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NAIST NLP 19

19051_T

Lot and His Daughters (Orazio Gentileschi, Bilbao)

Explore the abstract of this artwork, Lot and His Daughters (Orazio Gentileschi, Bilbao).

Lot and His Daughters is an oil on canvas painting by Italian artist Orazio Gentileschi, created c. 1628, depicting the Biblical episode of Lot and his daughters. It is one of several versions that the painter did of this episode. The painting is of large dimensions and is signed on its central part, on the right side, with the inscription HORA.vs GIENTIL.vs. (on a rock: below a vine and above the bottle, between the daughter in blue and the lake). The current version is held in the Bilbao Fine Arts Museum.

19051_NT

Lot and His Daughters (Orazio Gentileschi, Bilbao)

Explore the abstract of this artwork.

Lot and His Daughters is an oil on canvas painting by Italian artist Orazio Gentileschi, created c. 1628, depicting the Biblical episode of Lot and his daughters. It is one of several versions that the painter did of this episode. The painting is of large dimensions and is signed on its central part, on the right side, with the inscription HORA.vs GIENTIL.vs. (on a rock: below a vine and above the bottle, between the daughter in blue and the lake). The current version is held in the Bilbao Fine Arts Museum.

19052_T

Lot and His Daughters (Orazio Gentileschi, Bilbao)

Focus on Lot and His Daughters (Orazio Gentileschi, Bilbao) and discuss the Description.

The canvas narrates the moment when the daughters, after finding shelter in a cave, make their father drunk with the intention of having carnal relations with him. Gentileschi has interpreted the subject by making use of insinuation and suggestion rather than to present the harshness of the facts. Lot rests drunk in the arms of one of his daughters, while the other, standing up, points with one hand towards the outside of the cave where they have taken refuge; we glimpse the mother turned into a pillar of salt, and in the distance Sodom in flames. In this theatrical way, the young woman argues the reasons for having to sleep with her father. The two women express the sensuality of the imminent sexual encounter by displaying part of their torso, even insinuating the birth of the breasts. A nearby vessel recalls the drunkenness of the patriarch. This effect is accentuated by the nearby vine branch, which circumscribes the group at its top. The artist has chosen bright colors for the daughters' clothing: yellow and ultramarine blue; Lot's dress has been resolved in a crimson hue.

19052_NT

Lot and His Daughters (Orazio Gentileschi, Bilbao)

Focus on this artwork and discuss the Description.

The canvas narrates the moment when the daughters, after finding shelter in a cave, make their father drunk with the intention of having carnal relations with him. Gentileschi has interpreted the subject by making use of insinuation and suggestion rather than to present the harshness of the facts. Lot rests drunk in the arms of one of his daughters, while the other, standing up, points with one hand towards the outside of the cave where they have taken refuge; we glimpse the mother turned into a pillar of salt, and in the distance Sodom in flames. In this theatrical way, the young woman argues the reasons for having to sleep with her father. The two women express the sensuality of the imminent sexual encounter by displaying part of their torso, even insinuating the birth of the breasts. A nearby vessel recalls the drunkenness of the patriarch. This effect is accentuated by the nearby vine branch, which circumscribes the group at its top. The artist has chosen bright colors for the daughters' clothing: yellow and ultramarine blue; Lot's dress has been resolved in a crimson hue.

19053_T

Lot and His Daughters (Orazio Gentileschi, Bilbao)

How does Lot and His Daughters (Orazio Gentileschi, Bilbao) elucidate its Seven different versions?

Gentileschi had already dealt with the same theme before, in 1621, in a very different composition (also titled Lot and His Daughters), of which there are at least four versions: in the Getty Center, in Los Angeles, (considered the first), at the Gemäldegalerie, in Berlin, at the National Gallery of Canada, in Ottawa, and at the Thyssen Bornemisza Museum, in Madrid, a version now considered to have been painted by his assistants.

19053_NT

Lot and His Daughters (Orazio Gentileschi, Bilbao)

How does this artwork elucidate its Seven different versions?

Gentileschi had already dealt with the same theme before, in 1621, in a very different composition (also titled Lot and His Daughters), of which there are at least four versions: in the Getty Center, in Los Angeles, (considered the first), at the Gemäldegalerie, in Berlin, at the National Gallery of Canada, in Ottawa, and at the Thyssen Bornemisza Museum, in Madrid, a version now considered to have been painted by his assistants.

19054_T

Les Fétiches

Focus on Les Fétiches and analyze the Description.

The painting comprises five different African masks painted in the style of modernism. A red religious fetish is also in the foreground. The masks and fetish appear to float in the mass of a black painted canvas.

19054_NT

Les Fétiches

Focus on this artwork and analyze the Description.

The painting comprises five different African masks painted in the style of modernism. A red religious fetish is also in the foreground. The masks and fetish appear to float in the mass of a black painted canvas.

19055_T

Les Fétiches

In Les Fétiches, how is the History discussed?

Les Fétiches was completed by Jones in 1938 in Paris. When Jones was attending high school, she met Grace Ripley, an academic and costume designer. Jones worked with Ripley after school and on Saturdays, where Jones would become familiar with exotic costumes and masks. Jones credits her work with Ripley's masks as the inspiration for Les Fétiches and an ongoing interest in masks.When Jones died in 1998, it was one of a small selection of works displayed in a memorial exhibit at the Corcoran Gallery of Art. It was acquired by the Smithsonian with funding from Mrs. Norvin H. Green, Dr. R. Harlan, and Francis Musgrave. It was accessioned in the museum collection in 1990.

19055_NT

Les Fétiches

In this artwork, how is the History discussed?

Les Fétiches was completed by Jones in 1938 in Paris. When Jones was attending high school, she met Grace Ripley, an academic and costume designer. Jones worked with Ripley after school and on Saturdays, where Jones would become familiar with exotic costumes and masks. Jones credits her work with Ripley's masks as the inspiration for Les Fétiches and an ongoing interest in masks.When Jones died in 1998, it was one of a small selection of works displayed in a memorial exhibit at the Corcoran Gallery of Art. It was acquired by the Smithsonian with funding from Mrs. Norvin H. Green, Dr. R. Harlan, and Francis Musgrave. It was accessioned in the museum collection in 1990.

19056_T

Les Fétiches

Focus on Les Fétiches and explore the Insight about Les Fétiches.

The painting is considered a seminal work of Jones. Holland Cotter recognizes it as "an emblem of black American self-identity."

19056_NT

Les Fétiches

Focus on this artwork and explore the Insight about Les Fétiches.

The painting is considered a seminal work of Jones. Holland Cotter recognizes it as "an emblem of black American self-identity."

19057_T

Lycurgus of Sparta (David)

Focus on Lycurgus of Sparta (David) and explain the abstract.

Lycurgus of Sparta is a 1791 oil painting attributed to the French painter Jacques-Louis David which is in the collection of the Musée des Beaux-Arts, Blois, France. Lycurgus was a quasi-legendary lawgiver of the state of Sparta in the Greek Peloponnese in the 8th century B.C. He was believed to be the younger son of a king of Sparta who became king himself when his elder brother died shortly after their father. His brother's wife was pregnant at the time and Lycurgus dutifully handed over the kingship to the child when it was born.Spartan custom demanded that all new born babies were vetted by a council of elders at a Lesche, who ordered that any with disabilities were to be taken to die in the open on a mountainside at Apothetae. One interpretation of David's picture is that Lycurgus was standing in for his brother in showing the new born baby and future king to the council for their approval. Alternatively he is merely organising the screening process for a number of new-born babies.

19057_NT

Lycurgus of Sparta (David)

Focus on this artwork and explain the abstract.

Lycurgus of Sparta is a 1791 oil painting attributed to the French painter Jacques-Louis David which is in the collection of the Musée des Beaux-Arts, Blois, France. Lycurgus was a quasi-legendary lawgiver of the state of Sparta in the Greek Peloponnese in the 8th century B.C. He was believed to be the younger son of a king of Sparta who became king himself when his elder brother died shortly after their father. His brother's wife was pregnant at the time and Lycurgus dutifully handed over the kingship to the child when it was born.Spartan custom demanded that all new born babies were vetted by a council of elders at a Lesche, who ordered that any with disabilities were to be taken to die in the open on a mountainside at Apothetae. One interpretation of David's picture is that Lycurgus was standing in for his brother in showing the new born baby and future king to the council for their approval. Alternatively he is merely organising the screening process for a number of new-born babies.

19058_T

Athens Confederate Monument

Explore the abstract of this artwork, Athens Confederate Monument.

The Athens Confederate Monument is a Confederate memorial near Barber Creek in Athens, Georgia, United States. It is a Carrara marble obelisk mounted on a granite foundation engraved with names of the city's soldiers who were killed during the American Civil War. It was formerly located in the median strip of Broad Street in the Downtown Local Historic District of Athens until being removed in 2020 and being placed at its current site in 2021.

19058_NT

Athens Confederate Monument

Explore the abstract of this artwork.

The Athens Confederate Monument is a Confederate memorial near Barber Creek in Athens, Georgia, United States. It is a Carrara marble obelisk mounted on a granite foundation engraved with names of the city's soldiers who were killed during the American Civil War. It was formerly located in the median strip of Broad Street in the Downtown Local Historic District of Athens until being removed in 2020 and being placed at its current site in 2021.

19059_T

Athens Confederate Monument

Focus on Athens Confederate Monument and discuss the Description.

The monument is made up of two different sections, an obelisk made of Carrara marble that has six shafts, and a granite base. Only the marble obelisk is engraved. The names of white Confederate soldiers from Athens who were killed during the Civil War are inscribed on the marble. A veteran of the war called for the names to be arranged in alphabetical order rather than by rank so none of their deaths would be perceived as greater than the others, but his request was left unfulfilled. The master of a local Masonic Lodge, William King, included a time capsule in the monument's cornerstone. The time capsule, which according to an interview with William King contains Confederate memorabilia and a list of Athens Freemasons, was removed after the monument's most recent relocation.

19059_NT

Athens Confederate Monument

Focus on this artwork and discuss the Description.

The monument is made up of two different sections, an obelisk made of Carrara marble that has six shafts, and a granite base. Only the marble obelisk is engraved. The names of white Confederate soldiers from Athens who were killed during the Civil War are inscribed on the marble. A veteran of the war called for the names to be arranged in alphabetical order rather than by rank so none of their deaths would be perceived as greater than the others, but his request was left unfulfilled. The master of a local Masonic Lodge, William King, included a time capsule in the monument's cornerstone. The time capsule, which according to an interview with William King contains Confederate memorabilia and a list of Athens Freemasons, was removed after the monument's most recent relocation.

19060_T

Athens Confederate Monument

How does Athens Confederate Monument elucidate its History?

The monument was one of the first monuments to the casualties of the American Civil War to be raised in the South after the war's conclusion. Construction of the monument began on May 5, 1871, and was completed on June 3, 1872, at the cost of $4,444.44 (about $111,363 in 2023) raised by the Ladies' Memorial Association from the residents of the city, though another professor at the university, Akela Reason, proposed that it was actually funded by the city's wealthy men because "it would have been easier for women to build a memorial mourning the dead than for men to build one in defiance." It has been moved three times since it was first erected at the intersection of College Avenue and Washington Street. It was first moved north one block to the center of College Avenue, but was relocated again in 1912 when it caused congestion there. It then stood in the median of Broad Street until August 10, 2020.

19060_NT

Athens Confederate Monument

How does this artwork elucidate its History?

The monument was one of the first monuments to the casualties of the American Civil War to be raised in the South after the war's conclusion. Construction of the monument began on May 5, 1871, and was completed on June 3, 1872, at the cost of $4,444.44 (about $111,363 in 2023) raised by the Ladies' Memorial Association from the residents of the city, though another professor at the university, Akela Reason, proposed that it was actually funded by the city's wealthy men because "it would have been easier for women to build a memorial mourning the dead than for men to build one in defiance." It has been moved three times since it was first erected at the intersection of College Avenue and Washington Street. It was first moved north one block to the center of College Avenue, but was relocated again in 1912 when it caused congestion there. It then stood in the median of Broad Street until August 10, 2020.

19061_T

Athens Confederate Monument

In the context of Athens Confederate Monument, analyze the 2020-2021 relocation of the History.

Discussions by the city and local activists to remove the monument began after the Charleston church shooting in 2015. After the murder of George Floyd by Minneapolis police the area around the monument became the rally point for the city's protest. Protesters called for the monument to be removed.In response to the local outcry it was planned for the monument to be moved again from the intersection of Broad Street and College Avenue in downtown Athens in 2020 by Athens mayor, Kelly Girtz. The mayor's desire to move the monument was challenged by Senate Bill 77, which prevents the city from moving Confederate monuments from prominent locations to another of lower prominence, but a loophole in the bill allowed the monument to be removed. On June 16, 2020, the mayor proposed a $450,000 plan to move the monument from Broad Street to Timothy Place. The mayor's plan was approved by the city commissioners on June 25 as part of a project to make the surrounding area more pedestrian-friendly.Work began on August 10 to remove the monument from the intersection at Broad Street. It was being moved according to the plan approved by the city's commissioners on June 25, but was temporarily stored in a field due to size restrictions until it could be installed on a new foundation. By June 2021, the memorial was partially reassembled, with the base of the structure already in place, at its current location at the end of Timothy Place visible from the Athens Perimeter. Its current placement is near the site of the Battle of Barber Creek, a skirmish that occurred on August 2, 1864, between a detachment of General George Stoneman's cavalry forces and the Athens Home Guard during the Atlanta campaign.

19061_NT

Athens Confederate Monument

In the context of this artwork, analyze the 2020-2021 relocation of the History.

Discussions by the city and local activists to remove the monument began after the Charleston church shooting in 2015. After the murder of George Floyd by Minneapolis police the area around the monument became the rally point for the city's protest. Protesters called for the monument to be removed.In response to the local outcry it was planned for the monument to be moved again from the intersection of Broad Street and College Avenue in downtown Athens in 2020 by Athens mayor, Kelly Girtz. The mayor's desire to move the monument was challenged by Senate Bill 77, which prevents the city from moving Confederate monuments from prominent locations to another of lower prominence, but a loophole in the bill allowed the monument to be removed. On June 16, 2020, the mayor proposed a $450,000 plan to move the monument from Broad Street to Timothy Place. The mayor's plan was approved by the city commissioners on June 25 as part of a project to make the surrounding area more pedestrian-friendly.Work began on August 10 to remove the monument from the intersection at Broad Street. It was being moved according to the plan approved by the city's commissioners on June 25, but was temporarily stored in a field due to size restrictions until it could be installed on a new foundation. By June 2021, the memorial was partially reassembled, with the base of the structure already in place, at its current location at the end of Timothy Place visible from the Athens Perimeter. Its current placement is near the site of the Battle of Barber Creek, a skirmish that occurred on August 2, 1864, between a detachment of General George Stoneman's cavalry forces and the Athens Home Guard during the Atlanta campaign.

19062_T

Statue of Daniel Webster (New York City)

In Statue of Daniel Webster (New York City), how is the abstract discussed?

An outdoor bronze sculpture of Daniel Webster by Thomas Ball is installed in Central Park, Manhattan, New York. The "larger-than-life-size" statue was commissioned in the 1870s, to be installed along Central Park's Mall. It was instead installed along the West Drive at 72nd Street due to size restrictions. Daniel Webster was presented by Gordon W. Burnham in 1876.

19062_NT

Statue of Daniel Webster (New York City)

In this artwork, how is the abstract discussed?

An outdoor bronze sculpture of Daniel Webster by Thomas Ball is installed in Central Park, Manhattan, New York. The "larger-than-life-size" statue was commissioned in the 1870s, to be installed along Central Park's Mall. It was instead installed along the West Drive at 72nd Street due to size restrictions. Daniel Webster was presented by Gordon W. Burnham in 1876.

19063_T

Neuf Lignes Obliques

Focus on Neuf Lignes Obliques and explore the abstract.

Neuf lignes obliques (English: Nine Oblique Lines) is a steel monument on the Promenade des Anglais, by French artist Bernar Venet. It was commissioned to mark the 150th anniversary of the 1860 annexation of the County of Nice by France.The sculpture is made of nine steel beams, 30 metres long, which meet at their top. As the name implies the beams are inclined at an oblique angle. The sculpture is made of 65 tonnes of corten steel, set on a 130 tonne concrete foundation. Neuf lignes obliques is between the George Pompidou esplanade, a square on the south side of Vieux-Nice, and the Promenade des Anglais on Nice's Mediterranean coast. The Mayor of Nice, Christian Estrosi, commissioned it to symbolise the nine valleys of the old County of Nice as well as the surrounding mountains pointing to the sea. The sculpture was inaugurated on 31 May 2010 and moved 10m to its current site in 2012.

19063_NT

Neuf Lignes Obliques

Focus on this artwork and explore the abstract.

Neuf lignes obliques (English: Nine Oblique Lines) is a steel monument on the Promenade des Anglais, by French artist Bernar Venet. It was commissioned to mark the 150th anniversary of the 1860 annexation of the County of Nice by France.The sculpture is made of nine steel beams, 30 metres long, which meet at their top. As the name implies the beams are inclined at an oblique angle. The sculpture is made of 65 tonnes of corten steel, set on a 130 tonne concrete foundation. Neuf lignes obliques is between the George Pompidou esplanade, a square on the south side of Vieux-Nice, and the Promenade des Anglais on Nice's Mediterranean coast. The Mayor of Nice, Christian Estrosi, commissioned it to symbolise the nine valleys of the old County of Nice as well as the surrounding mountains pointing to the sea. The sculpture was inaugurated on 31 May 2010 and moved 10m to its current site in 2012.

19064_T

Tree of Life mural (Manav Gupta)

Focus on Tree of Life mural (Manav Gupta) and explain the abstract.

The Tree of Life is a large three-dimensional mural by artist Manav Gupta, located across the interior staircase of the Bharti Airtel office building in Gurgaon, India. Covering approximately 5,000 sq ft of facade space and 10,000 sq ft of total painted surface, it is the tallest and largest indoor staircase mural. While deploying site specific collaborative art practice of allowing more than 1000 employees of the office building, to participate in the experience of painting in the initial phase, the artist conceptualised the creation as a public art project.

19064_NT

Tree of Life mural (Manav Gupta)

Focus on this artwork and explain the abstract.

The Tree of Life is a large three-dimensional mural by artist Manav Gupta, located across the interior staircase of the Bharti Airtel office building in Gurgaon, India. Covering approximately 5,000 sq ft of facade space and 10,000 sq ft of total painted surface, it is the tallest and largest indoor staircase mural. While deploying site specific collaborative art practice of allowing more than 1000 employees of the office building, to participate in the experience of painting in the initial phase, the artist conceptualised the creation as a public art project.

19065_T

Tree of Life mural (Manav Gupta)

Explore the Innovation of methodology of this artwork, Tree of Life mural (Manav Gupta).

The methodology of creation was the first-of-its-kind simultaneous use of four different art practices engaging in conceptual, site specific, collaborative, and performance art. Gupta allowed the 3500 employees at the site, the experience of putting their brush strokes, while on their job, in the initial half of the project. As a part of his performance art, he executed a series of roles while teaching and motivating employees. At the same time, the artist engaged the employees in his practice of team-building exercise through art while creating a five floor high artwork. In the second half of the project, the colours and strokes were taken as raw stock for creating the composition. He proceeded with the three-month performance art alone; live in front of 3500 employees and almost as many visitors at the site (the campus) to evolve a storyline. Keeping in mind the visibility of the staircase all over the campus through a 60 ft high glass facade, the site specific intervention amalgamated the background wall and the front face of the staircase perspectives of five floors into a single canvas merging surrounding sides and roof within one composition.

19065_NT

Tree of Life mural (Manav Gupta)

Explore the Innovation of methodology of this artwork.

The methodology of creation was the first-of-its-kind simultaneous use of four different art practices engaging in conceptual, site specific, collaborative, and performance art. Gupta allowed the 3500 employees at the site, the experience of putting their brush strokes, while on their job, in the initial half of the project. As a part of his performance art, he executed a series of roles while teaching and motivating employees. At the same time, the artist engaged the employees in his practice of team-building exercise through art while creating a five floor high artwork. In the second half of the project, the colours and strokes were taken as raw stock for creating the composition. He proceeded with the three-month performance art alone; live in front of 3500 employees and almost as many visitors at the site (the campus) to evolve a storyline. Keeping in mind the visibility of the staircase all over the campus through a 60 ft high glass facade, the site specific intervention amalgamated the background wall and the front face of the staircase perspectives of five floors into a single canvas merging surrounding sides and roof within one composition.

19066_T

Tree of Life mural (Manav Gupta)

Focus on Tree of Life mural (Manav Gupta) and discuss the Performance art marathon.

The other notable feature of the invention was a marathon performance by the artist working non stop on his creation for three months except for few hours of rest and sleep at night.

19066_NT

Tree of Life mural (Manav Gupta)

Focus on this artwork and discuss the Performance art marathon.

The other notable feature of the invention was a marathon performance by the artist working non stop on his creation for three months except for few hours of rest and sleep at night.

19067_T

Tree of Life mural (Manav Gupta)

How does Tree of Life mural (Manav Gupta) elucidate its The evolving storyline?

A philosophical perspective was highlighted in the artist's statement while addressing the translation of his sustainable development ideology in his site specific intervention. As an artist my endeavor was to bring in the spirituality of higher consciousness within a business environment. Hence the burgeoning Tree of Life spreads growth and vibrancy in the ever evolving five elements of nature. Each element depicted on respective floor beginning from earth to water to air, space and fire mingle with one another to create symbolism of an ever growing state of energy in the universe. The compositions on each floor symbolize the evolving human needs that bind and grow into the next higher stage of consciousness. Beginning with sustenance and fun depicted on the second floor, to love and bonding, celebration and procreation on the third floor represented by the Adam and Eve formed out of the intertwined branches, the peacock and the non limiting horizon of the sea behind. It then grows to higher needs as the floors progress upwards into the signature umbilical cords of human existence on the fourth floor from where it rises to the “gaze” a reflection of one‘s introspection on the fifth level - the window to the soul and only then the larger cosmic “glow” emanating from the sixth floor sinks in to drive home the awareness that one begins to have with the experience of life itself. I see the organization as a symbolism of the above. Hence the creation shaped from an ever evolving stage where I let the employees experience color and form and learn the joy of creation while I absorbed what the organization stood for through its employees by letting them paint and pour on my canvas.I then transformed all multifarious hues, shapes, colors and idioms into a composite mega canvas that spoke one language as a work of art for me to create the above story-line.

19067_NT

Tree of Life mural (Manav Gupta)

How does this artwork elucidate its The evolving storyline?

A philosophical perspective was highlighted in the artist's statement while addressing the translation of his sustainable development ideology in his site specific intervention. As an artist my endeavor was to bring in the spirituality of higher consciousness within a business environment. Hence the burgeoning Tree of Life spreads growth and vibrancy in the ever evolving five elements of nature. Each element depicted on respective floor beginning from earth to water to air, space and fire mingle with one another to create symbolism of an ever growing state of energy in the universe. The compositions on each floor symbolize the evolving human needs that bind and grow into the next higher stage of consciousness. Beginning with sustenance and fun depicted on the second floor, to love and bonding, celebration and procreation on the third floor represented by the Adam and Eve formed out of the intertwined branches, the peacock and the non limiting horizon of the sea behind. It then grows to higher needs as the floors progress upwards into the signature umbilical cords of human existence on the fourth floor from where it rises to the “gaze” a reflection of one‘s introspection on the fifth level - the window to the soul and only then the larger cosmic “glow” emanating from the sixth floor sinks in to drive home the awareness that one begins to have with the experience of life itself. I see the organization as a symbolism of the above. Hence the creation shaped from an ever evolving stage where I let the employees experience color and form and learn the joy of creation while I absorbed what the organization stood for through its employees by letting them paint and pour on my canvas.I then transformed all multifarious hues, shapes, colors and idioms into a composite mega canvas that spoke one language as a work of art for me to create the above story-line.

19068_T

La Nouvelle Liberté

Focus on La Nouvelle Liberté and analyze the abstract.

La Nouvelle Liberté is a public artwork in the Deido suburb, in Douala (Cameroun).

19068_NT

La Nouvelle Liberté

Focus on this artwork and analyze the abstract.

La Nouvelle Liberté is a public artwork in the Deido suburb, in Douala (Cameroun).

19069_T

La Nouvelle Liberté

In La Nouvelle Liberté, how is the The Artwork discussed?

La Nouvelle Liberté is the most famous and emblematic artwork of Douala, which today has become a symbol of the city. Produced by Joseph-Francis Sumégné in 1996, the Nouvelle Liberté is a majestic 12 meters tall sculpture made of scrap metals, erected in the middle of the busiest roundabouts of Douala, the Rond Point Deido. It features a 5 meters wingspan, and a mass of 8 tons. This artwork pays tribute to the contemporary culture of the city: the culture of recycling, of the assembly and disassembly of objects, of the ability of citizens in “se débrouiller” (getting by) in many complex situations. Despite the fact La Nouvelle Liberté has become an icon of the city, this sculpture is still often nicknamed the Njo Njo of Deido (meaning the evil, the monster of Deido). This negative designation is based on the strong protests carried on by local media and native populations against La Nouvelle Liberté. The first polemics mainly concerned the aesthetical features of the sculpture, made of recycled metallic pieces. Also, a violent controversy was raised by media on the origins of the artist (coming from the West Region of Cameroun) taking the fold of an ethnic struggle between the native and not native population of Douala. These diatribes led to subsequent attacks and vandalism of the work. For these reasons, La Nouvelle Liberté was officially inaugurated eleven years later during SUD2007. The artwork was sponsored by doual'art and donated to the Municipality of Douala (owner). This latter funded the pedestal on which the sculpture stands today. The crossroad where La Nouvelle Liberté was installed is considered the gateway of the city, the most important traffic hub from which the main boulevards of the city bring towards the center (through Akwa district), the Eastern popular districts, and out of Douala (through the Wouri Bridge and Bonaberi district). After the installation and donation of La Nouvelle Liberté to the Municipality of Douala, this latter has considerably invested on the urbanization of the Rond Point Deido, in particular through the eviction of informal markets surrounding the area, through the installation of street lights, new flooring works, and through the care of the garden of the roundabout.

19069_NT

La Nouvelle Liberté

In this artwork, how is the The Artwork discussed?

La Nouvelle Liberté is the most famous and emblematic artwork of Douala, which today has become a symbol of the city. Produced by Joseph-Francis Sumégné in 1996, the Nouvelle Liberté is a majestic 12 meters tall sculpture made of scrap metals, erected in the middle of the busiest roundabouts of Douala, the Rond Point Deido. It features a 5 meters wingspan, and a mass of 8 tons. This artwork pays tribute to the contemporary culture of the city: the culture of recycling, of the assembly and disassembly of objects, of the ability of citizens in “se débrouiller” (getting by) in many complex situations. Despite the fact La Nouvelle Liberté has become an icon of the city, this sculpture is still often nicknamed the Njo Njo of Deido (meaning the evil, the monster of Deido). This negative designation is based on the strong protests carried on by local media and native populations against La Nouvelle Liberté. The first polemics mainly concerned the aesthetical features of the sculpture, made of recycled metallic pieces. Also, a violent controversy was raised by media on the origins of the artist (coming from the West Region of Cameroun) taking the fold of an ethnic struggle between the native and not native population of Douala. These diatribes led to subsequent attacks and vandalism of the work. For these reasons, La Nouvelle Liberté was officially inaugurated eleven years later during SUD2007. The artwork was sponsored by doual'art and donated to the Municipality of Douala (owner). This latter funded the pedestal on which the sculpture stands today. The crossroad where La Nouvelle Liberté was installed is considered the gateway of the city, the most important traffic hub from which the main boulevards of the city bring towards the center (through Akwa district), the Eastern popular districts, and out of Douala (through the Wouri Bridge and Bonaberi district). After the installation and donation of La Nouvelle Liberté to the Municipality of Douala, this latter has considerably invested on the urbanization of the Rond Point Deido, in particular through the eviction of informal markets surrounding the area, through the installation of street lights, new flooring works, and through the care of the garden of the roundabout.

19070_T

Falling Man (Beckmann)

Focus on Falling Man (Beckmann) and explore the abstract.

Falling Man is an oil-on-canvas painting by the German artist Max Beckmann. The work was created in New York City during the final year of his life when he was living in the United States, since he had left the Netherlands in 1947. The painting is in the National Gallery of Art in Washington D.C.The work is considered eerily predictive of the jumpers and other doomed people falling from the World Trade Center Towers during the September 11 attacks in New York City, on a similar setting to the painting, clear blue day.Falling Man is said to be preceded in Beckmann's opus by some of the drawings he did for his 1943–44 illustration of Goethe's Faust II which contains multiple images of falling men.The painting was included in the 2016–17 exhibition of the artist's work Max Beckmann in New York at the Metropolitan Museum of Art.

19070_NT

Falling Man (Beckmann)

Focus on this artwork and explore the abstract.

Falling Man is an oil-on-canvas painting by the German artist Max Beckmann. The work was created in New York City during the final year of his life when he was living in the United States, since he had left the Netherlands in 1947. The painting is in the National Gallery of Art in Washington D.C.The work is considered eerily predictive of the jumpers and other doomed people falling from the World Trade Center Towers during the September 11 attacks in New York City, on a similar setting to the painting, clear blue day.Falling Man is said to be preceded in Beckmann's opus by some of the drawings he did for his 1943–44 illustration of Goethe's Faust II which contains multiple images of falling men.The painting was included in the 2016–17 exhibition of the artist's work Max Beckmann in New York at the Metropolitan Museum of Art.

19071_T

Statue of Mahatma Gandhi, Johannesburg

Focus on Statue of Mahatma Gandhi, Johannesburg and explain the abstract.

M. K. Gandhi is a bronze statue of Mahatma Gandhi in Gandhi Square, Johannesburg, which depicts the Indian independence campaigner and nonviolent pacifist as a young man.

19071_NT

Statue of Mahatma Gandhi, Johannesburg

Focus on this artwork and explain the abstract.

M. K. Gandhi is a bronze statue of Mahatma Gandhi in Gandhi Square, Johannesburg, which depicts the Indian independence campaigner and nonviolent pacifist as a young man.

19072_T

Statue of Mahatma Gandhi, Johannesburg

Explore the Description and history of this artwork, Statue of Mahatma Gandhi, Johannesburg.

Prior to the statue's unveiling the square had been named Government Square. It was unveiled by the Mayor of Johannesburg, Amos Masondo, on October 2, 2003, Gandhi's birthday.The square had previously been known as Government Square and was the location of the Johannesburg Law Courts where Gandhi practiced law. The main Johannesburg bus terminus now stands where the law courts were located..Tinka Christopher was chosen as the statue's sculptor by the advisory committee of the Johannesburg Art Gallery. The piece took Christopher three months to complete, with Christopher saying that she worked "...worked 10 hours each day, seven days a week, to complete the work in time". The other shortlisted artists were Naomi Jacobson, Ben Omar, and Maureen Quin.The statue is situated on a 5 meter high plinth, and benches surround the base of the statue. The statue depicts Gandhi as he may have appeared in his time in Johannesburg, as a young man wearing his legal gown over his suit, with his cloak blown by the breeze. Gandhi holds a book and is looking forward. The statue contains an alarm monitored by a security company that detects vibrations arriving from theft.The statue was half funded by the city of Johannesburg, with the remainder coming from private donations.

19072_NT

Statue of Mahatma Gandhi, Johannesburg

Explore the Description and history of this artwork.

Prior to the statue's unveiling the square had been named Government Square. It was unveiled by the Mayor of Johannesburg, Amos Masondo, on October 2, 2003, Gandhi's birthday.The square had previously been known as Government Square and was the location of the Johannesburg Law Courts where Gandhi practiced law. The main Johannesburg bus terminus now stands where the law courts were located..Tinka Christopher was chosen as the statue's sculptor by the advisory committee of the Johannesburg Art Gallery. The piece took Christopher three months to complete, with Christopher saying that she worked "...worked 10 hours each day, seven days a week, to complete the work in time". The other shortlisted artists were Naomi Jacobson, Ben Omar, and Maureen Quin.The statue is situated on a 5 meter high plinth, and benches surround the base of the statue. The statue depicts Gandhi as he may have appeared in his time in Johannesburg, as a young man wearing his legal gown over his suit, with his cloak blown by the breeze. Gandhi holds a book and is looking forward. The statue contains an alarm monitored by a security company that detects vibrations arriving from theft.The statue was half funded by the city of Johannesburg, with the remainder coming from private donations.

19073_T

Faust (paintings)

Focus on Faust (paintings) and discuss the abstract.

Faust is a series of approximately 100 paintings created between 1976 and 1979 by Nabil Kanso. The paintings depict figural compositions in a sequence of scenes whose subjects are loosely based on Goethe’s 1808 play Faust Part One and Part Two.In dealing with the human drama, the paintings in the series embody imagery reflecting various aspects of the entanglement of the relationship between three primary figures that may visually represent Faust, the old scholar who pledges his soul to the devil in exchange for youth and love, Mephistopheles, the Devil’s representative who provides Faust with his needs, and Margaret (Gretchen), the young woman who is "seduced and made unhappy by the evildoer."

19073_NT

Faust (paintings)

Focus on this artwork and discuss the abstract.

Faust is a series of approximately 100 paintings created between 1976 and 1979 by Nabil Kanso. The paintings depict figural compositions in a sequence of scenes whose subjects are loosely based on Goethe’s 1808 play Faust Part One and Part Two.In dealing with the human drama, the paintings in the series embody imagery reflecting various aspects of the entanglement of the relationship between three primary figures that may visually represent Faust, the old scholar who pledges his soul to the devil in exchange for youth and love, Mephistopheles, the Devil’s representative who provides Faust with his needs, and Margaret (Gretchen), the young woman who is "seduced and made unhappy by the evildoer."

19074_T

Faust (paintings)

How does Faust (paintings) elucidate its Paintings?

The series comprises about 70 oils on canvas ranging in size from 58 by 48 inches (150 cm × 120 cm) and 72 by 60 inches (180 cm × 150 cm) to 74 by 128 inches (190 cm × 330 cm), and 30 mixed mediums on paperboard measuring 30 by 40 inches (76 cm × 102 cm) executed in three phases during a three-year period of the late 1970s. The paintings are sequentially grouped under 22 headings forming 12 sections: Faust and the Earth Spirit: A sequence of paintings with agitated rhythm and tangled webs of black paint over layers of red and yellow colors depicting scenes of dim enclosures and various gothic settings that provide the ground for the appearance of figures representing Faust, Mephistopheles, and various characters, metamorphosis, and symbols of the earth-spirit and macrocosm. Auerbach’s Cellar: Compositions with scenes depicting two males figures with dual characteristics reflecting Faust and Mephistopheles among revelers in a tavern and at the Witch’s Kitchen. Street : Street scenes with triangular figures representing Faust and Mephistopheles encountering Margaret. Garden: Images of Margaret in her room before a mirror holding pieces of jewelry, and situated with other figures. Subsequent garden scenes of dancing, promenading and embracing figures, and flora of daisies alluding to Margaret’s vow of love as she plucks a daisy pulling out the petals one by one "Loves me -not- loves me." Cave and Well: The paintings depict scenes of two figures representing Faust and Mephistopheles confronting each other in a face to face struggle and fight in a cave setting as a metaphor for an underground enclave of a hideout space. The pictures are followed by scenes of Margaret at the well bathing her limbs and surrounded by a swirl of figures, flowers, jugs, and water alluding to elements of embryology. Evening and Night: The Evening pictures depict amorous figures in an interior. They are followed by street night scenes reflecting the killing of Margaret’s brother Valentine. Cathedral: The paintings depict various scenes of confrontation, child birth and abandonment in compositions involving several moving and gesturing figures conveying a sense of tension and contrast between the figure representing Margaret and the various figures surrounding her with gestures of accusation and condemnation. Walpurgis Night: large canvases depicting bacchanalia and orgiastic scenes reflecting the wild and festive ceremonies at the Harz mountains. The Walpurgis Night and Walpurgis Night Dream paintings make reference to Goethe’s poem containing the exchange between Faust, Mephistopheles and the naked witches in a scene depicting the dancing couples against a background of tree trunks forming a wide open space penetrated by a spanned-wing bird. Dungeon: The images reveal two riders storming along on black horses, and scenes of the two entering a dungeon reflecting the prison where Margaret and her child are held. Subsequent scenes show the entanglement of the trio in a variety of situations. Dreaming of Helen: The paintings portray Helen's world in scenes that depart from the actual subject of the literary source, and veer toward mythological themes in compositions characterized by vigorously expressed imagery of turbulent figures and various metaphors. Deep Region: various compositions depicting lovers and scenes reflecting Mephistopheles lustful and seductive encounter with the angels. Twilight: the paintings depict scenes focusing on a fallen, despairing, and dying figure. Darkness and Light is the title of a large canvas measuring 168X249cm depicting a death scene in which four female figures surround a dying male figure with one hand raised upwards toward a moon floating around a series of whirling circular forms holding within dark contours several recurring faces metaphorically representing those of Margaret.

19074_NT

Faust (paintings)

How does this artwork elucidate its Paintings?

The series comprises about 70 oils on canvas ranging in size from 58 by 48 inches (150 cm × 120 cm) and 72 by 60 inches (180 cm × 150 cm) to 74 by 128 inches (190 cm × 330 cm), and 30 mixed mediums on paperboard measuring 30 by 40 inches (76 cm × 102 cm) executed in three phases during a three-year period of the late 1970s. The paintings are sequentially grouped under 22 headings forming 12 sections: Faust and the Earth Spirit: A sequence of paintings with agitated rhythm and tangled webs of black paint over layers of red and yellow colors depicting scenes of dim enclosures and various gothic settings that provide the ground for the appearance of figures representing Faust, Mephistopheles, and various characters, metamorphosis, and symbols of the earth-spirit and macrocosm. Auerbach’s Cellar: Compositions with scenes depicting two males figures with dual characteristics reflecting Faust and Mephistopheles among revelers in a tavern and at the Witch’s Kitchen. Street : Street scenes with triangular figures representing Faust and Mephistopheles encountering Margaret. Garden: Images of Margaret in her room before a mirror holding pieces of jewelry, and situated with other figures. Subsequent garden scenes of dancing, promenading and embracing figures, and flora of daisies alluding to Margaret’s vow of love as she plucks a daisy pulling out the petals one by one "Loves me -not- loves me." Cave and Well: The paintings depict scenes of two figures representing Faust and Mephistopheles confronting each other in a face to face struggle and fight in a cave setting as a metaphor for an underground enclave of a hideout space. The pictures are followed by scenes of Margaret at the well bathing her limbs and surrounded by a swirl of figures, flowers, jugs, and water alluding to elements of embryology. Evening and Night: The Evening pictures depict amorous figures in an interior. They are followed by street night scenes reflecting the killing of Margaret’s brother Valentine. Cathedral: The paintings depict various scenes of confrontation, child birth and abandonment in compositions involving several moving and gesturing figures conveying a sense of tension and contrast between the figure representing Margaret and the various figures surrounding her with gestures of accusation and condemnation. Walpurgis Night: large canvases depicting bacchanalia and orgiastic scenes reflecting the wild and festive ceremonies at the Harz mountains. The Walpurgis Night and Walpurgis Night Dream paintings make reference to Goethe’s poem containing the exchange between Faust, Mephistopheles and the naked witches in a scene depicting the dancing couples against a background of tree trunks forming a wide open space penetrated by a spanned-wing bird. Dungeon: The images reveal two riders storming along on black horses, and scenes of the two entering a dungeon reflecting the prison where Margaret and her child are held. Subsequent scenes show the entanglement of the trio in a variety of situations. Dreaming of Helen: The paintings portray Helen's world in scenes that depart from the actual subject of the literary source, and veer toward mythological themes in compositions characterized by vigorously expressed imagery of turbulent figures and various metaphors. Deep Region: various compositions depicting lovers and scenes reflecting Mephistopheles lustful and seductive encounter with the angels. Twilight: the paintings depict scenes focusing on a fallen, despairing, and dying figure. Darkness and Light is the title of a large canvas measuring 168X249cm depicting a death scene in which four female figures surround a dying male figure with one hand raised upwards toward a moon floating around a series of whirling circular forms holding within dark contours several recurring faces metaphorically representing those of Margaret.

19075_T

Haymaking (painting)

Focus on Haymaking (painting) and analyze the abstract.

Haymaking (French: Les foins) or Resting in the Fields is an 1877 painting by Jules Bastien-Lepage. First exhibited at the 1878 Paris Salon, it was acquired by the Musée du Luxembourg in 1885 at the posthumous sale of the artist's works. It passed to the Louvre in 1929 and then to its current home in the Musée d'Orsay, in Paris, in 1980.

19075_NT

Haymaking (painting)

Focus on this artwork and analyze the abstract.

Haymaking (French: Les foins) or Resting in the Fields is an 1877 painting by Jules Bastien-Lepage. First exhibited at the 1878 Paris Salon, it was acquired by the Musée du Luxembourg in 1885 at the posthumous sale of the artist's works. It passed to the Louvre in 1929 and then to its current home in the Musée d'Orsay, in Paris, in 1980.

19076_T

Haymaking (painting)

In Haymaking (painting), how is the Description discussed?

The painting depicts two peasants, a man and a woman, resting from hard work, in a field. The man is lying on the mown grass, his face is hidden by a straw hat, which allows his beard to be seen, but not the top of his face. The young peasant woman is seated, but her pose and her look express her extreme exhaustion. It is worth noting the seemingly photographic composition of the painting: the horizon line is located at a very high point so that the majority of its surface is occupied in the background by mown grass and haystacks, and the sky is visible only on a small strip of canvas.

19076_NT

Haymaking (painting)

In this artwork, how is the Description discussed?

The painting depicts two peasants, a man and a woman, resting from hard work, in a field. The man is lying on the mown grass, his face is hidden by a straw hat, which allows his beard to be seen, but not the top of his face. The young peasant woman is seated, but her pose and her look express her extreme exhaustion. It is worth noting the seemingly photographic composition of the painting: the horizon line is located at a very high point so that the majority of its surface is occupied in the background by mown grass and haystacks, and the sky is visible only on a small strip of canvas.

19077_T

Haymaking (painting)

Focus on Haymaking (painting) and explore the Reception.

Novelist Émile Zola highly praised Bastien-Lepage as the "grandson of Jean-François Millet and Gustave Courbet", and considered Haymaking as a masterpiece of naturalism in painting.Soviet art critic Nina Yarovskaya also praised this painting: "Les Foins is Bastien-Lepage's best painting. Exhibited at the Paris Salon of 1878, it is far from the idyllic interpretations of the peasant theme which characterizes several of his paintings. It faithfully depicts peasants lying exhausted from work under a scorching sun. The posture of the exhausted woman is very expressive with her hands lowered, her head slightly thrown back. The viewer feels the exhaustion of this woman and the efforts required to make the slightest movement."

19077_NT

Haymaking (painting)

Focus on this artwork and explore the Reception.

Novelist Émile Zola highly praised Bastien-Lepage as the "grandson of Jean-François Millet and Gustave Courbet", and considered Haymaking as a masterpiece of naturalism in painting.Soviet art critic Nina Yarovskaya also praised this painting: "Les Foins is Bastien-Lepage's best painting. Exhibited at the Paris Salon of 1878, it is far from the idyllic interpretations of the peasant theme which characterizes several of his paintings. It faithfully depicts peasants lying exhausted from work under a scorching sun. The posture of the exhausted woman is very expressive with her hands lowered, her head slightly thrown back. The viewer feels the exhaustion of this woman and the efforts required to make the slightest movement."

19078_T

A Bigger Grand Canyon

Focus on A Bigger Grand Canyon and explain the abstract.

A Bigger Grand Canyon is a 1998 painting by David Hockney consisting of 60 canvases (in a 12x5 arrangement) that produce one large (7.4m-wide) picture. It hangs in the National Gallery of Australia, which bought it for $4.6 million. The Cubist-type painting portrays the Grand Canyon in the U.S. state of Arizona from many viewpoints and times of day.

19078_NT

A Bigger Grand Canyon

Focus on this artwork and explain the abstract.

A Bigger Grand Canyon is a 1998 painting by David Hockney consisting of 60 canvases (in a 12x5 arrangement) that produce one large (7.4m-wide) picture. It hangs in the National Gallery of Australia, which bought it for $4.6 million. The Cubist-type painting portrays the Grand Canyon in the U.S. state of Arizona from many viewpoints and times of day.

19079_T

Winding the Skein

Explore the abstract of this artwork, Winding the Skein.

Winding the Skein is an oil painting by Frederic Leighton, first exhibited in 1878.

19079_NT

Winding the Skein

Explore the abstract of this artwork.

Winding the Skein is an oil painting by Frederic Leighton, first exhibited in 1878.

19080_T

Winding the Skein

Focus on Winding the Skein and discuss the Analysis.

In this picture, a simple theme is treated in a classic fashion—not dissimilar to that employed for the earlier Music Lesson. Ernest Rhys writes in praise of this perceived quality in Leighton:In this we see two Greek maidens as naturally employed as we often see English girls in other surroundings. This idealization of a familiar occupation so that it is lifted out of a local and casual sphere, into the permanent sphere of classic art, is characteristic of the whole of Leighton's work. He, like Sir L. Alma-Tadema and Albert Moore, contrived also to preserve a certain modern contemporary feeling in the classic presentment of his themes. He was never archaic; so that the classic scenarium of his subjects, in his hands, appears as little antiquarian as a mediæval environment, shall we say, in the hands of Browning.

19080_NT

Winding the Skein

Focus on this artwork and discuss the Analysis.

In this picture, a simple theme is treated in a classic fashion—not dissimilar to that employed for the earlier Music Lesson. Ernest Rhys writes in praise of this perceived quality in Leighton:In this we see two Greek maidens as naturally employed as we often see English girls in other surroundings. This idealization of a familiar occupation so that it is lifted out of a local and casual sphere, into the permanent sphere of classic art, is characteristic of the whole of Leighton's work. He, like Sir L. Alma-Tadema and Albert Moore, contrived also to preserve a certain modern contemporary feeling in the classic presentment of his themes. He was never archaic; so that the classic scenarium of his subjects, in his hands, appears as little antiquarian as a mediæval environment, shall we say, in the hands of Browning.

19081_T

Statue of Christopher Columbus (Newport, Rhode Island)

In the context of Statue of Christopher Columbus (Newport, Rhode Island), analyze the Formation of Committee of the History.

In 1932, a committee was formed to explore the idea of erecting a statue of Christopher Columbus in Newport as a gift from all the people of Italian heritage in the community. It appears that this committee grew out of the Italian Brotherhood Benefit Society of Newport, which had been incorporated by the General Assembly by an act passed on Feb. 5, 1897.The statue was to be erected to commemorate the contributions made by the Italian explorer. Donations were solicited from people of Italian heritage, but because of the economic crisis of the 1930s and the unstable international situation into the 1940s, the committee's activities were suspended until a more opportune time. The money that had been collected was put into a savings account and then invested in U.S. Defense Bonds in the name of the committee.Early in the 1950s, the plan was reactivated, and each of the three United Italian Societies was asked to select four members each to serve on the Columbus Monument Committee. By that time, the Sons of Italy, Lodge Progresso e Civilita No. 391 (founded in 1941), later called the Forum Lodge Sons of Italy No. 391, and the Sons of Italy, St. Catherine of Siena Lodge, had joined the Italian Brotherhood Benefit Society in the endeavor. The monument committee announced its plans at a meeting at the end of January 1953 after working quietly for several years.At some point, this committee commissioned the world-renowned Fonderia Artistica Ferdinando Marinelli in Florence, Italy, to create the statue. Marinelli was the cousin of Pasquale Russo, father of Gabriel D. Russo, and Donato F. D’Andrea, who was president of the Italian Brotherhood Benefit Society. Marinelli, born in 1887 near Perugia, established his own foundry in Florence in 1905. His foundry specialized in bronzes by contemporary sculptors as well as meeting the high demand for art-quality replicas of ancient and Renaissance masterpieces. The original was sculpted by Giovanni Cappelletti.The foundry was unable to provide records of the transaction because it had lost all of its records of previous works during the Florence flood of 1966.When the statue was actually ordered is unknown; however, in January 1953, the monument committee received a scale model of the Columbus statue. A photograph in The Newport Daily News on Jan. 30, 1953, shows Gabriel D. Russo with the model. It remains in the family today. The committee also discussed various locations for the statue's placement and decided on its present location at the intersection of Memorial Boulevard and Bellevue Avenue.

19081_NT

Statue of Christopher Columbus (Newport, Rhode Island)

In the context of this artwork, analyze the Formation of Committee of the History.

In 1932, a committee was formed to explore the idea of erecting a statue of Christopher Columbus in Newport as a gift from all the people of Italian heritage in the community. It appears that this committee grew out of the Italian Brotherhood Benefit Society of Newport, which had been incorporated by the General Assembly by an act passed on Feb. 5, 1897.The statue was to be erected to commemorate the contributions made by the Italian explorer. Donations were solicited from people of Italian heritage, but because of the economic crisis of the 1930s and the unstable international situation into the 1940s, the committee's activities were suspended until a more opportune time. The money that had been collected was put into a savings account and then invested in U.S. Defense Bonds in the name of the committee.Early in the 1950s, the plan was reactivated, and each of the three United Italian Societies was asked to select four members each to serve on the Columbus Monument Committee. By that time, the Sons of Italy, Lodge Progresso e Civilita No. 391 (founded in 1941), later called the Forum Lodge Sons of Italy No. 391, and the Sons of Italy, St. Catherine of Siena Lodge, had joined the Italian Brotherhood Benefit Society in the endeavor. The monument committee announced its plans at a meeting at the end of January 1953 after working quietly for several years.At some point, this committee commissioned the world-renowned Fonderia Artistica Ferdinando Marinelli in Florence, Italy, to create the statue. Marinelli was the cousin of Pasquale Russo, father of Gabriel D. Russo, and Donato F. D’Andrea, who was president of the Italian Brotherhood Benefit Society. Marinelli, born in 1887 near Perugia, established his own foundry in Florence in 1905. His foundry specialized in bronzes by contemporary sculptors as well as meeting the high demand for art-quality replicas of ancient and Renaissance masterpieces. The original was sculpted by Giovanni Cappelletti.The foundry was unable to provide records of the transaction because it had lost all of its records of previous works during the Florence flood of 1966.When the statue was actually ordered is unknown; however, in January 1953, the monument committee received a scale model of the Columbus statue. A photograph in The Newport Daily News on Jan. 30, 1953, shows Gabriel D. Russo with the model. It remains in the family today. The committee also discussed various locations for the statue's placement and decided on its present location at the intersection of Memorial Boulevard and Bellevue Avenue.

19082_T

Statue of Christopher Columbus (Newport, Rhode Island)

Describe the characteristics of the Creation of statue in Statue of Christopher Columbus (Newport, Rhode Island)'s History.

What the foundry wrought was a 5-foot, 8-inch life-size likeness of the explorer in bronze weighing 700 pounds, a sculptured bronze fence with relief panels of crosses and panels depicting Columbus’ ships, the Nina, the Pinta and the Santa Maria, as well as a panel showing him greeting the Indians upon his arrival, also weighing 700 pounds. The work also included a 1,300-pound base consisting of four marble outer wall slabs, one with an inscription, “Christopher Columbus, Discoverer of America, October 12, 1492, Erected by the Italian community of Newport, Rhode Island, October 12, 1953,” and a top slab to be assembled here. The name of the artist who created the prototype is on the statue; it reads “Modello (model or prototype), G. Cappelletti.” At that time in 1953, the destroyer tender USS Cascade (AD-16) was on a four-month duty in the Mediterranean to support destroyers there; she was there from Feb. 21, 1953, to June 10, 1953. She had been recommissioned on April 5, 1951, and was based in Newport as tender for the many destroyers that were homeported here. While in the Mediterranean, the Cascade also distributed clothing that had been donated by Newport residents to the needy. The Columbus Monument Committee asked the Navy for its assistance. Through the office of Adm. William Fechtler, chief of naval operations, the Navy agreed to transport the statue and its accessories aboard the Cascade to Newport. The three local Italian societies incurred all expenses for the transport. The Florentine foundry shipped seven crates holding the statue, base and fence to Livorno, Italy, a port city on the Liguria Sea southeast of Genoa, and sent word to the Cascade in La Spezia, Italy, about 75 miles from Livorno. The commanding officer, Capt. Rob Roy McGregor, thought it would be easier to bring the statue to La Spezia than for the ship to go to Livorno, so the statue was brought to La Spezia. On the day of departure, there was a four-hour delay because Italian customs refused to load the statue crates because they did not have the proper clearance.On June 19, 1953, Gabriel D. Russo was notified that the statue would arrive at Melville two days later. That day, Russo, his father, Pasquale, Gabe's two sons Paul, 10, and Bryan, 5, Donato F. D’Andrea, Enrico Cassese, Michael DeRensis, Mrs. Augustin Bucci and truck driver Stephen Toppa witnessed the unloading of the crates. Following the unloading, the two young boys were taken on a tour of the Cascade. Initially, the crates were taken to the MCM truck warehouse on Chapel Street. Later, the crates were moved to Alfredo Sciarotta, silversmith and metalworker, for assembly.On Columbus Day 1953, the statute was finally installed.

19082_NT

Statue of Christopher Columbus (Newport, Rhode Island)

Describe the characteristics of the Creation of statue in this artwork's History.

What the foundry wrought was a 5-foot, 8-inch life-size likeness of the explorer in bronze weighing 700 pounds, a sculptured bronze fence with relief panels of crosses and panels depicting Columbus’ ships, the Nina, the Pinta and the Santa Maria, as well as a panel showing him greeting the Indians upon his arrival, also weighing 700 pounds. The work also included a 1,300-pound base consisting of four marble outer wall slabs, one with an inscription, “Christopher Columbus, Discoverer of America, October 12, 1492, Erected by the Italian community of Newport, Rhode Island, October 12, 1953,” and a top slab to be assembled here. The name of the artist who created the prototype is on the statue; it reads “Modello (model or prototype), G. Cappelletti.” At that time in 1953, the destroyer tender USS Cascade (AD-16) was on a four-month duty in the Mediterranean to support destroyers there; she was there from Feb. 21, 1953, to June 10, 1953. She had been recommissioned on April 5, 1951, and was based in Newport as tender for the many destroyers that were homeported here. While in the Mediterranean, the Cascade also distributed clothing that had been donated by Newport residents to the needy. The Columbus Monument Committee asked the Navy for its assistance. Through the office of Adm. William Fechtler, chief of naval operations, the Navy agreed to transport the statue and its accessories aboard the Cascade to Newport. The three local Italian societies incurred all expenses for the transport. The Florentine foundry shipped seven crates holding the statue, base and fence to Livorno, Italy, a port city on the Liguria Sea southeast of Genoa, and sent word to the Cascade in La Spezia, Italy, about 75 miles from Livorno. The commanding officer, Capt. Rob Roy McGregor, thought it would be easier to bring the statue to La Spezia than for the ship to go to Livorno, so the statue was brought to La Spezia. On the day of departure, there was a four-hour delay because Italian customs refused to load the statue crates because they did not have the proper clearance.On June 19, 1953, Gabriel D. Russo was notified that the statue would arrive at Melville two days later. That day, Russo, his father, Pasquale, Gabe's two sons Paul, 10, and Bryan, 5, Donato F. D’Andrea, Enrico Cassese, Michael DeRensis, Mrs. Augustin Bucci and truck driver Stephen Toppa witnessed the unloading of the crates. Following the unloading, the two young boys were taken on a tour of the Cascade. Initially, the crates were taken to the MCM truck warehouse on Chapel Street. Later, the crates were moved to Alfredo Sciarotta, silversmith and metalworker, for assembly.On Columbus Day 1953, the statute was finally installed.

19083_T

Statue of Christopher Columbus (Newport, Rhode Island)

In the context of Statue of Christopher Columbus (Newport, Rhode Island), explore the Damage and restoration of the History.

In 1958, an auto accident seriously damaged the bronze fence, and it was placed into storage, where it was lost for many years.In 2004 the city of Newport asked Newmans Ltd to restore the bronze statue of Columbus, which had been missing the fencing/surround for nearly years. Fortunately, Mayor Richard Sardella located the surround's fragments in the back of a construction company's storehouse under an old fire escape covered with years of dirt.Using historical images kept by a member of the Italian American Society, the restoration company repaired or replaced the missing stone and bronze parts and reassembled the surround. The City of Newport's Parks Department helped to replace the surround, and strategically placed bollards between the monuments and the oncoming traffic. Since then, the bollards have had to be replaced twice. The statue and its surround remain unscathed.

19083_NT

Statue of Christopher Columbus (Newport, Rhode Island)

In the context of this artwork, explore the Damage and restoration of the History.

In 1958, an auto accident seriously damaged the bronze fence, and it was placed into storage, where it was lost for many years.In 2004 the city of Newport asked Newmans Ltd to restore the bronze statue of Columbus, which had been missing the fencing/surround for nearly years. Fortunately, Mayor Richard Sardella located the surround's fragments in the back of a construction company's storehouse under an old fire escape covered with years of dirt.Using historical images kept by a member of the Italian American Society, the restoration company repaired or replaced the missing stone and bronze parts and reassembled the surround. The City of Newport's Parks Department helped to replace the surround, and strategically placed bollards between the monuments and the oncoming traffic. Since then, the bollards have had to be replaced twice. The statue and its surround remain unscathed.

19084_T

Statue of Christopher Columbus (Newport, Rhode Island)

In the context of Statue of Christopher Columbus (Newport, Rhode Island), explain the Controversy of the History.

In 2020, Newport Mayor Jamie Bova indicated that she would be "very open" to removing the statue, noting that there are better Italians to celebrate.

19084_NT

Statue of Christopher Columbus (Newport, Rhode Island)

In the context of this artwork, explain the Controversy of the History.

In 2020, Newport Mayor Jamie Bova indicated that she would be "very open" to removing the statue, noting that there are better Italians to celebrate.

19085_T

Annunciation with St John the Baptist and St Andrew

Explore the abstract of this artwork, Annunciation with St John the Baptist and St Andrew.

Annunciation with St John the Baptist and St Andrew is a c.1485 oil-on-panel painting by Filippino Lippi. An early work by the artist, it shows an Annunciation scene between John the Baptist (left, patron saint of Florence) and Andrew (right, with his diagonal cross). In the background is a view of Florence, meaning it may have been commissioned for an individual or institution in the city – the view includes Santa Maria del Fiore, Giotto's Campanile, the Bargello and the Badia. The painting is influenced by several other artists, including Lippi's father Filippo (who often painted Annunciations) and Filippino's colleague Botticelli. The detailed and naturalistic flora in the foreground and background is typical of late-15th-century Florentine art, influenced by new works from the Low Countries and studies by Leonardo da Vinci. It was confiscated from San Luigi dei Francesi in Rome by French Republican troops and in 1801 entered the Galleria Francavilla in Naples. At that time it was attributed to Ghirlandaio. It is now in the Museo nazionale di Capodimonte in Naples.

19085_NT

Annunciation with St John the Baptist and St Andrew

Explore the abstract of this artwork.

Annunciation with St John the Baptist and St Andrew is a c.1485 oil-on-panel painting by Filippino Lippi. An early work by the artist, it shows an Annunciation scene between John the Baptist (left, patron saint of Florence) and Andrew (right, with his diagonal cross). In the background is a view of Florence, meaning it may have been commissioned for an individual or institution in the city – the view includes Santa Maria del Fiore, Giotto's Campanile, the Bargello and the Badia. The painting is influenced by several other artists, including Lippi's father Filippo (who often painted Annunciations) and Filippino's colleague Botticelli. The detailed and naturalistic flora in the foreground and background is typical of late-15th-century Florentine art, influenced by new works from the Low Countries and studies by Leonardo da Vinci. It was confiscated from San Luigi dei Francesi in Rome by French Republican troops and in 1801 entered the Galleria Francavilla in Naples. At that time it was attributed to Ghirlandaio. It is now in the Museo nazionale di Capodimonte in Naples.

19086_T

Aaron Monument

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The Aaron Monument is a public art work by artist Brian Maughan. It is located in front of the American Family Field stadium west of downtown Milwaukee, Wisconsin, United States.

19086_NT

Aaron Monument

Focus on this artwork and discuss the abstract.

The Aaron Monument is a public art work by artist Brian Maughan. It is located in front of the American Family Field stadium west of downtown Milwaukee, Wisconsin, United States.

19087_T

Aaron Monument

How does Aaron Monument elucidate its Description?

The sculpture depicts Hank Aaron, a member of the Milwaukee Brewers baseball team, in a batting stance. The figure wears the uniform of the winners of the 1957 World Series: long socks, loose-fitting knee-length pants, a button-front short-sleeved jersey and a cap. The sculpture was dedicated on April 5, 2001.

19087_NT

Aaron Monument

How does this artwork elucidate its Description?

The sculpture depicts Hank Aaron, a member of the Milwaukee Brewers baseball team, in a batting stance. The figure wears the uniform of the winners of the 1957 World Series: long socks, loose-fitting knee-length pants, a button-front short-sleeved jersey and a cap. The sculpture was dedicated on April 5, 2001.

19088_T

Spiral Galaxy (sculpture)

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Spiral Galaxy is an outdoor stainless steel sculpture by John David Mooney, installed outside the Adler Planetarium on Chicago's Northerly Island, in the U.S. state of Illinois.

19088_NT

Spiral Galaxy (sculpture)

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Spiral Galaxy is an outdoor stainless steel sculpture by John David Mooney, installed outside the Adler Planetarium on Chicago's Northerly Island, in the U.S. state of Illinois.

19089_T

Spiral Galaxy (sculpture)

In Spiral Galaxy (sculpture), how is the Description and history discussed?

The work was commissioned by the Vatican Observatory in 1994 to commemorate the Inspiration of Astronomical Phenomena conference, and inspired by Galileo's drawings and early photographs of the closest galaxies to Earth. The 14-foot (4.3 m) sculpture was installed at Navy Pier in 1998, then temporarily exhibited in Sarasota, Florida. Spiral Galaxy was moved to its current location in 2005, to commemorate the planetarium's 75th anniversary.

19089_NT

Spiral Galaxy (sculpture)

In this artwork, how is the Description and history discussed?

The work was commissioned by the Vatican Observatory in 1994 to commemorate the Inspiration of Astronomical Phenomena conference, and inspired by Galileo's drawings and early photographs of the closest galaxies to Earth. The 14-foot (4.3 m) sculpture was installed at Navy Pier in 1998, then temporarily exhibited in Sarasota, Florida. Spiral Galaxy was moved to its current location in 2005, to commemorate the planetarium's 75th anniversary.

19090_T

Boys playing soldiers

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Boys playing soldiers is a 1778-79 tapestry cartoon by Francisco of Goya conceived for the bedroom of the Princes of Asturias in the Royal Palace of El Pardo. It is presently exhibited in the Museo del Prado. A sketch of the artwork is kept nowadays in the Yanduri Collection of Seville. Two boys on foot carry rifles, whereas one plays a drum and the last holds a miniature bell tower. The lower perspective of the picture enhances the presence of the characters standing on top of a rise. The composition has a martial character, funny and childish. Close up, a cheerful little soldier looks at the onlooker in what has been considered one of the major achievements attained by the artist. Goya often depicts children of different social types, like majos, aristocrats, and others. The yellowish and bluish colour of the work provides a cheerful atmosphere, further emphasized by the faces of the boys. The brushstroke and the illumination render this work a forerunner of impressionism, like other pictures of Goya. It was possibly hanging on top of a door. Similar pictures embellishing the royal chambers were devoted to infant individuals like Niños del carretón, Muchachos cogiendo fruta or Niños inflando una vejiga. This painting shows a similar chromatic range to that of El cacharrero, both decorating the same wall. The upholsterer undertook a series of alterations in the composition in order to adapt it to the tastes prevailing during the period.

19090_NT

Boys playing soldiers

Focus on this artwork and explore the abstract.

Boys playing soldiers is a 1778-79 tapestry cartoon by Francisco of Goya conceived for the bedroom of the Princes of Asturias in the Royal Palace of El Pardo. It is presently exhibited in the Museo del Prado. A sketch of the artwork is kept nowadays in the Yanduri Collection of Seville. Two boys on foot carry rifles, whereas one plays a drum and the last holds a miniature bell tower. The lower perspective of the picture enhances the presence of the characters standing on top of a rise. The composition has a martial character, funny and childish. Close up, a cheerful little soldier looks at the onlooker in what has been considered one of the major achievements attained by the artist. Goya often depicts children of different social types, like majos, aristocrats, and others. The yellowish and bluish colour of the work provides a cheerful atmosphere, further emphasized by the faces of the boys. The brushstroke and the illumination render this work a forerunner of impressionism, like other pictures of Goya. It was possibly hanging on top of a door. Similar pictures embellishing the royal chambers were devoted to infant individuals like Niños del carretón, Muchachos cogiendo fruta or Niños inflando una vejiga. This painting shows a similar chromatic range to that of El cacharrero, both decorating the same wall. The upholsterer undertook a series of alterations in the composition in order to adapt it to the tastes prevailing during the period.

19091_T

Bow Wave (sculpture)

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Bow Wave is an outdoor fountain and sculpture by Malcolm Leland, installed at San Diego's Civic Center Plaza, in the U.S. state of California, in 1972.

19091_NT

Bow Wave (sculpture)

Focus on this artwork and explain the abstract.

Bow Wave is an outdoor fountain and sculpture by Malcolm Leland, installed at San Diego's Civic Center Plaza, in the U.S. state of California, in 1972.

19092_T

Sumbanese woman's ceremonial skirt (Indianapolis Museum of Art)

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This early twentieth century woman's ceremonial skirt from the Indonesian island of Sumba is part of the textiles collection of the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Also known as a lau hada, the skirt would have been a nuptial gift for a woman of great social standing, since it is made of imported, machine-woven cotton cloth, glass trade beads, and nassa shells, which were once used as currency.

19092_NT

Sumbanese woman's ceremonial skirt (Indianapolis Museum of Art)

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This early twentieth century woman's ceremonial skirt from the Indonesian island of Sumba is part of the textiles collection of the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Also known as a lau hada, the skirt would have been a nuptial gift for a woman of great social standing, since it is made of imported, machine-woven cotton cloth, glass trade beads, and nassa shells, which were once used as currency.

19093_T

Sumbanese woman's ceremonial skirt (Indianapolis Museum of Art)

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This skirt is densely covered in symbolic imagery. The large male and female figures, an ancestral couple, symbolize fertility and the continuity of life. In addition to their elaborate crowns, the couple's wrists, elbows, knees, and ankles are decorated, since the Sumbanese believed those regions to be energy repositories. Their stances are authoritative, with arms raised in prayer. The shrimp and lobsters on the skirt both stand for rebirth, due to their regenerative abilities. The vibrant red of the cloth itself is associated with fertility, blood, earth, and women. This combination of powerful imagery encourages fertility and a good relationship with the spirit world.

19093_NT

Sumbanese woman's ceremonial skirt (Indianapolis Museum of Art)

Focus on this artwork and discuss the Description.

This skirt is densely covered in symbolic imagery. The large male and female figures, an ancestral couple, symbolize fertility and the continuity of life. In addition to their elaborate crowns, the couple's wrists, elbows, knees, and ankles are decorated, since the Sumbanese believed those regions to be energy repositories. Their stances are authoritative, with arms raised in prayer. The shrimp and lobsters on the skirt both stand for rebirth, due to their regenerative abilities. The vibrant red of the cloth itself is associated with fertility, blood, earth, and women. This combination of powerful imagery encourages fertility and a good relationship with the spirit world.

19094_T

The Chess Players (Eakins)

How does The Chess Players (Eakins) elucidate its Description?

It is a small oil on wood panel depicting Eakins' father Benjamin observing a chess match. The two players are Bertrand Gardel (at left), an elderly French teacher, and the somewhat younger George Holmes, a painter. The men are in a dark, wood-panelled Victorian parlour with a quality of light suggesting late afternoon. The game is well in progress, as many pieces have been removed from the board. Holmes, the younger player, seems to be winning the match, as he has taken the queen of his opponent (the top of which pokes out of the table's drawer), and his own black queen is well-positioned in the centre of the board. Eakins painted The Chess Players for his father, and signed the painting in Latin, "BENJAMINI. EAKINS. FILIUS. PINXIT. '76"—"the son of Benjamin Eakins painted this"—in small letters on the drawer of the table. Michael Clapper of Franklin & Marshall College has noted, "Eakins’s choice of [chess] and his knowledgeable treatment of it suggest that he was familiar with and interested in the game, though there is little direct evidence of it apart from the painting."Art historian Akela Reason proposes that the painting is a tribute to a number of the artist's father-figures: Holmes probably was Eakins's first art teacher; Gardel was his French teacher; Benjamin Eakins was his literal father; and Jean-Léon Gérôme, his master at the École des Beaux-Arts, is represented by a print of Ave Caesar Morituri te Salutant, over the clock.Author Martin Berger has analyzed the content of the painting in detail, finding it an evocation of the passage of time and ascribing it a highly personal meaning in Eakins' life. The younger chess player's attempt to kill the older player's king is analogous to the Oedipal complex. In the way that his father Benjamin is placed in opposition to Eakins the painter, the two may be envisioned as playing out a psychological "conflict" across the other axis of the chess board. In this light it is not coincidental that the painting was made on wood panel rather than canvas. While Eakins has humbled himself before his father in signing the painting only by reference to being Benjamin's son, he also presents his father ambivalently. Elevating his father's status, he places Benjamin centrally, with the vanishing point behind Benjamin's head. Yet Eakins has obscured his father's face by shadow and by the angle at which he looks down upon the game. Although the painting was dedicated to Benjamin, the title "The Chess Players" curiously leaves Eakins' father out of the narrative of the picture.

19094_NT

The Chess Players (Eakins)

How does this artwork elucidate its Description?

It is a small oil on wood panel depicting Eakins' father Benjamin observing a chess match. The two players are Bertrand Gardel (at left), an elderly French teacher, and the somewhat younger George Holmes, a painter. The men are in a dark, wood-panelled Victorian parlour with a quality of light suggesting late afternoon. The game is well in progress, as many pieces have been removed from the board. Holmes, the younger player, seems to be winning the match, as he has taken the queen of his opponent (the top of which pokes out of the table's drawer), and his own black queen is well-positioned in the centre of the board. Eakins painted The Chess Players for his father, and signed the painting in Latin, "BENJAMINI. EAKINS. FILIUS. PINXIT. '76"—"the son of Benjamin Eakins painted this"—in small letters on the drawer of the table. Michael Clapper of Franklin & Marshall College has noted, "Eakins’s choice of [chess] and his knowledgeable treatment of it suggest that he was familiar with and interested in the game, though there is little direct evidence of it apart from the painting."Art historian Akela Reason proposes that the painting is a tribute to a number of the artist's father-figures: Holmes probably was Eakins's first art teacher; Gardel was his French teacher; Benjamin Eakins was his literal father; and Jean-Léon Gérôme, his master at the École des Beaux-Arts, is represented by a print of Ave Caesar Morituri te Salutant, over the clock.Author Martin Berger has analyzed the content of the painting in detail, finding it an evocation of the passage of time and ascribing it a highly personal meaning in Eakins' life. The younger chess player's attempt to kill the older player's king is analogous to the Oedipal complex. In the way that his father Benjamin is placed in opposition to Eakins the painter, the two may be envisioned as playing out a psychological "conflict" across the other axis of the chess board. In this light it is not coincidental that the painting was made on wood panel rather than canvas. While Eakins has humbled himself before his father in signing the painting only by reference to being Benjamin's son, he also presents his father ambivalently. Elevating his father's status, he places Benjamin centrally, with the vanishing point behind Benjamin's head. Yet Eakins has obscured his father's face by shadow and by the angle at which he looks down upon the game. Although the painting was dedicated to Benjamin, the title "The Chess Players" curiously leaves Eakins' father out of the narrative of the picture.

19095_T

Portrait of a Young Woman Known as "La Bella"

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Portrait of a Young Woman Known as "La Bella" (Spanish: Retrato de una mujer joven llamada "La Bella") is an oil painting attributed to Palma Vecchio, and dated to around 1518 to 1520, in the collection of the Thyssen-Bornemisza Museum in Madrid. It was formerly attributed to Titian.

19095_NT

Portrait of a Young Woman Known as "La Bella"

Focus on this artwork and analyze the abstract.

Portrait of a Young Woman Known as "La Bella" (Spanish: Retrato de una mujer joven llamada "La Bella") is an oil painting attributed to Palma Vecchio, and dated to around 1518 to 1520, in the collection of the Thyssen-Bornemisza Museum in Madrid. It was formerly attributed to Titian.

19096_T

Portrait of a Young Woman Known as "La Bella"

In Portrait of a Young Woman Known as "La Bella", how is the Description discussed?

The sitter, shown half-length, has been said to possess a "high and aristocratic air" in her red mantle, holding a jewel-case in her left hand, and her face, with its finely chiselled features, is turned to the spectator. "One hand", write Crowe and Cavalcaselle, "plays with the locks of hair which fall luxuriantly over the shoulder, the other holds a box of ornaments on a marble pedestal. The snow-white bosom is chastely veiled by a fine web of white drawn together in the closest and most delicate plaits. Over this comes a parti-colored mantilla of stiff tissue in gay shades of red and ruby, cut into numerous angular sections, lined with bright ultramarine diversified with the snowy texture of a muslin handkerchief. From wrist to elbow the arm is lightly decked with a lace sleeve braced at intervals with ribbons of red and green, and striped with colors of the same. It is impossible to conceive anything more indicative of quality than this figure, and though we notice a certain want of balance in the mass of the draperies, and a lack of nature in the kaleidoscopic mode of setting them, the harmony of all the bits thus put together is so grateful and bright, the touch is so delicate in grain, that we wonder and admire."

19096_NT

Portrait of a Young Woman Known as "La Bella"

In this artwork, how is the Description discussed?

The sitter, shown half-length, has been said to possess a "high and aristocratic air" in her red mantle, holding a jewel-case in her left hand, and her face, with its finely chiselled features, is turned to the spectator. "One hand", write Crowe and Cavalcaselle, "plays with the locks of hair which fall luxuriantly over the shoulder, the other holds a box of ornaments on a marble pedestal. The snow-white bosom is chastely veiled by a fine web of white drawn together in the closest and most delicate plaits. Over this comes a parti-colored mantilla of stiff tissue in gay shades of red and ruby, cut into numerous angular sections, lined with bright ultramarine diversified with the snowy texture of a muslin handkerchief. From wrist to elbow the arm is lightly decked with a lace sleeve braced at intervals with ribbons of red and green, and striped with colors of the same. It is impossible to conceive anything more indicative of quality than this figure, and though we notice a certain want of balance in the mass of the draperies, and a lack of nature in the kaleidoscopic mode of setting them, the harmony of all the bits thus put together is so grateful and bright, the touch is so delicate in grain, that we wonder and admire."

19097_T

Portrait of a Young Woman Known as "La Bella"

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For many years this picture hung in the Sciarra-Colonna Palace in Rome, by whom it was attributed to Titian. It was later owned by Alphonse de Rothschild in Paris, Baron Edmond de Rothschild, who displayed it in the Château de Ferrières, and other members of the Rothschild family, until it was sold by Baron Guy de Rothschild in 1958 to Baron Hans Heinrich Thyssen-Bornemisza for his Villa Favorita.

19097_NT

Portrait of a Young Woman Known as "La Bella"

Focus on this artwork and explore the Provenance.

For many years this picture hung in the Sciarra-Colonna Palace in Rome, by whom it was attributed to Titian. It was later owned by Alphonse de Rothschild in Paris, Baron Edmond de Rothschild, who displayed it in the Château de Ferrières, and other members of the Rothschild family, until it was sold by Baron Guy de Rothschild in 1958 to Baron Hans Heinrich Thyssen-Bornemisza for his Villa Favorita.

19098_T

Cornelia Claesdr Voogt

Focus on Cornelia Claesdr Voogt and explain the abstract.

Portrait of Cornelia Claesdr. Vooght is a painting by the Dutch Golden Age painter Frans Hals, painted in 1631 and now in the Frans Hals Museum. The painting is an oil on panel and is considered a pendant portrait to that of her husband, the Haarlem brewer and mayor Nicolaes Woutersz van der Meer.

19098_NT

Cornelia Claesdr Voogt

Focus on this artwork and explain the abstract.

Portrait of Cornelia Claesdr. Vooght is a painting by the Dutch Golden Age painter Frans Hals, painted in 1631 and now in the Frans Hals Museum. The painting is an oil on panel and is considered a pendant portrait to that of her husband, the Haarlem brewer and mayor Nicolaes Woutersz van der Meer.

19099_T

Personnages Oiseaux

Focus on Personnages Oiseaux and discuss the abstract.

Personnages Oiseaux (Bird People) is one of Joan Miró's largest works in the United States and his only glass mosaic mural. It was created between 1972 and 1978.

19099_NT

Personnages Oiseaux

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Personnages Oiseaux (Bird People) is one of Joan Miró's largest works in the United States and his only glass mosaic mural. It was created between 1972 and 1978.

19100_T

Personnages Oiseaux

How does Personnages Oiseaux elucidate its Description?

Miró created it for Wichita State University's Edwin A. Ulrich Museum of Art, in Wichita, Kansas. The mural is one of Miró's largest two-dimensional projects, undertaken when he was 79 and completed when he was 85 years of age. Fabrication of the mural was completed in 1977, but Miró did not consider it finished until the installation was complete.The glass mosaic was a first for Miró, and although he hoped to create others, he died before achieving this goal. Intending to come to the dedication of the mural in 1978, he fell at his studio in Palma (Majorca, Spain), and was unable to travel to the event. The entire south wall of the Ulrich Museum is the foundation for the 28 ft by 52 ft (8.53 m x 15.85 m) mural, composed of one million pieces of marble and Venetian glass mounted on specially treated wood, attached to the concrete wall on an aluminum grid. The work was a gift of the artist. Donor groups paid for its fabrication by Ateliers Loire of Chartres, France and for its installation. The Ulrich Museum also acquired the 5 ½ ft by 12 ft (1.7 m x 3.7 m ) oil on canvas maquette for the mural, but it has since been sold to establish a fund to support the museum's acquisitions and any repairs needed to the mural. The entire mural was originally assembled by an artisan at Ateliers Loire using Miró's maquette as a guide. Fabricated under Miró's personal direction and completed in 1977, the 80 panels comprising the mural were shipped to WSU, and the mural was installed on the Ulrich Museum's façade in 1978. The mural is a unique late work in the artist's career: one of Miró's largest two-dimensional works in North America and his only one in this medium.

19100_NT

Personnages Oiseaux

How does this artwork elucidate its Description?

Miró created it for Wichita State University's Edwin A. Ulrich Museum of Art, in Wichita, Kansas. The mural is one of Miró's largest two-dimensional projects, undertaken when he was 79 and completed when he was 85 years of age. Fabrication of the mural was completed in 1977, but Miró did not consider it finished until the installation was complete.The glass mosaic was a first for Miró, and although he hoped to create others, he died before achieving this goal. Intending to come to the dedication of the mural in 1978, he fell at his studio in Palma (Majorca, Spain), and was unable to travel to the event. The entire south wall of the Ulrich Museum is the foundation for the 28 ft by 52 ft (8.53 m x 15.85 m) mural, composed of one million pieces of marble and Venetian glass mounted on specially treated wood, attached to the concrete wall on an aluminum grid. The work was a gift of the artist. Donor groups paid for its fabrication by Ateliers Loire of Chartres, France and for its installation. The Ulrich Museum also acquired the 5 ½ ft by 12 ft (1.7 m x 3.7 m ) oil on canvas maquette for the mural, but it has since been sold to establish a fund to support the museum's acquisitions and any repairs needed to the mural. The entire mural was originally assembled by an artisan at Ateliers Loire using Miró's maquette as a guide. Fabricated under Miró's personal direction and completed in 1977, the 80 panels comprising the mural were shipped to WSU, and the mural was installed on the Ulrich Museum's façade in 1978. The mural is a unique late work in the artist's career: one of Miró's largest two-dimensional works in North America and his only one in this medium.