevant pieces of his private collection. The emperor kept him standing in his study in the Palace of São Cristóvão.During its passage through the collection of Pedro II, the sarcophagus was damaged in the event of a storm. Knocked down by the wind, the sarcophagus fell, crashing into one of the emperor's office windows and having its left side fragmented. It was later restored, but the intervention would remain visible ever since. Other restorations would be carried out in the following decades aiming at eliminating, above all, the threats of termites and wasps, attracted by the oldness of the wood.The sarcophagus remained in the Palace of São Cristóvão after the Proclamation of the Republic in 1889, and was later integrated into the collection of Egyptian archeology of the National Museum of Rio de Janeiro. Since its integration into the museum collection, the sarcophagus has always been one of the most outstanding pieces of the collection, having served as the basis for a large number of scientific researches, theses and monographs, developed by researchers from the Federal University of Rio de Janeiro and others Brazilian scientific institutions and academics from different parts of the world. In 2015, commenting on the importance and uniqueness of the sarcophagus and the mummy of Sha-Amun-en-su, the curator of the Egyptian National Museum's collection, Antonio Brancaglion Junior, stated:If you have a mummy, you have a mummy, if you have not, you won't get one anymore. If we lose it, we will never get anything else remotely similar. We have to keep it to the end.
On 2 September 2018, a major fire destroyed the building of the National Museum and much of the collection on display, including the sarcophagus of Sha-Amun-en-su, with its mummy and all the votive artifacts conserved within it. In the fire, the other mummies and sarcophagi of the collection, along with most of the archaeological collection, were also lost. The fire caused great commotion in the academic, scientific and cultural circles of Brazil and the world. | [
"Ismail Pasha",
"Khedive",
"Dom Pedro II",
"Egyptian Khedivate",
"Thebes",
"sarcophagus",
"Palace of São Cristóvão",
"major fire",
"Amun",
"Rio de Janeiro",
"National Museum",
"Proclamation of the Republic",
"Egyptian",
"Antonio Brancaglion Junior",
"left",
"Federal University of Rio de Janeiro"
] |
|
18428_T | Chaplain Corby of Gettysburg | Explore the Description of this artwork, Chaplain Corby of Gettysburg. | Chaplain Corby of Gettysburg is an outdoor sculpture in front of Corby Hall on the campus of the University of Notre Dame. The sculpture depicts Father Corby giving general absolution to the soldiers of the Union Army's Irish Brigade on July 2, 1863. The sculpture is a replica of Samuel Murray's Father William Corby on Cemetery Ridge on the Gettysburg Battlefield. The bronze figure of Father Corby stands atop a limestone boulder brought to Notre Dame from the Gettysburg National Battlefield. The work was dedicated on May 30, 1911 as a part of a Notre Dame Decoration Day celebration. | [
"Father William Corby",
"Gettysburg Battlefield",
"Union Army",
"bronze",
"Irish Brigade",
"absolution",
"Cemetery Ridge",
"Decoration Day",
"Gettysburg",
"University of Notre Dame",
"limestone",
"Samuel Murray",
"William Corby",
"outdoor sculpture"
] |
|
18428_NT | Chaplain Corby of Gettysburg | Explore the Description of this artwork. | Chaplain Corby of Gettysburg is an outdoor sculpture in front of Corby Hall on the campus of the University of Notre Dame. The sculpture depicts Father Corby giving general absolution to the soldiers of the Union Army's Irish Brigade on July 2, 1863. The sculpture is a replica of Samuel Murray's Father William Corby on Cemetery Ridge on the Gettysburg Battlefield. The bronze figure of Father Corby stands atop a limestone boulder brought to Notre Dame from the Gettysburg National Battlefield. The work was dedicated on May 30, 1911 as a part of a Notre Dame Decoration Day celebration. | [
"Father William Corby",
"Gettysburg Battlefield",
"Union Army",
"bronze",
"Irish Brigade",
"absolution",
"Cemetery Ridge",
"Decoration Day",
"Gettysburg",
"University of Notre Dame",
"limestone",
"Samuel Murray",
"William Corby",
"outdoor sculpture"
] |
|
18429_T | Chaplain Corby of Gettysburg | In Chaplain Corby of Gettysburg, how is the Father Corby at Gettysburg of the Historical Information elucidated? | During the Civil War, Father William Corby was chaplain of the 88th New York Infantry, one of the five original regiments in the Union Army's Irish Brigade. On July 2, 1863, the second day of the Battle of Gettysburg, the Irish Brigade was preparing to enter battle when Father Corby stood on a boulder and began giving the soldiers general absolution. As Father Corby recounted in his memoir, Memoirs of Chaplain Life: "That general absolution was intended for all – in quantum possum – not only for our brigade, but for all, North or South, who were susceptible of it and who were about to appear before their Judge."The scene of the absolution is represented in Paul Wood's 1891 painting, Absolution Under Fire, which is on display at Notre Dame's Snite Museum of Art. The painting helped shape historical understanding of the absolution as a dramatic, heroic, and sacred event. | [
"Father William Corby",
"Union Army",
"Irish Brigade",
"Snite Museum of Art",
"absolution",
"Battle of Gettysburg",
"Gettysburg",
"88th New York Infantry",
"second day of the Battle of Gettysburg",
"Civil War",
"William Corby",
"Absolution"
] |
|
18429_NT | Chaplain Corby of Gettysburg | In this artwork, how is the Father Corby at Gettysburg of the Historical Information elucidated? | During the Civil War, Father William Corby was chaplain of the 88th New York Infantry, one of the five original regiments in the Union Army's Irish Brigade. On July 2, 1863, the second day of the Battle of Gettysburg, the Irish Brigade was preparing to enter battle when Father Corby stood on a boulder and began giving the soldiers general absolution. As Father Corby recounted in his memoir, Memoirs of Chaplain Life: "That general absolution was intended for all – in quantum possum – not only for our brigade, but for all, North or South, who were susceptible of it and who were about to appear before their Judge."The scene of the absolution is represented in Paul Wood's 1891 painting, Absolution Under Fire, which is on display at Notre Dame's Snite Museum of Art. The painting helped shape historical understanding of the absolution as a dramatic, heroic, and sacred event. | [
"Father William Corby",
"Union Army",
"Irish Brigade",
"Snite Museum of Art",
"absolution",
"Battle of Gettysburg",
"Gettysburg",
"88th New York Infantry",
"second day of the Battle of Gettysburg",
"Civil War",
"William Corby",
"Absolution"
] |
|
18430_T | Chaplain Corby of Gettysburg | In the context of Chaplain Corby of Gettysburg, analyze the Gettysburg Sculpture of the Historical Information. | General St. Clair Mulholland, president of the Gettysburg Memorial Commission and a member of the Irish Brigade, began the movement for the installation of a tribute to Corby at Gettysburg as early as the 1890s. He did not manage to raise much money through his initial efforts. In January 1909, The Catholic Alumni Sodality of Philadelphia proposed the creation of a monument to Father Corby on the Gettysburg National Battlefield. The archbishops of New York City, Philadelphia, and Baltimore also supported the proposal. They sought contributions from Notre Dame alumni and veterans of the battle to pay for the work, with the cost estimated at $7,000.These groups commissioned Samuel Murray, a sculptor from Philadelphia, to complete the project. After the death of Mulholland in February 1910, Henry A. Daily of the Catholic Sodality of Philadelphia took control of the project. Murray completed a first model of the project on March 3, 1910, but the committee denied the model, as Murray depicted Father Corby in military officer's attire, rather than chaplain's attire. The final sculpture, Father William Corby, was dedicated on October 29, 1910.On the 25th, 50th, 100th, and 150th anniversary of the absolution, priests from Notre Dame, including Father Theodore Hesburgh and Father John Jenkins, celebrated the Catholic Mass at Gettysburg. The Notre Dame Club of Gettysburg organized the 150th anniversary Mass at the statue. | [
"Father William Corby",
"archbishop",
"John Jenkins",
"General St. Clair Mulholland",
"Irish Brigade",
"Philadelphia",
"absolution",
"Theodore Hesburgh",
"Gettysburg",
"Baltimore",
"Catholic Mass",
"Samuel Murray",
"William Corby"
] |
|
18430_NT | Chaplain Corby of Gettysburg | In the context of this artwork, analyze the Gettysburg Sculpture of the Historical Information. | General St. Clair Mulholland, president of the Gettysburg Memorial Commission and a member of the Irish Brigade, began the movement for the installation of a tribute to Corby at Gettysburg as early as the 1890s. He did not manage to raise much money through his initial efforts. In January 1909, The Catholic Alumni Sodality of Philadelphia proposed the creation of a monument to Father Corby on the Gettysburg National Battlefield. The archbishops of New York City, Philadelphia, and Baltimore also supported the proposal. They sought contributions from Notre Dame alumni and veterans of the battle to pay for the work, with the cost estimated at $7,000.These groups commissioned Samuel Murray, a sculptor from Philadelphia, to complete the project. After the death of Mulholland in February 1910, Henry A. Daily of the Catholic Sodality of Philadelphia took control of the project. Murray completed a first model of the project on March 3, 1910, but the committee denied the model, as Murray depicted Father Corby in military officer's attire, rather than chaplain's attire. The final sculpture, Father William Corby, was dedicated on October 29, 1910.On the 25th, 50th, 100th, and 150th anniversary of the absolution, priests from Notre Dame, including Father Theodore Hesburgh and Father John Jenkins, celebrated the Catholic Mass at Gettysburg. The Notre Dame Club of Gettysburg organized the 150th anniversary Mass at the statue. | [
"Father William Corby",
"archbishop",
"John Jenkins",
"General St. Clair Mulholland",
"Irish Brigade",
"Philadelphia",
"absolution",
"Theodore Hesburgh",
"Gettysburg",
"Baltimore",
"Catholic Mass",
"Samuel Murray",
"William Corby"
] |
|
18431_T | Chaplain Corby of Gettysburg | Describe the characteristics of the Acquisition of Sculpture at Notre Dame in Chaplain Corby of Gettysburg's Historical Information. | On March 10, 1911, the residents of Corby Hall submitted a proposal to the University administration to obtain a replica of Father William Corby in Gettysburg to "call attention to the historic merits of a great alumnus and official of the University." The proposal stated that the residents would collect the necessary $1,500 from members of the student body. The residents of Corby Hall would also oversee the sculpture's installation and unveiling. University president Father John W. Cavanaugh, who attended the dedication of the sculpture in Gettysburg, endorsed the effort. The student newspaper, Notre Dame Scholastic published weekly fundraising updates with the names of each donor for the following three months. By June 1911, the Corby Monument Fund raised $848 with 132 donations from students, alumni, and others. The University funded the remaining sum.The University held a Decoration Day unveiling event on May 30, 1911 with addresses from General John C. Black, former Commander-in-Chief of the Grand Army of the Republic and Father John P. Chadwick. | [
"Grand Army of the Republic",
"Father William Corby",
"John W. Cavanaugh",
"Decoration Day",
"Gettysburg",
"John C. Black",
"William Corby"
] |
|
18431_NT | Chaplain Corby of Gettysburg | Describe the characteristics of the Acquisition of Sculpture at Notre Dame in this artwork's Historical Information. | On March 10, 1911, the residents of Corby Hall submitted a proposal to the University administration to obtain a replica of Father William Corby in Gettysburg to "call attention to the historic merits of a great alumnus and official of the University." The proposal stated that the residents would collect the necessary $1,500 from members of the student body. The residents of Corby Hall would also oversee the sculpture's installation and unveiling. University president Father John W. Cavanaugh, who attended the dedication of the sculpture in Gettysburg, endorsed the effort. The student newspaper, Notre Dame Scholastic published weekly fundraising updates with the names of each donor for the following three months. By June 1911, the Corby Monument Fund raised $848 with 132 donations from students, alumni, and others. The University funded the remaining sum.The University held a Decoration Day unveiling event on May 30, 1911 with addresses from General John C. Black, former Commander-in-Chief of the Grand Army of the Republic and Father John P. Chadwick. | [
"Grand Army of the Republic",
"Father William Corby",
"John W. Cavanaugh",
"Decoration Day",
"Gettysburg",
"John C. Black",
"William Corby"
] |
|
18432_T | Chaplain Corby of Gettysburg | Focus on Chaplain Corby of Gettysburg and explore the Artist. | The Catholic Alumni Sodality of Philadelphia chose Samuel Murray, a Roman Catholic and son of Irish immigrants, to sculpt the piece. Murray had been the student of Thomas Eakins and was one of the preeminent sculptors in Philadelphia at the time. | [
"Thomas Eakins",
"Roman Catholic",
"Philadelphia",
"Samuel Murray"
] |
|
18432_NT | Chaplain Corby of Gettysburg | Focus on this artwork and explore the Artist. | The Catholic Alumni Sodality of Philadelphia chose Samuel Murray, a Roman Catholic and son of Irish immigrants, to sculpt the piece. Murray had been the student of Thomas Eakins and was one of the preeminent sculptors in Philadelphia at the time. | [
"Thomas Eakins",
"Roman Catholic",
"Philadelphia",
"Samuel Murray"
] |
|
18433_T | Darmstadt Madonna | Focus on Darmstadt Madonna and explain the abstract. | The Darmstadt Madonna (also known as the Madonna of Jakob Meyer zum Hasen) is an oil painting by Hans Holbein the Younger. Completed in 1526 in Basel, the work shows the Bürgermeister of Basel Jakob Meyer zum Hasen, his first wife (who had died earlier), his current wife, and his daughter grouped around the Madonna and infant Jesus.The meaning of the two other male figures on the left side (the Madonna's right) is, like the overall iconography of the image, not entirely clear. Franny Moyle writes that the man on the Madonna's right is Meyer, and "[t]he boy and baby may be a presentation of Meyer's two deceased sons...." The image testified to the resolutely Catholic faith of the Bürgermeister, who actively opposed the Reformation.
Holbein's Darmstadt Madonna was influenced by Italian Renaissance religious painting; Franny Moyle writes that it was influenced by Andrea Mantegna's 1496 Madonna della Vittoria, and that the two paintings' "perspectival approach ... is almost identical." The Darmstadt Madonna may also contain elements of Netherlandish portrait painting.
Earlier located in Darmstadt, hence its title, the work was on loan to the Städelschen Kunstinstitut in Frankfurt am Main from 2004 to 2011.
In 2012, the painting was put on display in the Johanniterkirche in Schwäbisch Hall as part of the permanent exhibition of the Old Masters in the Würth Collection. | [
"Hans Holbein the Younger",
"Franny Moyle",
"Darmstadt",
"Frankfurt",
"Frankfurt am Main",
"Reformation",
"Basel",
"Städel",
"Städelschen Kunstinstitut",
"Jakob Meyer zum Hasen",
"Schwäbisch Hall",
"Madonna della Vittoria",
"Andrea Mantegna",
"Old Master"
] |
|
18433_NT | Darmstadt Madonna | Focus on this artwork and explain the abstract. | The Darmstadt Madonna (also known as the Madonna of Jakob Meyer zum Hasen) is an oil painting by Hans Holbein the Younger. Completed in 1526 in Basel, the work shows the Bürgermeister of Basel Jakob Meyer zum Hasen, his first wife (who had died earlier), his current wife, and his daughter grouped around the Madonna and infant Jesus.The meaning of the two other male figures on the left side (the Madonna's right) is, like the overall iconography of the image, not entirely clear. Franny Moyle writes that the man on the Madonna's right is Meyer, and "[t]he boy and baby may be a presentation of Meyer's two deceased sons...." The image testified to the resolutely Catholic faith of the Bürgermeister, who actively opposed the Reformation.
Holbein's Darmstadt Madonna was influenced by Italian Renaissance religious painting; Franny Moyle writes that it was influenced by Andrea Mantegna's 1496 Madonna della Vittoria, and that the two paintings' "perspectival approach ... is almost identical." The Darmstadt Madonna may also contain elements of Netherlandish portrait painting.
Earlier located in Darmstadt, hence its title, the work was on loan to the Städelschen Kunstinstitut in Frankfurt am Main from 2004 to 2011.
In 2012, the painting was put on display in the Johanniterkirche in Schwäbisch Hall as part of the permanent exhibition of the Old Masters in the Würth Collection. | [
"Hans Holbein the Younger",
"Franny Moyle",
"Darmstadt",
"Frankfurt",
"Frankfurt am Main",
"Reformation",
"Basel",
"Städel",
"Städelschen Kunstinstitut",
"Jakob Meyer zum Hasen",
"Schwäbisch Hall",
"Madonna della Vittoria",
"Andrea Mantegna",
"Old Master"
] |
|
18434_T | Statue of Daniel Webster (U.S. Capitol) | Explore the abstract of this artwork, Statue of Daniel Webster (U.S. Capitol). | Daniel Webster is a marble sculpture depicting the American politician of the same name by Carl Conrads (after Thomas Ball), installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The state was donated by the U.S. state of New Hampshire in 1894. | [
"National Statuary Hall Collection",
"Washington, D.C.",
"Thomas Ball",
"National Statuary Hall",
"New Hampshire",
"marble sculpture",
"U.S. state",
"Daniel Webster",
"American politician of the same name",
"United States Capitol",
"Carl Conrads"
] |
|
18434_NT | Statue of Daniel Webster (U.S. Capitol) | Explore the abstract of this artwork. | Daniel Webster is a marble sculpture depicting the American politician of the same name by Carl Conrads (after Thomas Ball), installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The state was donated by the U.S. state of New Hampshire in 1894. | [
"National Statuary Hall Collection",
"Washington, D.C.",
"Thomas Ball",
"National Statuary Hall",
"New Hampshire",
"marble sculpture",
"U.S. state",
"Daniel Webster",
"American politician of the same name",
"United States Capitol",
"Carl Conrads"
] |
|
18435_T | Bal du Moulin de la Galette (Casas) | Focus on Bal du Moulin de la Galette (Casas) and discuss the abstract. | Bal du Moulin de la Galette is an oil on canvas painting by Spanish painter Ramon Casas, created between 1890 and 1891. It is held at the Cau Ferrat Museum in Sitges, Barcelona. | [
"Ramon Casas",
"Barcelona",
"Sitges",
"Cau Ferrat Museum"
] |
|
18435_NT | Bal du Moulin de la Galette (Casas) | Focus on this artwork and discuss the abstract. | Bal du Moulin de la Galette is an oil on canvas painting by Spanish painter Ramon Casas, created between 1890 and 1891. It is held at the Cau Ferrat Museum in Sitges, Barcelona. | [
"Ramon Casas",
"Barcelona",
"Sitges",
"Cau Ferrat Museum"
] |
|
18436_T | Bal du Moulin de la Galette (Casas) | How does Bal du Moulin de la Galette (Casas) elucidate its History and description? | Casas was for the third time in Paris, in the winter of 1890, and had a joint exhibition with Santiago Rusiñol and Enric Clarasó, which lasted until 1892, and was very fruitful, for the quantity and quality of the work.
In 1900, Casas had an important solo exhibition in Paris, organized by Miquel Utrillo, director of the weekly Pel i Ploma and a personal friend, which brought together the best of the artist. The current painting had a prominent place in the exhibition.Concerning the subject, it is interesting to note that unlike Pierre-Auguste Renoir and Henri de Toulouse-Lautrec, who captured this same environment in a bustling moment in 1876 and 1889, respectively, Casas opted to give a sad and sordid image of the place. Casas captured a wide panoramic view of the dimly lit room, with only two figures dancing and others in the foreground, in an indifferent attitude. Somehow, with a cold, monochromatic palette and a predominance of chiaroscuro, Casas opted for a pessimistic vision in this canvas, more in line with the works that his friend Rusiñol was doing at that time. | [
"Paris",
"Enric Clarasó",
"Henri de Toulouse-Lautrec",
"Pierre-Auguste Renoir",
"Santiago Rusiñol"
] |
|
18436_NT | Bal du Moulin de la Galette (Casas) | How does this artwork elucidate its History and description? | Casas was for the third time in Paris, in the winter of 1890, and had a joint exhibition with Santiago Rusiñol and Enric Clarasó, which lasted until 1892, and was very fruitful, for the quantity and quality of the work.
In 1900, Casas had an important solo exhibition in Paris, organized by Miquel Utrillo, director of the weekly Pel i Ploma and a personal friend, which brought together the best of the artist. The current painting had a prominent place in the exhibition.Concerning the subject, it is interesting to note that unlike Pierre-Auguste Renoir and Henri de Toulouse-Lautrec, who captured this same environment in a bustling moment in 1876 and 1889, respectively, Casas opted to give a sad and sordid image of the place. Casas captured a wide panoramic view of the dimly lit room, with only two figures dancing and others in the foreground, in an indifferent attitude. Somehow, with a cold, monochromatic palette and a predominance of chiaroscuro, Casas opted for a pessimistic vision in this canvas, more in line with the works that his friend Rusiñol was doing at that time. | [
"Paris",
"Enric Clarasó",
"Henri de Toulouse-Lautrec",
"Pierre-Auguste Renoir",
"Santiago Rusiñol"
] |
|
18437_T | Falling Autumn Leaves | Focus on Falling Autumn Leaves and analyze the abstract. | Fall of Leaves (original French title: Chûte de feuilles), or Falling Autumn Leaves is a pair of paintings (in French pendants, i. e. counterparts) by the Dutch painter Vincent van Gogh. They were executed during the two months at the end of 1888 that his artist friend Paul Gauguin spent with him at The Yellow House in Arles, France. | [
"The Yellow House",
"Paul Gauguin",
"Arles",
"Vincent van Gogh"
] |
|
18437_NT | Falling Autumn Leaves | Focus on this artwork and analyze the abstract. | Fall of Leaves (original French title: Chûte de feuilles), or Falling Autumn Leaves is a pair of paintings (in French pendants, i. e. counterparts) by the Dutch painter Vincent van Gogh. They were executed during the two months at the end of 1888 that his artist friend Paul Gauguin spent with him at The Yellow House in Arles, France. | [
"The Yellow House",
"Paul Gauguin",
"Arles",
"Vincent van Gogh"
] |
|
18438_T | Falling Autumn Leaves | In Falling Autumn Leaves, how is the Les Alyscamps discussed? | Following months of correspondence, Paul Gauguin joined van Gogh in Arles in October 1888. Both were intent on depicting a "non-naturalist landscape". The paintings are among the first works that the pair painted following Gauguin's arrival.Van Gogh and Gauguin visited an ancient Roman necropolis, Les Alyscamps, which had been built outside the city walls. Over time the grounds were overtaken by factories and the railroad. The city relocated some of the sarcophagi in a long alley lined with benches and poplar trees that led to a Romanesque chapel which became known as the Allée des Tombeaux. It quickly became a lover's lane celebrated throughout France. | [
"Paul Gauguin",
"lover's lane",
"Arles",
"Les Alyscamps",
"sarcophagi",
"poplar tree",
"necropolis"
] |
|
18438_NT | Falling Autumn Leaves | In this artwork, how is the Les Alyscamps discussed? | Following months of correspondence, Paul Gauguin joined van Gogh in Arles in October 1888. Both were intent on depicting a "non-naturalist landscape". The paintings are among the first works that the pair painted following Gauguin's arrival.Van Gogh and Gauguin visited an ancient Roman necropolis, Les Alyscamps, which had been built outside the city walls. Over time the grounds were overtaken by factories and the railroad. The city relocated some of the sarcophagi in a long alley lined with benches and poplar trees that led to a Romanesque chapel which became known as the Allée des Tombeaux. It quickly became a lover's lane celebrated throughout France. | [
"Paul Gauguin",
"lover's lane",
"Arles",
"Les Alyscamps",
"sarcophagi",
"poplar tree",
"necropolis"
] |
|
18439_T | Falling Autumn Leaves | Focus on Falling Autumn Leaves and explore the Van Gogh's other Les Alyscamps paintings. | Van Gogh made another pair of paintings at Les Alyscamps. | [
"Les Alyscamps"
] |
|
18439_NT | Falling Autumn Leaves | Focus on this artwork and explore the Van Gogh's other Les Alyscamps paintings. | Van Gogh made another pair of paintings at Les Alyscamps. | [
"Les Alyscamps"
] |
|
18440_T | Falling Autumn Leaves | Focus on Falling Autumn Leaves and explain the Gauguin's paintings. | For his painting of Les Alyscamps, painted on the same day as van Gogh's, Gauguin chose a different vantage point, and excluded any reference to ancient sarcophagi. | [
"Les Alyscamps",
"sarcophagi"
] |
|
18440_NT | Falling Autumn Leaves | Focus on this artwork and explain the Gauguin's paintings. | For his painting of Les Alyscamps, painted on the same day as van Gogh's, Gauguin chose a different vantage point, and excluded any reference to ancient sarcophagi. | [
"Les Alyscamps",
"sarcophagi"
] |
|
18441_T | The Watermill (Ruisdael) | Explore the abstract of this artwork, The Watermill (Ruisdael). | The Watermill (c. 1660) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael.
It is an example of Dutch Golden Age painting and is now in the collection of the National Gallery of Victoria.
This painting was documented by Hofstede de Groot in 1911, who wrote:146. THE WATER-MILL. View across the mill-pool towards
the water-mill, which stands amid trees. The same mill as that painted by Hobbema, as, for example, in the two pictures at the Rijksmuseum
(see Hobbema, 66, 67). The building on the right is roofed with red tiles, and the timbers are grey. To the left is a green hill. There is no distant
view. On the road to the left is a man, followed by a dog. To the right is a flowering elder bush. To judge from the style, the picture was
probably painted about the time when Hobbema and Ruisdael worked together (1660-63).
Signed with the monogram on the left; canvas, 25 inches by 27 1/2 inches.
Exhibited at the Royal Academy Winter Exhibition, London, 1876, No. 80, and 1902, No. 134. In the collection of the Right Hon. Lewis Fry, Clifton, Bristol.
This scene is very similar to other paintings Ruisdael and his pupil Hobbema made in this period and these often served as inspiration for later painters of landscape.
Scholars have tried to locate this specific watermill as it was portrayed so many times, but so far it has only been documented as being "somewhere in Gelderland",. | [
"Gelderland",
"Hofstede de Groot",
"Jacob van Ruisdael",
"Dutch",
"Royal Academy",
"oil",
"National Gallery of Victoria",
"Dutch Golden Age painting",
"Hobbema",
"Rijksmuseum"
] |
|
18441_NT | The Watermill (Ruisdael) | Explore the abstract of this artwork. | The Watermill (c. 1660) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael.
It is an example of Dutch Golden Age painting and is now in the collection of the National Gallery of Victoria.
This painting was documented by Hofstede de Groot in 1911, who wrote:146. THE WATER-MILL. View across the mill-pool towards
the water-mill, which stands amid trees. The same mill as that painted by Hobbema, as, for example, in the two pictures at the Rijksmuseum
(see Hobbema, 66, 67). The building on the right is roofed with red tiles, and the timbers are grey. To the left is a green hill. There is no distant
view. On the road to the left is a man, followed by a dog. To the right is a flowering elder bush. To judge from the style, the picture was
probably painted about the time when Hobbema and Ruisdael worked together (1660-63).
Signed with the monogram on the left; canvas, 25 inches by 27 1/2 inches.
Exhibited at the Royal Academy Winter Exhibition, London, 1876, No. 80, and 1902, No. 134. In the collection of the Right Hon. Lewis Fry, Clifton, Bristol.
This scene is very similar to other paintings Ruisdael and his pupil Hobbema made in this period and these often served as inspiration for later painters of landscape.
Scholars have tried to locate this specific watermill as it was portrayed so many times, but so far it has only been documented as being "somewhere in Gelderland",. | [
"Gelderland",
"Hofstede de Groot",
"Jacob van Ruisdael",
"Dutch",
"Royal Academy",
"oil",
"National Gallery of Victoria",
"Dutch Golden Age painting",
"Hobbema",
"Rijksmuseum"
] |
|
18442_T | The Falling Man | Focus on The Falling Man and discuss the abstract. | The Falling Man is a photograph taken by Associated Press photographer Richard Drew of a man falling from the World Trade Center during the September 11 attacks in New York City. The unidentified man in the image was trapped on the upper floors of the North Tower, and it is unclear whether he fell while searching for safety or he jumped to escape the fire and smoke. The photograph was taken at 9:41:15 A.M.
The photograph was widely criticized after publication in international media on September 12, 2001, with readers labeling the image as disturbing, cold-blooded, ghoulish, and sadistic. However, in the years following, the photo has gained acclamation.A Time magazine retrospective published in 2016 stated "Falling Man's identity is still unknown, but he is believed to have been an employee at the Windows on the World restaurant, which sat atop the North Tower. The true power of Falling Man, however, is less about who its subject was and more about what he became: a makeshift Unknown Soldier in an often unknown and uncertain war, suspended forever in history." | [
"Richard Drew",
"World Trade Center",
"New York",
"Associated Press",
"Falling Man",
"North Tower",
"Windows on the World",
"Unknown Soldier",
"New York City",
"September 11 attacks",
"Time"
] |
|
18442_NT | The Falling Man | Focus on this artwork and discuss the abstract. | The Falling Man is a photograph taken by Associated Press photographer Richard Drew of a man falling from the World Trade Center during the September 11 attacks in New York City. The unidentified man in the image was trapped on the upper floors of the North Tower, and it is unclear whether he fell while searching for safety or he jumped to escape the fire and smoke. The photograph was taken at 9:41:15 A.M.
The photograph was widely criticized after publication in international media on September 12, 2001, with readers labeling the image as disturbing, cold-blooded, ghoulish, and sadistic. However, in the years following, the photo has gained acclamation.A Time magazine retrospective published in 2016 stated "Falling Man's identity is still unknown, but he is believed to have been an employee at the Windows on the World restaurant, which sat atop the North Tower. The true power of Falling Man, however, is less about who its subject was and more about what he became: a makeshift Unknown Soldier in an often unknown and uncertain war, suspended forever in history." | [
"Richard Drew",
"World Trade Center",
"New York",
"Associated Press",
"Falling Man",
"North Tower",
"Windows on the World",
"Unknown Soldier",
"New York City",
"September 11 attacks",
"Time"
] |
|
18443_T | The Falling Man | How does The Falling Man elucidate its Background? | On Tuesday, September 11, 2001, four passenger jets were commandeered by 19 al-Qaeda terrorists after takeoff. Two of these hijacked airliners, American Airlines Flight 11 and United Airlines Flight 175, were intentionally crashed into the Twin Towers of the World Trade Center complex in New York City, killing or trapping well over 1300 people above the 91st floor of the North Tower and more than 600 above the 76th floor of the South.
That morning, an estimated 200 people were witnessed falling from the upper levels of the burning skyscrapers. All but three came from the North Tower, where considerably more people were confined to a much smaller number of floors. Most of the people who fell from the World Trade Center deliberately jumped to their deaths to escape the smoke, flames, and extreme heat (in some places, estimated at over 2,000 °F (1,090 °C)). A smaller percentage of the falling deaths were accidents caused by people losing their grip or being knocked off-balance near window ledges, or attempting to climb down to a lower floor below the fire. Officials could not recover or identify the remains of those forced out of the towers due to the conditions on the ground near the base of the building at the time, prior to their collapse. The New York City medical examiner's office said it does not classify them as "jumpers," explaining that a "jumper" is defined as someone who "goes to the office in the morning knowing that they will commit suicide," adding that the victims who fell from the towers did not want to die but "were forced out by the smoke and flames or blown out." The medical examiner's office listed manner of death as homicide for all deaths associated with the 9/11 attacks.
The morning of September 11, Richard Drew was on assignment for the Associated Press, photographing a maternity fashion show in Bryant Park. Alerted by his editor to the attacks, Drew took the subway to the Chambers Street subway station, near the World Trade Center site. He took the falling man image while at the corner of West and Vesey Street from a low angle. He took eight photographs in sequence, after realizing that a series of loud cracking sounds was not that of falling concrete, but rather people hitting the ground. He took between ten and twelve different sequences of images of people jumping from the tower, before having to leave the site due to the South Tower's collapse.The man fell from the south side of the North Tower's west face. Thus, the left half of the backdrop features the North Tower while the South Tower is visible on the right. The photograph gives the impression that the man is falling straight down; however, a series of photographs taken of his fall shows him to be tumbling through the air. | [
"American Airlines Flight 11",
"Richard Drew",
"Vesey Street",
"their collapse",
"World Trade Center",
"New York",
"Associated Press",
"jumpers",
"World Trade Center site",
"manner of death",
"North Tower",
"West",
"South",
"New York City",
"homicide",
"Chambers Street subway station",
"United Airlines Flight 175",
"New York City medical examiner's office"
] |
|
18443_NT | The Falling Man | How does this artwork elucidate its Background? | On Tuesday, September 11, 2001, four passenger jets were commandeered by 19 al-Qaeda terrorists after takeoff. Two of these hijacked airliners, American Airlines Flight 11 and United Airlines Flight 175, were intentionally crashed into the Twin Towers of the World Trade Center complex in New York City, killing or trapping well over 1300 people above the 91st floor of the North Tower and more than 600 above the 76th floor of the South.
That morning, an estimated 200 people were witnessed falling from the upper levels of the burning skyscrapers. All but three came from the North Tower, where considerably more people were confined to a much smaller number of floors. Most of the people who fell from the World Trade Center deliberately jumped to their deaths to escape the smoke, flames, and extreme heat (in some places, estimated at over 2,000 °F (1,090 °C)). A smaller percentage of the falling deaths were accidents caused by people losing their grip or being knocked off-balance near window ledges, or attempting to climb down to a lower floor below the fire. Officials could not recover or identify the remains of those forced out of the towers due to the conditions on the ground near the base of the building at the time, prior to their collapse. The New York City medical examiner's office said it does not classify them as "jumpers," explaining that a "jumper" is defined as someone who "goes to the office in the morning knowing that they will commit suicide," adding that the victims who fell from the towers did not want to die but "were forced out by the smoke and flames or blown out." The medical examiner's office listed manner of death as homicide for all deaths associated with the 9/11 attacks.
The morning of September 11, Richard Drew was on assignment for the Associated Press, photographing a maternity fashion show in Bryant Park. Alerted by his editor to the attacks, Drew took the subway to the Chambers Street subway station, near the World Trade Center site. He took the falling man image while at the corner of West and Vesey Street from a low angle. He took eight photographs in sequence, after realizing that a series of loud cracking sounds was not that of falling concrete, but rather people hitting the ground. He took between ten and twelve different sequences of images of people jumping from the tower, before having to leave the site due to the South Tower's collapse.The man fell from the south side of the North Tower's west face. Thus, the left half of the backdrop features the North Tower while the South Tower is visible on the right. The photograph gives the impression that the man is falling straight down; however, a series of photographs taken of his fall shows him to be tumbling through the air. | [
"American Airlines Flight 11",
"Richard Drew",
"Vesey Street",
"their collapse",
"World Trade Center",
"New York",
"Associated Press",
"jumpers",
"World Trade Center site",
"manner of death",
"North Tower",
"West",
"South",
"New York City",
"homicide",
"Chambers Street subway station",
"United Airlines Flight 175",
"New York City medical examiner's office"
] |
|
18444_T | The Falling Man | Focus on The Falling Man and analyze the Publication history. | The photograph initially appeared in newspapers around the world, including on page seven of The New York Times on September 12, 2001. The photo's caption read, "A person falls headfirst after jumping from the north tower of the World Trade Center. It was a horrific sight that was repeated in the moments after the planes struck the towers." It appeared only once in the Times because of criticism and anger against its use. Five and half years later, it appeared on page 1 of The New York Times Book Review on May 27, 2007. | [
"World Trade Center",
"New York",
"The New York Times Book Review",
"The New York Times",
"Time"
] |
|
18444_NT | The Falling Man | Focus on this artwork and analyze the Publication history. | The photograph initially appeared in newspapers around the world, including on page seven of The New York Times on September 12, 2001. The photo's caption read, "A person falls headfirst after jumping from the north tower of the World Trade Center. It was a horrific sight that was repeated in the moments after the planes struck the towers." It appeared only once in the Times because of criticism and anger against its use. Five and half years later, it appeared on page 1 of The New York Times Book Review on May 27, 2007. | [
"World Trade Center",
"New York",
"The New York Times Book Review",
"The New York Times",
"Time"
] |
|
18445_T | The Falling Man | In The Falling Man, how is the Other uses discussed? | 9/11: The Falling Man is a 2006 documentary film about the photo. It was made by American filmmaker Henry Singer and filmed by Richard Numeroff, a New York-based director of photography. The film is loosely based on Junod's Esquire story. It also drew its material from photographer Lyle Owerko's pictures of falling people. It debuted on March 16, 2006, on the British television network Channel 4, later made its North American premiere on Canada's CBC Newsworld on September 6, 2006, and has been broadcast in more than 30 countries. The U.S. premiere was September 10, 2007, on the Discovery Times Channel.The novel Falling Man, by Don DeLillo, is about the September 11 attacks. The "falling man" in the novel is a performance artist recreating the events of the photograph. DeLillo says he was unfamiliar with the title of the picture when he named his book. The artist straps himself into a harness and jumps from an elevated structure in a high visibility area (such as a highway overpass), hanging in the pose of The Falling Man.
In July 2022, GameStop received controversy for allowing a non-fungible token titled Falling Man to be listed on their newly-launched NFT platform. The digital image depicted an astronaut falling in a pose and background replicating Drew's photograph, and was provided the seller's description "This one probably fell from the MIR station", referencing the 1997 crash of Spektr. The NFT was later delisted from the platform. | [
"documentary film",
"New York",
"British",
"Falling Man",
"Channel 4",
"GameStop",
"Lyle Owerko",
"Spektr",
"NFT platform",
"CBC Newsworld",
"non-fungible token",
"September 11 attacks",
"Henry Singer",
"Discovery Times",
"Canada",
"Don DeLillo",
"Discovery Times Channel",
"Esquire",
"MIR station",
"Time",
"North America"
] |
|
18445_NT | The Falling Man | In this artwork, how is the Other uses discussed? | 9/11: The Falling Man is a 2006 documentary film about the photo. It was made by American filmmaker Henry Singer and filmed by Richard Numeroff, a New York-based director of photography. The film is loosely based on Junod's Esquire story. It also drew its material from photographer Lyle Owerko's pictures of falling people. It debuted on March 16, 2006, on the British television network Channel 4, later made its North American premiere on Canada's CBC Newsworld on September 6, 2006, and has been broadcast in more than 30 countries. The U.S. premiere was September 10, 2007, on the Discovery Times Channel.The novel Falling Man, by Don DeLillo, is about the September 11 attacks. The "falling man" in the novel is a performance artist recreating the events of the photograph. DeLillo says he was unfamiliar with the title of the picture when he named his book. The artist straps himself into a harness and jumps from an elevated structure in a high visibility area (such as a highway overpass), hanging in the pose of The Falling Man.
In July 2022, GameStop received controversy for allowing a non-fungible token titled Falling Man to be listed on their newly-launched NFT platform. The digital image depicted an astronaut falling in a pose and background replicating Drew's photograph, and was provided the seller's description "This one probably fell from the MIR station", referencing the 1997 crash of Spektr. The NFT was later delisted from the platform. | [
"documentary film",
"New York",
"British",
"Falling Man",
"Channel 4",
"GameStop",
"Lyle Owerko",
"Spektr",
"NFT platform",
"CBC Newsworld",
"non-fungible token",
"September 11 attacks",
"Henry Singer",
"Discovery Times",
"Canada",
"Don DeLillo",
"Discovery Times Channel",
"Esquire",
"MIR station",
"Time",
"North America"
] |
|
18446_T | Suzon (sculpture) | Focus on Suzon (sculpture) and explore the abstract. | Suzon is an early bust of a woman by Auguste Rodin, created between 1872 and 1873 when he wholly worked on commissions. It was inspired by late 18th century Romantic works whilst Rodin was in exile in Brussels due to the Franco-Prussian War. He created it in homage to Albert-Ernest Carrier-Belleuse, another sculptor also in exile there who was highly influential on Rodin's early works. | [
"Franco-Prussian War",
"Auguste Rodin",
"Albert-Ernest Carrier-Belleuse",
"Brussels"
] |
|
18446_NT | Suzon (sculpture) | Focus on this artwork and explore the abstract. | Suzon is an early bust of a woman by Auguste Rodin, created between 1872 and 1873 when he wholly worked on commissions. It was inspired by late 18th century Romantic works whilst Rodin was in exile in Brussels due to the Franco-Prussian War. He created it in homage to Albert-Ernest Carrier-Belleuse, another sculptor also in exile there who was highly influential on Rodin's early works. | [
"Franco-Prussian War",
"Auguste Rodin",
"Albert-Ernest Carrier-Belleuse",
"Brussels"
] |
|
18447_T | Suzon (sculpture) | Focus on Suzon (sculpture) and explain the Versions. | He first produced the work in plaster, then in Sevres porcelain and finally in white marble. Later he found himself in financial difficulties and sold the work to the Compagnie des Bronzes in Brussels along with his Dosia. He made them the only company authorised to reproduce the two works, hence the variety of different editions and sizes of the work in public galleries and private collections. After further experimentation Rodin later turned against symmetry in sculpture, stating it had been one of "the sins of my youth". | [
"Sevres porcelain",
"Brussels"
] |
|
18447_NT | Suzon (sculpture) | Focus on this artwork and explain the Versions. | He first produced the work in plaster, then in Sevres porcelain and finally in white marble. Later he found himself in financial difficulties and sold the work to the Compagnie des Bronzes in Brussels along with his Dosia. He made them the only company authorised to reproduce the two works, hence the variety of different editions and sizes of the work in public galleries and private collections. After further experimentation Rodin later turned against symmetry in sculpture, stating it had been one of "the sins of my youth". | [
"Sevres porcelain",
"Brussels"
] |
|
18448_T | Van Gogh self-portrait (1889) | Explore the abstract of this artwork, Van Gogh self-portrait (1889). | Dutch Post-Impressionist painter Vincent van Gogh painted a self-portrait in oil on canvas in September 1889. The work, which may have been Van Gogh's last self-portrait, was painted shortly before he left Saint-Rémy-de-Provence in southern France. The painting is now at the Musée d'Orsay in Paris. | [
"Musée d'Orsay",
"Saint-Rémy-de-Provence",
"oil on canvas",
"self-portrait",
"Paris",
"Vincent van Gogh",
"Post-Impressionist"
] |
|
18448_NT | Van Gogh self-portrait (1889) | Explore the abstract of this artwork. | Dutch Post-Impressionist painter Vincent van Gogh painted a self-portrait in oil on canvas in September 1889. The work, which may have been Van Gogh's last self-portrait, was painted shortly before he left Saint-Rémy-de-Provence in southern France. The painting is now at the Musée d'Orsay in Paris. | [
"Musée d'Orsay",
"Saint-Rémy-de-Provence",
"oil on canvas",
"self-portrait",
"Paris",
"Vincent van Gogh",
"Post-Impressionist"
] |
|
18449_T | Van Gogh self-portrait (1889) | Focus on Van Gogh self-portrait (1889) and discuss the Painting. | This self-portrait was one of about 32 produced over a 10-year period, and these were an important part of his work as a painter; he painted himself because he often lacked the money to pay for models. He took the painting with him to Auvers-sur-Oise, near Paris, where he showed it to Dr. Paul Gachet, who thought it was "absolutely fanatical".Art historians are divided as to whether this painting or Self-portrait without beard is Van Gogh's final self-portrait. Art historians Ingo F. Walther and Jan Hulsker consider this to be the last, with Hulsker considering that it was painted in Arles following Van Gogh's admission to hospital after mutilating his ear, while Ronald Pickvance thinks Self-portrait without beard was the later painting.Van Gogh sent the picture to his younger brother, the art dealer Theo; an accompanying letter read: "You will need to study [the picture] for a time. I hope you will notice that my facial expressions have become much calmer, although my eyes have the same insecure look as before, or so it appears to me."Walther and Rainer Metzger consider that "the picture is not a pretty pose nor a realistic record ... [it is] one that has seen too much jeopardy, too much turmoil, to be able to keep its agitation and trembling under control." According to Beckett the dissolving colours and same time turbulent patterns signal a feeling of strain and pressure, symbolising the artist's state of mind, which is under a mental, physical and emotional pressure.The Musée d'Orsay in Paris, who obtained the picture in 1986, noted that "the model's immobility contrasts with the undulating hair and beard, echoed and amplified in the hallucinatory arabesques of the background." | [
"Musée d'Orsay",
"Theo",
"Arles",
"Self-portrait",
"self-portrait",
"Paul Gachet",
"Jan Hulsker",
"Self-portrait without beard",
"Auvers-sur-Oise",
"one of about 32",
"Paris",
"Ronald Pickvance",
"art dealer"
] |
|
18449_NT | Van Gogh self-portrait (1889) | Focus on this artwork and discuss the Painting. | This self-portrait was one of about 32 produced over a 10-year period, and these were an important part of his work as a painter; he painted himself because he often lacked the money to pay for models. He took the painting with him to Auvers-sur-Oise, near Paris, where he showed it to Dr. Paul Gachet, who thought it was "absolutely fanatical".Art historians are divided as to whether this painting or Self-portrait without beard is Van Gogh's final self-portrait. Art historians Ingo F. Walther and Jan Hulsker consider this to be the last, with Hulsker considering that it was painted in Arles following Van Gogh's admission to hospital after mutilating his ear, while Ronald Pickvance thinks Self-portrait without beard was the later painting.Van Gogh sent the picture to his younger brother, the art dealer Theo; an accompanying letter read: "You will need to study [the picture] for a time. I hope you will notice that my facial expressions have become much calmer, although my eyes have the same insecure look as before, or so it appears to me."Walther and Rainer Metzger consider that "the picture is not a pretty pose nor a realistic record ... [it is] one that has seen too much jeopardy, too much turmoil, to be able to keep its agitation and trembling under control." According to Beckett the dissolving colours and same time turbulent patterns signal a feeling of strain and pressure, symbolising the artist's state of mind, which is under a mental, physical and emotional pressure.The Musée d'Orsay in Paris, who obtained the picture in 1986, noted that "the model's immobility contrasts with the undulating hair and beard, echoed and amplified in the hallucinatory arabesques of the background." | [
"Musée d'Orsay",
"Theo",
"Arles",
"Self-portrait",
"self-portrait",
"Paul Gachet",
"Jan Hulsker",
"Self-portrait without beard",
"Auvers-sur-Oise",
"one of about 32",
"Paris",
"Ronald Pickvance",
"art dealer"
] |
|
18450_T | Van Gogh self-portrait (1889) | In Van Gogh self-portrait (1889), how is the The Oslo Self-Portrait (1889) of the Painting elucidated? | Another self-portrait from 1889, often called the Oslo self-portrait because it is owned by the Nasjonalmuseet in Norway, was authenticated in 2020 by the Van Gogh Museum. This painting, with the artist looking sideways, was painted while the artist was in the asylum in Saint-Rémy and is "unmistakeably" his work. Experts believe it was painted after Van Gogh's letter of 22 August 1889, which indicated that he was still "disturbed" but ready to begin painting again. It was completed prior to his letter of 20 September 1889, in which Van Gogh referred to the self-portrait as "an attempt from when I was ill".
The Museum's report stated that "The Oslo self-portrait depicts someone who is mentally ill; his timid, sideways glance is easily recognisable and is often found in patients suffering from depression and psychosis". | [
"Van Gogh Museum",
"self-portrait"
] |
|
18450_NT | Van Gogh self-portrait (1889) | In this artwork, how is the The Oslo Self-Portrait (1889) of the Painting elucidated? | Another self-portrait from 1889, often called the Oslo self-portrait because it is owned by the Nasjonalmuseet in Norway, was authenticated in 2020 by the Van Gogh Museum. This painting, with the artist looking sideways, was painted while the artist was in the asylum in Saint-Rémy and is "unmistakeably" his work. Experts believe it was painted after Van Gogh's letter of 22 August 1889, which indicated that he was still "disturbed" but ready to begin painting again. It was completed prior to his letter of 20 September 1889, in which Van Gogh referred to the self-portrait as "an attempt from when I was ill".
The Museum's report stated that "The Oslo self-portrait depicts someone who is mentally ill; his timid, sideways glance is easily recognisable and is often found in patients suffering from depression and psychosis". | [
"Van Gogh Museum",
"self-portrait"
] |
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