ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
sequence |
|---|---|---|---|---|---|
18601_T | Les Femmes d'Alger | Explore the Origin of this artwork, Les Femmes d'Alger. | In December 1954, Picasso began to paint a series of free variations on Delacroix's The Women of Algiers in their Apartment (Les Femmes d'Alger). He began his first version (cat. 19) six weeks after learning of the death of his lifelong friend and rival Henri Matisse—and so, for Picasso, the "oriental" subject of this series of paintings held strong associations with Matisse as well as with Delacroix. Matisse had been famous for his images of languid, voluptuous women known as odalisques—the French form of the Turkish word for women in a harem. "When Matisse died he left his odalisques to me as a legacy," joked Picasso. Many of Picasso's portrayals of Jacqueline circa 1955–56 represent her in this guise (cat. 9).The consequences of Picasso's Femmes d'Alger series were far-reaching: "I thought so much about Les Femmes d'Alger that I bought La Californie," Picasso explained to his biographer Pierre Daix. La Californie is a Belle Époque villa situated in the foothills of Cannes in the South of France, where Picasso spent his last decades. Picasso bought it in 1955, and it was here that he painted the Nude in a Rocking-Chair (cat. 16). The light-filled interiors, the views over the Mediterranean and the exotic garden evoked a feeling of spaciousness and ease which corresponded to Picasso's idea of the Orient.The art historian and collector Douglas Cooper was perhaps the first to realise that the paintings done at La Californie marked a return to Picasso's peak form. In April 1956, he wrote to the curator Alfred H. Barr Jr.:I recently spent the day with Picasso and went through most of what he has done since last July. I have been greatly impressed...A whole series of interiors of La Californie deriving half from Delacroix half from Matisse—great emphasis on ornament, arabesque, simplification...In short, as you are planning to come to Europe, this is a word to tell you that you must see all this in the studio: it is to my mind much better than anything since 1946. | [
"Alfred H. Barr Jr.",
"Belle Époque",
"left",
"Women of Algiers",
"Cannes",
"Douglas Cooper",
"odalisque",
"The Women of Algiers in their Apartment",
"Henri Matisse"
] |
|
18601_NT | Les Femmes d'Alger | Explore the Origin of this artwork. | In December 1954, Picasso began to paint a series of free variations on Delacroix's The Women of Algiers in their Apartment (Les Femmes d'Alger). He began his first version (cat. 19) six weeks after learning of the death of his lifelong friend and rival Henri Matisse—and so, for Picasso, the "oriental" subject of this series of paintings held strong associations with Matisse as well as with Delacroix. Matisse had been famous for his images of languid, voluptuous women known as odalisques—the French form of the Turkish word for women in a harem. "When Matisse died he left his odalisques to me as a legacy," joked Picasso. Many of Picasso's portrayals of Jacqueline circa 1955–56 represent her in this guise (cat. 9).The consequences of Picasso's Femmes d'Alger series were far-reaching: "I thought so much about Les Femmes d'Alger that I bought La Californie," Picasso explained to his biographer Pierre Daix. La Californie is a Belle Époque villa situated in the foothills of Cannes in the South of France, where Picasso spent his last decades. Picasso bought it in 1955, and it was here that he painted the Nude in a Rocking-Chair (cat. 16). The light-filled interiors, the views over the Mediterranean and the exotic garden evoked a feeling of spaciousness and ease which corresponded to Picasso's idea of the Orient.The art historian and collector Douglas Cooper was perhaps the first to realise that the paintings done at La Californie marked a return to Picasso's peak form. In April 1956, he wrote to the curator Alfred H. Barr Jr.:I recently spent the day with Picasso and went through most of what he has done since last July. I have been greatly impressed...A whole series of interiors of La Californie deriving half from Delacroix half from Matisse—great emphasis on ornament, arabesque, simplification...In short, as you are planning to come to Europe, this is a word to tell you that you must see all this in the studio: it is to my mind much better than anything since 1946. | [
"Alfred H. Barr Jr.",
"Belle Époque",
"left",
"Women of Algiers",
"Cannes",
"Douglas Cooper",
"odalisque",
"The Women of Algiers in their Apartment",
"Henri Matisse"
] |
|
18602_T | Les Femmes d'Alger | In Les Femmes d'Alger, how is the "Version C" of the List of notable works elucidated? | "Version C" was sold in 1988 following Victor Ganz's death. | [
"Victor Ganz"
] |
|
18602_NT | Les Femmes d'Alger | In this artwork, how is the "Version C" of the List of notable works elucidated? | "Version C" was sold in 1988 following Victor Ganz's death. | [
"Victor Ganz"
] |
|
18603_T | Les Femmes d'Alger | In the context of Les Femmes d'Alger, analyze the "Version F' of the List of notable works. | "Version F" was completed on 17 February 1955, and later sold to Daniel and Eleanore Saidenberg of the Saidenberg Gallery in 1957. It was subsequently sold to a private collector in 2011. The painting later was sold for $29.22 million on 10 July 2020, as part of the New York leg of the One: A Global Sale of the 20th Century auction of Christie's. | [
"Christie's"
] |
|
18603_NT | Les Femmes d'Alger | In the context of this artwork, analyze the "Version F' of the List of notable works. | "Version F" was completed on 17 February 1955, and later sold to Daniel and Eleanore Saidenberg of the Saidenberg Gallery in 1957. It was subsequently sold to a private collector in 2011. The painting later was sold for $29.22 million on 10 July 2020, as part of the New York leg of the One: A Global Sale of the 20th Century auction of Christie's. | [
"Christie's"
] |
|
18604_T | Les Femmes d'Alger | Describe the characteristics of the "Version H" in Les Femmes d'Alger's List of notable works. | "Version H" was completed on 24 January 1955, and was in sold for $7.15 million in November 1997, as part of the Ganz collection, at Christie's in New York. It is part of the Nahmad Collection in Switzerland. In May 2015, it was on loan to Tate Liverpool, England. | [
"Nahmad Collection",
"Christie's",
"Tate Liverpool"
] |
|
18604_NT | Les Femmes d'Alger | Describe the characteristics of the "Version H" in this artwork's List of notable works. | "Version H" was completed on 24 January 1955, and was in sold for $7.15 million in November 1997, as part of the Ganz collection, at Christie's in New York. It is part of the Nahmad Collection in Switzerland. In May 2015, it was on loan to Tate Liverpool, England. | [
"Nahmad Collection",
"Christie's",
"Tate Liverpool"
] |
|
18605_T | Les Femmes d'Alger | In the context of Les Femmes d'Alger, explore the "Version J" of the List of notable works. | "Version J" was sold at Sotheby's in London in 2006 for $18.6 million and is part of the Nahmad Collection. | [
"Nahmad Collection",
"Sotheby's"
] |
|
18605_NT | Les Femmes d'Alger | In the context of this artwork, explore the "Version J" of the List of notable works. | "Version J" was sold at Sotheby's in London in 2006 for $18.6 million and is part of the Nahmad Collection. | [
"Nahmad Collection",
"Sotheby's"
] |
|
18606_T | Les Femmes d'Alger | In the context of Les Femmes d'Alger, explain the "Version K" of the List of notable works. | "Version K" sold for $6.6 million in November 1997, as part of the Ganz collection, at Christie's in New York. | [
"Christie's"
] |
|
18606_NT | Les Femmes d'Alger | In the context of this artwork, explain the "Version K" of the List of notable works. | "Version K" sold for $6.6 million in November 1997, as part of the Ganz collection, at Christie's in New York. | [
"Christie's"
] |
|
18607_T | Les Femmes d'Alger | Explore the "Version L" about the List of notable works of this artwork, Les Femmes d'Alger. | "Version L" was bought by the Berggruen Museum in Berlin in 2011 for $21.4 million. | [
"Berggruen Museum"
] |
|
18607_NT | Les Femmes d'Alger | Explore the "Version L" about the List of notable works of this artwork. | "Version L" was bought by the Berggruen Museum in Berlin in 2011 for $21.4 million. | [
"Berggruen Museum"
] |
|
18608_T | Les Femmes d'Alger | In the context of Les Femmes d'Alger, discuss the "Version M" of the List of notable works. | "Version M" sold for $10 million in November 1997, as part of the Ganz collection, at Christie's in New York. | [
"Christie's"
] |
|
18608_NT | Les Femmes d'Alger | In the context of this artwork, discuss the "Version M" of the List of notable works. | "Version M" sold for $10 million in November 1997, as part of the Ganz collection, at Christie's in New York. | [
"Christie's"
] |
|
18609_T | Les Femmes d'Alger | In Les Femmes d'Alger, how is the "Version N" of the List of notable works elucidated? | "Version N" is held by the Mildred Lane Kemper Art Museum at Washington University in St. Louis, and was bought by the Steinberg Fund, for the university, in 1960. | [
"Kemper Art Museum",
"Washington University in St. Louis",
"Mildred Lane Kemper Art Museum"
] |
|
18609_NT | Les Femmes d'Alger | In this artwork, how is the "Version N" of the List of notable works elucidated? | "Version N" is held by the Mildred Lane Kemper Art Museum at Washington University in St. Louis, and was bought by the Steinberg Fund, for the university, in 1960. | [
"Kemper Art Museum",
"Washington University in St. Louis",
"Mildred Lane Kemper Art Museum"
] |
|
18610_T | Les Femmes d'Alger | In the context of Les Femmes d'Alger, analyze the "Version O" of the List of notable works. | "Version O", the final painting in the series, was painted in 1955.The painting sold for $31.9 million in November 1997, as part of the Ganz collection, at Christie's in New York. Three other versions in the series owned by the Ganz family were also auctioned at the same time. "Version O" was bought, by the British art dealer Libby Howie, for an undisclosed Saudi Arabian collector living in London."Version O" was auctioned at Christie's New York for a second time in May 2015, selling for $179.4 million including fees, a record price for a painting at auction. It was bought by the former Qatari prime minister, Hamad bin Jassim bin Jaber Al Thani. The most expensive work of art to previously sell at auction, Francis Bacon's painting Three Studies of Lucian Freud, had sold for $142.4 million in 2013. "Version O" remained the most expensive painting ever sold at auction until it was surpassed by Leonardo da Vinci's Salvator Mundi in November 2017. It maintained the auction-sale record for a 20th century painting until May 2022, when Andy Warhol's Shot Sage Blue Marilyn sold at Christie's for $195 million. | [
"Qatari prime minister",
"Hamad bin Jassim bin Jaber Al Thani",
"Francis Bacon's",
"Three Studies of Lucian Freud",
"Christie's",
"Saudi Arabia",
"Leonardo da Vinci",
"Andy Warhol"
] |
|
18610_NT | Les Femmes d'Alger | In the context of this artwork, analyze the "Version O" of the List of notable works. | "Version O", the final painting in the series, was painted in 1955.The painting sold for $31.9 million in November 1997, as part of the Ganz collection, at Christie's in New York. Three other versions in the series owned by the Ganz family were also auctioned at the same time. "Version O" was bought, by the British art dealer Libby Howie, for an undisclosed Saudi Arabian collector living in London."Version O" was auctioned at Christie's New York for a second time in May 2015, selling for $179.4 million including fees, a record price for a painting at auction. It was bought by the former Qatari prime minister, Hamad bin Jassim bin Jaber Al Thani. The most expensive work of art to previously sell at auction, Francis Bacon's painting Three Studies of Lucian Freud, had sold for $142.4 million in 2013. "Version O" remained the most expensive painting ever sold at auction until it was surpassed by Leonardo da Vinci's Salvator Mundi in November 2017. It maintained the auction-sale record for a 20th century painting until May 2022, when Andy Warhol's Shot Sage Blue Marilyn sold at Christie's for $195 million. | [
"Qatari prime minister",
"Hamad bin Jassim bin Jaber Al Thani",
"Francis Bacon's",
"Three Studies of Lucian Freud",
"Christie's",
"Saudi Arabia",
"Leonardo da Vinci",
"Andy Warhol"
] |
|
18611_T | Apollo and Daphnis | In Apollo and Daphnis, how is the abstract discussed? | Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.
It one of the most notable works commissioned from the artist by Lorenzo de' Medici. In the background is a rural scene with a city or castle, a three-arch bridge, trees typical of Perugino, hills and a river. The two nude figures in the foreground allude to that in ancient Greek and Roman art - this and the other classical references demonstrate how the work is intended to be decoded by the humanist classical elite of Florence. The standing contrapposto figure is the god Apollo, carrying a baton in his left hand and with a bow and quiver behind him. His pose draws on that of Hermes in a sculpture of Hermes and Dionysius by Praxiteles, now best known from the copy Hermes and the Infant Dionysus rediscovered in the 19th century.
The identity of the seated flute-playing figure on the left is debated - it may be Marsyas, but that character is usually depicted as a satyr and so it may instead by Daphnis, a young shepherd who died of love for Apollo. Daphnis is the Greek form of the name Laurus, possibly linking the work to Lorenzo de' Medici. His pose draws on a sculpture of Hermes by Lysippus, best known from the Seated Hermes discovered in 1758. | [
"Hermes and the Infant Dionysus",
"Raphael",
"satyr",
"Marsyas",
"Praxiteles",
"contrapposto",
"Lysippus",
"Daphnis",
"Seated Hermes",
"Perugino",
"humanist",
"Lorenzo de' Medici",
"Louvre",
"Apollo"
] |
|
18611_NT | Apollo and Daphnis | In this artwork, how is the abstract discussed? | Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.
It one of the most notable works commissioned from the artist by Lorenzo de' Medici. In the background is a rural scene with a city or castle, a three-arch bridge, trees typical of Perugino, hills and a river. The two nude figures in the foreground allude to that in ancient Greek and Roman art - this and the other classical references demonstrate how the work is intended to be decoded by the humanist classical elite of Florence. The standing contrapposto figure is the god Apollo, carrying a baton in his left hand and with a bow and quiver behind him. His pose draws on that of Hermes in a sculpture of Hermes and Dionysius by Praxiteles, now best known from the copy Hermes and the Infant Dionysus rediscovered in the 19th century.
The identity of the seated flute-playing figure on the left is debated - it may be Marsyas, but that character is usually depicted as a satyr and so it may instead by Daphnis, a young shepherd who died of love for Apollo. Daphnis is the Greek form of the name Laurus, possibly linking the work to Lorenzo de' Medici. His pose draws on a sculpture of Hermes by Lysippus, best known from the Seated Hermes discovered in 1758. | [
"Hermes and the Infant Dionysus",
"Raphael",
"satyr",
"Marsyas",
"Praxiteles",
"contrapposto",
"Lysippus",
"Daphnis",
"Seated Hermes",
"Perugino",
"humanist",
"Lorenzo de' Medici",
"Louvre",
"Apollo"
] |
|
18612_T | Bust of Francesco I d'Este | Focus on Bust of Francesco I d'Este and explore the abstract. | The Bust of Francesco I d'Este is a marble portrait bust by the Italian sculptor Gian Lorenzo Bernini. Completed in 1652, the work depicts Francesco I d'Este, Duke of Modena. It is in the Galleria Estense, Modena, Italy. The noble yet detached expression of the face, the extensive drapery and the lavish locks of hair are often taken to be emblematic of the way Bernini represented "absolute monarchs" as seemingly adopting superior poses, oblivious to their surroundings. A painting of the portrait bust, surrounded by various objects, undertaken by the artist Francesco Stringa in the late 1660s is in the Minneapolis Institute of Art. | [
"Minneapolis Institute of Art",
"Galleria Estense",
"Gian Lorenzo Bernini",
"Modena",
"Francesco I d'Este, Duke of Modena",
"Francesco I d'Este"
] |
|
18612_NT | Bust of Francesco I d'Este | Focus on this artwork and explore the abstract. | The Bust of Francesco I d'Este is a marble portrait bust by the Italian sculptor Gian Lorenzo Bernini. Completed in 1652, the work depicts Francesco I d'Este, Duke of Modena. It is in the Galleria Estense, Modena, Italy. The noble yet detached expression of the face, the extensive drapery and the lavish locks of hair are often taken to be emblematic of the way Bernini represented "absolute monarchs" as seemingly adopting superior poses, oblivious to their surroundings. A painting of the portrait bust, surrounded by various objects, undertaken by the artist Francesco Stringa in the late 1660s is in the Minneapolis Institute of Art. | [
"Minneapolis Institute of Art",
"Galleria Estense",
"Gian Lorenzo Bernini",
"Modena",
"Francesco I d'Este, Duke of Modena",
"Francesco I d'Este"
] |
|
18613_T | Portrait of Elizabeth Kerr | Focus on Portrait of Elizabeth Kerr and explain the abstract. | Portrait of Elizabeth Kerr is a c. 1769 oil on canvas portrait painting by the English artist Joshua Reynolds. It is now in the Museo Soumaya in Mexico City.It shows Elizabeth Kerr (née Fortescue), daughter of Chichester Fortescue (1718–1757), High Sheriff of County Down in what is now Northern Ireland. Reynolds also painted her at least twice between her marriage in 1762 and her husband's succession to the marquisate in 1775 – these half-lengths are on show at Blickling Hall and Fyvie Castle. John Spilsbury engraved the c.1769 work in 1770, though he altered a few details of the dress.The c. 1769 work was inherited by William and Elizabeth's seventh child and second son Lord Charles Beauchamp Kerr (1775–1816), who passed it to his own son Captain Beauchamp Kerr. Sometime before 1899 it came into the hands of one E. Beckett, who sold it to Agnew's that year. Agnew's sold it on four days later to George J. Gould, who bequeathed it to a private collector in Washington, D.C. That private collector then sold it at auction at Sotheby's New York on 9 June 2011, where it was bought by its present owner for $62,500 (then equivalent to £38,514). | [
"Fyvie Castle",
"High Sheriff of County Down",
"Chichester Fortescue (1718–1757)",
"Washington, D.C.",
"Blickling Hall",
"Agnew's",
"George J. Gould",
"Elizabeth Kerr (née Fortescue)",
"Joshua Reynolds",
"Museo Soumaya",
"1769",
"Mexico City",
"John Spilsbury"
] |
|
18613_NT | Portrait of Elizabeth Kerr | Focus on this artwork and explain the abstract. | Portrait of Elizabeth Kerr is a c. 1769 oil on canvas portrait painting by the English artist Joshua Reynolds. It is now in the Museo Soumaya in Mexico City.It shows Elizabeth Kerr (née Fortescue), daughter of Chichester Fortescue (1718–1757), High Sheriff of County Down in what is now Northern Ireland. Reynolds also painted her at least twice between her marriage in 1762 and her husband's succession to the marquisate in 1775 – these half-lengths are on show at Blickling Hall and Fyvie Castle. John Spilsbury engraved the c.1769 work in 1770, though he altered a few details of the dress.The c. 1769 work was inherited by William and Elizabeth's seventh child and second son Lord Charles Beauchamp Kerr (1775–1816), who passed it to his own son Captain Beauchamp Kerr. Sometime before 1899 it came into the hands of one E. Beckett, who sold it to Agnew's that year. Agnew's sold it on four days later to George J. Gould, who bequeathed it to a private collector in Washington, D.C. That private collector then sold it at auction at Sotheby's New York on 9 June 2011, where it was bought by its present owner for $62,500 (then equivalent to £38,514). | [
"Fyvie Castle",
"High Sheriff of County Down",
"Chichester Fortescue (1718–1757)",
"Washington, D.C.",
"Blickling Hall",
"Agnew's",
"George J. Gould",
"Elizabeth Kerr (née Fortescue)",
"Joshua Reynolds",
"Museo Soumaya",
"1769",
"Mexico City",
"John Spilsbury"
] |
|
18614_T | Portrait of Elizabeth Kerr | Explore the Description of this artwork, Portrait of Elizabeth Kerr. | The subject is shown seated three-quarter-length, her hands resting in her lap and her right forearm resting on a table. She wears a dress influenced by the ancient Greek chiton and an overmantle of blueish silk, edged with ermine to reflect her noble status. Influenced by ancient Roman busts, her high and heavily-ornamented hairstyle was very fashionable for the time, with a single braid running over her right breast. Reynolds contrasts her white skin with a darker background Some art historians argue that the work complies with the "four principles of painting" outlined by Reynolds in his Discourses on Art, namely invention, colour, drapery and expression. | [
"chiton"
] |
|
18614_NT | Portrait of Elizabeth Kerr | Explore the Description of this artwork. | The subject is shown seated three-quarter-length, her hands resting in her lap and her right forearm resting on a table. She wears a dress influenced by the ancient Greek chiton and an overmantle of blueish silk, edged with ermine to reflect her noble status. Influenced by ancient Roman busts, her high and heavily-ornamented hairstyle was very fashionable for the time, with a single braid running over her right breast. Reynolds contrasts her white skin with a darker background Some art historians argue that the work complies with the "four principles of painting" outlined by Reynolds in his Discourses on Art, namely invention, colour, drapery and expression. | [
"chiton"
] |
|
18615_T | Panel with striding lion | Focus on Panel with striding lion and discuss the abstract. | The Panel with striding lion (MA 31.13.1) is a panel of Neo-Babylonian glazed ceramic bricks or tiles dated to 604–562 B.C., now in the Metropolitan Museum of Art, New York. It was one of many that lined the Processional Way north of the Ishtar Gate. It was excavated by R. Koldewey in 1902, and at the Staatliche Museen zu Berlin from 1926, before coming into the possession of the Met in 1931.A large group of such figures is part of the Processional Way leading to the Ishtar Gate, a centrepiece display of the Pergamon Museum in Berlin.
Lions were symbolic of royalty because of their strength, and fighting a lion gave a king great prestige. The lion was also the symbol of Ishtar, the goddess of love and war. In her role of the goddess of war she is depicted on a chariot drawn by seven lions with bow in hand | [
"Ishtar Gate",
"Pergamon Museum",
"ceramic",
"Berlin",
"tile",
"Neo-Babylonian",
"Staatliche Museen zu Berlin",
"Metropolitan Museum of Art"
] |
|
18615_NT | Panel with striding lion | Focus on this artwork and discuss the abstract. | The Panel with striding lion (MA 31.13.1) is a panel of Neo-Babylonian glazed ceramic bricks or tiles dated to 604–562 B.C., now in the Metropolitan Museum of Art, New York. It was one of many that lined the Processional Way north of the Ishtar Gate. It was excavated by R. Koldewey in 1902, and at the Staatliche Museen zu Berlin from 1926, before coming into the possession of the Met in 1931.A large group of such figures is part of the Processional Way leading to the Ishtar Gate, a centrepiece display of the Pergamon Museum in Berlin.
Lions were symbolic of royalty because of their strength, and fighting a lion gave a king great prestige. The lion was also the symbol of Ishtar, the goddess of love and war. In her role of the goddess of war she is depicted on a chariot drawn by seven lions with bow in hand | [
"Ishtar Gate",
"Pergamon Museum",
"ceramic",
"Berlin",
"tile",
"Neo-Babylonian",
"Staatliche Museen zu Berlin",
"Metropolitan Museum of Art"
] |
|
18616_T | Tritons' Fountain | How does Tritons' Fountain elucidate its abstract? | The Tritons’ Fountain (Maltese: Il-Funtana tat-Tritoni) is a fountain located just outside the City Gate of Valletta, Malta. It consists of three bronze Tritons holding up a large basin, balanced on a concentric base built out of concrete and clad in 730 tons of travertine slabs. The fountain is one of Malta's most important Modernist landmarks.Designed and constructed between 1952 and 1959 under no less than three governing bodies, and conceived jointly by eminent sculptor Chevalier Vincent Apap and his collaborator draughtsman Victor Anastasi, the fountain became unofficially operational on Saturday 16 May 1959. The fountain was used as a stage for National Celebrations named 'Mill-Maltin għall-Maltin' and is believed to have jeopardized the relatively compromised structural setup of the sculptural group and consequently contributed to the dramatic collapse of the sculptural group which occurred on Wednesday 1 March 1978 at approximately 14:00hrs.
The sculptural group was repaired by Malta Drydocks engineers between January 1986 and April 1987. During this intervention a central sculptural addition consisting of three seagulls and seaweed (also the work of Chev. Apap) was introduced within the sculptural group, however this arrangement subsequently diminished the telamonic role of the mythological Triton figures.
The fountain deteriorated in subsequent decades, and was earmarked for relocation in 2010 when the Heritage Planning Unit of the Planning Authority through its Conservation Officer Kenneth Cauchi advised that the monumental fountain would be best left in situ and any efforts were to be aimed and restoring the whole structure to its original form and reinstate the sculptural group in its dramatic carrying role of the ponderous basin. Much efforts and meetings were undertaken with Minister of Infrastructure, Communication and Transport Dr. Austin Gatt who stopped all proposals of relocating the fountain in a Press Conference dated 9 December 2011. The proposal by Mr. Cauchi was put forward to be addressed by the Minister of Resources and Rural Affairs George Pullicino who put forward the proposal through his Permanent Secretary Ing. Christopher Ciantar and Architect Norbert Gatt. Eventually the project passed forward by the Head of the Rehabilitation Projects Office (RPO) Chief Architect Mireille Fsadni and under the new Minister of the Ministry of Transport and Infrastructure (MTI) Joe Mizzi and under the new Permanent Secretary Ing Joseph Callus who was instrumental in setting up a technical steering group to address the proposed project by Mr. Cauchi. The team was chaired by Ing. Stefan Calamatta and was made up of Architect Fsadni to cover the civil and structural parts, Mr. Cauchi to cover the historical, artistic and bronze and travertine conservation aspects, Ing Brian Cauchi and Ing Alex Vella (obit. 2023) to cover the mechanical and hydraulic aspects, Ing Conrad Casha and Ing Simon Ellul to address the electrical aspects.
Following the general election of 2017, the project passed under a new Ministry Transport, Infrastructure and Capital Projects (MTIP) with Dr. Ian Borg as Minister and Permanent Secretary Mr. Christopher Cutajar who saw to the undertaking of the project proposed by Mr. Cauchi. The contract for works was entered upon on the 12th January 2017 and commencing on site at the end of January when the bronze figures were dismantled and sent to Fonderia Artistica Ferdinando Marinelli of Florence. Works were ready by the end of the year, and the fountain and piazza were officially inaugurated on 12 January 2018, precisely a year to date from the signing of the contract. The Project Manager was Ing Joseph Scicluna who was instrumental to bring the project to a satisfactory conclusion while the Site Manager was Joseph Mifsud. | [
"concrete",
"Vincent Apap",
"Joe Mizzi",
"travertine",
"Austin Gatt",
"Florence",
"Valletta",
"City Gate",
"Malta Drydocks",
"Malta",
"Maltese",
"Modernist",
"left",
"Tritons",
"Victor Anastasi"
] |
|
18616_NT | Tritons' Fountain | How does this artwork elucidate its abstract? | The Tritons’ Fountain (Maltese: Il-Funtana tat-Tritoni) is a fountain located just outside the City Gate of Valletta, Malta. It consists of three bronze Tritons holding up a large basin, balanced on a concentric base built out of concrete and clad in 730 tons of travertine slabs. The fountain is one of Malta's most important Modernist landmarks.Designed and constructed between 1952 and 1959 under no less than three governing bodies, and conceived jointly by eminent sculptor Chevalier Vincent Apap and his collaborator draughtsman Victor Anastasi, the fountain became unofficially operational on Saturday 16 May 1959. The fountain was used as a stage for National Celebrations named 'Mill-Maltin għall-Maltin' and is believed to have jeopardized the relatively compromised structural setup of the sculptural group and consequently contributed to the dramatic collapse of the sculptural group which occurred on Wednesday 1 March 1978 at approximately 14:00hrs.
The sculptural group was repaired by Malta Drydocks engineers between January 1986 and April 1987. During this intervention a central sculptural addition consisting of three seagulls and seaweed (also the work of Chev. Apap) was introduced within the sculptural group, however this arrangement subsequently diminished the telamonic role of the mythological Triton figures.
The fountain deteriorated in subsequent decades, and was earmarked for relocation in 2010 when the Heritage Planning Unit of the Planning Authority through its Conservation Officer Kenneth Cauchi advised that the monumental fountain would be best left in situ and any efforts were to be aimed and restoring the whole structure to its original form and reinstate the sculptural group in its dramatic carrying role of the ponderous basin. Much efforts and meetings were undertaken with Minister of Infrastructure, Communication and Transport Dr. Austin Gatt who stopped all proposals of relocating the fountain in a Press Conference dated 9 December 2011. The proposal by Mr. Cauchi was put forward to be addressed by the Minister of Resources and Rural Affairs George Pullicino who put forward the proposal through his Permanent Secretary Ing. Christopher Ciantar and Architect Norbert Gatt. Eventually the project passed forward by the Head of the Rehabilitation Projects Office (RPO) Chief Architect Mireille Fsadni and under the new Minister of the Ministry of Transport and Infrastructure (MTI) Joe Mizzi and under the new Permanent Secretary Ing Joseph Callus who was instrumental in setting up a technical steering group to address the proposed project by Mr. Cauchi. The team was chaired by Ing. Stefan Calamatta and was made up of Architect Fsadni to cover the civil and structural parts, Mr. Cauchi to cover the historical, artistic and bronze and travertine conservation aspects, Ing Brian Cauchi and Ing Alex Vella (obit. 2023) to cover the mechanical and hydraulic aspects, Ing Conrad Casha and Ing Simon Ellul to address the electrical aspects.
Following the general election of 2017, the project passed under a new Ministry Transport, Infrastructure and Capital Projects (MTIP) with Dr. Ian Borg as Minister and Permanent Secretary Mr. Christopher Cutajar who saw to the undertaking of the project proposed by Mr. Cauchi. The contract for works was entered upon on the 12th January 2017 and commencing on site at the end of January when the bronze figures were dismantled and sent to Fonderia Artistica Ferdinando Marinelli of Florence. Works were ready by the end of the year, and the fountain and piazza were officially inaugurated on 12 January 2018, precisely a year to date from the signing of the contract. The Project Manager was Ing Joseph Scicluna who was instrumental to bring the project to a satisfactory conclusion while the Site Manager was Joseph Mifsud. | [
"concrete",
"Vincent Apap",
"Joe Mizzi",
"travertine",
"Austin Gatt",
"Florence",
"Valletta",
"City Gate",
"Malta Drydocks",
"Malta",
"Maltese",
"Modernist",
"left",
"Tritons",
"Victor Anastasi"
] |
|
18617_T | Tritons' Fountain | Focus on Tritons' Fountain and analyze the Background and construction. | The site of the fountain was formerly occupied by St. Madeleine's Lunette, a 17th-century lunette that protected the entrance to Valletta. The lunette was dismantled and its ditch was filled in with rubble in the 19th century, although some parts might have survived beneath the present street level. The area was eventually used as a bus terminus, and in January 1953 the Ministry for Public Works and Reconstruction launched a competition for designing a fountain in this empty space. The competition was open to everyone except for those who worked at the Public Works Department, and the first prize was of £100.The winning proposal was entitled "Triton", and it was submitted by the sculptor Vincent Apap. It was designed in collaboration with the draughtsman and designer Victor Anastasi, who was not mentioned on the proposal since he was employed by the PWD. Apap worked on the sculpture of three Tritons in stucco at a former dovecote in Palazzo Parisio, which had been made available by his friend, the marquis Joe Scicluna. Meanwhile, Anastasi worked on the technical and architectural elements of the fountain, including the hydraulic systems, and costs and supplies of materials.Work on the fountain's foundations began in June 1955 by the contractor Carmelo Grech, and construction of the base was complete by mid-1958. The figures of the Tritons were cast in bronze at the Lagana foundry in Naples, and were put in place in 1959. The total cost of construction was around £80,000. The fountain was switched on for the first time on 16 May 1959, but it was never officially inaugurated due to the uneasy political situation at the time, as Malta's government had just resigned and the islands were under direct colonial rule. | [
"Naples",
"Vincent Apap",
"lunette",
"Valletta",
"Palazzo Parisio",
"stucco",
"Malta",
"Tritons",
"Victor Anastasi"
] |
|
18617_NT | Tritons' Fountain | Focus on this artwork and analyze the Background and construction. | The site of the fountain was formerly occupied by St. Madeleine's Lunette, a 17th-century lunette that protected the entrance to Valletta. The lunette was dismantled and its ditch was filled in with rubble in the 19th century, although some parts might have survived beneath the present street level. The area was eventually used as a bus terminus, and in January 1953 the Ministry for Public Works and Reconstruction launched a competition for designing a fountain in this empty space. The competition was open to everyone except for those who worked at the Public Works Department, and the first prize was of £100.The winning proposal was entitled "Triton", and it was submitted by the sculptor Vincent Apap. It was designed in collaboration with the draughtsman and designer Victor Anastasi, who was not mentioned on the proposal since he was employed by the PWD. Apap worked on the sculpture of three Tritons in stucco at a former dovecote in Palazzo Parisio, which had been made available by his friend, the marquis Joe Scicluna. Meanwhile, Anastasi worked on the technical and architectural elements of the fountain, including the hydraulic systems, and costs and supplies of materials.Work on the fountain's foundations began in June 1955 by the contractor Carmelo Grech, and construction of the base was complete by mid-1958. The figures of the Tritons were cast in bronze at the Lagana foundry in Naples, and were put in place in 1959. The total cost of construction was around £80,000. The fountain was switched on for the first time on 16 May 1959, but it was never officially inaugurated due to the uneasy political situation at the time, as Malta's government had just resigned and the islands were under direct colonial rule. | [
"Naples",
"Vincent Apap",
"lunette",
"Valletta",
"Palazzo Parisio",
"stucco",
"Malta",
"Tritons",
"Victor Anastasi"
] |
|
18618_T | Tritons' Fountain | In Tritons' Fountain, how is the Damage and repair discussed? | In the decades after its construction, the fountain became a landmark due to its prominent location in Malta's main bus terminus. It was used for various events, including the Republic Day national festivities which were televised on the programme Mill-Maltin għall-Maltin. A platform was built on the fountain's sculptural group to house entertainment acts which included concerts as well as motorcycles climbing on the bronze basin over specially-constructed ramps. This greatly weakened the structure, and together with natural deterioration, it resulted in the tank mounted inside the basin failing to limit the water supported inside. This caused an excessive amount of water to remain in the platter, which strained the bronze Triton figures supporting it. One of the Tritons' arms broke on 1 March 1978, and the platter collapsed resulting in significant damage to two of the three Tritons.In 1986, the basin and damaged figures were repaired at the Malta Drydocks, and a central pillar was added to support the weight of the platter. Water no longer passed through the Tritons' arms, but through a pipe in this pillar. The fountain was functional on 1 May 1987, and repairs cost around Lm10,000. The central pillar was designed by Apap himself, even though he was against this repair work, and it was cast in bronze in Verona. These interventions have been called "inartistic" and have been widely criticized as destroying the fountain's original harmony.In the late 1990s, the fountain's water and lighting systems were refurbished by the Malta Desalination Services and the Water Works Division.Over time, further deterioration to the sculpture occurred, including corrosion and cracks in the figures. In 2017, Minister Joe Mizzi stated that the bronze figures had deteriorated to such an extent that they "would have been lost" if they had not been restored. The travertine slabs in the fountain's base also sustained substantial damage and staining over the years. | [
"Joe Mizzi",
"travertine",
"Verona",
"Malta Drydocks",
"Lm",
"Malta",
"Tritons",
"Republic Day"
] |
|
18618_NT | Tritons' Fountain | In this artwork, how is the Damage and repair discussed? | In the decades after its construction, the fountain became a landmark due to its prominent location in Malta's main bus terminus. It was used for various events, including the Republic Day national festivities which were televised on the programme Mill-Maltin għall-Maltin. A platform was built on the fountain's sculptural group to house entertainment acts which included concerts as well as motorcycles climbing on the bronze basin over specially-constructed ramps. This greatly weakened the structure, and together with natural deterioration, it resulted in the tank mounted inside the basin failing to limit the water supported inside. This caused an excessive amount of water to remain in the platter, which strained the bronze Triton figures supporting it. One of the Tritons' arms broke on 1 March 1978, and the platter collapsed resulting in significant damage to two of the three Tritons.In 1986, the basin and damaged figures were repaired at the Malta Drydocks, and a central pillar was added to support the weight of the platter. Water no longer passed through the Tritons' arms, but through a pipe in this pillar. The fountain was functional on 1 May 1987, and repairs cost around Lm10,000. The central pillar was designed by Apap himself, even though he was against this repair work, and it was cast in bronze in Verona. These interventions have been called "inartistic" and have been widely criticized as destroying the fountain's original harmony.In the late 1990s, the fountain's water and lighting systems were refurbished by the Malta Desalination Services and the Water Works Division.Over time, further deterioration to the sculpture occurred, including corrosion and cracks in the figures. In 2017, Minister Joe Mizzi stated that the bronze figures had deteriorated to such an extent that they "would have been lost" if they had not been restored. The travertine slabs in the fountain's base also sustained substantial damage and staining over the years. | [
"Joe Mizzi",
"travertine",
"Verona",
"Malta Drydocks",
"Lm",
"Malta",
"Tritons",
"Republic Day"
] |
|
18619_T | Tritons' Fountain | Focus on Tritons' Fountain and explore the Proposed relocation. | In 2011, works began on a project by Renzo Piano to redesign the entrance of Valletta. This project included rebuilding the City Gate and landscaping the surrounding area, and Piano recommended that the Triton Fountain be shifted some distance away from its location immediately outside Valletta's entrance. The proposed relocation was announced by the Ministry for Infrastructure, Transport and Communications in April 2011, and it was meant to create an open space and restore "the architectural and historical context of the entrance to the fortified city". The approach to the City Gate would be flanked by trees and only accessible to pedestrians, while the fountain was to be restored and shifted to the garden opposite the Hotel Phoenicia, close to the Malta Memorial and the MCP car park. This would have moved the fountain from the limits of Valletta to Floriana.The proposed relocation was controversial, and although some welcomed the proposal, most people were against moving the landmark fountain. Opponents stated that since the fountain has an underground system of passages, it is impossible to move it without destroying and rebuilding it, and the fountain might not work at all if moved. Concerns were also raised that the Triton figures would be damaged if they were to be moved. In December 2011, Minister Austin Gatt announced that the fountain will not be moved, and after restoration it will serve as the centerpiece of Piano's redesigned entrance to Valletta.The fountain was scheduled as a Grade 1 property by the Malta Environment and Planning Authority on 8 May 2012, as one of the "20th Century Modernist Architecture and Monuments in Valletta and Floriana". On 28 December of the same year, it was included on the National Inventory of the Cultural Property of the Maltese Islands. | [
"Hotel Phoenicia",
"National Inventory of the Cultural Property of the Maltese Islands",
"Malta Environment and Planning Authority",
"Austin Gatt",
"Valletta",
"City Gate",
"Renzo Piano",
"Malta",
"Maltese",
"Modernist",
"Malta Memorial",
"Floriana"
] |
|
18619_NT | Tritons' Fountain | Focus on this artwork and explore the Proposed relocation. | In 2011, works began on a project by Renzo Piano to redesign the entrance of Valletta. This project included rebuilding the City Gate and landscaping the surrounding area, and Piano recommended that the Triton Fountain be shifted some distance away from its location immediately outside Valletta's entrance. The proposed relocation was announced by the Ministry for Infrastructure, Transport and Communications in April 2011, and it was meant to create an open space and restore "the architectural and historical context of the entrance to the fortified city". The approach to the City Gate would be flanked by trees and only accessible to pedestrians, while the fountain was to be restored and shifted to the garden opposite the Hotel Phoenicia, close to the Malta Memorial and the MCP car park. This would have moved the fountain from the limits of Valletta to Floriana.The proposed relocation was controversial, and although some welcomed the proposal, most people were against moving the landmark fountain. Opponents stated that since the fountain has an underground system of passages, it is impossible to move it without destroying and rebuilding it, and the fountain might not work at all if moved. Concerns were also raised that the Triton figures would be damaged if they were to be moved. In December 2011, Minister Austin Gatt announced that the fountain will not be moved, and after restoration it will serve as the centerpiece of Piano's redesigned entrance to Valletta.The fountain was scheduled as a Grade 1 property by the Malta Environment and Planning Authority on 8 May 2012, as one of the "20th Century Modernist Architecture and Monuments in Valletta and Floriana". On 28 December of the same year, it was included on the National Inventory of the Cultural Property of the Maltese Islands. | [
"Hotel Phoenicia",
"National Inventory of the Cultural Property of the Maltese Islands",
"Malta Environment and Planning Authority",
"Austin Gatt",
"Valletta",
"City Gate",
"Renzo Piano",
"Malta",
"Maltese",
"Modernist",
"Malta Memorial",
"Floriana"
] |
|
18620_T | Tritons' Fountain | Focus on Tritons' Fountain and explain the Formal inauguration. | The restored fountain was finally (59 years late) officially inaugurated on 12 January 2018, by Prime Minister Joseph Muscat. The works were completed a week ahead of Valletta taking its position as European Capital of Culture 2018. It was stated that the restoration cost amounted to €4.5 million.The maintenance of the fountain has always been the remit and jurisdiction of the Public Works Department (PWD) under the Director General Architect Stephen Bonello and through its specialized Manufacturing and Servicing Department (MSD) and its Director Ing. Ray Caruana. Keeping it in perfect it condition has been the hallmark of all Permanent Secretaries succeeding Mr. Cutajar namely being Mr. Johan Galea and Mr. Joseph Caruana. | [
"Valletta",
"European Capital of Culture",
"Joseph Muscat"
] |
|
18620_NT | Tritons' Fountain | Focus on this artwork and explain the Formal inauguration. | The restored fountain was finally (59 years late) officially inaugurated on 12 January 2018, by Prime Minister Joseph Muscat. The works were completed a week ahead of Valletta taking its position as European Capital of Culture 2018. It was stated that the restoration cost amounted to €4.5 million.The maintenance of the fountain has always been the remit and jurisdiction of the Public Works Department (PWD) under the Director General Architect Stephen Bonello and through its specialized Manufacturing and Servicing Department (MSD) and its Director Ing. Ray Caruana. Keeping it in perfect it condition has been the hallmark of all Permanent Secretaries succeeding Mr. Cutajar namely being Mr. Johan Galea and Mr. Joseph Caruana. | [
"Valletta",
"European Capital of Culture",
"Joseph Muscat"
] |
|
18621_T | Tritons' Fountain | Explore the Legacy of this artwork, Tritons' Fountain. | To commemorate the 5th Anniversary from the Triton Fountain formal inauguration, Minister Stefan Zrinzo Azzopardi through his Permanent Secretary Carlos Tabone was instrumental to collaborate with MaltaPost to issue a number of commemorative stamps on Monday 11 December 2023. The event coincided with the appointment of Mr. Kenneth Cauchi as the first official Curator of the Triton Fountain.
By prior appointment with the Public Works Department through the Triton Fountain Curator, the 500 square metre plus underground complex of the fountain is open for a limited number of visitors, students and specific groups (Terms & Conditions apply).
Such is the legacy that is being promoted now that the Triton Fountain has been reinstated as one of the most prominent European landmarks and a centre of applied excellence serving both as a cultural heritage attraction and a manifest of a well-maintained electro-mechanical hydraulic plant. | [
"MaltaPost",
"Malta"
] |
|
18621_NT | Tritons' Fountain | Explore the Legacy of this artwork. | To commemorate the 5th Anniversary from the Triton Fountain formal inauguration, Minister Stefan Zrinzo Azzopardi through his Permanent Secretary Carlos Tabone was instrumental to collaborate with MaltaPost to issue a number of commemorative stamps on Monday 11 December 2023. The event coincided with the appointment of Mr. Kenneth Cauchi as the first official Curator of the Triton Fountain.
By prior appointment with the Public Works Department through the Triton Fountain Curator, the 500 square metre plus underground complex of the fountain is open for a limited number of visitors, students and specific groups (Terms & Conditions apply).
Such is the legacy that is being promoted now that the Triton Fountain has been reinstated as one of the most prominent European landmarks and a centre of applied excellence serving both as a cultural heritage attraction and a manifest of a well-maintained electro-mechanical hydraulic plant. | [
"MaltaPost",
"Malta"
] |
|
18622_T | Reliquary of the Santo Corporale | Focus on Reliquary of the Santo Corporale and discuss the Description. | The reliquary of the Santo Corporale is considered to be one of the most important 14th century metal works from Siena. It is a gothic miniature inspired by northern European models showing the facade of the Orvieto Cathedral. The reliquary contains three vertical sections like the cathedral facade, but its typanum are much more acute. In addition, it contains a series of pinnacles surmounted by golden statues; this indicates a northern European influence as these details are generally not part of Italian architecture. Such influences from north of the Alps can frequently be seen in Italian gold and silver work of this era. Additional statues can be found at the base of the reliquary and on top is a jeweled cross.
The reliquary is considered to be important artistically also because it contains the earliest extant painted translucent enamels. Thirty-two scenes in painted enamels represent the Stories of the Corporal and the Passion of Christ, created with a very contemporary style. Elaborate architectural sections, moving gothic lines, and great attention to fine detail show a strong affinity to panel painting of the era, including to artists like Simone Martini as well as the contemporary artists Pietro and Ambrogio Lorenzetti. With a taste even more markedly gothic it is a fundamental example of pictorial art of the Sienese school. Blue is the dominant background color from which stand out points of brilliant yellow, green, and red which render the scenes perfectly legibile.
The reliquary was created to house a linen liturgical cloth, a corporal, onto which appeared the blood of Christ from a consecrated host, and it was designed to house also the host itself. This event is reported to have occurred during a Mass celebrated in Bolsena by a skeptical Bohemian priest in late 1263 or 1264. | [
"Simone Martini",
"Pietro",
"Orvieto Cathedral",
"corporal",
"Sienese school",
"Ambrogio Lorenzetti"
] |
|
18622_NT | Reliquary of the Santo Corporale | Focus on this artwork and discuss the Description. | The reliquary of the Santo Corporale is considered to be one of the most important 14th century metal works from Siena. It is a gothic miniature inspired by northern European models showing the facade of the Orvieto Cathedral. The reliquary contains three vertical sections like the cathedral facade, but its typanum are much more acute. In addition, it contains a series of pinnacles surmounted by golden statues; this indicates a northern European influence as these details are generally not part of Italian architecture. Such influences from north of the Alps can frequently be seen in Italian gold and silver work of this era. Additional statues can be found at the base of the reliquary and on top is a jeweled cross.
The reliquary is considered to be important artistically also because it contains the earliest extant painted translucent enamels. Thirty-two scenes in painted enamels represent the Stories of the Corporal and the Passion of Christ, created with a very contemporary style. Elaborate architectural sections, moving gothic lines, and great attention to fine detail show a strong affinity to panel painting of the era, including to artists like Simone Martini as well as the contemporary artists Pietro and Ambrogio Lorenzetti. With a taste even more markedly gothic it is a fundamental example of pictorial art of the Sienese school. Blue is the dominant background color from which stand out points of brilliant yellow, green, and red which render the scenes perfectly legibile.
The reliquary was created to house a linen liturgical cloth, a corporal, onto which appeared the blood of Christ from a consecrated host, and it was designed to house also the host itself. This event is reported to have occurred during a Mass celebrated in Bolsena by a skeptical Bohemian priest in late 1263 or 1264. | [
"Simone Martini",
"Pietro",
"Orvieto Cathedral",
"corporal",
"Sienese school",
"Ambrogio Lorenzetti"
] |
|
18623_T | Reliquary of the Santo Corporale | Focus on Reliquary of the Santo Corporale and analyze the Related links. | Sienese School
Corporal of Bolsena
Duomo di Orvieto | [
"Sienese School",
"Corporal of Bolsena",
"Duomo di Orvieto"
] |
|
18623_NT | Reliquary of the Santo Corporale | Focus on this artwork and analyze the Related links. | Sienese School
Corporal of Bolsena
Duomo di Orvieto | [
"Sienese School",
"Corporal of Bolsena",
"Duomo di Orvieto"
] |
|
18624_T | Equestrian statue of Nathanael Greene | In Equestrian statue of Nathanael Greene, how is the abstract discussed? | Major General Nathanael Greene is a bronze equestrian statue, by Henry Kirke Brown.
It is located in Stanton Park, Northeast, Washington, D.C., in the Capitol Hill neighborhood.The inscription reads:(Base, south side:)
(Base, north side:)
On June 6, 1930, the statue fell from its pedestal after the bolts gave out in summer heat.
As part of American Revolution Statuary in Washington, D.C. the statue is listed on the National Register of Historic Places. | [
"American Revolution Statuary",
"Capitol Hill",
"Henry Kirke Brown",
"Nathanael Greene",
"National Register of Historic Places",
"Northeast, Washington, D.C.",
"Stanton Park",
"Washington, D.C."
] |
|
18624_NT | Equestrian statue of Nathanael Greene | In this artwork, how is the abstract discussed? | Major General Nathanael Greene is a bronze equestrian statue, by Henry Kirke Brown.
It is located in Stanton Park, Northeast, Washington, D.C., in the Capitol Hill neighborhood.The inscription reads:(Base, south side:)
(Base, north side:)
On June 6, 1930, the statue fell from its pedestal after the bolts gave out in summer heat.
As part of American Revolution Statuary in Washington, D.C. the statue is listed on the National Register of Historic Places. | [
"American Revolution Statuary",
"Capitol Hill",
"Henry Kirke Brown",
"Nathanael Greene",
"National Register of Historic Places",
"Northeast, Washington, D.C.",
"Stanton Park",
"Washington, D.C."
] |
|
18625_T | Statue of Philo Farnsworth | Focus on Statue of Philo Farnsworth and explore the abstract. | Philo T. Farnsworth is a bronze sculpture depicting the American inventor and television pioneer of the same name by James Avati, installed at the United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Utah in 1990. | [
"United States Capitol Visitor Center",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"U.S. state",
"American inventor and television pioneer of the same name",
"Farnsworth",
"James Avati",
"United States Capitol",
"Utah",
"Emancipation Hall"
] |
|
18625_NT | Statue of Philo Farnsworth | Focus on this artwork and explore the abstract. | Philo T. Farnsworth is a bronze sculpture depicting the American inventor and television pioneer of the same name by James Avati, installed at the United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Utah in 1990. | [
"United States Capitol Visitor Center",
"National Statuary Hall Collection",
"bronze sculpture",
"Washington, D.C.",
"National Statuary Hall",
"U.S. state",
"American inventor and television pioneer of the same name",
"Farnsworth",
"James Avati",
"United States Capitol",
"Utah",
"Emancipation Hall"
] |
|
18626_T | Virgin with a Lily | Focus on Virgin with a Lily and explain the abstract. | The Virgin with a lily (French: Vierge au lys) is a marble sculpture on a pedestal executed in 1878 by the French sculptor Eugène Delaplanche. The statue, depicting a virgin holding a lily, was exhibited at the Le Salon peinture et de sculpture de 1878, where it won the médaille d'honneur. It is currently shown at the Musée d'Orsay in Paris. | [
"virgin",
"French",
"lily",
"Musée d'Orsay",
"Le Salon peinture et de sculpture de 1878",
"marble sculpture",
"pedestal",
"Eugène Delaplanche"
] |
|
18626_NT | Virgin with a Lily | Focus on this artwork and explain the abstract. | The Virgin with a lily (French: Vierge au lys) is a marble sculpture on a pedestal executed in 1878 by the French sculptor Eugène Delaplanche. The statue, depicting a virgin holding a lily, was exhibited at the Le Salon peinture et de sculpture de 1878, where it won the médaille d'honneur. It is currently shown at the Musée d'Orsay in Paris. | [
"virgin",
"French",
"lily",
"Musée d'Orsay",
"Le Salon peinture et de sculpture de 1878",
"marble sculpture",
"pedestal",
"Eugène Delaplanche"
] |
|
18627_T | Virgin with a Lily | Explore the History of this artwork, Virgin with a Lily. | Delaplanche was a member of a group of young sculptors which at the time remained a little withdrawn. In 1878, when the work was created, it was acquired by the Salon of 1878, then transferred the same year to the Fabre Museum in Montpellier. From 1889 onwards, it was taken to the Musée du Luxembourg in Paris. The work was exhibited at the Louvre Museum in 1926 before being transferred in 1986 to the Musée d'Orsay, where it currently resides.
It was exhibited on the Champ de Mars of Paris during the Exposition Universelle in 1889. | [
"Montpellier",
"Musée d'Orsay",
"Champ de Mars",
"Musée du Luxembourg",
"Louvre",
"Exposition Universelle",
"Louvre Museum"
] |
|
18627_NT | Virgin with a Lily | Explore the History of this artwork. | Delaplanche was a member of a group of young sculptors which at the time remained a little withdrawn. In 1878, when the work was created, it was acquired by the Salon of 1878, then transferred the same year to the Fabre Museum in Montpellier. From 1889 onwards, it was taken to the Musée du Luxembourg in Paris. The work was exhibited at the Louvre Museum in 1926 before being transferred in 1986 to the Musée d'Orsay, where it currently resides.
It was exhibited on the Champ de Mars of Paris during the Exposition Universelle in 1889. | [
"Montpellier",
"Musée d'Orsay",
"Champ de Mars",
"Musée du Luxembourg",
"Louvre",
"Exposition Universelle",
"Louvre Museum"
] |
|
18628_T | Virgin with a Lily | Focus on Virgin with a Lily and discuss the Description. | The sculpture, of biblical iconography, represents the virgin standing, veiled, holding a lily in her hands. The artist signed "E. Delaplanche 1878" on the base of the work, on which one can also read "MARIA MATER SANCTA". The work is 199.8 cm high, 60.0 cm wide and 61.0 cm deep.The work is dominated by softness: the body leans lightly on its left leg. The serious expression of the virgin's face allows the author to avoid giving it a childish and meek appearance. Some contemporary critics find an air of despondency, torpor or even disillusionment to the statue.
One critic said of the work: "It is an exquisite thing of mystical feeling that this Virgin with the lily. Fra Angelico never dreamt of anything purer and Donatello never did anything more candid ". | [
"virgin",
"lily",
"Fra Angelico",
"Donatello"
] |
|
18628_NT | Virgin with a Lily | Focus on this artwork and discuss the Description. | The sculpture, of biblical iconography, represents the virgin standing, veiled, holding a lily in her hands. The artist signed "E. Delaplanche 1878" on the base of the work, on which one can also read "MARIA MATER SANCTA". The work is 199.8 cm high, 60.0 cm wide and 61.0 cm deep.The work is dominated by softness: the body leans lightly on its left leg. The serious expression of the virgin's face allows the author to avoid giving it a childish and meek appearance. Some contemporary critics find an air of despondency, torpor or even disillusionment to the statue.
One critic said of the work: "It is an exquisite thing of mystical feeling that this Virgin with the lily. Fra Angelico never dreamt of anything purer and Donatello never did anything more candid ". | [
"virgin",
"lily",
"Fra Angelico",
"Donatello"
] |
|
18629_T | La rencontre | How does La rencontre elucidate its abstract? | The Meeting or "Bonjour, Monsieur Courbet" (French: La rencontre, ou "Bonjour Monsieur Courbet") is an oil-on-canvas painting by Gustave Courbet, made in 1854. It depicts the artist on his way to Montpellier meeting his patron Alfred Bruyas, his servant Calas and his dog. One of the most emblematic works by the artist, it is also one of his most popular. The composition is based on the myth of the Wandering Jew. | [
"Gustave Courbet",
"Montpellier",
"Alfred Bruyas",
"the Wandering Jew"
] |
|
18629_NT | La rencontre | How does this artwork elucidate its abstract? | The Meeting or "Bonjour, Monsieur Courbet" (French: La rencontre, ou "Bonjour Monsieur Courbet") is an oil-on-canvas painting by Gustave Courbet, made in 1854. It depicts the artist on his way to Montpellier meeting his patron Alfred Bruyas, his servant Calas and his dog. One of the most emblematic works by the artist, it is also one of his most popular. The composition is based on the myth of the Wandering Jew. | [
"Gustave Courbet",
"Montpellier",
"Alfred Bruyas",
"the Wandering Jew"
] |
|
18630_T | La rencontre | Focus on La rencontre and analyze the History and description. | The painting was commissioned by Alfred Bruyas from Gustave Courbet. This work immortalizes the arrival of Gustave Courbet in Montpellier in 1854. It also represents the meeting of the painter with the one who will become his patron, Alfred Bruyas. The painting is inspired by a popular print engraved by Pierre Leloup du Mans in 1831, named The bourgeois of the city talking to the wandering Jew.
The Meeting was exhibited in Paris at the 1855 Exposition Universelle, where critics ridiculed it as "Bonjour, Monsieur Courbet". Bruyas did not exhibit The Meeting until he donated it to the Musée Fabre in Montpellier in 1868.The work depicts the scene taking place in a road between Saint-Jean de Védas and Mireval, when Alfred Bruyas, patron collector, accompanied by his valet and his dog, comes to meet Courbet. Surprisingly, the artist represents himself on the same level as his protector. He even appears proud and robust while the latter is depicted as puny and stuffy. | [
"Musée Fabre",
"Gustave Courbet",
"Mireval",
"Montpellier",
"Paris",
"Exposition Universelle",
"Alfred Bruyas"
] |
|
18630_NT | La rencontre | Focus on this artwork and analyze the History and description. | The painting was commissioned by Alfred Bruyas from Gustave Courbet. This work immortalizes the arrival of Gustave Courbet in Montpellier in 1854. It also represents the meeting of the painter with the one who will become his patron, Alfred Bruyas. The painting is inspired by a popular print engraved by Pierre Leloup du Mans in 1831, named The bourgeois of the city talking to the wandering Jew.
The Meeting was exhibited in Paris at the 1855 Exposition Universelle, where critics ridiculed it as "Bonjour, Monsieur Courbet". Bruyas did not exhibit The Meeting until he donated it to the Musée Fabre in Montpellier in 1868.The work depicts the scene taking place in a road between Saint-Jean de Védas and Mireval, when Alfred Bruyas, patron collector, accompanied by his valet and his dog, comes to meet Courbet. Surprisingly, the artist represents himself on the same level as his protector. He even appears proud and robust while the latter is depicted as puny and stuffy. | [
"Musée Fabre",
"Gustave Courbet",
"Mireval",
"Montpellier",
"Paris",
"Exposition Universelle",
"Alfred Bruyas"
] |
|
18631_T | Woman III | In Woman III, how is the abstract discussed? | Woman III is a 1953 painting by abstract expressionist painter Willem de Kooning. It is one of a series of six Women paintings done by de Kooning in the early 1950's, which were first exhibited at the Sidney Janis gallery in 1953. Woman III measures 68 by 48+1⁄2 inches (1.73 by 1.23 m) and was completed that same year. | [
"Sidney Janis",
"abstract expressionist",
"Woman I",
"Willem de Kooning"
] |
|
18631_NT | Woman III | In this artwork, how is the abstract discussed? | Woman III is a 1953 painting by abstract expressionist painter Willem de Kooning. It is one of a series of six Women paintings done by de Kooning in the early 1950's, which were first exhibited at the Sidney Janis gallery in 1953. Woman III measures 68 by 48+1⁄2 inches (1.73 by 1.23 m) and was completed that same year. | [
"Sidney Janis",
"abstract expressionist",
"Woman I",
"Willem de Kooning"
] |
|
18632_T | Woman III | Focus on Woman III and explore the Analysis. | Woman III is notable within the series for its more muted palette of grays and whites. The body is outlined in arcs of black; the chest and arms are more voluminous than flat, as in other Women paintings. The features of Woman III's mask-like face are rendered. The figure stands apart from the background. | [
"Woman I"
] |
|
18632_NT | Woman III | Focus on this artwork and explore the Analysis. | Woman III is notable within the series for its more muted palette of grays and whites. The body is outlined in arcs of black; the chest and arms are more voluminous than flat, as in other Women paintings. The features of Woman III's mask-like face are rendered. The figure stands apart from the background. | [
"Woman I"
] |
|
18633_T | Woman III | Focus on Woman III and explain the Provenance. | From the late 1970s to 1994, the painting was part of the Tehran Museum of Contemporary Art collection. After the Iranian Revolution in 1979, the painting could not be shown because of strict rules set by the government about the visual arts and acceptable subject matter. Finally, in 1994, the painting was acquired by collector Thomas Ammann and subsequently traded to collector David Geffen for part of a 16th century Persian manuscript, the Shahnameh of Shah Tahmasp.In November 2006, the painting was sold by Geffen to billionaire Steven A. Cohen for $137.5 million. It is currently the fourteenth most expensive painting ever bought, and the only of de Koonings early Woman series not held in a public collection. | [
"David Geffen",
"Iranian Revolution",
"Shahnameh of Shah Tahmasp",
"the Iranian Revolution",
"Steven A. Cohen",
"Tehran Museum of Contemporary Art",
"Thomas Ammann"
] |
|
18633_NT | Woman III | Focus on this artwork and explain the Provenance. | From the late 1970s to 1994, the painting was part of the Tehran Museum of Contemporary Art collection. After the Iranian Revolution in 1979, the painting could not be shown because of strict rules set by the government about the visual arts and acceptable subject matter. Finally, in 1994, the painting was acquired by collector Thomas Ammann and subsequently traded to collector David Geffen for part of a 16th century Persian manuscript, the Shahnameh of Shah Tahmasp.In November 2006, the painting was sold by Geffen to billionaire Steven A. Cohen for $137.5 million. It is currently the fourteenth most expensive painting ever bought, and the only of de Koonings early Woman series not held in a public collection. | [
"David Geffen",
"Iranian Revolution",
"Shahnameh of Shah Tahmasp",
"the Iranian Revolution",
"Steven A. Cohen",
"Tehran Museum of Contemporary Art",
"Thomas Ammann"
] |
|
18634_T | Great Blue Heron (sculpture) | Explore the abstract of this artwork, Great Blue Heron (sculpture). | Great Blue Heron is an outdoor 2012 sculpture by Jud Turner, installed at the intersection of East 13th Avenue and Alder Street in Eugene, Oregon, in the United States. The 16-foot (4.9 m) sculpture is made of fifty percent recycled materials and fifty percent new steel. It was unveiled on October 18, 2012, two days before Eugene's 150th birthday. The work was commissioned by The Duck Store, the University of Oregon, and the City of Eugene. | [
"Jud Turner",
"Eugene, Oregon",
"University of Oregon",
"The Duck Store"
] |
|
18634_NT | Great Blue Heron (sculpture) | Explore the abstract of this artwork. | Great Blue Heron is an outdoor 2012 sculpture by Jud Turner, installed at the intersection of East 13th Avenue and Alder Street in Eugene, Oregon, in the United States. The 16-foot (4.9 m) sculpture is made of fifty percent recycled materials and fifty percent new steel. It was unveiled on October 18, 2012, two days before Eugene's 150th birthday. The work was commissioned by The Duck Store, the University of Oregon, and the City of Eugene. | [
"Jud Turner",
"Eugene, Oregon",
"University of Oregon",
"The Duck Store"
] |
|
18635_T | Voice of Fire | Focus on Voice of Fire and discuss the History of Voice of Fire. | Commissioned for Expo 67, the International and Universal Exposition that took place in Montreal during Canada's 1967 centennial, Voice of Fire was part of the U.S. pavilion organized by art critic and historian Alan Solomon. The exhibition, American Painting Now featured the work of twenty-two artists installed in the U.S. Pavilion, a geodesic dome designed by engineer Buckminster Fuller (now the Montreal Biosphere). Explicitly oriented to Solomon's directions, Voice of Fire's 18 foot length was vertical to echo the size of the dome. This was the first time Newman worked on this scale in a vertical format. The paintings were displayed along other symbols of American progress, an Apollo space capsule and red-and-white striped Apollo parachutes, photographs of the Moon, and large-scale photographs of movie stars.In the spring of 1987, Brydon Smith, then assistant director of the National Gallery of Canada contacted Newman's widow Annalee to ask if she would consider lending it to the gallery for a temporary exhibition the following year to coincide with the completion of a new building.
In May 1988 Voice of Fire was installed in the newly constructed National Gallery of Canada with little media attention or controversy. It was displayed in a large, high-ceiling space, with only a few other works by American artists Milton Resnick, Jackson Pollock and Tony Smith. In this display of post-war US art, Voice of Fire "was given pride of place" as the centrepiece. In March 1990, the National Gallery announced its purchase of the painting for $1.8 million, which ignited a "firestorm" of media attention and controversy in Ottawa mostly centred on the question of whether the work was worthy of being called art. In 2014, it was reported that senior personnel at the National Gallery estimated that the current value of the painting is in excess of $40 million. The work remains in the possession of the National Gallery of Canada. | [
"geodesic dome",
"Ottawa",
"Tony Smith",
"Jackson Pollock",
"1967",
"Expo 67",
"Apollo",
"U.S. pavilion",
"Milton Resnick",
"Buckminster Fuller",
"Montreal Biosphere",
"National Gallery of Canada",
"centennial"
] |
|
18635_NT | Voice of Fire | Focus on this artwork and discuss the History of Voice of Fire. | Commissioned for Expo 67, the International and Universal Exposition that took place in Montreal during Canada's 1967 centennial, Voice of Fire was part of the U.S. pavilion organized by art critic and historian Alan Solomon. The exhibition, American Painting Now featured the work of twenty-two artists installed in the U.S. Pavilion, a geodesic dome designed by engineer Buckminster Fuller (now the Montreal Biosphere). Explicitly oriented to Solomon's directions, Voice of Fire's 18 foot length was vertical to echo the size of the dome. This was the first time Newman worked on this scale in a vertical format. The paintings were displayed along other symbols of American progress, an Apollo space capsule and red-and-white striped Apollo parachutes, photographs of the Moon, and large-scale photographs of movie stars.In the spring of 1987, Brydon Smith, then assistant director of the National Gallery of Canada contacted Newman's widow Annalee to ask if she would consider lending it to the gallery for a temporary exhibition the following year to coincide with the completion of a new building.
In May 1988 Voice of Fire was installed in the newly constructed National Gallery of Canada with little media attention or controversy. It was displayed in a large, high-ceiling space, with only a few other works by American artists Milton Resnick, Jackson Pollock and Tony Smith. In this display of post-war US art, Voice of Fire "was given pride of place" as the centrepiece. In March 1990, the National Gallery announced its purchase of the painting for $1.8 million, which ignited a "firestorm" of media attention and controversy in Ottawa mostly centred on the question of whether the work was worthy of being called art. In 2014, it was reported that senior personnel at the National Gallery estimated that the current value of the painting is in excess of $40 million. The work remains in the possession of the National Gallery of Canada. | [
"geodesic dome",
"Ottawa",
"Tony Smith",
"Jackson Pollock",
"1967",
"Expo 67",
"Apollo",
"U.S. pavilion",
"Milton Resnick",
"Buckminster Fuller",
"Montreal Biosphere",
"National Gallery of Canada",
"centennial"
] |
|
18636_T | Statue of Junípero Serra (Los Angeles) | How does Statue of Junípero Serra (Los Angeles) elucidate its abstract? | A statue of Junípero Serra (sometimes called Father Junipero Serra or Fra Junipero Serra) was installed in a portion of El Pueblo de Los Ángeles Historical Monument informally known as Father Serra Park in Los Angeles, California. | [
"Los Angeles, California",
"Los Angeles",
"El Pueblo de Los Ángeles Historical Monument",
"Junípero Serra"
] |
|
18636_NT | Statue of Junípero Serra (Los Angeles) | How does this artwork elucidate its abstract? | A statue of Junípero Serra (sometimes called Father Junipero Serra or Fra Junipero Serra) was installed in a portion of El Pueblo de Los Ángeles Historical Monument informally known as Father Serra Park in Los Angeles, California. | [
"Los Angeles, California",
"Los Angeles",
"El Pueblo de Los Ángeles Historical Monument",
"Junípero Serra"
] |
|
18637_T | Statue of Junípero Serra (Los Angeles) | Focus on Statue of Junípero Serra (Los Angeles) and analyze the History. | The memorial was installed in 1932. Some 4,000 people came for the occasion. A bronze statue by Henry Lion of the Spanish Colonial governor, Felipe de Neve, was also installed in 1932 in the park.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1994. | [
"bronze statue",
"Smithsonian Institution",
"Henry Lion",
"Felipe de Neve",
"Save Outdoor Sculpture!"
] |
|
18637_NT | Statue of Junípero Serra (Los Angeles) | Focus on this artwork and analyze the History. | The memorial was installed in 1932. Some 4,000 people came for the occasion. A bronze statue by Henry Lion of the Spanish Colonial governor, Felipe de Neve, was also installed in 1932 in the park.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1994. | [
"bronze statue",
"Smithsonian Institution",
"Henry Lion",
"Felipe de Neve",
"Save Outdoor Sculpture!"
] |
|
18638_T | Statue of Junípero Serra (Los Angeles) | Describe the characteristics of the Removal in Statue of Junípero Serra (Los Angeles)'s History. | The statue was toppled by a group consisting of members from the Tongva and Tataviam Tribal Nations and Native/Indigenous activists in solidarity with the George Floyd protests in June 2020.The City of Los Angeles deemed the removal an act of civil disobedience. On June 30, 2020, the city introduced a motion to address controversial statues, plaques and other symbolic honorifics. The park will be renamed by the Board of Recreation and Parks Commissioners in collaboration with local tribal communities. | [
"Tataviam",
"Tongva",
"George Floyd protests",
"Los Angeles",
"civil disobedience"
] |
|
18638_NT | Statue of Junípero Serra (Los Angeles) | Describe the characteristics of the Removal in this artwork's History. | The statue was toppled by a group consisting of members from the Tongva and Tataviam Tribal Nations and Native/Indigenous activists in solidarity with the George Floyd protests in June 2020.The City of Los Angeles deemed the removal an act of civil disobedience. On June 30, 2020, the city introduced a motion to address controversial statues, plaques and other symbolic honorifics. The park will be renamed by the Board of Recreation and Parks Commissioners in collaboration with local tribal communities. | [
"Tataviam",
"Tongva",
"George Floyd protests",
"Los Angeles",
"civil disobedience"
] |
|
18639_T | Statue of Trajan and the She-wolf | Focus on Statue of Trajan and the She-wolf and explore the abstract. | The Statue of Trajan and the She-wolf is a statue by Vasile Gorduz located on the steps of the National Museum of Romanian History on Calea Victoriei in central Bucharest. It depicts a nude Trajan holding in his arms the Capitoline Wolf, which is doubled as the Dacian Draco, the war standard of the Dacians. | [
"Vasile Gorduz",
"Calea Victoriei",
"National Museum of Romanian History",
"Dacian Draco",
"Bucharest",
"Dacia",
"Trajan",
"Dacians",
"Capitoline Wolf"
] |
|
18639_NT | Statue of Trajan and the She-wolf | Focus on this artwork and explore the abstract. | The Statue of Trajan and the She-wolf is a statue by Vasile Gorduz located on the steps of the National Museum of Romanian History on Calea Victoriei in central Bucharest. It depicts a nude Trajan holding in his arms the Capitoline Wolf, which is doubled as the Dacian Draco, the war standard of the Dacians. | [
"Vasile Gorduz",
"Calea Victoriei",
"National Museum of Romanian History",
"Dacian Draco",
"Bucharest",
"Dacia",
"Trajan",
"Dacians",
"Capitoline Wolf"
] |
|
18640_T | Statue of Trajan and the She-wolf | Focus on Statue of Trajan and the She-wolf and explain the Description. | The 2.15 metres (7 ft 1 in) high statue is made out of bronze and has a weight of 500 kilograms (1,100 lb). The cost of the statue was around 200,000 lei (45,000 €) The artist created three copies of the sculpture: another is located in Sevilla, Spain, on the banks of the Guadalquivir, and another in Rome, in front of Accademia di Romania.The sculpture depicts Trajan, the Roman emperor who conquered Dacia, the province located in today's Romania and considered one of the "parents" of the Romanian nation. In his arms, in fact appearing to levitate above his arms, is the Capitoline Wolf, the she-wolf in the founding myth of Rome. The head of the wolf is joined to the tail of a Dacian Draco. | [
"Guadalquivir",
"bronze",
"lei",
"Rome",
"founding myth of Rome",
"Dacian Draco",
"Sevilla",
"Dacia",
"€",
"Trajan",
"Spain",
"Accademia di Romania",
"Capitoline Wolf"
] |
|
18640_NT | Statue of Trajan and the She-wolf | Focus on this artwork and explain the Description. | The 2.15 metres (7 ft 1 in) high statue is made out of bronze and has a weight of 500 kilograms (1,100 lb). The cost of the statue was around 200,000 lei (45,000 €) The artist created three copies of the sculpture: another is located in Sevilla, Spain, on the banks of the Guadalquivir, and another in Rome, in front of Accademia di Romania.The sculpture depicts Trajan, the Roman emperor who conquered Dacia, the province located in today's Romania and considered one of the "parents" of the Romanian nation. In his arms, in fact appearing to levitate above his arms, is the Capitoline Wolf, the she-wolf in the founding myth of Rome. The head of the wolf is joined to the tail of a Dacian Draco. | [
"Guadalquivir",
"bronze",
"lei",
"Rome",
"founding myth of Rome",
"Dacian Draco",
"Sevilla",
"Dacia",
"€",
"Trajan",
"Spain",
"Accademia di Romania",
"Capitoline Wolf"
] |
|
18641_T | Statue of Trajan and the She-wolf | Explore the History of this artwork, Statue of Trajan and the She-wolf. | The statue was created at the initiative of the Bucharest City Hall as part of a larger program of city's administration called "Calea Victoriei – Cultural Trail", being recommended to them by Răzvan Theodorescu.It is based on a plaster model made by Gorduz, currently owned by Artmark Galleries, while the bronze cast was made by artist Ioan Bolborea. The statue was installed in November 2011, but it was covered with plastic foil and it was only unveiled on April 29, 2012 by Sorin Oprescu, the Mayor of Bucharest. | [
"Sorin Oprescu",
"bronze",
"Mayor of Bucharest",
"Calea Victoriei",
"Bucharest",
"plaster",
"Răzvan Theodorescu"
] |
|
18641_NT | Statue of Trajan and the She-wolf | Explore the History of this artwork. | The statue was created at the initiative of the Bucharest City Hall as part of a larger program of city's administration called "Calea Victoriei – Cultural Trail", being recommended to them by Răzvan Theodorescu.It is based on a plaster model made by Gorduz, currently owned by Artmark Galleries, while the bronze cast was made by artist Ioan Bolborea. The statue was installed in November 2011, but it was covered with plastic foil and it was only unveiled on April 29, 2012 by Sorin Oprescu, the Mayor of Bucharest. | [
"Sorin Oprescu",
"bronze",
"Mayor of Bucharest",
"Calea Victoriei",
"Bucharest",
"plaster",
"Răzvan Theodorescu"
] |
|
18642_T | Cows in a River | Focus on Cows in a River and discuss the abstract. | Cows in a River is an oil-on-canvas painting of 1650 by the Dutch Golden Age artist Aelbert Cuyp. It is held at the Museum of Fine Arts, in Budapest. | [
"Museum of Fine Arts",
"Dutch Golden Age",
"Budapest",
"oil-on-canvas",
"Aelbert Cuyp"
] |
|
18642_NT | Cows in a River | Focus on this artwork and discuss the abstract. | Cows in a River is an oil-on-canvas painting of 1650 by the Dutch Golden Age artist Aelbert Cuyp. It is held at the Museum of Fine Arts, in Budapest. | [
"Museum of Fine Arts",
"Dutch Golden Age",
"Budapest",
"oil-on-canvas",
"Aelbert Cuyp"
] |
|
18643_T | Cows in a River | How does Cows in a River elucidate its Description? | The painting depicts frequent subjects of Cuyp's, cows, and was painted prior to the artist's decamping for Rhineland. The canvas shows a group of five cows near the margin of a river, from which only one appears drinking. Several sailing boats are seen, at the right, in the distance. The cloudy sky shows also several birds in their flight. | [
"Rhineland"
] |
|
18643_NT | Cows in a River | How does this artwork elucidate its Description? | The painting depicts frequent subjects of Cuyp's, cows, and was painted prior to the artist's decamping for Rhineland. The canvas shows a group of five cows near the margin of a river, from which only one appears drinking. Several sailing boats are seen, at the right, in the distance. The cloudy sky shows also several birds in their flight. | [
"Rhineland"
] |
|
18644_T | The Enigma of the Hour | Focus on The Enigma of the Hour and analyze the abstract. | The Enigma of the Hour is a painting by the Italian metaphysical painter Giorgio de Chirico. He created the work during his early period, in Florence, when he focused on metaphysical depictions of town squares and other urban environments. It is not clear whether it was dated 1910 or 1911.The Enigma depicts an urban scene with the classical architecture and angular lighting that are Chirico's hallmarks. Several figures around the scene have vague features, to give the sense that they are absent. Above the scene is a large clock that reads five minutes to three. Luca Cottini referred to the clock as "...[suggesting] the paradox of an 'eternal present,' located on the edge of a-temporal revelation and moving temporality, and [enacting] the enigma of its nature." Peter G. Toohey has asserted the figure in white represents Odysseus.In a way, The Enigma of the Hour can be considered the first conceptual artwork; “the artist did not seek to find a new way of rendering that which is visible, as Picasso did, or to express an emotional state through abstract forms and colors as did Kandinsky; rather, de Chirico’s aspiration was to translate a thought or philosophical concept into the forms of the plastic arts”. | [
"Giorgio de Chirico",
"Odysseus",
"metaphysical painter"
] |
|
18644_NT | The Enigma of the Hour | Focus on this artwork and analyze the abstract. | The Enigma of the Hour is a painting by the Italian metaphysical painter Giorgio de Chirico. He created the work during his early period, in Florence, when he focused on metaphysical depictions of town squares and other urban environments. It is not clear whether it was dated 1910 or 1911.The Enigma depicts an urban scene with the classical architecture and angular lighting that are Chirico's hallmarks. Several figures around the scene have vague features, to give the sense that they are absent. Above the scene is a large clock that reads five minutes to three. Luca Cottini referred to the clock as "...[suggesting] the paradox of an 'eternal present,' located on the edge of a-temporal revelation and moving temporality, and [enacting] the enigma of its nature." Peter G. Toohey has asserted the figure in white represents Odysseus.In a way, The Enigma of the Hour can be considered the first conceptual artwork; “the artist did not seek to find a new way of rendering that which is visible, as Picasso did, or to express an emotional state through abstract forms and colors as did Kandinsky; rather, de Chirico’s aspiration was to translate a thought or philosophical concept into the forms of the plastic arts”. | [
"Giorgio de Chirico",
"Odysseus",
"metaphysical painter"
] |
|
18645_T | Peter Pan (Columbus, Ohio) | In Peter Pan (Columbus, Ohio), how is the abstract discussed? | Peter Pan (also known as the Munson Memorial Fountain, or simply Pan) is a 1927 fountain and sculpture depicting Pan by sculptor Mary "Mae" Cook and architect Otto C. Darst, installed outside the Main Library in Columbus, Ohio, United States. | [
"Pan",
"Main Library",
"Peter Pan",
"Columbus, Ohio"
] |
|
18645_NT | Peter Pan (Columbus, Ohio) | In this artwork, how is the abstract discussed? | Peter Pan (also known as the Munson Memorial Fountain, or simply Pan) is a 1927 fountain and sculpture depicting Pan by sculptor Mary "Mae" Cook and architect Otto C. Darst, installed outside the Main Library in Columbus, Ohio, United States. | [
"Pan",
"Main Library",
"Peter Pan",
"Columbus, Ohio"
] |
|
18646_T | Peter Pan (Columbus, Ohio) | Focus on Peter Pan (Columbus, Ohio) and explore the Description and history. | Peter Pan, donated by local businessman Charles E. Munson in memory of his son George Peabody Munson, was completed in 1927 and dedicated on May 18, 1928. The bronze sculpture, designed by Mary "Mae" Cook, depicts Pan as a boy playing a flute. It measures approximately 3 x 1 x 1 ft. and rests on Georgia marble base that measures approximately 1 x 2 x 2 ft. Six fish are installed at the basin's foot. The fountain's basin and base measures approximately 6.5 ft. x 75 in. x 75 in. An inscription reads: "For the / children of Columbus / In memory of / George Peabody Munson / Aged six." Zenker Sons carved and installed the fountain and sculpture.Peter Pan was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1992. | [
"Pan",
"bronze sculpture",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Peter Pan"
] |
|
18646_NT | Peter Pan (Columbus, Ohio) | Focus on this artwork and explore the Description and history. | Peter Pan, donated by local businessman Charles E. Munson in memory of his son George Peabody Munson, was completed in 1927 and dedicated on May 18, 1928. The bronze sculpture, designed by Mary "Mae" Cook, depicts Pan as a boy playing a flute. It measures approximately 3 x 1 x 1 ft. and rests on Georgia marble base that measures approximately 1 x 2 x 2 ft. Six fish are installed at the basin's foot. The fountain's basin and base measures approximately 6.5 ft. x 75 in. x 75 in. An inscription reads: "For the / children of Columbus / In memory of / George Peabody Munson / Aged six." Zenker Sons carved and installed the fountain and sculpture.Peter Pan was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1992. | [
"Pan",
"bronze sculpture",
"Smithsonian Institution",
"Save Outdoor Sculpture!",
"Peter Pan"
] |
|
18647_T | Supper at Emmaus (Caravaggio, London) | Focus on Supper at Emmaus (Caravaggio, London) and explain the abstract. | The Supper at Emmaus is a painting by the Italian Baroque master Caravaggio, executed in 1601, and now in London. It depicts the Gospel story of the resurrected Jesus's appearance in Emmaus.
Originally this painting was commissioned and paid for by Ciriaco Mattei, brother of cardinal Girolamo Mattei. | [
"Jesus",
"Baroque",
"resurrected Jesus",
"Caravaggio",
"Girolamo Mattei",
"Emmaus",
"Supper at Emmaus",
"London",
"Ciriaco Mattei",
"appearance in Emmaus"
] |
|
18647_NT | Supper at Emmaus (Caravaggio, London) | Focus on this artwork and explain the abstract. | The Supper at Emmaus is a painting by the Italian Baroque master Caravaggio, executed in 1601, and now in London. It depicts the Gospel story of the resurrected Jesus's appearance in Emmaus.
Originally this painting was commissioned and paid for by Ciriaco Mattei, brother of cardinal Girolamo Mattei. | [
"Jesus",
"Baroque",
"resurrected Jesus",
"Caravaggio",
"Girolamo Mattei",
"Emmaus",
"Supper at Emmaus",
"London",
"Ciriaco Mattei",
"appearance in Emmaus"
] |
|
18648_T | Supper at Emmaus (Caravaggio, London) | Explore the Description of this artwork, Supper at Emmaus (Caravaggio, London). | The painting depicts the moment when the resurrected but incognito Jesus reveals himself to two of his disciples (presumed to be Luke and Cleopas) in the town of Emmaus, only to soon vanish from their sight (Gospel of Luke 24: 30–31). Cleopas wears the scallop shell of a pilgrim. The other apostle wears torn clothes. Cleopas gesticulates in a perspectively-challenging extension of arms in and out of the frame of reference. The standing groom, forehead smooth and face in darkness, appears oblivious to the event. The painting is unusual for the life-sized figures, the dark and blank background. The table lays out a still-life meal with the basket of food teetering over the edge.
In the Gospel of Mark (16:12) Jesus is said to have appeared to them "in another form", which may be why he is depicted beardless here, as opposed to the bearded Christ in Calling of St Matthew, where a group of seated money counters is interrupted by the recruiting Christ. It is also a recurring theme in Caravaggio's paintings to find the sublime interrupting the daily routine. The unexalted humanity is apt for this scene, since the human Jesus has made himself unrecognizable to his disciples, and at once confirms and surmounts his humanity. Caravaggio seems to suggest that perhaps a Jesus could enter our daily encounters. The dark background envelops the tableau. | [
"Calling of St Matthew",
"Jesus",
"Caravaggio",
"scallop shell",
"Emmaus",
"Gospel of Luke",
"pilgrim",
"Luke",
"Cleopas",
"Gospel of Mark"
] |
|
18648_NT | Supper at Emmaus (Caravaggio, London) | Explore the Description of this artwork. | The painting depicts the moment when the resurrected but incognito Jesus reveals himself to two of his disciples (presumed to be Luke and Cleopas) in the town of Emmaus, only to soon vanish from their sight (Gospel of Luke 24: 30–31). Cleopas wears the scallop shell of a pilgrim. The other apostle wears torn clothes. Cleopas gesticulates in a perspectively-challenging extension of arms in and out of the frame of reference. The standing groom, forehead smooth and face in darkness, appears oblivious to the event. The painting is unusual for the life-sized figures, the dark and blank background. The table lays out a still-life meal with the basket of food teetering over the edge.
In the Gospel of Mark (16:12) Jesus is said to have appeared to them "in another form", which may be why he is depicted beardless here, as opposed to the bearded Christ in Calling of St Matthew, where a group of seated money counters is interrupted by the recruiting Christ. It is also a recurring theme in Caravaggio's paintings to find the sublime interrupting the daily routine. The unexalted humanity is apt for this scene, since the human Jesus has made himself unrecognizable to his disciples, and at once confirms and surmounts his humanity. Caravaggio seems to suggest that perhaps a Jesus could enter our daily encounters. The dark background envelops the tableau. | [
"Calling of St Matthew",
"Jesus",
"Caravaggio",
"scallop shell",
"Emmaus",
"Gospel of Luke",
"pilgrim",
"Luke",
"Cleopas",
"Gospel of Mark"
] |
|
18649_T | Supper at Emmaus (Caravaggio, London) | In the context of Supper at Emmaus (Caravaggio, London), discuss the Christian symbolism of the Description. | The basket of fruit in the foreground has two stray strands of wicker that form an ichthys, the early Christian fish-symbol for Christ. The shadow of the fruit on the tablecloth forms the body of a fish and fishtail. | [
"ichthys"
] |
|
18649_NT | Supper at Emmaus (Caravaggio, London) | In the context of this artwork, discuss the Christian symbolism of the Description. | The basket of fruit in the foreground has two stray strands of wicker that form an ichthys, the early Christian fish-symbol for Christ. The shadow of the fruit on the tablecloth forms the body of a fish and fishtail. | [
"ichthys"
] |
|
18650_T | Supper at Emmaus (Caravaggio, London) | How does Supper at Emmaus (Caravaggio, London) elucidate its Milan version? | Caravaggio painted another version of the Supper at Emmaus (now in the Brera, Milan) in 1606. By comparison, the gestures of figures are far more restrained, making presence more important than performance. The art techniques used in both versions is the Trompe-l'œil style which seems to allow characters to move in their gestures, as a means to grab the attention of the observers.This difference possibly reflects the circumstances of Caravaggio's life at that point (he had fled Rome as an outlaw following the death of Ranuccio Tomassoni), or possibly, recognising the ongoing evolution of his art, in the intervening five years he had come to recognise the value of understatement. | [
"Milan",
"Trompe-l'œil",
"Caravaggio",
"Emmaus",
"Supper at Emmaus",
"Brera"
] |
|
18650_NT | Supper at Emmaus (Caravaggio, London) | How does this artwork elucidate its Milan version? | Caravaggio painted another version of the Supper at Emmaus (now in the Brera, Milan) in 1606. By comparison, the gestures of figures are far more restrained, making presence more important than performance. The art techniques used in both versions is the Trompe-l'œil style which seems to allow characters to move in their gestures, as a means to grab the attention of the observers.This difference possibly reflects the circumstances of Caravaggio's life at that point (he had fled Rome as an outlaw following the death of Ranuccio Tomassoni), or possibly, recognising the ongoing evolution of his art, in the intervening five years he had come to recognise the value of understatement. | [
"Milan",
"Trompe-l'œil",
"Caravaggio",
"Emmaus",
"Supper at Emmaus",
"Brera"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.