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NAIST NLP 19

0001_T

Statue of Robert Burns (Milwaukee)

Focus on Statue of Robert Burns (Milwaukee) and explore the Donor.

The Burns Monument was donated to the City of Milwaukee by James Anderson Bryden, a Scottish immigrant born in Bankshill, near Lockerbie, Dumfriesshire. Bryden's family came to the United States in 1840, first making a home in Utica, New York. The family moved to Milwaukee in 1857 and James Bryden began working in the grain trade. His early years were spent working on the farm, which later in life helped him during his chance meeting with Abraham Lincoln. Bryden's early years on the farm are also said to have influenced his love for the poetic works of Robert Burns, known in Scotland as the Ploughman Poet. A photograph of Bryden standing in front of the Burns Monument was published in the newspaper about one month before the unveiling ceremony. News reports stated that Bryden's favorite Burns poem was "A Cotter's Saturday Night".

0001_NT

Statue of Robert Burns (Milwaukee)

Focus on this artwork and explore the Donor.

The Burns Monument was donated to the City of Milwaukee by James Anderson Bryden, a Scottish immigrant born in Bankshill, near Lockerbie, Dumfriesshire. Bryden's family came to the United States in 1840, first making a home in Utica, New York. The family moved to Milwaukee in 1857 and James Bryden began working in the grain trade. His early years were spent working on the farm, which later in life helped him during his chance meeting with Abraham Lincoln. Bryden's early years on the farm are also said to have influenced his love for the poetic works of Robert Burns, known in Scotland as the Ploughman Poet. A photograph of Bryden standing in front of the Burns Monument was published in the newspaper about one month before the unveiling ceremony. News reports stated that Bryden's favorite Burns poem was "A Cotter's Saturday Night".

0002_T

Statue of Robert Burns (Milwaukee)

Focus on Statue of Robert Burns (Milwaukee) and explain the Unveiling ceremony.

The unveiling ceremony for the Burns Monument was held on Saturday, June 26, 1909, at 2pm. The day's events began as a crowd of several hundred assembled at the Plankinton House and moved in procession to the Burns Monument, led by the Caledonian Pipe Band. An invocation was given to the attendees by Rev. Frederick Edwards. The Burns song, "There Was a Lad Was Born in Kyle" was performed by the Lyric Glee Club. Introductory remarks were given by the chairman of the day, Andrew D. Agnew. The statue was unveiled by Miss Juneau Theiline McGee, the great-great granddaughter of Solomon Juneau; the first mayor of Milwaukee. Approximately 2,000 people attended the ceremony.Judge Joseph V. Quarles gave an eloquent speech on Robert Burns and concluded with the official Presentation of the Burns Monument to the City of Milwaukee. "Mr. Mayor, in behalf of James A. Bryden, our neighbor and friend, I have the honor to tender this monument to the people of Milwaukee. Be pleased to accept it in their behalf and I doubt not that they will see to it that it is suitably protected and maintained." Mayor David Stuart Rose accepted the monument on behalf of the city. The Lyric Glee Club sang another famous Burns song, "Scots Wha Ha'e", for the audience. After the musical interlude, rhetorical addresses were given to the audience by John G. Gregory and Hon. Ogden H. Fethers. General Arthur MacArthur Jr gave an address to the audience about Scottish characteristics and poetry.Then, after calls from the crowd to hear from the donor, James Bryden spoke to the assembled audience.Mr. Chairman, Ladies and Gentlemen: It gives me great pleasure to greet this large gathering of our citizens and our friends from Wisconsin and other States. You are assembled to witness the unveiling of a statue in memory of the ploughboy poet, Robert Burns, whose songs are sung in every land and in every tongue. His writings are dear to all Scotsmen, wherever found. It was my good fortune to be born in Scotland, and to come to this country with my father's large family when I was five years of age. My father bought a farm near Utica, New York, and I remained on that farm until I was past twenty-one years of age, when I came to Milwaukee, in 1857. My business life has been passed in this beautiful and prosperous city. It gives me great honor to present to the City of Milwaukee this monument of Robert Burns, the world's great poet, the poet of humanity. The exercises concluded with the audience and Lyric Glee Club singing the popular and well-known Robert Burns song, "Auld Lang Syne".

0002_NT

Statue of Robert Burns (Milwaukee)

Focus on this artwork and explain the Unveiling ceremony.

The unveiling ceremony for the Burns Monument was held on Saturday, June 26, 1909, at 2pm. The day's events began as a crowd of several hundred assembled at the Plankinton House and moved in procession to the Burns Monument, led by the Caledonian Pipe Band. An invocation was given to the attendees by Rev. Frederick Edwards. The Burns song, "There Was a Lad Was Born in Kyle" was performed by the Lyric Glee Club. Introductory remarks were given by the chairman of the day, Andrew D. Agnew. The statue was unveiled by Miss Juneau Theiline McGee, the great-great granddaughter of Solomon Juneau; the first mayor of Milwaukee. Approximately 2,000 people attended the ceremony.Judge Joseph V. Quarles gave an eloquent speech on Robert Burns and concluded with the official Presentation of the Burns Monument to the City of Milwaukee. "Mr. Mayor, in behalf of James A. Bryden, our neighbor and friend, I have the honor to tender this monument to the people of Milwaukee. Be pleased to accept it in their behalf and I doubt not that they will see to it that it is suitably protected and maintained." Mayor David Stuart Rose accepted the monument on behalf of the city. The Lyric Glee Club sang another famous Burns song, "Scots Wha Ha'e", for the audience. After the musical interlude, rhetorical addresses were given to the audience by John G. Gregory and Hon. Ogden H. Fethers. General Arthur MacArthur Jr gave an address to the audience about Scottish characteristics and poetry.Then, after calls from the crowd to hear from the donor, James Bryden spoke to the assembled audience.Mr. Chairman, Ladies and Gentlemen: It gives me great pleasure to greet this large gathering of our citizens and our friends from Wisconsin and other States. You are assembled to witness the unveiling of a statue in memory of the ploughboy poet, Robert Burns, whose songs are sung in every land and in every tongue. His writings are dear to all Scotsmen, wherever found. It was my good fortune to be born in Scotland, and to come to this country with my father's large family when I was five years of age. My father bought a farm near Utica, New York, and I remained on that farm until I was past twenty-one years of age, when I came to Milwaukee, in 1857. My business life has been passed in this beautiful and prosperous city. It gives me great honor to present to the City of Milwaukee this monument of Robert Burns, the world's great poet, the poet of humanity. The exercises concluded with the audience and Lyric Glee Club singing the popular and well-known Robert Burns song, "Auld Lang Syne".

0003_T

Statue of Robert Burns (Milwaukee)

Explore the Burns Triangle landscaping of this artwork, Statue of Robert Burns (Milwaukee).

In 2010, the Saint Andrew's Society, in collaboration with the Milwaukee County Parks, organized private donations to fund and install a walkway of commemorative engraved granite pavers around the base of the Burns Monument. With the walkway in place, visitors to the statue can see the monument engravings and bas reliefs up-close without walking through the rose bushes or the flower beds.In 2013, granite benches were privately donated and installed in the Burns Triangle, in collaboration with the Milwaukee County Parks, to allow visitors to sit and view the statue. The granite benches are engraved with selections of Burns's poetry.

0003_NT

Statue of Robert Burns (Milwaukee)

Explore the Burns Triangle landscaping of this artwork.

In 2010, the Saint Andrew's Society, in collaboration with the Milwaukee County Parks, organized private donations to fund and install a walkway of commemorative engraved granite pavers around the base of the Burns Monument. With the walkway in place, visitors to the statue can see the monument engravings and bas reliefs up-close without walking through the rose bushes or the flower beds.In 2013, granite benches were privately donated and installed in the Burns Triangle, in collaboration with the Milwaukee County Parks, to allow visitors to sit and view the statue. The granite benches are engraved with selections of Burns's poetry.

0004_T

Statue of Robert Burns (Milwaukee)

Focus on Statue of Robert Burns (Milwaukee) and discuss the Wreath-laying ceremonies.

A wreath-laying celebration is held annually at the monument. The annual wreath-laying ceremony, which by tradition begins at 2:00 pm, is held on the Sunday nearest to Robert Burns's birthday, January 25. Local Scots, Burnsians, and members of the Saint Andrew's Society gather in celebration at the Burns Monument to recite poetry, play the bagpipes, and sing Burns's songs.

0004_NT

Statue of Robert Burns (Milwaukee)

Focus on this artwork and discuss the Wreath-laying ceremonies.

A wreath-laying celebration is held annually at the monument. The annual wreath-laying ceremony, which by tradition begins at 2:00 pm, is held on the Sunday nearest to Robert Burns's birthday, January 25. Local Scots, Burnsians, and members of the Saint Andrew's Society gather in celebration at the Burns Monument to recite poetry, play the bagpipes, and sing Burns's songs.

0005_T

Cow Wallpaper

How does Cow Wallpaper elucidate its abstract?

Andy Warhol's Cow Wallpaper was the first in a series of wallpaper designs he created from the 1960s to the 1980s. According to Warhol, the inspiration for the cow image came from art dealer Ivan Karp:Another time he said, "Why don't you paint some cows, they're so wonderfully pastoral and such a durable image in the history of the arts." (Ivan talked like this.) I don't know how "pastoral" he expected me to make them, but when he saw the huge cow heads — bright pink on a bright yellow background — that I was going to have made into rolls of wallpaper, he was shocked. But after a moment he exploded with: "They're super-pastoral! They're ridiculous! They're blazingly bright and vulgar!" I mean, he loved those cows and for my next show we papered all the walls in the gallery with them.The show Warhol refers to is his April 1966 show at the Leo Castelli Gallery, which consisted only of Cow Wallpaper in one room, and a second room with Warhol's silver helium-filled Clouds.The historian and critic Barbara Rose interpreted Cow Wallpaper as a commentary on the nature of art collecting and the character of the institutions where art is displayed. In a review of Warhol's 1971 retrospective show at the Whitney, she observed that cows are a common subject of genre paintings that people display in their homes, and that the wallpaper made the Whitney look like "a boutique". She continued: "Of course the museum has been a boutique for a long time, and people have been treating paintings like wallpaper even longer. But Andy spells it out with his usual cruel clarity."

0005_NT

Cow Wallpaper

How does this artwork elucidate its abstract?

Andy Warhol's Cow Wallpaper was the first in a series of wallpaper designs he created from the 1960s to the 1980s. According to Warhol, the inspiration for the cow image came from art dealer Ivan Karp:Another time he said, "Why don't you paint some cows, they're so wonderfully pastoral and such a durable image in the history of the arts." (Ivan talked like this.) I don't know how "pastoral" he expected me to make them, but when he saw the huge cow heads — bright pink on a bright yellow background — that I was going to have made into rolls of wallpaper, he was shocked. But after a moment he exploded with: "They're super-pastoral! They're ridiculous! They're blazingly bright and vulgar!" I mean, he loved those cows and for my next show we papered all the walls in the gallery with them.The show Warhol refers to is his April 1966 show at the Leo Castelli Gallery, which consisted only of Cow Wallpaper in one room, and a second room with Warhol's silver helium-filled Clouds.The historian and critic Barbara Rose interpreted Cow Wallpaper as a commentary on the nature of art collecting and the character of the institutions where art is displayed. In a review of Warhol's 1971 retrospective show at the Whitney, she observed that cows are a common subject of genre paintings that people display in their homes, and that the wallpaper made the Whitney look like "a boutique". She continued: "Of course the museum has been a boutique for a long time, and people have been treating paintings like wallpaper even longer. But Andy spells it out with his usual cruel clarity."

0006_T

Last Supper (Ge)

Focus on Last Supper (Ge) and analyze the abstract.

The Last Supper (Russian: Тайная вечеря) is a painting by the Russian painter Nikolai Ge (1831–1894), completed in 1863. It is part of the collection of the State Russian Museum in Saint Petersburg (inv. Zh-4141). The size of the picture is 283 × 382 cm.Ge worked on the painting from 1861 to 1863 in Florence during his artistic trip abroad. After Ge brought the painting to Saint Petersburg, it was exhibited at the Academic Exhibition in 1863. The Council of the Imperial Academy of Arts praised the artist's skill in painting, and awarded him the title of professor of history painting, and the work was purchased by Emperor Alexander II for the Museum of the Academy of Arts.The painting depicts the Last Supper, described in the New Testament, the last meal of Jesus Christ with his twelve apostles, during which he predicted that one of them — Judas Iscariot -— would betray him. This plot was popular among artists in the field of Christian art — their versions of the image of the Last Supper of Jesus Christ, among others, created by Leonardo da Vinci, Salvador Dalí, Domenico Ghirlandaio, Andrea del Castagno.The painting was a success, much debated, but critics differed: some approved of the innovative interpretation of the Gospel story, while others believed that the images of Christ and the apostles were too far from traditional understanding, and they were not written convincingly enough.Nikolai Ge created at least two smaller author's replicas of the painting, one of which belongs to the collection of the State Tretyakov Gallery, and the other is in the Radishchev Art Museum in Saratov.

0006_NT

Last Supper (Ge)

Focus on this artwork and analyze the abstract.

The Last Supper (Russian: Тайная вечеря) is a painting by the Russian painter Nikolai Ge (1831–1894), completed in 1863. It is part of the collection of the State Russian Museum in Saint Petersburg (inv. Zh-4141). The size of the picture is 283 × 382 cm.Ge worked on the painting from 1861 to 1863 in Florence during his artistic trip abroad. After Ge brought the painting to Saint Petersburg, it was exhibited at the Academic Exhibition in 1863. The Council of the Imperial Academy of Arts praised the artist's skill in painting, and awarded him the title of professor of history painting, and the work was purchased by Emperor Alexander II for the Museum of the Academy of Arts.The painting depicts the Last Supper, described in the New Testament, the last meal of Jesus Christ with his twelve apostles, during which he predicted that one of them — Judas Iscariot -— would betray him. This plot was popular among artists in the field of Christian art — their versions of the image of the Last Supper of Jesus Christ, among others, created by Leonardo da Vinci, Salvador Dalí, Domenico Ghirlandaio, Andrea del Castagno.The painting was a success, much debated, but critics differed: some approved of the innovative interpretation of the Gospel story, while others believed that the images of Christ and the apostles were too far from traditional understanding, and they were not written convincingly enough.Nikolai Ge created at least two smaller author's replicas of the painting, one of which belongs to the collection of the State Tretyakov Gallery, and the other is in the Radishchev Art Museum in Saratov.

0007_T

Last Supper (Ge)

In Last Supper (Ge), how is the Prerequisites discussed?

The Last Supper of Jesus and the Twelve Apostles has always been a popular theme in Christian art, often in the life cycle of Christ. The first images of the Last Supper date back to early Christianity, examples of which can be found in Roman catacombs.Images of the Last Supper of Jesus Christ were created in both the Eastern and Western churches. As a result, the plot of the Last Supper became extremely popular with artists of the Italian Renaissance. Later, it was one of the main subjects of Lutheran altarpieces for several decades after the Reformation.During the Quattrocento, many artists created several compositions of the Last Supper. Among the significant examples is a composition created by Andrea del Castagno (c. 1421 - † 1457). He worked hard and checked the location of the characters in the picture for a long time, took care of the decorativeness of the work as if he were an extraordinary decorator. Domenico di Bigordi created his own composition on the same subject. There is a real library of materials about the creation of the composition "The Last Supper" by the artist Leonardo da Vinci. Contemplating the forthcoming Last Supper, Leonardo not only performed essays, but also recorded his thoughts on the actions of individual participants in this scene: hands and with frowning eyebrows looks at his friend, the other shows the palms of his hands, raises his shoulders to his ears and expresses surprise with his mouth… » Salvador Dali's painting combines typical Christian themes with modern surrealist approaches and contains geometric elements of symmetry and polygonal proportions.

0007_NT

Last Supper (Ge)

In this artwork, how is the Prerequisites discussed?

The Last Supper of Jesus and the Twelve Apostles has always been a popular theme in Christian art, often in the life cycle of Christ. The first images of the Last Supper date back to early Christianity, examples of which can be found in Roman catacombs.Images of the Last Supper of Jesus Christ were created in both the Eastern and Western churches. As a result, the plot of the Last Supper became extremely popular with artists of the Italian Renaissance. Later, it was one of the main subjects of Lutheran altarpieces for several decades after the Reformation.During the Quattrocento, many artists created several compositions of the Last Supper. Among the significant examples is a composition created by Andrea del Castagno (c. 1421 - † 1457). He worked hard and checked the location of the characters in the picture for a long time, took care of the decorativeness of the work as if he were an extraordinary decorator. Domenico di Bigordi created his own composition on the same subject. There is a real library of materials about the creation of the composition "The Last Supper" by the artist Leonardo da Vinci. Contemplating the forthcoming Last Supper, Leonardo not only performed essays, but also recorded his thoughts on the actions of individual participants in this scene: hands and with frowning eyebrows looks at his friend, the other shows the palms of his hands, raises his shoulders to his ears and expresses surprise with his mouth… » Salvador Dali's painting combines typical Christian themes with modern surrealist approaches and contains geometric elements of symmetry and polygonal proportions.

0008_T

Christ Carrying the Cross (Bosch, Vienna)

Focus on Christ Carrying the Cross (Bosch, Vienna) and explore the abstract.

Christ Carrying the Cross is an oil on panel painting by Hieronymus Bosch, executed most likely c. 1490-1500. It is at the Kunsthistorisches Museum, in Vienna, Austria. Christ Child with a Walking Frame is painted on the back of this painting.

0008_NT

Christ Carrying the Cross (Bosch, Vienna)

Focus on this artwork and explore the abstract.

Christ Carrying the Cross is an oil on panel painting by Hieronymus Bosch, executed most likely c. 1490-1500. It is at the Kunsthistorisches Museum, in Vienna, Austria. Christ Child with a Walking Frame is painted on the back of this painting.

0009_T

Statue of Sakakawea (Crunelle)

Focus on Statue of Sakakawea (Crunelle) and explain the abstract.

Sakakawea (or Bird Woman or Sacajawea) is a monumental sized bronze sculpture created by Leonard Crunelle. It was dedicated on October 13, 1914 and stands on the grounds of the North Dakota State Capitol in Bismarck, North Dakota. A recasting was done in 2003 to place in the United States Capitol.

0009_NT

Statue of Sakakawea (Crunelle)

Focus on this artwork and explain the abstract.

Sakakawea (or Bird Woman or Sacajawea) is a monumental sized bronze sculpture created by Leonard Crunelle. It was dedicated on October 13, 1914 and stands on the grounds of the North Dakota State Capitol in Bismarck, North Dakota. A recasting was done in 2003 to place in the United States Capitol.

0010_T

Statue of Sakakawea (Crunelle)

Explore the National Statuary Hall Collection of this artwork, Statue of Sakakawea (Crunelle).

Another casting of the work was made in 2003 and was placed in the National Statuary Hall Collection in the Capitol Building in Washington, D.C., one of the two statues there from North Dakota.

0010_NT

Statue of Sakakawea (Crunelle)

Explore the National Statuary Hall Collection of this artwork.

Another casting of the work was made in 2003 and was placed in the National Statuary Hall Collection in the Capitol Building in Washington, D.C., one of the two statues there from North Dakota.

0011_T

Plimpton Sieve Portrait of Queen Elizabeth I

Focus on Plimpton Sieve Portrait of Queen Elizabeth I and discuss the abstract.

The Plimpton Sieve Portrait of Queen Elizabeth I is an oil painting by English painter George Gower dated 1579, and now in the collection of the Folger Shakespeare Library in Washington, D.C. It is one of three near-identical portraits of Elizabeth I by Gower that represent the queen holding a symbolic sieve. It was acquired by George Arthur Plimpton in 1930, hence the name. His son, Francis T. P. Plimpton, willed it to the Folger.

0011_NT

Plimpton Sieve Portrait of Queen Elizabeth I

Focus on this artwork and discuss the abstract.

The Plimpton Sieve Portrait of Queen Elizabeth I is an oil painting by English painter George Gower dated 1579, and now in the collection of the Folger Shakespeare Library in Washington, D.C. It is one of three near-identical portraits of Elizabeth I by Gower that represent the queen holding a symbolic sieve. It was acquired by George Arthur Plimpton in 1930, hence the name. His son, Francis T. P. Plimpton, willed it to the Folger.

0012_T

Plimpton Sieve Portrait of Queen Elizabeth I

How does Plimpton Sieve Portrait of Queen Elizabeth I elucidate its Iconographic description?

Three-quarter length portrait of Queen Elizabeth I holding a sieve, with a globe in the left background and the royal coat of arms on the right. The sieve represents her self-identification as the "Virgin Queen" by association with Tuccia, the Roman Vestal Virgin who proved her virginity by carrying water in a sieve.

0012_NT

Plimpton Sieve Portrait of Queen Elizabeth I

How does this artwork elucidate its Iconographic description?

Three-quarter length portrait of Queen Elizabeth I holding a sieve, with a globe in the left background and the royal coat of arms on the right. The sieve represents her self-identification as the "Virgin Queen" by association with Tuccia, the Roman Vestal Virgin who proved her virginity by carrying water in a sieve.

0013_T

Plimpton Sieve Portrait of Queen Elizabeth I

Focus on Plimpton Sieve Portrait of Queen Elizabeth I and analyze the Inscriptions.

The painting has three areas of text in yellow uppercase letters: "TVTTO VEDO & MOLTO MANCHA" at upper left, on two lines, with the last two letters joined; Italian for "I see everything and much is lacking." "E R" at upper right, with a gap between the letters; abbreviation for the Latin "Elizabeth Regina" meaning "Elizabeth the Queen." "STANCHO RIPOSO & RIPOSATO AFFANO 1579" near the upper right, on three lines, with the second and third letters superimposed to form one character; a line from Petrarch's Trionfo D'Amore, IV, 1.145, followed by the year the painting was executed; Italian for "Weary, I have rested, and having rested, am breathless."

0013_NT

Plimpton Sieve Portrait of Queen Elizabeth I

Focus on this artwork and analyze the Inscriptions.

The painting has three areas of text in yellow uppercase letters: "TVTTO VEDO & MOLTO MANCHA" at upper left, on two lines, with the last two letters joined; Italian for "I see everything and much is lacking." "E R" at upper right, with a gap between the letters; abbreviation for the Latin "Elizabeth Regina" meaning "Elizabeth the Queen." "STANCHO RIPOSO & RIPOSATO AFFANO 1579" near the upper right, on three lines, with the second and third letters superimposed to form one character; a line from Petrarch's Trionfo D'Amore, IV, 1.145, followed by the year the painting was executed; Italian for "Weary, I have rested, and having rested, am breathless."

0014_T

Melbourne Burning

In Melbourne Burning, how is the abstract discussed?

Melbourne Burning is a 1946-1947 painting by Australian artist Arthur Boyd. It has been described as "his apocalyptic image of Melbourne burning, like a Biblical narrative in the context of the second world war". The painting has been reported to have displayed in the Perth office of Robert Holmes à Court. It was purchased by David Walsh for AUD 3.2 million. It is "one of Walsh's favourite works". The painting is the collection of the Museum of Old and New Art.

0014_NT

Melbourne Burning

In this artwork, how is the abstract discussed?

Melbourne Burning is a 1946-1947 painting by Australian artist Arthur Boyd. It has been described as "his apocalyptic image of Melbourne burning, like a Biblical narrative in the context of the second world war". The painting has been reported to have displayed in the Perth office of Robert Holmes à Court. It was purchased by David Walsh for AUD 3.2 million. It is "one of Walsh's favourite works". The painting is the collection of the Museum of Old and New Art.

0015_T

Miss La La at the Cirque Fernando

Focus on Miss La La at the Cirque Fernando and explore the Introduction.

Degas visited the recently established Cirque Fernando at least four times between the 19th and 25th of January 1879. The star attraction was the act of Miss La La, a mixed-race acrobat, known as la femme canon. The nickname came from her most sensational trick: to fire a cannon suspended on chains that she held in her teeth while hanging from the trapeze, hooked at the knees.Degas made numerous sketches in his notebook during his visits and at least four pastel studies afterward. Through these studies, he carefully designed the poses, composition, and color palette of his final painting.

0015_NT

Miss La La at the Cirque Fernando

Focus on this artwork and explore the Introduction.

Degas visited the recently established Cirque Fernando at least four times between the 19th and 25th of January 1879. The star attraction was the act of Miss La La, a mixed-race acrobat, known as la femme canon. The nickname came from her most sensational trick: to fire a cannon suspended on chains that she held in her teeth while hanging from the trapeze, hooked at the knees.Degas made numerous sketches in his notebook during his visits and at least four pastel studies afterward. Through these studies, he carefully designed the poses, composition, and color palette of his final painting.

0016_T

Miss La La at the Cirque Fernando

Focus on Miss La La at the Cirque Fernando and explain the Use of color.

Degas mainly used unsaturated orange and green with different shades of gray, which is consistent with the palette found in many of his other paintings of women. Miss La La's arms and legs are not purely brown but are a mixture of orange and green. He learned “the use of green as a second flesh tone” from the 14th-century Italian artist Cennino Cennini, who developed it and taught it to his pupils.In this final painting, Degas intentionally lightened the skin color of Miss La La and painted her costume with yellow and violet to blur her mixed-race identity. He had experimented with different colors in his earlier studies. For example, a pastel sketch Degas made on January 21, 1879 (the second sketch shown below) showed that Miss La La has a much darker skin color and was dressed in blue. The skin color became lighter in his later sketch on January 24, 1879 (the third sketch shown below).The painting's background, the ceiling of the circus, is painted mainly in reddish orange and bluish green. Degas painted the wall in layers, mixing the cold green color with the warm orange color until it achieved a pleasant harmony. Each section of colors is distinct; a hint of green can be seen through the orange area and vice versa. This set of complementary colors harmonized with the colors used to represent Miss La La, integrating her into the background.

0016_NT

Miss La La at the Cirque Fernando

Focus on this artwork and explain the Use of color.

Degas mainly used unsaturated orange and green with different shades of gray, which is consistent with the palette found in many of his other paintings of women. Miss La La's arms and legs are not purely brown but are a mixture of orange and green. He learned “the use of green as a second flesh tone” from the 14th-century Italian artist Cennino Cennini, who developed it and taught it to his pupils.In this final painting, Degas intentionally lightened the skin color of Miss La La and painted her costume with yellow and violet to blur her mixed-race identity. He had experimented with different colors in his earlier studies. For example, a pastel sketch Degas made on January 21, 1879 (the second sketch shown below) showed that Miss La La has a much darker skin color and was dressed in blue. The skin color became lighter in his later sketch on January 24, 1879 (the third sketch shown below).The painting's background, the ceiling of the circus, is painted mainly in reddish orange and bluish green. Degas painted the wall in layers, mixing the cold green color with the warm orange color until it achieved a pleasant harmony. Each section of colors is distinct; a hint of green can be seen through the orange area and vice versa. This set of complementary colors harmonized with the colors used to represent Miss La La, integrating her into the background.

0017_T

Miss La La at the Cirque Fernando

Focus on Miss La La at the Cirque Fernando and discuss the Critics and debates.

Commentators have differed in interpreting the role of race in the painting. On the one hand, Degas does not give Miss La La stereotypical features, and some critics have suggested that he wished to challenge the traditional view of black women. On the other hand, he intentionally lightened the skin color of Miss La La and hid her face, partially obscuring her identity. Art historian Marilyn R. Brown argued that these changes could be a reflection of Degas's anxiety about his own racial identity.There is also a debate about whether Miss La La at the Cirque Fernando is a portrait of Miss La La or a genre painting of the circus. Miss La La is the only figure shown in this painting. Degas did not include any audience or other acrobats, focusing attention on Miss La La and making the painting function as a portrait. However, Degas did not show her face to the audience, making the scene more like a genre painting, in which the identity of the subject cannot be firmly established.

0017_NT

Miss La La at the Cirque Fernando

Focus on this artwork and discuss the Critics and debates.

Commentators have differed in interpreting the role of race in the painting. On the one hand, Degas does not give Miss La La stereotypical features, and some critics have suggested that he wished to challenge the traditional view of black women. On the other hand, he intentionally lightened the skin color of Miss La La and hid her face, partially obscuring her identity. Art historian Marilyn R. Brown argued that these changes could be a reflection of Degas's anxiety about his own racial identity.There is also a debate about whether Miss La La at the Cirque Fernando is a portrait of Miss La La or a genre painting of the circus. Miss La La is the only figure shown in this painting. Degas did not include any audience or other acrobats, focusing attention on Miss La La and making the painting function as a portrait. However, Degas did not show her face to the audience, making the scene more like a genre painting, in which the identity of the subject cannot be firmly established.

0018_T

Equipoise 14

How does Equipoise 14 elucidate its abstract?

Equipoise 14, is a public artwork by American artist Lyle London in an office park which is in Indianapolis, Indiana, United States. The sculpture is made of lacquered aluminum. The piece stands at 20 feet high and features three shapes that appear to be swirling that are balanced on top of a curled shaft. The shaft sits on a base that is circular. Equipoise 14 sits in front of an office building on the northside of the city. It was installed in 1992 and dedicated in September of that year. This sculpture is one of an edition of six. Equipoise 6 is on display at the Shemer Art Center and Museum.A smaller version of the sculpture was produced, in bronze, by London.

0018_NT

Equipoise 14

How does this artwork elucidate its abstract?

Equipoise 14, is a public artwork by American artist Lyle London in an office park which is in Indianapolis, Indiana, United States. The sculpture is made of lacquered aluminum. The piece stands at 20 feet high and features three shapes that appear to be swirling that are balanced on top of a curled shaft. The shaft sits on a base that is circular. Equipoise 14 sits in front of an office building on the northside of the city. It was installed in 1992 and dedicated in September of that year. This sculpture is one of an edition of six. Equipoise 6 is on display at the Shemer Art Center and Museum.A smaller version of the sculpture was produced, in bronze, by London.

0019_T

Equipoise 14

Focus on Equipoise 14 and analyze the Description.

A plaque sits just to the south of the sculpture which states: EQUIPOSE 15/Equipose (i*kwipoiz) - A condition of perfect balance or equilibrium./Aluminium sculpture/by/Lyle London/Installed on September 15, 1992. The name of the sculpture is misspelled on the plaque.

0019_NT

Equipoise 14

Focus on this artwork and analyze the Description.

A plaque sits just to the south of the sculpture which states: EQUIPOSE 15/Equipose (i*kwipoiz) - A condition of perfect balance or equilibrium./Aluminium sculpture/by/Lyle London/Installed on September 15, 1992. The name of the sculpture is misspelled on the plaque.

0020_T

Three Studies of Lucian Freud

In Three Studies of Lucian Freud, how is the abstract discussed?

Three Studies of Lucian Freud is a 1969 oil-on-canvas triptych by the Irish-born British painter Francis Bacon, depicting artist Lucian Freud. It was sold in November 2013 for US$142.4 million, which at the time was the highest price attained at auction for a work of art when not factoring in inflation. That record was surpassed in May 2015 by Version O of Picasso's Les Femmes d'Alger series.

0020_NT

Three Studies of Lucian Freud

In this artwork, how is the abstract discussed?

Three Studies of Lucian Freud is a 1969 oil-on-canvas triptych by the Irish-born British painter Francis Bacon, depicting artist Lucian Freud. It was sold in November 2013 for US$142.4 million, which at the time was the highest price attained at auction for a work of art when not factoring in inflation. That record was surpassed in May 2015 by Version O of Picasso's Les Femmes d'Alger series.

0021_T

Three Studies of Lucian Freud

Focus on Three Studies of Lucian Freud and explore the Description.

All three panels, in Bacon's typical abstract, distorted, isolated style, show Freud sitting on a cane-bottomed wooden chair within a cage, on a curved mottled-brown surface with a solid orange background. Behind each figure is a headboard of a bed, originating in a set of photographs of Freud by John Deakin which Bacon used as a reference. Michael Peppiatt writes "Trapped here in a series of Baconian cages, a contorted Freud hovers from panel to panel like a coiled spring about to shoot out of the flat, airless picture plane." The central panel portrays the figure face on, in a pose similar to that Bacon used for George Dyer, his lover. Brett Gorvy of Christie's considers the work to represent "a marriage of the incredibly important people in Bacon's life." The three canvases of the triptych are the same size and are each individually framed. The colouring is brighter than is typical of Bacon's works.Francis Outred of Christie's describes the 1969 triptych as "a true masterpiece" and "an undeniable icon of 20th Century art" which "marks Bacon and Freud's relationship, paying tribute to the creative and emotional kinship between the two artists." Art historian Ben Street describes the work as "not an A-grade Bacon." It was among Bacon's favourites of his works.

0021_NT

Three Studies of Lucian Freud

Focus on this artwork and explore the Description.

All three panels, in Bacon's typical abstract, distorted, isolated style, show Freud sitting on a cane-bottomed wooden chair within a cage, on a curved mottled-brown surface with a solid orange background. Behind each figure is a headboard of a bed, originating in a set of photographs of Freud by John Deakin which Bacon used as a reference. Michael Peppiatt writes "Trapped here in a series of Baconian cages, a contorted Freud hovers from panel to panel like a coiled spring about to shoot out of the flat, airless picture plane." The central panel portrays the figure face on, in a pose similar to that Bacon used for George Dyer, his lover. Brett Gorvy of Christie's considers the work to represent "a marriage of the incredibly important people in Bacon's life." The three canvases of the triptych are the same size and are each individually framed. The colouring is brighter than is typical of Bacon's works.Francis Outred of Christie's describes the 1969 triptych as "a true masterpiece" and "an undeniable icon of 20th Century art" which "marks Bacon and Freud's relationship, paying tribute to the creative and emotional kinship between the two artists." Art historian Ben Street describes the work as "not an A-grade Bacon." It was among Bacon's favourites of his works.

0022_T

Ethel Scull 36 Times

Focus on Ethel Scull 36 Times and explain the abstract.

Ethel Scull 36 Times is a 1963 painting by American artist Andy Warhol. It was Warhol's first commissioned work. The work consists of four rows of nine equal columns, depicting Ethel Redner Scull, a well-known collector of modern art. The artwork is jointly owned by the Metropolitan Museum of Art and the Whitney Museum of American Art.

0022_NT

Ethel Scull 36 Times

Focus on this artwork and explain the abstract.

Ethel Scull 36 Times is a 1963 painting by American artist Andy Warhol. It was Warhol's first commissioned work. The work consists of four rows of nine equal columns, depicting Ethel Redner Scull, a well-known collector of modern art. The artwork is jointly owned by the Metropolitan Museum of Art and the Whitney Museum of American Art.

0023_T

Ethel Scull 36 Times

Explore the Ethel and Robert Scull of this artwork, Ethel Scull 36 Times.

Ethel Scull (née Redner) was born in The Bronx, New York City in 1921. Her father was a wealthy taxi company owner.Robert Scull was born in New York City to Russian immigrant parents who had anglicized their family name from Sokolnikoff. His childhood was spent in the Lower East Side of Manhattan. His interest in modern art began when he visited the Metropolitan Museum of Art as a ten-year-old boy.Ethel Redner met Robert Scull, who was then a freelance illustrator, when she was studying at Parsons School of Design. They married in 1944. When Ethel's father retired, he distributed shares of his business to his three sons-in-law. Robert Scull was one of the beneficiaries, and built up a prosperous business.Robert Scull bought every work in Jasper Johns' first exhibition. Ethel Scull 36 Times was Robert Scull's present to Ethel Scull on her 42nd birthday. Once questioned by an interviewer regarding accusations that he and his wife bought art for investment and for social climbing, Robert Scull replied: "It's all true. I'd rather use art to climb than anything else."

0023_NT

Ethel Scull 36 Times

Explore the Ethel and Robert Scull of this artwork.

Ethel Scull (née Redner) was born in The Bronx, New York City in 1921. Her father was a wealthy taxi company owner.Robert Scull was born in New York City to Russian immigrant parents who had anglicized their family name from Sokolnikoff. His childhood was spent in the Lower East Side of Manhattan. His interest in modern art began when he visited the Metropolitan Museum of Art as a ten-year-old boy.Ethel Redner met Robert Scull, who was then a freelance illustrator, when she was studying at Parsons School of Design. They married in 1944. When Ethel's father retired, he distributed shares of his business to his three sons-in-law. Robert Scull was one of the beneficiaries, and built up a prosperous business.Robert Scull bought every work in Jasper Johns' first exhibition. Ethel Scull 36 Times was Robert Scull's present to Ethel Scull on her 42nd birthday. Once questioned by an interviewer regarding accusations that he and his wife bought art for investment and for social climbing, Robert Scull replied: "It's all true. I'd rather use art to climb than anything else."

0024_T

The Last Judgment (Bosch, Vienna)

Focus on The Last Judgment (Bosch, Vienna) and discuss the abstract.

The Last Judgment is a triptych by Hieronymus Bosch, created after 1482. The triptych currently resides at the Academy of Fine Arts in Vienna, Austria. The outside of the shutters panel are painted in grisaille on panel, while the inside shutters and the center panel are painted in oil. The left and right panels measure 167.7 x 60 cm and the center panel measures 164 x 127 cm. It is not to be confused with either a fragmented piece of art by Bosch under the same title (now at Munich), or another full painting by Bosch, possibly by a painter in his workshop.The left panel shows the Garden of Eden: at the top God is shown seated in Heaven, while the Rebel Angels are cast out of Heaven and transformed into insects. At the foot of the panel, God creates Eve from the rib of Adam. In the mid-ground Eve is tempted by the Serpent. Towards the center of the panel, Adam and Eve are chased by the Angel into the dark forest. In the central panel, Jesus judges the souls while surrounded by the Saints. The right panel shows a hellscape, where the wicked are punished.

0024_NT

The Last Judgment (Bosch, Vienna)

Focus on this artwork and discuss the abstract.

The Last Judgment is a triptych by Hieronymus Bosch, created after 1482. The triptych currently resides at the Academy of Fine Arts in Vienna, Austria. The outside of the shutters panel are painted in grisaille on panel, while the inside shutters and the center panel are painted in oil. The left and right panels measure 167.7 x 60 cm and the center panel measures 164 x 127 cm. It is not to be confused with either a fragmented piece of art by Bosch under the same title (now at Munich), or another full painting by Bosch, possibly by a painter in his workshop.The left panel shows the Garden of Eden: at the top God is shown seated in Heaven, while the Rebel Angels are cast out of Heaven and transformed into insects. At the foot of the panel, God creates Eve from the rib of Adam. In the mid-ground Eve is tempted by the Serpent. Towards the center of the panel, Adam and Eve are chased by the Angel into the dark forest. In the central panel, Jesus judges the souls while surrounded by the Saints. The right panel shows a hellscape, where the wicked are punished.

0025_T

The Last Judgment (Bosch, Vienna)

How does The Last Judgment (Bosch, Vienna) elucidate its Description?

The painting's composition has similarities with the Haywain Triptych or The Garden of Earthly Delights: both also show the Garden of Eden in the left panel and the Hell at right. The central panel depicts a Last Judgement, in a more obscure atmosphere than the Hell one.

0025_NT

The Last Judgment (Bosch, Vienna)

How does this artwork elucidate its Description?

The painting's composition has similarities with the Haywain Triptych or The Garden of Earthly Delights: both also show the Garden of Eden in the left panel and the Hell at right. The central panel depicts a Last Judgement, in a more obscure atmosphere than the Hell one.

0026_T

The Last Judgment (Bosch, Vienna)

In the context of The Last Judgment (Bosch, Vienna), analyze the Shutters of the Description.

Like in other contemporary Flemish triptychs, the shutters are externally painted in grisaille, depicting two saints. At left is St. James in pilgrimage within a wicked land with a hanged man (perhaps a reference to some episode in the Golden Legend); at right is instead St. Bavo, the patron of Flanders, donating to the poor with his hawk on his left wrist. One of the characters in the latter panel, the old woman with a child, appears in a drawing attributed to Bosch, now in a San Francisco private collection.

0026_NT

The Last Judgment (Bosch, Vienna)

In the context of this artwork, analyze the Shutters of the Description.

Like in other contemporary Flemish triptychs, the shutters are externally painted in grisaille, depicting two saints. At left is St. James in pilgrimage within a wicked land with a hanged man (perhaps a reference to some episode in the Golden Legend); at right is instead St. Bavo, the patron of Flanders, donating to the poor with his hawk on his left wrist. One of the characters in the latter panel, the old woman with a child, appears in a drawing attributed to Bosch, now in a San Francisco private collection.

0027_T

The Last Judgment (Bosch, Vienna)

Describe the characteristics of the Left panel in The Last Judgment (Bosch, Vienna)'s Description.

The left panel depicts the Garden of Eden of biblical history, as a green landscape in the lower three-quarters. In the upper section Bosch portrays God sitting on his throne, surrounded by a luminous halo. Around him is a cloudy sky, with angels fighting rebellious angels who are turning into devils as they fall. Below are, reading from the bottom, God creating Eve from Adam's rib, with Adam sleeping at her feet; the Serpent tempting Eve and the tree of the knowledge of good and evil; and, finally, Adam and Eve expelled from the Garden by an angel, who holds a sword, into a dark forest.

0027_NT

The Last Judgment (Bosch, Vienna)

Describe the characteristics of the Left panel in this artwork's Description.

The left panel depicts the Garden of Eden of biblical history, as a green landscape in the lower three-quarters. In the upper section Bosch portrays God sitting on his throne, surrounded by a luminous halo. Around him is a cloudy sky, with angels fighting rebellious angels who are turning into devils as they fall. Below are, reading from the bottom, God creating Eve from Adam's rib, with Adam sleeping at her feet; the Serpent tempting Eve and the tree of the knowledge of good and evil; and, finally, Adam and Eve expelled from the Garden by an angel, who holds a sword, into a dark forest.

0028_T

The Last Judgment (Bosch, Vienna)

In the context of The Last Judgment (Bosch, Vienna), explore the Central panel of the Description.

The central painting depicts a Last Judgement, based on John's Book of Revelation. Above is Christ as a judge, surrounded by the Virgin Mary, John the Evangelist and the apostles. The celestial zone, painted in a bright blue, contrasts with the rest of the panel, which is occupied by a dark brownish punishment of the Damned, while the Blessed occupy only a small portion. The punishments come from monstrous creatures of Hell: the damned are burned, speared, impaled, hung from butcher hooks, forced to eat impure food (the Gluttonous), or subjects to cogs of bizarre machines. This scene has strong similarities with the right panel in Bosch's Garden at the Museo del Prado.

0028_NT

The Last Judgment (Bosch, Vienna)

In the context of this artwork, explore the Central panel of the Description.

The central painting depicts a Last Judgement, based on John's Book of Revelation. Above is Christ as a judge, surrounded by the Virgin Mary, John the Evangelist and the apostles. The celestial zone, painted in a bright blue, contrasts with the rest of the panel, which is occupied by a dark brownish punishment of the Damned, while the Blessed occupy only a small portion. The punishments come from monstrous creatures of Hell: the damned are burned, speared, impaled, hung from butcher hooks, forced to eat impure food (the Gluttonous), or subjects to cogs of bizarre machines. This scene has strong similarities with the right panel in Bosch's Garden at the Museo del Prado.

0029_T

The Last Judgment (Bosch, Vienna)

In the context of The Last Judgment (Bosch, Vienna), explain the Right panel of the Description.

Thematically, the hell at right is not different from the Last Judgement. Satan, in the center, receives the damned souls. The torture scenes continue in this panel, within a dark landscape dominated by flames and devilish figures.

0029_NT

The Last Judgment (Bosch, Vienna)

In the context of this artwork, explain the Right panel of the Description.

Thematically, the hell at right is not different from the Last Judgement. Satan, in the center, receives the damned souls. The torture scenes continue in this panel, within a dark landscape dominated by flames and devilish figures.

0030_T

Saint Thomas the Apostle (El Greco)

Explore the abstract of this artwork, Saint Thomas the Apostle (El Greco).

Saint Thomas the Apostle is a 1608–1614 painting of Thomas the Apostle by El Greco, now in the Museo del Prado. It originally formed part of a series of works produced by the artist for the parish church in Almadrones, Spain, a series which represented a set of variants on a set of paintings of the apostles (or Apostolate) for Toledo Cathedral. The painting is key to Gregorio Marañón's theory that the painter used mental patients at the Hospital del Nuncio as models.

0030_NT

Saint Thomas the Apostle (El Greco)

Explore the abstract of this artwork.

Saint Thomas the Apostle is a 1608–1614 painting of Thomas the Apostle by El Greco, now in the Museo del Prado. It originally formed part of a series of works produced by the artist for the parish church in Almadrones, Spain, a series which represented a set of variants on a set of paintings of the apostles (or Apostolate) for Toledo Cathedral. The painting is key to Gregorio Marañón's theory that the painter used mental patients at the Hospital del Nuncio as models.

0031_T

Severan Tondo

Focus on Severan Tondo and discuss the abstract.

The Severan Tondo or Berlin Tondo from c. 200 AD is one of the few preserved examples of panel painting from Classical Antiquity, depicting the first two generations of the imperial Severan dynasty, whose members ruled the Roman Empire in the late 2nd and early 3rd centuries. It depicts the Roman emperor Septimius Severus (r. 193–211) with his wife, the augusta Julia Domna, and their two sons and co-augusti Caracalla (r. 198–217) and Geta (r. 209–211). The face of one of the two brothers has been deliberately erased, very likely as part of damnatio memoriae.On the viewer's right is Septimius Severus, and to the left Julia Domna. In front of them are the boys Caracalla and Geta. All wear jeweled gold wreaths and imperial insignia, some details of which have been lost. The dating of the piece has caused some debate among scholars, with the final consensus being c. 200 AD. The tondo has many stylistic connections to Fayum Mummy portraiture including materials and artistic elements, and its production has been located in the Fayum district of Egypt during this period. Later on the tondo re-emerged from the antiquities trade; the provenance is unknown before entering the Antikensammlung Berlin (inventory number 31329) in the 20th century. It is now in the Altes Museum.

0031_NT

Severan Tondo

Focus on this artwork and discuss the abstract.

The Severan Tondo or Berlin Tondo from c. 200 AD is one of the few preserved examples of panel painting from Classical Antiquity, depicting the first two generations of the imperial Severan dynasty, whose members ruled the Roman Empire in the late 2nd and early 3rd centuries. It depicts the Roman emperor Septimius Severus (r. 193–211) with his wife, the augusta Julia Domna, and their two sons and co-augusti Caracalla (r. 198–217) and Geta (r. 209–211). The face of one of the two brothers has been deliberately erased, very likely as part of damnatio memoriae.On the viewer's right is Septimius Severus, and to the left Julia Domna. In front of them are the boys Caracalla and Geta. All wear jeweled gold wreaths and imperial insignia, some details of which have been lost. The dating of the piece has caused some debate among scholars, with the final consensus being c. 200 AD. The tondo has many stylistic connections to Fayum Mummy portraiture including materials and artistic elements, and its production has been located in the Fayum district of Egypt during this period. Later on the tondo re-emerged from the antiquities trade; the provenance is unknown before entering the Antikensammlung Berlin (inventory number 31329) in the 20th century. It is now in the Altes Museum.

0032_T

Severan Tondo

How does Severan Tondo elucidate its Description?

The work is a tempera, or egg-based painting, on a circular wooden panel, or tondo, with a diameter of 30.5 centimetres (12.0 in). It depicts the Imperial family wearing sumptuous ceremonial garments. Septimius Severus and his sons are also holding sceptres and wearing gold wreaths decorated with precious stones. Julia Domna has her distinctive hairstyle, crimped into parallel locks, possibly a style from her home in Syria, and perhaps a wig. Although it is commonly assumed that Julia Domna introduced the custom of wearing wigs into Roman society, evidence points to a predecessor introducing use of wigs in portraiture. Although the portrait depicts Julia as being notably paler than Severus, the subjects' true complexions are probably not accurately represented, as artistic conventions of the era often depicted women with fairer skin and men with darker skin.One son's face has been obliterated in a deliberate act of iconoclasm, and the vacant space smeared with excrement. Most scholars believe it is Geta whose face has been removed, probably after his murder by Caracalla's Praetorian Guard and the ensuing damnatio memoriae. However, it is also possible that Geta (as the younger son) is the smaller boy, and it is Caracalla's face which was eradicated, perhaps as a compensatory retaliation for Caracalla's mass execution of young Alexandrian men in the year 215.The tondo was probably created in a square or rectangular shape, and later cut into a circle. The loss of some of the original painting is most apparent with the sceptres that the males are holding: the upper parts, once adorned with imperial symbols, are now missing. It seems likely that the panel was cut down in modern times to improve its saleability on the art market.

0032_NT

Severan Tondo

How does this artwork elucidate its Description?

The work is a tempera, or egg-based painting, on a circular wooden panel, or tondo, with a diameter of 30.5 centimetres (12.0 in). It depicts the Imperial family wearing sumptuous ceremonial garments. Septimius Severus and his sons are also holding sceptres and wearing gold wreaths decorated with precious stones. Julia Domna has her distinctive hairstyle, crimped into parallel locks, possibly a style from her home in Syria, and perhaps a wig. Although it is commonly assumed that Julia Domna introduced the custom of wearing wigs into Roman society, evidence points to a predecessor introducing use of wigs in portraiture. Although the portrait depicts Julia as being notably paler than Severus, the subjects' true complexions are probably not accurately represented, as artistic conventions of the era often depicted women with fairer skin and men with darker skin.One son's face has been obliterated in a deliberate act of iconoclasm, and the vacant space smeared with excrement. Most scholars believe it is Geta whose face has been removed, probably after his murder by Caracalla's Praetorian Guard and the ensuing damnatio memoriae. However, it is also possible that Geta (as the younger son) is the smaller boy, and it is Caracalla's face which was eradicated, perhaps as a compensatory retaliation for Caracalla's mass execution of young Alexandrian men in the year 215.The tondo was probably created in a square or rectangular shape, and later cut into a circle. The loss of some of the original painting is most apparent with the sceptres that the males are holding: the upper parts, once adorned with imperial symbols, are now missing. It seems likely that the panel was cut down in modern times to improve its saleability on the art market.

0033_T

Severan Tondo

Focus on Severan Tondo and analyze the Provenance.

The history of the painting after its creation is not known until the Antikensammlung Berlin acquired it in 1932 from an art dealer in Paris. It is in the Altes Museum, one of the Berlin State Museums (Staatliche Museen zu Berlin).

0033_NT

Severan Tondo

Focus on this artwork and analyze the Provenance.

The history of the painting after its creation is not known until the Antikensammlung Berlin acquired it in 1932 from an art dealer in Paris. It is in the Altes Museum, one of the Berlin State Museums (Staatliche Museen zu Berlin).

0034_T

Droeshout portrait

In Droeshout portrait, how is the States discussed?

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache. Later copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685 (heavily retouched) and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

0034_NT

Droeshout portrait

In this artwork, how is the States discussed?

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache. Later copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685 (heavily retouched) and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

0035_T

Droeshout portrait

Focus on Droeshout portrait and explore the Authorship.

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger (1601 – after 1639), the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.Research by Mary Edmond into the Droeshout family revealed new information about Martin Droeshout the Elder (c. 1560s – 1642), who was the uncle of the younger Martin. Edmond shows that Droeshout the Elder was a member of the Painter-Stainer's Company. Edmond writes,It seems perverse to attribute the Shakespeare engraving to the obscure and unsuitably young Martin Droeshout, born in 1601, as is customary, when there is a quite well-documented artist of the same name to hand, in the person of his uncle". In 1991 Christiaan Schuckman discovered a set of signed plates in Madrid, Spain, that can be attributed to the engraver of the First Folio portrait. These plates bear Droeshout's signature and are stylistically similar to his portrait of Shakespeare. (They include a portrait of the priest and writer Francisco de la Peña that has a striking resemblance to the English poet). On the evidence of these plates, which were made between 1635 and 1639, Schuckman attributed the portrait of Shakespeare to the younger Martin and suggested that the engraver had converted to Catholicism and emigrated to Spain in 1635, where he continued to work.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

0035_NT

Droeshout portrait

Focus on this artwork and explore the Authorship.

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger (1601 – after 1639), the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.Research by Mary Edmond into the Droeshout family revealed new information about Martin Droeshout the Elder (c. 1560s – 1642), who was the uncle of the younger Martin. Edmond shows that Droeshout the Elder was a member of the Painter-Stainer's Company. Edmond writes,It seems perverse to attribute the Shakespeare engraving to the obscure and unsuitably young Martin Droeshout, born in 1601, as is customary, when there is a quite well-documented artist of the same name to hand, in the person of his uncle". In 1991 Christiaan Schuckman discovered a set of signed plates in Madrid, Spain, that can be attributed to the engraver of the First Folio portrait. These plates bear Droeshout's signature and are stylistically similar to his portrait of Shakespeare. (They include a portrait of the priest and writer Francisco de la Peña that has a striking resemblance to the English poet). On the evidence of these plates, which were made between 1635 and 1639, Schuckman attributed the portrait of Shakespeare to the younger Martin and suggested that the engraver had converted to Catholicism and emigrated to Spain in 1635, where he continued to work.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

0036_T

Droeshout portrait

Focus on Droeshout portrait and explain the Significance.

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book. Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,It is, as I may say, the key to unlock and detect almost all the impositions that have, at various times, arrested so much of public attention. It is a witness that can refute all false evidence, and will satisfy every discerner, how to appreciate, how to convict. In a similar vein, Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

0036_NT

Droeshout portrait

Focus on this artwork and explain the Significance.

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book. Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,It is, as I may say, the key to unlock and detect almost all the impositions that have, at various times, arrested so much of public attention. It is a witness that can refute all false evidence, and will satisfy every discerner, how to appreciate, how to convict. In a similar vein, Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

0037_T

Droeshout portrait

Explore the Source image about the Significance of this artwork, Droeshout portrait.

In addition to its use as a template to judge the authenticity of other images, scholars have also speculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice.In the 19th century a painting that came to be known as the Flower portrait was discovered, inscribed with the date 1609 and painted on an authentic 17th-century panel. It was initially widely accepted as the original work from which Droeshout had copied his engraving, but in 1905 the art scholar Marion Spielmann demonstrated that the portrait corresponded to the second state of Droeshout's print. Taking the view that if it were the source, the first state would be closest, he concluded that it was a copy from the print. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

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Droeshout portrait

Explore the Source image about the Significance of this artwork.

In addition to its use as a template to judge the authenticity of other images, scholars have also speculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice.In the 19th century a painting that came to be known as the Flower portrait was discovered, inscribed with the date 1609 and painted on an authentic 17th-century panel. It was initially widely accepted as the original work from which Droeshout had copied his engraving, but in 1905 the art scholar Marion Spielmann demonstrated that the portrait corresponded to the second state of Droeshout's print. Taking the view that if it were the source, the first state would be closest, he concluded that it was a copy from the print. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

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Droeshout portrait

Focus on Droeshout portrait and discuss the Critical evaluations.

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet. J. Dover Wilson called it a "pudding faced effigy". Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:In the Shakespeare engraving a huge head, placed against a starched ruff, surmounts an absurdly small tunic with oversized shoulder-wings ... Light comes from several directions simultaneously: it falls on the bulbous protuberance of forehead – that "horrible hydrocephalous development", as it has been called – creates an odd crescent under the right eye and (in the second state) illuminates the edge of the hair on the right side. Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned." Benjamin Roland Lewis observes that "virtually all of Droeshout's work shows the same artistic defects. He was an engraver after the conventional manner, and not a creative artist."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

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Droeshout portrait

Focus on this artwork and discuss the Critical evaluations.

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet. J. Dover Wilson called it a "pudding faced effigy". Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:In the Shakespeare engraving a huge head, placed against a starched ruff, surmounts an absurdly small tunic with oversized shoulder-wings ... Light comes from several directions simultaneously: it falls on the bulbous protuberance of forehead – that "horrible hydrocephalous development", as it has been called – creates an odd crescent under the right eye and (in the second state) illuminates the edge of the hair on the right side. Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned." Benjamin Roland Lewis observes that "virtually all of Droeshout's work shows the same artistic defects. He was an engraver after the conventional manner, and not a creative artist."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

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Droeshout portrait

In Droeshout portrait, how is the Conspiracy theories of the Critical evaluations elucidated?

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." In 1911, William Stone Booth published a book claiming to demonstrate that the features of the engraving were "anatomically identical" to those of Francis Bacon, proving that he wrote the works. He achieved this by creating "combination images" from several portraits of Bacon and then superimposing them on the engraving. Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-Lawrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

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Droeshout portrait

In this artwork, how is the Conspiracy theories of the Critical evaluations elucidated?

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." In 1911, William Stone Booth published a book claiming to demonstrate that the features of the engraving were "anatomically identical" to those of Francis Bacon, proving that he wrote the works. He achieved this by creating "combination images" from several portraits of Bacon and then superimposing them on the engraving. Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-Lawrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

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Descent into Limbo (Mantegna)

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Descent into Limbo is a 1492 tempera and gold on panel painting by Andrea Mantegna, now in the Barbara Piasecka Johnson Collection in Princeton, New Jersey. It depicts the Descent into Limbo of Jesus Christ. There are also drawings of the subject by Mantegna in the École Supérieure des Beaux-Arts in Paris, whilst Giovanni Bellini also painted the subject.

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Descent into Limbo (Mantegna)

Focus on this artwork and analyze the abstract.

Descent into Limbo is a 1492 tempera and gold on panel painting by Andrea Mantegna, now in the Barbara Piasecka Johnson Collection in Princeton, New Jersey. It depicts the Descent into Limbo of Jesus Christ. There are also drawings of the subject by Mantegna in the École Supérieure des Beaux-Arts in Paris, whilst Giovanni Bellini also painted the subject.

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Descent into Limbo (Mantegna)

In Descent into Limbo (Mantegna), how is the Missing part discussed?

Studies for the catalogue Accademia Carrara, Bergamo Dipinti Italiani del Trecento e del Quattrocento (edited by Giovanni Valagussa), included a painting owned by the Accademia Carrara (Bergamo) from 1866. It had formerly been considered to be a studio work, under the title Resurrection. During the studies it was re-identified as the upper part of Descent into Limbo, thanks to a small cross divided between the two parts.

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Descent into Limbo (Mantegna)

In this artwork, how is the Missing part discussed?

Studies for the catalogue Accademia Carrara, Bergamo Dipinti Italiani del Trecento e del Quattrocento (edited by Giovanni Valagussa), included a painting owned by the Accademia Carrara (Bergamo) from 1866. It had formerly been considered to be a studio work, under the title Resurrection. During the studies it was re-identified as the upper part of Descent into Limbo, thanks to a small cross divided between the two parts.

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Statue of Mary Dyer

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A statue of Quaker religious martyr Mary Dyer by Sylvia Shaw Judson is installed outside the Massachusetts State House, in Boston, Massachusetts, United States.

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Statue of Mary Dyer

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A statue of Quaker religious martyr Mary Dyer by Sylvia Shaw Judson is installed outside the Massachusetts State House, in Boston, Massachusetts, United States.

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Polyphemus (Reni)

Focus on Polyphemus (Reni) and explain the abstract.

The Polyphemus is an oil on canvas painting by the Italian Baroque painter Guido Reni, executed in 1639–1640, and housed in the Pinacoteca of the Capitoline Museum in Rome, Italy.

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Polyphemus (Reni)

Focus on this artwork and explain the abstract.

The Polyphemus is an oil on canvas painting by the Italian Baroque painter Guido Reni, executed in 1639–1640, and housed in the Pinacoteca of the Capitoline Museum in Rome, Italy.

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Polyphemus (Reni)

Explore the Description of this artwork, Polyphemus (Reni).

The painting is listed in the Barberini family inventories from the 1640s through 1686, when it was listed in the property of the recently deceased Maffeo Barberini. It is soon listed in the 1688 inventory of Sacchetti, presumably Cardinal Urbano Sacchetti. By 1725, the work had made it way to the Campidoglio. The Bolognese art historian Carlo Cesare Malvasia attributed such a painting to Guido Reni. In Windsor Castle, there are two drawings signed by Reni, with dating of 1638 related to the figure of Polyphemus. Other research links this work to a lost canvas depicting Ariadne also by Reni.The painting depicts the scene from the Odyssey where the blinded Cyclops, in anger starts to gather boulders to toss at the ships of Odysseus in the distance. He perches in a diagonal to the canvas with a gray horizon. A more active depiction of the subject had been frescoed earlier in the Gallery of the Palazzo Farnese, at which Reni had worked under Annibale Carracci.

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Polyphemus (Reni)

Explore the Description of this artwork.

The painting is listed in the Barberini family inventories from the 1640s through 1686, when it was listed in the property of the recently deceased Maffeo Barberini. It is soon listed in the 1688 inventory of Sacchetti, presumably Cardinal Urbano Sacchetti. By 1725, the work had made it way to the Campidoglio. The Bolognese art historian Carlo Cesare Malvasia attributed such a painting to Guido Reni. In Windsor Castle, there are two drawings signed by Reni, with dating of 1638 related to the figure of Polyphemus. Other research links this work to a lost canvas depicting Ariadne also by Reni.The painting depicts the scene from the Odyssey where the blinded Cyclops, in anger starts to gather boulders to toss at the ships of Odysseus in the distance. He perches in a diagonal to the canvas with a gray horizon. A more active depiction of the subject had been frescoed earlier in the Gallery of the Palazzo Farnese, at which Reni had worked under Annibale Carracci.

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Statue of Oliver Cromwell, Westminster

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A statue of Oliver Cromwell stands outside the House of Commons of the United Kingdom in Westminster, London. Oliver Cromwell was Lord Protector of the Commonwealth of England, Scotland and Ireland between 1653 and 1658. Directly opposite the statue, in the wall of St Margaret's Church, on the other side of the road, is a bust of Charles I, which is often unnoticed. The statue was designed by Hamo Thornycroft and erected in 1899. It has divided opinion, both before its erection and since, due to Cromwell's opposition to the monarchy and his role in the conquest of Ireland. The statue is one of five public statues of Cromwell in the United Kingdom and is Grade II listed for its architectural merit.

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Statue of Oliver Cromwell, Westminster

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A statue of Oliver Cromwell stands outside the House of Commons of the United Kingdom in Westminster, London. Oliver Cromwell was Lord Protector of the Commonwealth of England, Scotland and Ireland between 1653 and 1658. Directly opposite the statue, in the wall of St Margaret's Church, on the other side of the road, is a bust of Charles I, which is often unnoticed. The statue was designed by Hamo Thornycroft and erected in 1899. It has divided opinion, both before its erection and since, due to Cromwell's opposition to the monarchy and his role in the conquest of Ireland. The statue is one of five public statues of Cromwell in the United Kingdom and is Grade II listed for its architectural merit.

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Statue of Oliver Cromwell, Westminster

How does Statue of Oliver Cromwell, Westminster elucidate its Description?

The statue was sculpted by Hamo Thornycroft and features Cromwell standing holding a sword and a bible. The bible is marked "Holy Bible 1641", and while the main statue of Cromwell is marked "Hamo Thornycroft 1897", the lion on the base is marked "1899".

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Statue of Oliver Cromwell, Westminster

How does this artwork elucidate its Description?

The statue was sculpted by Hamo Thornycroft and features Cromwell standing holding a sword and a bible. The bible is marked "Holy Bible 1641", and while the main statue of Cromwell is marked "Hamo Thornycroft 1897", the lion on the base is marked "1899".

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Statue of Oliver Cromwell, Westminster

Focus on Statue of Oliver Cromwell, Westminster and analyze the History.

Following the fire which destroyed parts of the Palace of Westminster in the 19th century, the question whether or not Oliver Cromwell should have a statue in the reconstruction of the Palace was debated in the pages of The Times, and Punch magazine satirised the issue. The question was raised once more in the House of Commons in 1856, with John George Phillimore saying "any man who could object to a statue of Cromwell must be imbued with bigotry and party spirit in the highest degree". It was raised several more times over the following years by supporters of a statue.The government publicly proposed a statue of Cromwell for the first time in 1895, which immediately resulted in members of the public questioning the decision due to the divided opinions about Cromwell. The proposal ended in a parliamentary debate and vote, in which the Government narrowly avoided defeat when the Unionists sided with them while the majority of the Conservatives and the Irish National Party voted against the measure because of Cromwell's history in Ireland. The decision was condemned by newspapers in Ireland. Following further opposition from the Irish National Party, the proposal was withdrawn on 17 July 1895. Herbert Gladstone, First Commissioner of Works, approved the statue with the funding coming from an anonymous private donor. In 1899 his successor Aretas Akers-Douglas confirmed the statue's proposed location as the sunken garden next to Westminster Hall. The statue, cast in bronze by Singer of Frome, was unveiled on 31 October 1899, followed by a speech on Cromwell by former Prime Minister Lord Rosebery, who was later revealed as the anonymous donor who paid for the statue, and whose wife was the sole heir to the Rothschild's family fortune.In 2004, a group of Members of Parliament proposed an early day motion that the statue should be removed and melted down. The move was not supported, and other MPs suggested that the statue should be moved somewhere else.Restoration work took place in August 2008, removing dirt and a coat of black wax which had been previously applied to the bronzework. This changed the colour of the statue from black to a more natural brown, and potassium sulphide was applied in order to even out the colour of both Cromwell and the lion. It was coated in a clear wax in order to ensure that the natural finish remained. The conservation work was completed in time for the 350th anniversary of Cromwell's death on 3 September 2008.

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Statue of Oliver Cromwell, Westminster

Focus on this artwork and analyze the History.

Following the fire which destroyed parts of the Palace of Westminster in the 19th century, the question whether or not Oliver Cromwell should have a statue in the reconstruction of the Palace was debated in the pages of The Times, and Punch magazine satirised the issue. The question was raised once more in the House of Commons in 1856, with John George Phillimore saying "any man who could object to a statue of Cromwell must be imbued with bigotry and party spirit in the highest degree". It was raised several more times over the following years by supporters of a statue.The government publicly proposed a statue of Cromwell for the first time in 1895, which immediately resulted in members of the public questioning the decision due to the divided opinions about Cromwell. The proposal ended in a parliamentary debate and vote, in which the Government narrowly avoided defeat when the Unionists sided with them while the majority of the Conservatives and the Irish National Party voted against the measure because of Cromwell's history in Ireland. The decision was condemned by newspapers in Ireland. Following further opposition from the Irish National Party, the proposal was withdrawn on 17 July 1895. Herbert Gladstone, First Commissioner of Works, approved the statue with the funding coming from an anonymous private donor. In 1899 his successor Aretas Akers-Douglas confirmed the statue's proposed location as the sunken garden next to Westminster Hall. The statue, cast in bronze by Singer of Frome, was unveiled on 31 October 1899, followed by a speech on Cromwell by former Prime Minister Lord Rosebery, who was later revealed as the anonymous donor who paid for the statue, and whose wife was the sole heir to the Rothschild's family fortune.In 2004, a group of Members of Parliament proposed an early day motion that the statue should be removed and melted down. The move was not supported, and other MPs suggested that the statue should be moved somewhere else.Restoration work took place in August 2008, removing dirt and a coat of black wax which had been previously applied to the bronzework. This changed the colour of the statue from black to a more natural brown, and potassium sulphide was applied in order to even out the colour of both Cromwell and the lion. It was coated in a clear wax in order to ensure that the natural finish remained. The conservation work was completed in time for the 350th anniversary of Cromwell's death on 3 September 2008.

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Statue of Eleftherios Venizelos

In Statue of Eleftherios Venizelos, how is the abstract discussed?

An outdoor statue of Eleftherios Venizelos is installed outside the Embassy of Greece, on Massachusetts Avenue between Sheridan Circle and 22nd Street, NW, in Embassy Row, Washington, D.C., United States. It was erected by the Hellenic Parliament in 2009. Near the statue is a plaque with the inscription: Eleftherios Venizelos / 1864–1936 / Liberal Politician, Statesman, Social Reformer / One of the most prominent Greek and European Leaders of the 20th Century. / He marked the modernization of Greece with his political initiatives.

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Statue of Eleftherios Venizelos

In this artwork, how is the abstract discussed?

An outdoor statue of Eleftherios Venizelos is installed outside the Embassy of Greece, on Massachusetts Avenue between Sheridan Circle and 22nd Street, NW, in Embassy Row, Washington, D.C., United States. It was erected by the Hellenic Parliament in 2009. Near the statue is a plaque with the inscription: Eleftherios Venizelos / 1864–1936 / Liberal Politician, Statesman, Social Reformer / One of the most prominent Greek and European Leaders of the 20th Century. / He marked the modernization of Greece with his political initiatives.

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J. F. Kennedy Memorial, Birmingham

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The J. F. Kennedy Memorial in Birmingham, England, is a memorial mosaic mural to John F. Kennedy, by Kenneth Budd.The mosaic, commissioned by Birmingham's Irish community and unveiled in 1968, and funded by public subscription, was constructed in panels, at Budd's company in south London, Kenneth Budd and Associates.It was dismantled in 2007 and remade, with alterations, in 2012, by the artist's son, for erection at a new site.

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J. F. Kennedy Memorial, Birmingham

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The J. F. Kennedy Memorial in Birmingham, England, is a memorial mosaic mural to John F. Kennedy, by Kenneth Budd.The mosaic, commissioned by Birmingham's Irish community and unveiled in 1968, and funded by public subscription, was constructed in panels, at Budd's company in south London, Kenneth Budd and Associates.It was dismantled in 2007 and remade, with alterations, in 2012, by the artist's son, for erection at a new site.

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J. F. Kennedy Memorial, Birmingham

Focus on J. F. Kennedy Memorial, Birmingham and explain the Original location.

The mosaic was erected on St Chad's Circus (at approx 52.485451°N 1.900173°W / 52.485451; -1.900173), outside the City's Roman Catholic St Chad's Cathedral, in July 1968, at a cost of £5,000. When the road system was redeveloped in 2007 the mosaic was demolished. Key features, including the heads of some of the main figures, were retrieved and retained by Kenneth Budd's son Oliver.

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J. F. Kennedy Memorial, Birmingham

Focus on this artwork and explain the Original location.

The mosaic was erected on St Chad's Circus (at approx 52.485451°N 1.900173°W / 52.485451; -1.900173), outside the City's Roman Catholic St Chad's Cathedral, in July 1968, at a cost of £5,000. When the road system was redeveloped in 2007 the mosaic was demolished. Key features, including the heads of some of the main figures, were retrieved and retained by Kenneth Budd's son Oliver.