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NAIST NLP 19

0051_T

J. F. Kennedy Memorial, Birmingham

Explore the Re-creation of this artwork, J. F. Kennedy Memorial, Birmingham.

In 2012 it was re-created using new materials. The new mosaic was erected in January 2013, in the city's Irish Quarter, on Floodgate Street in Digbeth, in reworked form, including the controversial addition of a new face, that of former Lord Mayor of Birmingham Mike Nangle, the city's first Irish Lord Mayor. The work was overseen by Budd's son, Oliver, who worked from his father's original drawings. The retained sections were not used as the colours had faded and would not match the new Smalti mosaic tiles. A formal unveiling took place on 23 February 2013.

0051_NT

J. F. Kennedy Memorial, Birmingham

Explore the Re-creation of this artwork.

In 2012 it was re-created using new materials. The new mosaic was erected in January 2013, in the city's Irish Quarter, on Floodgate Street in Digbeth, in reworked form, including the controversial addition of a new face, that of former Lord Mayor of Birmingham Mike Nangle, the city's first Irish Lord Mayor. The work was overseen by Budd's son, Oliver, who worked from his father's original drawings. The retained sections were not used as the colours had faded and would not match the new Smalti mosaic tiles. A formal unveiling took place on 23 February 2013.

0052_T

J. F. Kennedy Memorial, Birmingham

Focus on J. F. Kennedy Memorial, Birmingham and discuss the Composition.

Featured alongside Kennedy in the mosaic are his brother Ted, the seal of the president of the United States (using real gold), Martin Luther King Jr., American policemen, and other figures.

0052_NT

J. F. Kennedy Memorial, Birmingham

Focus on this artwork and discuss the Composition.

Featured alongside Kennedy in the mosaic are his brother Ted, the seal of the president of the United States (using real gold), Martin Luther King Jr., American policemen, and other figures.

0053_T

J. F. Kennedy Memorial, Birmingham

How does J. F. Kennedy Memorial, Birmingham elucidate its Text?

The text gives an incorrect date of 1960, the year he was elected, for the start of his presidency, when he was actually president from January 1961. This inaccuracy was also present in the original creation.The original mosaic had wording at either side. The wording on the right said (all in upper case):The recreated mosaic has different words. On the left (again, all in upper case):and to the right:

0053_NT

J. F. Kennedy Memorial, Birmingham

How does this artwork elucidate its Text?

The text gives an incorrect date of 1960, the year he was elected, for the start of his presidency, when he was actually president from January 1961. This inaccuracy was also present in the original creation.The original mosaic had wording at either side. The wording on the right said (all in upper case):The recreated mosaic has different words. On the left (again, all in upper case):and to the right:

0054_T

The Harvesters (painting)

Focus on The Harvesters (painting) and analyze the abstract.

The Harvesters is an oil painting on wood completed by Pieter Bruegel the Elder in 1565. It depicts the harvest time set in a landscape, in the months of July and August or late summer. Nicolaes Jonghelinck, a merchant banker and art collector from Antwerp, commissioned this painting as part of a cycle of six paintings depicting various seasonal transitions during the year.

0054_NT

The Harvesters (painting)

Focus on this artwork and analyze the abstract.

The Harvesters is an oil painting on wood completed by Pieter Bruegel the Elder in 1565. It depicts the harvest time set in a landscape, in the months of July and August or late summer. Nicolaes Jonghelinck, a merchant banker and art collector from Antwerp, commissioned this painting as part of a cycle of six paintings depicting various seasonal transitions during the year.

0055_T

The Harvesters (painting)

In The Harvesters (painting), how is the Cycle discussed?

The surviving Months of the Year cycle are: The Gloomy Day, The Hunters in the Snow, and The Return of the Herd are on display in the Kunsthistorisches Museum in Vienna. The Hay Harvest is on display in the Lobkowicz Palace in Prague. The Harvesters is at the Metropolitan Museum in New York.

0055_NT

The Harvesters (painting)

In this artwork, how is the Cycle discussed?

The surviving Months of the Year cycle are: The Gloomy Day, The Hunters in the Snow, and The Return of the Herd are on display in the Kunsthistorisches Museum in Vienna. The Hay Harvest is on display in the Lobkowicz Palace in Prague. The Harvesters is at the Metropolitan Museum in New York.

0056_T

The Harvesters (painting)

Focus on The Harvesters (painting) and explore the Legacy.

Legendary animation director, Hayao Miyazaki took inspiration from this painting for his short film Mr. Dough and the Egg Princess.

0056_NT

The Harvesters (painting)

Focus on this artwork and explore the Legacy.

Legendary animation director, Hayao Miyazaki took inspiration from this painting for his short film Mr. Dough and the Egg Princess.

0057_T

Madonna of Divine Love

Focus on Madonna of Divine Love and explain the abstract.

The Madonna of Divine Love is a c.1516-1518 oil on wood painting by Raphael, now in the National Museum of Capodimonte in Naples. It depicts Saints Mary and Elizabeth with the baby Jesus and a genuflecting Saint John holding a cross of reeds. Jesus, assisted by Saint Elizabeth, appears to be blessing Saint John. In the shadows stands Saint Joseph. Vasari mentions a work produced by Raphael for Leonello Pio da Carpi, Lord of Meldola and a future cardinal - this is accepted as Madonna of Divine Love. It was then acquired in 1564 by Alessandro Farnese and in 1624 it entered the overall Farnese collection in Parma in 1624 and later in Naples. It was briefly acquired by the Bourbons and taken to Madrid.

0057_NT

Madonna of Divine Love

Focus on this artwork and explain the abstract.

The Madonna of Divine Love is a c.1516-1518 oil on wood painting by Raphael, now in the National Museum of Capodimonte in Naples. It depicts Saints Mary and Elizabeth with the baby Jesus and a genuflecting Saint John holding a cross of reeds. Jesus, assisted by Saint Elizabeth, appears to be blessing Saint John. In the shadows stands Saint Joseph. Vasari mentions a work produced by Raphael for Leonello Pio da Carpi, Lord of Meldola and a future cardinal - this is accepted as Madonna of Divine Love. It was then acquired in 1564 by Alessandro Farnese and in 1624 it entered the overall Farnese collection in Parma in 1624 and later in Naples. It was briefly acquired by the Bourbons and taken to Madrid.

0058_T

Captain Lord George Graham in his Cabin

Explore the abstract of this artwork, Captain Lord George Graham in his Cabin.

Captain Lord George Graham in his Cabin is a 1745 oil-on-canvas painting by the English artist William Hogarth. A conversational picture, it shows Captain Lord George Graham, of the Royal Navy, in the cabin of his ship with several people. The painting was probably commissioned by Graham to commemorate a naval battle he had fought recently. While commanding a 24-gun sixth rate, he had been one of three British ships to attack a squadron of three powerful French privateers and their prizes. The British were successful in their engagement, capturing all of the prizes, and all but one of the privateers. Lauded for his achievements, Graham was given another, larger, ship to command. The painting is probably set aboard this new command, the 60-gun HMS Nottingham, and shows Graham relaxing in the great cabin before a meal, smoking a pipe. With him are the ship's chaplain and clerk, who sing and listen to music played by a black servant. A steward brings a roast duck to the table. Two dogs are also present in the scene, one joins in the singing, the other wears a wig and reads a sheet of music. The scene contains elements of satire and symbolism, in common with Hogarth's other works. The relaxed scene contrasts the tension of the naval battle it commemorates, with elements of humour including the officious pose and behaviour of one of the dogs, who apes Graham's official position. The steward looks out of the painting at the viewer with a smile, while obliviously tipping gravy down the chaplain's back. The positioning and depiction of Graham and the black servant invite comparisons, with Hogarth's presentation of black subjects in paintings being studied by later academics. Hogarth drew from his own experience in group portraits, and was probably influenced by an earlier cabin work by Bartolomeo Nazari. Graham's enjoyment of the painting was short-lived, he died in 1747. His family kept the portrait in their collections until 1932, when it was sold to Sir James Caird, who subsequently donated it to the National Maritime Museum, where it remains.

0058_NT

Captain Lord George Graham in his Cabin

Explore the abstract of this artwork.

Captain Lord George Graham in his Cabin is a 1745 oil-on-canvas painting by the English artist William Hogarth. A conversational picture, it shows Captain Lord George Graham, of the Royal Navy, in the cabin of his ship with several people. The painting was probably commissioned by Graham to commemorate a naval battle he had fought recently. While commanding a 24-gun sixth rate, he had been one of three British ships to attack a squadron of three powerful French privateers and their prizes. The British were successful in their engagement, capturing all of the prizes, and all but one of the privateers. Lauded for his achievements, Graham was given another, larger, ship to command. The painting is probably set aboard this new command, the 60-gun HMS Nottingham, and shows Graham relaxing in the great cabin before a meal, smoking a pipe. With him are the ship's chaplain and clerk, who sing and listen to music played by a black servant. A steward brings a roast duck to the table. Two dogs are also present in the scene, one joins in the singing, the other wears a wig and reads a sheet of music. The scene contains elements of satire and symbolism, in common with Hogarth's other works. The relaxed scene contrasts the tension of the naval battle it commemorates, with elements of humour including the officious pose and behaviour of one of the dogs, who apes Graham's official position. The steward looks out of the painting at the viewer with a smile, while obliviously tipping gravy down the chaplain's back. The positioning and depiction of Graham and the black servant invite comparisons, with Hogarth's presentation of black subjects in paintings being studied by later academics. Hogarth drew from his own experience in group portraits, and was probably influenced by an earlier cabin work by Bartolomeo Nazari. Graham's enjoyment of the painting was short-lived, he died in 1747. His family kept the portrait in their collections until 1932, when it was sold to Sir James Caird, who subsequently donated it to the National Maritime Museum, where it remains.

0059_T

Captain Lord George Graham in his Cabin

Focus on Captain Lord George Graham in his Cabin and discuss the Background.

Lord George Graham was a younger son of James Graham, 1st Duke of Montrose, and had entered the Royal Navy at a young age. He served with some distinction during the wars of the early eighteenth century, and also entered politics, sitting as member of parliament through his father's interest. He was appointed to command the 24-gun HMS Bridgewater in 1745 and cruised in the English Channel. While cruising in the Channel off Ostend on 2 July, in company with the 24-gun HMS Sheerness under Captain William Gordon, and the armed vessel Ursula under Lieutenant Fergusson, Graham came across three large privateers from Dunkirk, sailing in company with their captured prize vessels. The French privateers were the 28-gun Royal, 26-gun Duchesse de Penthierre, and a 12-gun dogger. They had captured seven prizes, and were taking them into Dunkirk. The British force attacked them early in the morning of 3 July. After a fierce fight lasting until 4.am, four of the prizes surrendered to the Sheerness, the Royal and Duchesse de Penthierre struck their colours to the Bridgewater, and the Ursula captured the remaining three prizes. The dogger managed to escape. For his success in the engagement, Graham was commended to the First Lord of the Admiralty, John Russell, 4th Duke of Bedford, and was given command of a larger ship, the 60-gun HMS Nottingham. He probably commissioned a portrait from Hogarth at about this time, and the resulting painting is believed to be set aboard Graham's new command, which in late 1745 was on the Downs station.

0059_NT

Captain Lord George Graham in his Cabin

Focus on this artwork and discuss the Background.

Lord George Graham was a younger son of James Graham, 1st Duke of Montrose, and had entered the Royal Navy at a young age. He served with some distinction during the wars of the early eighteenth century, and also entered politics, sitting as member of parliament through his father's interest. He was appointed to command the 24-gun HMS Bridgewater in 1745 and cruised in the English Channel. While cruising in the Channel off Ostend on 2 July, in company with the 24-gun HMS Sheerness under Captain William Gordon, and the armed vessel Ursula under Lieutenant Fergusson, Graham came across three large privateers from Dunkirk, sailing in company with their captured prize vessels. The French privateers were the 28-gun Royal, 26-gun Duchesse de Penthierre, and a 12-gun dogger. They had captured seven prizes, and were taking them into Dunkirk. The British force attacked them early in the morning of 3 July. After a fierce fight lasting until 4.am, four of the prizes surrendered to the Sheerness, the Royal and Duchesse de Penthierre struck their colours to the Bridgewater, and the Ursula captured the remaining three prizes. The dogger managed to escape. For his success in the engagement, Graham was commended to the First Lord of the Admiralty, John Russell, 4th Duke of Bedford, and was given command of a larger ship, the 60-gun HMS Nottingham. He probably commissioned a portrait from Hogarth at about this time, and the resulting painting is believed to be set aboard Graham's new command, which in late 1745 was on the Downs station.

0060_T

Captain Lord George Graham in his Cabin

How does Captain Lord George Graham in his Cabin elucidate its Positioning?

Graham is seated to the right of the picture, on the left of the table that divides the picture. He is seen in full length, facing forwards though looking to the side, while smoking a long pipe. Standing to Graham's right, his lower half obscured by the table cloth, a man holds a sheet of music and is in the act of singing. The third member of the dining party is seated on the left of the painting, and like Graham is visible in full length. Ronald Paulson identifies them as the ship's clerk and chaplain. The music the men are listening or singing along to is provided by a black manservant, standing on the right of the painting and playing a pipe and tabor. A steward stands opposite him on the left of the painting, framing the composition. The steward holds a plate of roast duck, but looks out of the painting towards the viewer with a smile, while gravy drips from the plate down the back of the chaplain's coat. The remaining members of the portrait are two dogs. One is Graham's own, sitting at the chaplain's feet and apparently joining in the singing. The other, sat on his haunches on a chair on the right of the painting, is Hogarth's own pug, Trump. Trump, his tongue lolling out and wearing Graham's wig, holds a scroll and appears to read from his own sheet of music, balanced against a wine glass in front of him.

0060_NT

Captain Lord George Graham in his Cabin

How does this artwork elucidate its Positioning?

Graham is seated to the right of the picture, on the left of the table that divides the picture. He is seen in full length, facing forwards though looking to the side, while smoking a long pipe. Standing to Graham's right, his lower half obscured by the table cloth, a man holds a sheet of music and is in the act of singing. The third member of the dining party is seated on the left of the painting, and like Graham is visible in full length. Ronald Paulson identifies them as the ship's clerk and chaplain. The music the men are listening or singing along to is provided by a black manservant, standing on the right of the painting and playing a pipe and tabor. A steward stands opposite him on the left of the painting, framing the composition. The steward holds a plate of roast duck, but looks out of the painting towards the viewer with a smile, while gravy drips from the plate down the back of the chaplain's coat. The remaining members of the portrait are two dogs. One is Graham's own, sitting at the chaplain's feet and apparently joining in the singing. The other, sat on his haunches on a chair on the right of the painting, is Hogarth's own pug, Trump. Trump, his tongue lolling out and wearing Graham's wig, holds a scroll and appears to read from his own sheet of music, balanced against a wine glass in front of him.

0061_T

Captain Lord George Graham in his Cabin

Focus on Captain Lord George Graham in his Cabin and analyze the Clothing.

The men are well dressed, Graham smokes a pipe while wearing a fur-lined red velvet cape and a green velvet cap which is slightly askew. The grey coat he wears with a white neckerchief is opened at the chest, revealing a gold-brocade waistcoat, his lower half is clothed in breeches, stockings and slippers. The chaplain wears a black coat with a white collar, grey stockings and black shoes with gold buckles, the costume of a social inferior to Graham, but indicating his educated status. The clerk's dress is similarly simple, a brown jacket, bluish-green waistcoat and white collar, while the steward wears a white apron, smock and cap with a black collar, and brown trousers. The black servant's dress is richer, a white cap and pink neckerchief, and a green buttoned velvet coat with a yellow waistcoat. Trump wears Graham's wig. The colours of the painting are mostly of cool greys, blues and reds, with the brown of some of the clothes and the wooden pilaster panelling, and the lighter blue through the window on the left of the painting.

0061_NT

Captain Lord George Graham in his Cabin

Focus on this artwork and analyze the Clothing.

The men are well dressed, Graham smokes a pipe while wearing a fur-lined red velvet cape and a green velvet cap which is slightly askew. The grey coat he wears with a white neckerchief is opened at the chest, revealing a gold-brocade waistcoat, his lower half is clothed in breeches, stockings and slippers. The chaplain wears a black coat with a white collar, grey stockings and black shoes with gold buckles, the costume of a social inferior to Graham, but indicating his educated status. The clerk's dress is similarly simple, a brown jacket, bluish-green waistcoat and white collar, while the steward wears a white apron, smock and cap with a black collar, and brown trousers. The black servant's dress is richer, a white cap and pink neckerchief, and a green buttoned velvet coat with a yellow waistcoat. Trump wears Graham's wig. The colours of the painting are mostly of cool greys, blues and reds, with the brown of some of the clothes and the wooden pilaster panelling, and the lighter blue through the window on the left of the painting.

0062_T

Captain Lord George Graham in his Cabin

In Captain Lord George Graham in his Cabin, how is the Imagery and symbolism discussed?

Hogarth included numerous elements in the painting. The scene is probably the great cabin of Graham's latest command, and the sails of ships are visible through the line of windows on the left of the painting. The furniture and objects are luxurious and the room is richly panelled and decorated. The chaplain holds a ledger and at his feet is a large famille-rose punch bowl, the punch bowl being an invitation to the viewer to join the levity at the table. He is separated from Graham across the table by a salt-cellar, possibly symbolising their social difference. His presence at the captain's table for this informal occasion nevertheless indicates that he is a privileged member of Graham's entourage.The clerk, standing in the centre of the portrait and uniting the two-halves, holds the music he is singing from, possibly entitled 'Farewell my Judy'. Jeremy Barlow speculates that this might be a sentimental love song. The two servants frame the picture, the black servant playing a pipe and tabor. The combination of these musical instruments had a popular accompaniment to dancing for several centuries, but was in decline in England by the eighteenth century. Barlow considers Hogarth's representation of the tabor pipe a poor one, arguing that it is too short and has too many holes to be the usual three-holed tabor pipe, the boy holds it too far up its length and does not cover all the holes. Barlow points out that Hogarth may have intended the instrument to be a flabiol instead. He also notes that the lively music the instruments would have produced would be unlikely to complement a sentimental ballad that the clerk appears to be singing, and instead suggests the painting combines and conflates a number of typical activities in the cabin into one scene.The dogs join the people, their inclusion with the servants in the portrait invites commentary on Graham's circle. Trump's officious pose and lolling tongue, while wearing Graham's wig and brandishing the scroll of paper, makes light of the formality of Graham's position. Trump represents Hogarth in the painting, while his pose with the scroll, as used by musical conductors of the time, suggest that he may be the humorous conductor for the music and singing taking place. The steward stands at the left of the painting under a hanging crown compass, and carelessly drips gravy down the chaplain's neck, adding a final element of farce to the setting. In the relaxed and informal setting of the cabin, adding touches of humour and foolishness, Hogarth provides a contrast with the dangers of the pitched battle that the painting commemorates.The black servant in the painting reveals Hogarth's careful study of black and white forms. His positioning, clothes and stance echoes Graham's with his pipe, but they face different directions so as to present different profiles. The red of Graham's cape connects with the colour of the servant's neckcloth, while their similar caps, coats and waistcoats heighten the sense of connection, with the servant given equally colourful and variegated clothing. The facial features and textures are similar, showing off their youthfulness, while Graham's fair skin and the servant's dark skin complement and contrast each other. Hogarth has also varied the appearance of the dark skin to show that the colour is not uniform, but changes in the light. Art historian David Bindman argued that Hogarth's representation of the servant avoided the traditional stereotypes of black people in art.

0062_NT

Captain Lord George Graham in his Cabin

In this artwork, how is the Imagery and symbolism discussed?

Hogarth included numerous elements in the painting. The scene is probably the great cabin of Graham's latest command, and the sails of ships are visible through the line of windows on the left of the painting. The furniture and objects are luxurious and the room is richly panelled and decorated. The chaplain holds a ledger and at his feet is a large famille-rose punch bowl, the punch bowl being an invitation to the viewer to join the levity at the table. He is separated from Graham across the table by a salt-cellar, possibly symbolising their social difference. His presence at the captain's table for this informal occasion nevertheless indicates that he is a privileged member of Graham's entourage.The clerk, standing in the centre of the portrait and uniting the two-halves, holds the music he is singing from, possibly entitled 'Farewell my Judy'. Jeremy Barlow speculates that this might be a sentimental love song. The two servants frame the picture, the black servant playing a pipe and tabor. The combination of these musical instruments had a popular accompaniment to dancing for several centuries, but was in decline in England by the eighteenth century. Barlow considers Hogarth's representation of the tabor pipe a poor one, arguing that it is too short and has too many holes to be the usual three-holed tabor pipe, the boy holds it too far up its length and does not cover all the holes. Barlow points out that Hogarth may have intended the instrument to be a flabiol instead. He also notes that the lively music the instruments would have produced would be unlikely to complement a sentimental ballad that the clerk appears to be singing, and instead suggests the painting combines and conflates a number of typical activities in the cabin into one scene.The dogs join the people, their inclusion with the servants in the portrait invites commentary on Graham's circle. Trump's officious pose and lolling tongue, while wearing Graham's wig and brandishing the scroll of paper, makes light of the formality of Graham's position. Trump represents Hogarth in the painting, while his pose with the scroll, as used by musical conductors of the time, suggest that he may be the humorous conductor for the music and singing taking place. The steward stands at the left of the painting under a hanging crown compass, and carelessly drips gravy down the chaplain's neck, adding a final element of farce to the setting. In the relaxed and informal setting of the cabin, adding touches of humour and foolishness, Hogarth provides a contrast with the dangers of the pitched battle that the painting commemorates.The black servant in the painting reveals Hogarth's careful study of black and white forms. His positioning, clothes and stance echoes Graham's with his pipe, but they face different directions so as to present different profiles. The red of Graham's cape connects with the colour of the servant's neckcloth, while their similar caps, coats and waistcoats heighten the sense of connection, with the servant given equally colourful and variegated clothing. The facial features and textures are similar, showing off their youthfulness, while Graham's fair skin and the servant's dark skin complement and contrast each other. Hogarth has also varied the appearance of the dark skin to show that the colour is not uniform, but changes in the light. Art historian David Bindman argued that Hogarth's representation of the servant avoided the traditional stereotypes of black people in art.

0063_T

Captain Lord George Graham in his Cabin

Focus on Captain Lord George Graham in his Cabin and explore the Ownership.

Graham did not enjoy his portrait for long, dying on 2 January 1747. The painting remained in the collections of the Dukes of Montrose and was exhibited on a number of occasions; at Glasgow in 1888, the Royal Naval College in 1891 and at the Royal Academy in 1934. It was purchased by Sir James Caird in 1932, and was a particular favourite of his. It was later presented to the National Maritime Museum, where it remains today. Cabin scenes are rare in oil painting, and the museum considers this to be the most famous example in British art.

0063_NT

Captain Lord George Graham in his Cabin

Focus on this artwork and explore the Ownership.

Graham did not enjoy his portrait for long, dying on 2 January 1747. The painting remained in the collections of the Dukes of Montrose and was exhibited on a number of occasions; at Glasgow in 1888, the Royal Naval College in 1891 and at the Royal Academy in 1934. It was purchased by Sir James Caird in 1932, and was a particular favourite of his. It was later presented to the National Maritime Museum, where it remains today. Cabin scenes are rare in oil painting, and the museum considers this to be the most famous example in British art.

0064_T

Steel Reborn

Focus on Steel Reborn and explain the abstract.

Steel Reborn is a public art work by American artist Charles Toman, located in front of the Miller Compressing Company on the south side of Milwaukee, Wisconsin. The abstract artwork is a three-ton welded steel ball placed atop a 35-foot base. It is located at 1640 W Bruce St. The work was commissioned by Miller Compressing to demonstrate the value of recycling. The artist selected the materials and fabricated the piece on site, which was originally on Jones Island. It was moved to its current location on W Bruce St at a later date.

0064_NT

Steel Reborn

Focus on this artwork and explain the abstract.

Steel Reborn is a public art work by American artist Charles Toman, located in front of the Miller Compressing Company on the south side of Milwaukee, Wisconsin. The abstract artwork is a three-ton welded steel ball placed atop a 35-foot base. It is located at 1640 W Bruce St. The work was commissioned by Miller Compressing to demonstrate the value of recycling. The artist selected the materials and fabricated the piece on site, which was originally on Jones Island. It was moved to its current location on W Bruce St at a later date.

0065_T

Znovuzrození

Explore the abstract of this artwork, Znovuzrození.

Znovuzrození (English: Rebirth) is a 1983 bronze sculpture by Josef Malejovský (1914-2003). It is installed outside the National Theatre in Prague, Czech Republic, on a piazzetta which was named "Náměstí Václava Havla" in 2016 to honor the first Czech president. The statue is a popular subject to artistic interventions - it has been wrapped in bubblegum-like cover, dressed in Carmen costume or into a lookalike of the famous Woman In Gold painting by Gustav Klimt.

0065_NT

Znovuzrození

Explore the abstract of this artwork.

Znovuzrození (English: Rebirth) is a 1983 bronze sculpture by Josef Malejovský (1914-2003). It is installed outside the National Theatre in Prague, Czech Republic, on a piazzetta which was named "Náměstí Václava Havla" in 2016 to honor the first Czech president. The statue is a popular subject to artistic interventions - it has been wrapped in bubblegum-like cover, dressed in Carmen costume or into a lookalike of the famous Woman In Gold painting by Gustav Klimt.

0066_T

Statue of The Republic

Focus on Statue of The Republic and discuss the abstract.

The Statue of The Republic is a 24-foot-high (7.3 m) gilded bronze sculpture in Jackson Park, Chicago, Illinois by Daniel Chester French. The colossal original statue, a centerpiece of the World's Columbian Exposition in 1893, was ordered afterwards to be destroyed by fire. A smaller-scale replica sculpted by the same artist was erected in 1918 in commemoration of both the 25th anniversary of the Exposition and the Illinois' statehood centennial. The replacement statue is at the south end of the park at the intersection of East Hayes and South Richards Drive, adjacent to the golf course and approximately where the exposition's Administration Building and Electricity Building once stood. The statue was funded by the Benjamin Ferguson Fund, which commissioned French to cast this recreation of the original 65-foot-tall (20 m) statue that stood on the grounds of the Exposition of 1893. Edith Minturn Stokes served as French's model for the original statue. Henry Bacon, the architect of the Lincoln Memorial, designed the festooned pedestal for the replica. The statue's right hand holds a globe, on which an eagle perches with wings spread. The other hand grasps a staff with a plaque that reads "liberty", partly obscured by an encircling laurel wreath. The original at the Exposition had a Phrygian cap on top of the staff. It was only partly gilded (no gold on the exposed skin of the head, neck and arms), but the replica is completely gilded.The original statue, constructed in 1893, stood in front of the Court of Honor, inside the Great Basin pool. However, on August 28, 1896 that statue was destroyed by fire on order of the park commissioners. The replacement statue stands in the area between the exposition's Electricity and Administration Buildings (both demolished after the exposition), at the intersection of Richards Drive and Hayes Drive. One of two additional replicas of the statue stands in Forest Lawn Memorial Park in Glendale, California.The statue is referred to by Chicago historians by the colloquial name, the "Golden Lady." It was designated a Chicago Landmark on June 4, 2003.

0066_NT

Statue of The Republic

Focus on this artwork and discuss the abstract.

The Statue of The Republic is a 24-foot-high (7.3 m) gilded bronze sculpture in Jackson Park, Chicago, Illinois by Daniel Chester French. The colossal original statue, a centerpiece of the World's Columbian Exposition in 1893, was ordered afterwards to be destroyed by fire. A smaller-scale replica sculpted by the same artist was erected in 1918 in commemoration of both the 25th anniversary of the Exposition and the Illinois' statehood centennial. The replacement statue is at the south end of the park at the intersection of East Hayes and South Richards Drive, adjacent to the golf course and approximately where the exposition's Administration Building and Electricity Building once stood. The statue was funded by the Benjamin Ferguson Fund, which commissioned French to cast this recreation of the original 65-foot-tall (20 m) statue that stood on the grounds of the Exposition of 1893. Edith Minturn Stokes served as French's model for the original statue. Henry Bacon, the architect of the Lincoln Memorial, designed the festooned pedestal for the replica. The statue's right hand holds a globe, on which an eagle perches with wings spread. The other hand grasps a staff with a plaque that reads "liberty", partly obscured by an encircling laurel wreath. The original at the Exposition had a Phrygian cap on top of the staff. It was only partly gilded (no gold on the exposed skin of the head, neck and arms), but the replica is completely gilded.The original statue, constructed in 1893, stood in front of the Court of Honor, inside the Great Basin pool. However, on August 28, 1896 that statue was destroyed by fire on order of the park commissioners. The replacement statue stands in the area between the exposition's Electricity and Administration Buildings (both demolished after the exposition), at the intersection of Richards Drive and Hayes Drive. One of two additional replicas of the statue stands in Forest Lawn Memorial Park in Glendale, California.The statue is referred to by Chicago historians by the colloquial name, the "Golden Lady." It was designated a Chicago Landmark on June 4, 2003.

0067_T

The Skater

How does The Skater elucidate its Background?

In 1775 Stuart left his home in the United States for London, and by 1777 he was apprenticed there to Benjamin West. By 1781 Stuart's progress was such that West desired to sit for a portrait by the younger painter, and the resulting painting was favorably received at that year's Royal Academy exhibition.Later in 1781 Stuart was approached by Sir William Grant, a well-placed young Scotsman from Congalton in East Lothian, not far from Edinburgh, who wished to commission a full-length portrait. Stuart had not yet successfully completed a figure in full-length format—he had, in fact, been loath to accept at least two such previous commissions, and was said to have been incapable of painting a figure "beneath the fifth button". Encouraged by the recent reception of his work at the Royal Academy, he agreed to accept the commission from Grant.When he arrived to begin sitting for the portrait, Grant remarked that "on account of the excessive coldness of the weather ... the day was better suited for skating than sitting for one's portrait". Presently artist and patron left for the Serpentine in Hyde Park, where the two men took to the ice, and Grant engaged in a series of skating maneuvers that attracted an admiring crowd. When the ice beneath them began to crack, Stuart instructed Grant to take hold of his coattails, and led him safely to shore.Upon their return to the studio Stuart started to paint Grant's head directly—he never drew with a pencil—then stopped and suggested a composition inspired by their venture on the ice. Grant consented, and Stuart subsequently rendered the figure from memory.

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The Skater

How does this artwork elucidate its Background?

In 1775 Stuart left his home in the United States for London, and by 1777 he was apprenticed there to Benjamin West. By 1781 Stuart's progress was such that West desired to sit for a portrait by the younger painter, and the resulting painting was favorably received at that year's Royal Academy exhibition.Later in 1781 Stuart was approached by Sir William Grant, a well-placed young Scotsman from Congalton in East Lothian, not far from Edinburgh, who wished to commission a full-length portrait. Stuart had not yet successfully completed a figure in full-length format—he had, in fact, been loath to accept at least two such previous commissions, and was said to have been incapable of painting a figure "beneath the fifth button". Encouraged by the recent reception of his work at the Royal Academy, he agreed to accept the commission from Grant.When he arrived to begin sitting for the portrait, Grant remarked that "on account of the excessive coldness of the weather ... the day was better suited for skating than sitting for one's portrait". Presently artist and patron left for the Serpentine in Hyde Park, where the two men took to the ice, and Grant engaged in a series of skating maneuvers that attracted an admiring crowd. When the ice beneath them began to crack, Stuart instructed Grant to take hold of his coattails, and led him safely to shore.Upon their return to the studio Stuart started to paint Grant's head directly—he never drew with a pencil—then stopped and suggested a composition inspired by their venture on the ice. Grant consented, and Stuart subsequently rendered the figure from memory.

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The Skater

Focus on The Skater and analyze the Description.

With his arms crossed and his head slightly lowered as he skates from right to left, Grant dominates the canvas. The dramatic impression is enhanced by a low point of view, much in the fashion of Baroque portraiture in the Grand Manner. But for his folded arms, Grant's pose derives from the Apollo Belvedere, a cast of which was present in West's studio. The black tones of a full-skirted coat, elegant smallclothes and shoes are relieved by a white cravat and cuff, a gray fur lapel, a glimpse of tan glove, and silver buckles on the hat, breeches, and shoes; the stylishly tilted hat belonged to the artist. Behind Grant is a winter landscape of restrained tones composed of distant skaters, trees, and a far-off London skyline that includes Westminster Abbey. Grant's figure divides the canvas into contrasting halves: to the right the coat's silhouette undulates gently, and a large bare tree anchors the composition, while the left side, opening onto the gestures of skaters in motion, is activated by the shape of his protruding elbow and the jagged contour of coat. Beyond the large tree the recession of the distant treeline creates a movement from right to left which is echoed by the disposition of the secondary figures. The overall handling evidences a lightness of touch and a success in integrating figure and landscape that suggests the open-air portraits of Thomas Gainsborough.

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The Skater

Focus on this artwork and analyze the Description.

With his arms crossed and his head slightly lowered as he skates from right to left, Grant dominates the canvas. The dramatic impression is enhanced by a low point of view, much in the fashion of Baroque portraiture in the Grand Manner. But for his folded arms, Grant's pose derives from the Apollo Belvedere, a cast of which was present in West's studio. The black tones of a full-skirted coat, elegant smallclothes and shoes are relieved by a white cravat and cuff, a gray fur lapel, a glimpse of tan glove, and silver buckles on the hat, breeches, and shoes; the stylishly tilted hat belonged to the artist. Behind Grant is a winter landscape of restrained tones composed of distant skaters, trees, and a far-off London skyline that includes Westminster Abbey. Grant's figure divides the canvas into contrasting halves: to the right the coat's silhouette undulates gently, and a large bare tree anchors the composition, while the left side, opening onto the gestures of skaters in motion, is activated by the shape of his protruding elbow and the jagged contour of coat. Beyond the large tree the recession of the distant treeline creates a movement from right to left which is echoed by the disposition of the secondary figures. The overall handling evidences a lightness of touch and a success in integrating figure and landscape that suggests the open-air portraits of Thomas Gainsborough.

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Statue of Ernest W. Hahn

In Statue of Ernest W. Hahn, how is the abstract discussed?

Ernest W. Hahn is a sculpture of the founder of shopping center developer Hahn Company, installed outside San Diego's Horton Plaza, in the U.S. state of California.

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Statue of Ernest W. Hahn

In this artwork, how is the abstract discussed?

Ernest W. Hahn is a sculpture of the founder of shopping center developer Hahn Company, installed outside San Diego's Horton Plaza, in the U.S. state of California.

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Irish Famine Memorial

Focus on Irish Famine Memorial and explore the abstract.

The Irish Famine Memorial, or An Gorta Mor 'Irish Famine and Emigration,' also known as the Irish Famine Monument, is installed in Cambridge Common, in Cambridge, Massachusetts, United States. The bronze and granite monument was designed by Maurice Harron and was dedicated by Ireland's President Mary Robinson in July 1997. It is a monument to the Great Famine in Ireland that started in 1845.

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Irish Famine Memorial

Focus on this artwork and explore the abstract.

The Irish Famine Memorial, or An Gorta Mor 'Irish Famine and Emigration,' also known as the Irish Famine Monument, is installed in Cambridge Common, in Cambridge, Massachusetts, United States. The bronze and granite monument was designed by Maurice Harron and was dedicated by Ireland's President Mary Robinson in July 1997. It is a monument to the Great Famine in Ireland that started in 1845.

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Irish Famine Memorial

Focus on Irish Famine Memorial and explain the Description.

On one side of the memorial is written "AN GORTA MÓR - THE GREAT HUNGER", "IRELAND 1845-1850" along with the dedication and on the other: "NEVER AGAIN SHOULD A PEOPLE STARVE IN A WORLD OF PLENTY".

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Irish Famine Memorial

Focus on this artwork and explain the Description.

On one side of the memorial is written "AN GORTA MÓR - THE GREAT HUNGER", "IRELAND 1845-1850" along with the dedication and on the other: "NEVER AGAIN SHOULD A PEOPLE STARVE IN A WORLD OF PLENTY".

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Shipwreck on the Norwegian Coast

Explore the abstract of this artwork, Shipwreck on the Norwegian Coast.

Shipwreck on the Norwegian Coast or Shipwreck on the Coast of Norway (Norwegian - Skibbrudd ved den norske kyst) is an 1832 marine painting by Johan Christian Dahl. It is now in the National Gallery of Norway, to which it was left in 1931 by Louise and Johannes G. Heftye. Dahl had already painted a first version of the work in 1819, and painted several others in his career, inspired by his five long voyages along the coast of Norway. A smaller variant is in the Bergen Billedgalleri.

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Shipwreck on the Norwegian Coast

Explore the abstract of this artwork.

Shipwreck on the Norwegian Coast or Shipwreck on the Coast of Norway (Norwegian - Skibbrudd ved den norske kyst) is an 1832 marine painting by Johan Christian Dahl. It is now in the National Gallery of Norway, to which it was left in 1931 by Louise and Johannes G. Heftye. Dahl had already painted a first version of the work in 1819, and painted several others in his career, inspired by his five long voyages along the coast of Norway. A smaller variant is in the Bergen Billedgalleri.

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Shipwreck on the Norwegian Coast

Focus on Shipwreck on the Norwegian Coast and discuss the History.

Shipwrecks were a popular motif in romantic painting and Dahl created a large number of paintings on this theme. Alongside the inherent drama, the motif can also symbolize the vulnerability of human life and dependence on natural forces and higher powers. Dahl was educated at the Kunstakademiet in Copenhagen (1811–1817), and then moved to Dresden, in Germany, where he spent the rest of his life. In Dresden, he was a close friend and, from 1823, also a neighbor of the great German Romantic artist Caspar David Friedrich, whose paintings After the Storm (1807) may have inspired Dahl to paint shipwrecks. Dahl made the first shipwreck paintings as early as 1819. In 1823–1824 he made three almost identical paintings on this theme. One of these was destroyed in Berlin during World War II, and another is owned today by Lillehammer Art Museum. Dahl, during his time in Germany, devoted himself almost exclusively to landscape painting and painted a large number of Norwegian landscapes despite not having been to Norway for many years. In 1826, Dahl made a longer journey home to Norway, where he traveled from Christiania (now Oslo), via Telemark. Outside Bergen, he witnessed a shipwreck, which he drew on the spot. This trip originated a large number of landscape paintings and during 1829–1832 he painted his most famous shipwreck works. He continued to paint similar motifs long afterwards, for example Hardangervidda (1846).

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Shipwreck on the Norwegian Coast

Focus on this artwork and discuss the History.

Shipwrecks were a popular motif in romantic painting and Dahl created a large number of paintings on this theme. Alongside the inherent drama, the motif can also symbolize the vulnerability of human life and dependence on natural forces and higher powers. Dahl was educated at the Kunstakademiet in Copenhagen (1811–1817), and then moved to Dresden, in Germany, where he spent the rest of his life. In Dresden, he was a close friend and, from 1823, also a neighbor of the great German Romantic artist Caspar David Friedrich, whose paintings After the Storm (1807) may have inspired Dahl to paint shipwrecks. Dahl made the first shipwreck paintings as early as 1819. In 1823–1824 he made three almost identical paintings on this theme. One of these was destroyed in Berlin during World War II, and another is owned today by Lillehammer Art Museum. Dahl, during his time in Germany, devoted himself almost exclusively to landscape painting and painted a large number of Norwegian landscapes despite not having been to Norway for many years. In 1826, Dahl made a longer journey home to Norway, where he traveled from Christiania (now Oslo), via Telemark. Outside Bergen, he witnessed a shipwreck, which he drew on the spot. This trip originated a large number of landscape paintings and during 1829–1832 he painted his most famous shipwreck works. He continued to paint similar motifs long afterwards, for example Hardangervidda (1846).

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Poland (sculpture)

How does Poland (sculpture) elucidate its abstract?

Poland is a public art work by artist Mark di Suvero located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The sculpture is an abstract form; it is installed on the lawn.

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Poland (sculpture)

How does this artwork elucidate its abstract?

Poland is a public art work by artist Mark di Suvero located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The sculpture is an abstract form; it is installed on the lawn.

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Poland (sculpture)

Focus on Poland (sculpture) and analyze the Description.

The sculpture is composed of juxtaposed steel elements including I-beams and a mast. The materials are rusted.

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Poland (sculpture)

Focus on this artwork and analyze the Description.

The sculpture is composed of juxtaposed steel elements including I-beams and a mast. The materials are rusted.

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Say Their Names

In Say Their Names, how is the abstract discussed?

Say Their Names is a 2020 mural in Louisville, Kentucky.

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Say Their Names

In this artwork, how is the abstract discussed?

Say Their Names is a 2020 mural in Louisville, Kentucky.

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Say Their Names

Focus on Say Their Names and explore the Description and history.

Unveiled in July 2020, the artwork depicts the faces of Sandra Bland, George Floyd, David McAtee, Elijah McClain, and Breonna Taylor. It was vandalized in June 2021. Artist Whitney Holbourn repaired the mural and added the face of Travis Nagdy.The phrase "Say Their Names" was coined to bring attention to victims of systemic racism and racial injustice in the United States. The movement stems from the 2014 movement SayHerName in response to the death of Bland, and has since gained significant traction when discussing racial injustice in the United States.

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Say Their Names

Focus on this artwork and explore the Description and history.

Unveiled in July 2020, the artwork depicts the faces of Sandra Bland, George Floyd, David McAtee, Elijah McClain, and Breonna Taylor. It was vandalized in June 2021. Artist Whitney Holbourn repaired the mural and added the face of Travis Nagdy.The phrase "Say Their Names" was coined to bring attention to victims of systemic racism and racial injustice in the United States. The movement stems from the 2014 movement SayHerName in response to the death of Bland, and has since gained significant traction when discussing racial injustice in the United States.

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The Ecumenical Council (painting)

Focus on The Ecumenical Council (painting) and explain the abstract.

The Ecumenical Council is a surrealist painting by Spanish artist Salvador Dalí completed in 1960. It is one of his masterpieces, taking two years to complete and very large at 299.7 by 254 centimetres (118.0 in × 100.0 in). The painting is a complex assemblage of art historical references and religious scenes emphasizing Catholic symbolism. Dalí was inspired to paint The Ecumenical Council upon the 1958 election of Pope John XXIII, as the pope had extended communication to Geoffrey Fisher, the Archbishop of Canterbury, the first such invitation in more than four centuries. The painting expresses Dalí's renewed hope in religious leadership following the devastation of World War II. Today, it is housed in the Salvador Dalí Museum in St. Petersburg, Florida.

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The Ecumenical Council (painting)

Focus on this artwork and explain the abstract.

The Ecumenical Council is a surrealist painting by Spanish artist Salvador Dalí completed in 1960. It is one of his masterpieces, taking two years to complete and very large at 299.7 by 254 centimetres (118.0 in × 100.0 in). The painting is a complex assemblage of art historical references and religious scenes emphasizing Catholic symbolism. Dalí was inspired to paint The Ecumenical Council upon the 1958 election of Pope John XXIII, as the pope had extended communication to Geoffrey Fisher, the Archbishop of Canterbury, the first such invitation in more than four centuries. The painting expresses Dalí's renewed hope in religious leadership following the devastation of World War II. Today, it is housed in the Salvador Dalí Museum in St. Petersburg, Florida.

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The Ecumenical Council (painting)

Explore the Background of this artwork, The Ecumenical Council (painting).

Salvador Dalí was 54 years old when he began to paint The Ecumenical Council. He was established as a surrealist with a reputation for shocking audiences with fantastic imagery, something that New York Times chief art critic John Canaday later characterized as "the naughtiness that obsessed him". His work began to take on darker, more violent overtones during World War II. Possibly spurred both by the death of his father in 1950 and his interest in the writings of French theologian Pierre Teilhard de Chardin, Dalí began to incorporate religious iconography in his work. He was by this time an international star and able to secure an audience with Pope Pius XII. By the late 1950s, both religious and cosmic matters preoccupied his work while his canvases became especially large, as if, according to author Kenneth Wach, he was "motivated by a desire to match such admired historical antecedents as the Spanish artists Murillo, Velázquez, and Zurbarán, and thereby to secure his place in the art of the century". When a new pope was being considered in 1958, Dalí was an enthusiastic supporter of Angelo Giuseppe Cardinal Roncalli, to the extent that Roncalli's ear became the subject of his trompe-l'œil composition The Sistine Madonna (1958).

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The Ecumenical Council (painting)

Explore the Background of this artwork.

Salvador Dalí was 54 years old when he began to paint The Ecumenical Council. He was established as a surrealist with a reputation for shocking audiences with fantastic imagery, something that New York Times chief art critic John Canaday later characterized as "the naughtiness that obsessed him". His work began to take on darker, more violent overtones during World War II. Possibly spurred both by the death of his father in 1950 and his interest in the writings of French theologian Pierre Teilhard de Chardin, Dalí began to incorporate religious iconography in his work. He was by this time an international star and able to secure an audience with Pope Pius XII. By the late 1950s, both religious and cosmic matters preoccupied his work while his canvases became especially large, as if, according to author Kenneth Wach, he was "motivated by a desire to match such admired historical antecedents as the Spanish artists Murillo, Velázquez, and Zurbarán, and thereby to secure his place in the art of the century". When a new pope was being considered in 1958, Dalí was an enthusiastic supporter of Angelo Giuseppe Cardinal Roncalli, to the extent that Roncalli's ear became the subject of his trompe-l'œil composition The Sistine Madonna (1958).

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The Ecumenical Council (painting)

Focus on The Ecumenical Council (painting) and discuss the Description.

The Ecumenical Council is an assemblage of religious scenes and other symbols with personal significance to Dalí that he often repeated in his works. At the top center of the piece is the Holy Trinity: a youthful Father extends an arm to cover his face and is shown without genitals. Below and to the left of God is Jesus, holding a cross. The Holy Spirit floats to the right with his face obscured while a dove flies overhead. Between Jesus and the Holy Spirit is a scene from the Papal coronation. Dalí's wife Gala is shown kneeling under this area, holding a book and a cross. Beside her are the Cap de Creus cliffs. Dalí did not sign the canvas; instead he included a self-portrait in the lower left corner, looking out at the viewer as he stands in front of a blank canvas. The top and bottom portions of the composition are markedly different, as the figures above are not sharply defined and they blend into each other with sweeping clouds. The figures, rock, and water in the lower portion, in contrast, are clear and have distinct shapes and lines. The merging between the two parts of the canvas is Dalí's depiction of the marriage between heaven and earth. A preparatory study for The Ecumenical Council was eventually exhibited as The Trinity. Scholars debate as to who is represented by the figures in both works. The top figure, commonly recognized as God the Father, is more reminiscent of a naked, suffering Christ (the study depicts the top figure with male genitalia). The lower figures are androgynous, wearing gowns and posing with traditionally feminine attributes. The lower right figure, which is recognized as the Holy Spirit by the dove over its head, has his hands crossed, a gesture associated with the Annunciation: the revelation that Mary will give birth to Christ. It is unclear if the dove in The Ecumenical Council is a symbol of the Holy Spirit or a messenger from the archangel Gabriel.

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The Ecumenical Council (painting)

Focus on this artwork and discuss the Description.

The Ecumenical Council is an assemblage of religious scenes and other symbols with personal significance to Dalí that he often repeated in his works. At the top center of the piece is the Holy Trinity: a youthful Father extends an arm to cover his face and is shown without genitals. Below and to the left of God is Jesus, holding a cross. The Holy Spirit floats to the right with his face obscured while a dove flies overhead. Between Jesus and the Holy Spirit is a scene from the Papal coronation. Dalí's wife Gala is shown kneeling under this area, holding a book and a cross. Beside her are the Cap de Creus cliffs. Dalí did not sign the canvas; instead he included a self-portrait in the lower left corner, looking out at the viewer as he stands in front of a blank canvas. The top and bottom portions of the composition are markedly different, as the figures above are not sharply defined and they blend into each other with sweeping clouds. The figures, rock, and water in the lower portion, in contrast, are clear and have distinct shapes and lines. The merging between the two parts of the canvas is Dalí's depiction of the marriage between heaven and earth. A preparatory study for The Ecumenical Council was eventually exhibited as The Trinity. Scholars debate as to who is represented by the figures in both works. The top figure, commonly recognized as God the Father, is more reminiscent of a naked, suffering Christ (the study depicts the top figure with male genitalia). The lower figures are androgynous, wearing gowns and posing with traditionally feminine attributes. The lower right figure, which is recognized as the Holy Spirit by the dove over its head, has his hands crossed, a gesture associated with the Annunciation: the revelation that Mary will give birth to Christ. It is unclear if the dove in The Ecumenical Council is a symbol of the Holy Spirit or a messenger from the archangel Gabriel.

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The Ecumenical Council (painting)

How does The Ecumenical Council (painting) elucidate its Influences?

The painting represents several of Dalí's ideas on art and religion. It is heavily inspired by Diego Velázquez, and was completed in time for the 300th anniversary of his death. Dalí had long been influenced by Velázquez, and used images from The Surrender of Breda (1634–35) in his The Discovery of America by Christopher Columbus completed the previous year. As with Dalí, Velázquez painted himself into his Las Meninas (1656), at the lower left portion of the canvas looking out at the viewer with canvas and brush. The arch (St. Peter’s Basilica in Rome) under which God floats in the painting and the composition of the trinity based on Michelangelo's The Last Judgment (1537–41) are references to the art of the Renaissance.Dalí considered some forms of 20th-century modern art "barbaric" and attempted in his art and writings to promote a more classical painting style. He wrote a book about painting titled 50 Secrets of Magic Craftsmanship (1948) in which he describes his inspiration to write it: "Now at forty-five I want to paint a masterpiece and to save Modern Art from chaos and laziness. I will succeed! This book is consecrated to this crusade and I dedicate it to all the young, who have faith in true painting." Modern art techniques, however, are also evident in the piece. George Orwell, who wrote a critique of Dalí's novel Hidden Faces, writes that Dalí admitted that the rocks in The Ecumenical Council are abstract compositions that serve as symbols. Dalí, according to Orwell, is influenced by Mariano Fortuny, a 19th-century Spanish painter.

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The Ecumenical Council (painting)

How does this artwork elucidate its Influences?

The painting represents several of Dalí's ideas on art and religion. It is heavily inspired by Diego Velázquez, and was completed in time for the 300th anniversary of his death. Dalí had long been influenced by Velázquez, and used images from The Surrender of Breda (1634–35) in his The Discovery of America by Christopher Columbus completed the previous year. As with Dalí, Velázquez painted himself into his Las Meninas (1656), at the lower left portion of the canvas looking out at the viewer with canvas and brush. The arch (St. Peter’s Basilica in Rome) under which God floats in the painting and the composition of the trinity based on Michelangelo's The Last Judgment (1537–41) are references to the art of the Renaissance.Dalí considered some forms of 20th-century modern art "barbaric" and attempted in his art and writings to promote a more classical painting style. He wrote a book about painting titled 50 Secrets of Magic Craftsmanship (1948) in which he describes his inspiration to write it: "Now at forty-five I want to paint a masterpiece and to save Modern Art from chaos and laziness. I will succeed! This book is consecrated to this crusade and I dedicate it to all the young, who have faith in true painting." Modern art techniques, however, are also evident in the piece. George Orwell, who wrote a critique of Dalí's novel Hidden Faces, writes that Dalí admitted that the rocks in The Ecumenical Council are abstract compositions that serve as symbols. Dalí, according to Orwell, is influenced by Mariano Fortuny, a 19th-century Spanish painter.

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The Ecumenical Council (painting)

Focus on The Ecumenical Council (painting) and analyze the Provenance.

Dalí's study, The Trinity, is a smaller painting measuring 58.4 by 66 centimetres (23.0 in × 26.0 in). As with The Ecumenical Council, he displays the unity of Father, Son and Holy Spirit: God floating with his face blocked by his hand above Jesus, whose foot is extended and who points upward, with a faceless Holy Spirit. It was exhibited with The Ecumenical Council at the Carstairs Gallery in New York in 1960, whereupon critic Michael Strauss expressed his impression that Dalí was "a very different person" from the previous creator of lascivious works of art. During the exhibition Dalí stated that The Ecumenical Council commemorated "the greatest historical event of our time and which, prudently, I have painted before it has met".Dalí became friends with American art collectors Albert Reynolds and Eleanor Morse in 1943. Their first purchase was Dalí's war-inspired Daddy Longlegs of the Evening ... Hope! (1940), and after a few acquisitions from his shows, the Morses bought pieces directly from his studio. Gala sold The Ecumenical Council to the Morses for $100,000 ($737,120 in 2010), stipulating that it had to be paid in cash, in Spanish pesetas. The Morses originally housed their Dalí collection in a specially built wing of A.R. Morse's engineering firm in Beachwood, Ohio. However, the size of their collection—both in number and dimensions—outgrew the facilities. The City of St. Petersburg, Florida offered to build a museum to house and manage all the pieces. It opened as the Salvador Dalí Museum in 1982, with 95 paintings, including other Dalí masterworks (the museum considers unusually large pieces taking two years to complete as masterpieces) such as The Hallucinogenic Toreador (1970), Galacidalacidesoxyribonucleicacid (1963), Nature Morte Vivante (1956) and The Discovery of America by Christopher Columbus. The Ecumenical Council is currently shown in the Salvador Dalí Museum. The Trinity is housed in the Musei Vaticani in Vatican City.

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The Ecumenical Council (painting)

Focus on this artwork and analyze the Provenance.

Dalí's study, The Trinity, is a smaller painting measuring 58.4 by 66 centimetres (23.0 in × 26.0 in). As with The Ecumenical Council, he displays the unity of Father, Son and Holy Spirit: God floating with his face blocked by his hand above Jesus, whose foot is extended and who points upward, with a faceless Holy Spirit. It was exhibited with The Ecumenical Council at the Carstairs Gallery in New York in 1960, whereupon critic Michael Strauss expressed his impression that Dalí was "a very different person" from the previous creator of lascivious works of art. During the exhibition Dalí stated that The Ecumenical Council commemorated "the greatest historical event of our time and which, prudently, I have painted before it has met".Dalí became friends with American art collectors Albert Reynolds and Eleanor Morse in 1943. Their first purchase was Dalí's war-inspired Daddy Longlegs of the Evening ... Hope! (1940), and after a few acquisitions from his shows, the Morses bought pieces directly from his studio. Gala sold The Ecumenical Council to the Morses for $100,000 ($737,120 in 2010), stipulating that it had to be paid in cash, in Spanish pesetas. The Morses originally housed their Dalí collection in a specially built wing of A.R. Morse's engineering firm in Beachwood, Ohio. However, the size of their collection—both in number and dimensions—outgrew the facilities. The City of St. Petersburg, Florida offered to build a museum to house and manage all the pieces. It opened as the Salvador Dalí Museum in 1982, with 95 paintings, including other Dalí masterworks (the museum considers unusually large pieces taking two years to complete as masterpieces) such as The Hallucinogenic Toreador (1970), Galacidalacidesoxyribonucleicacid (1963), Nature Morte Vivante (1956) and The Discovery of America by Christopher Columbus. The Ecumenical Council is currently shown in the Salvador Dalí Museum. The Trinity is housed in the Musei Vaticani in Vatican City.

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Adoration of the Shepherds (El Greco, Bucharest)

In Adoration of the Shepherds (El Greco, Bucharest), how is the Two worlds shown in one painting discussed?

Distortion of body characterizes the Adoration of the Shepherds like many altarpiece paintings of El Greco. Sometimes these were installed at floor level and sometimes high above the viewer, so it is not known if viewing perspective was taken into account. Like earlier designs El Greco made of the same subject, the secular world is shown in the lower half, and the divine world is shown in the upper half. Due to the difficulties of displaying such tall paintings, some of these tall masterpieces by El Greco were cut in half, leaving fragments in various collections such as the heavenly fragment Concert of Angels, today in Athens and the secular fragment Opening of the Fifth Seal, today in New York.

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Adoration of the Shepherds (El Greco, Bucharest)

In this artwork, how is the Two worlds shown in one painting discussed?

Distortion of body characterizes the Adoration of the Shepherds like many altarpiece paintings of El Greco. Sometimes these were installed at floor level and sometimes high above the viewer, so it is not known if viewing perspective was taken into account. Like earlier designs El Greco made of the same subject, the secular world is shown in the lower half, and the divine world is shown in the upper half. Due to the difficulties of displaying such tall paintings, some of these tall masterpieces by El Greco were cut in half, leaving fragments in various collections such as the heavenly fragment Concert of Angels, today in Athens and the secular fragment Opening of the Fifth Seal, today in New York.

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Adoration of the Shepherds (El Greco, Bucharest)

Focus on Adoration of the Shepherds (El Greco, Bucharest) and explore the Other versions and provenance.

El Greco's nativity scenes were very popular throughout his career, and six were listed in the 1621 inventory of his son Jorge Manuel's possessions. This explains how this painting came to be separated from the rest of the altarpiece, as it was possibly the most popular subject. A smaller copy of this painting painted in 1598 is in the collection of the Galleria Nazionale d'Arte Antica.In 1581 Philip III of Spain granted land for the building of this chapter of nuns of the Order of St. Augustine, which was named after its commissioner, Dona Maria de Aragón, a lady-in-waiting to the queen, Dona Ana de Austria. She negotiated initial delivery of the altarpiece in 1596, but died sometime before payment in September of 1600. El Greco had promised delivery by Easter 1599, but only delivered in July 1600, whereupon it was appraised by Dona Maria de Aragón's executors in August 1600. The altarpiece was intact until 1808, but after deconstruction it was no longer on show there and on 17 August 1836 Baron Taylor purchased it for King Louis Philippe, at whose sale 21 May 1853, lot number #108, it subsequently went to the brothers Émile Péreire (1800-1875) and Isaac Péreire (1806-1880), Paris; from their sale, Hôtel Drouot, Paris, 30–31 January 1868, lot number 31, it went to Félix Bamberg, consul of Messina, at whose sale in 1879, it was purchased for the Royal Palace, Sinaia.

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Adoration of the Shepherds (El Greco, Bucharest)

Focus on this artwork and explore the Other versions and provenance.

El Greco's nativity scenes were very popular throughout his career, and six were listed in the 1621 inventory of his son Jorge Manuel's possessions. This explains how this painting came to be separated from the rest of the altarpiece, as it was possibly the most popular subject. A smaller copy of this painting painted in 1598 is in the collection of the Galleria Nazionale d'Arte Antica.In 1581 Philip III of Spain granted land for the building of this chapter of nuns of the Order of St. Augustine, which was named after its commissioner, Dona Maria de Aragón, a lady-in-waiting to the queen, Dona Ana de Austria. She negotiated initial delivery of the altarpiece in 1596, but died sometime before payment in September of 1600. El Greco had promised delivery by Easter 1599, but only delivered in July 1600, whereupon it was appraised by Dona Maria de Aragón's executors in August 1600. The altarpiece was intact until 1808, but after deconstruction it was no longer on show there and on 17 August 1836 Baron Taylor purchased it for King Louis Philippe, at whose sale 21 May 1853, lot number #108, it subsequently went to the brothers Émile Péreire (1800-1875) and Isaac Péreire (1806-1880), Paris; from their sale, Hôtel Drouot, Paris, 30–31 January 1868, lot number 31, it went to Félix Bamberg, consul of Messina, at whose sale in 1879, it was purchased for the Royal Palace, Sinaia.

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Four-Sided Pyramid

Focus on Four-Sided Pyramid and explain the abstract.

Four-Sided Pyramid is a conceptual modular "structure", by Sol LeWitt, in the National Gallery of Art Sculpture Garden.The artist created a plan and Four-Sided Pyramid was constructed by others, in 1999.

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Four-Sided Pyramid

Focus on this artwork and explain the abstract.

Four-Sided Pyramid is a conceptual modular "structure", by Sol LeWitt, in the National Gallery of Art Sculpture Garden.The artist created a plan and Four-Sided Pyramid was constructed by others, in 1999.

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Derek Davis (artist)

Explore the abstract of this artwork, Derek Davis (artist).

Derek Maynard Davis (24 February 1926 – 3 September 2008) was an English artist, working in the media of painting and pottery. He was born in Wandsworth, South London, where he was educated at Emanuel School. He joined the King's Royal Rifle Corps in 1943, to fight in World War II. After the war he entered the Central School of Arts and Crafts in London. Together with his friend Eric James Mellon he then started a pottery workshop in Hillesden, Buckinghamshire. Later he left to work on his own, and moved to Arundel, West Sussex. Here he developed his ceramics further, coming up with several innovative techniques. An eye operation in 1994 left him unable to look through the hole in the pottery kiln, and after this he started focusing on painting instead.Davis's work is characteristic for breaking with the functionalistic style of Bernard Leach, which was prevalent in the post-war years. Davis was self-taught within the field of pottery, and his method has been described as "working as much by instinct as plan". His pottery was featured at several separate exhibitions, and he had commissions from the Barbican Centre and the British embassies in Brasilia, Rome, Warsaw, and Riyadh. Davis met his wife Ruth Lambert in Ventnor on the Isle of Wight, where he spent some time in a sanatorium after college, suffering from tuberculosis. Ruth, a patient at the same institution, was also a painter. The couple married in 1953, and they had one son. Davis died in Chichester 4 September 2008.

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Derek Davis (artist)

Explore the abstract of this artwork.

Derek Maynard Davis (24 February 1926 – 3 September 2008) was an English artist, working in the media of painting and pottery. He was born in Wandsworth, South London, where he was educated at Emanuel School. He joined the King's Royal Rifle Corps in 1943, to fight in World War II. After the war he entered the Central School of Arts and Crafts in London. Together with his friend Eric James Mellon he then started a pottery workshop in Hillesden, Buckinghamshire. Later he left to work on his own, and moved to Arundel, West Sussex. Here he developed his ceramics further, coming up with several innovative techniques. An eye operation in 1994 left him unable to look through the hole in the pottery kiln, and after this he started focusing on painting instead.Davis's work is characteristic for breaking with the functionalistic style of Bernard Leach, which was prevalent in the post-war years. Davis was self-taught within the field of pottery, and his method has been described as "working as much by instinct as plan". His pottery was featured at several separate exhibitions, and he had commissions from the Barbican Centre and the British embassies in Brasilia, Rome, Warsaw, and Riyadh. Davis met his wife Ruth Lambert in Ventnor on the Isle of Wight, where he spent some time in a sanatorium after college, suffering from tuberculosis. Ruth, a patient at the same institution, was also a painter. The couple married in 1953, and they had one son. Davis died in Chichester 4 September 2008.

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Madonna and Child (Lippi)

Focus on Madonna and Child (Lippi) and discuss the abstract.

Madonna with Child (Italian: Madonna col Bambino e angeli or Lippina) is a painting by the Italian Renaissance artist Filippo Lippi. The date in which it was executed is unknown, but most art historians agree that it was painted during the last part of Lippi's career, between 1450 and 1465. It is one of the few works by Lippi which was not executed with the help of his workshop and was an influential model for later depictions of the Madonna and Child, including those by Sandro Botticelli. The painting is housed in the Uffizi Gallery, Florence, Italy, and is therefore commonly called “The Uffizi Madonna” among art historians.

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Madonna and Child (Lippi)

Focus on this artwork and discuss the abstract.

Madonna with Child (Italian: Madonna col Bambino e angeli or Lippina) is a painting by the Italian Renaissance artist Filippo Lippi. The date in which it was executed is unknown, but most art historians agree that it was painted during the last part of Lippi's career, between 1450 and 1465. It is one of the few works by Lippi which was not executed with the help of his workshop and was an influential model for later depictions of the Madonna and Child, including those by Sandro Botticelli. The painting is housed in the Uffizi Gallery, Florence, Italy, and is therefore commonly called “The Uffizi Madonna” among art historians.

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Madonna and Child (Lippi)

How does Madonna and Child (Lippi) elucidate its Background?

Fra Filippo was born in 1406 in Florence to a poor family where his father was a butcher. He entered a monastery with his brother at an early age. Later in his life, he was moved to a monastery in Prato, and here fell in love with a nun, Lucrezia Buti, with whom he had two children. He encountered more trouble when his patrons claimed that Fra Filippo did not fulfill his contracts. Fra Filippo's main patrons were the Medicis.

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Madonna and Child (Lippi)

How does this artwork elucidate its Background?

Fra Filippo was born in 1406 in Florence to a poor family where his father was a butcher. He entered a monastery with his brother at an early age. Later in his life, he was moved to a monastery in Prato, and here fell in love with a nun, Lucrezia Buti, with whom he had two children. He encountered more trouble when his patrons claimed that Fra Filippo did not fulfill his contracts. Fra Filippo's main patrons were the Medicis.

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Madonna and Child (Lippi)

Focus on Madonna and Child (Lippi) and analyze the History.

The commission and the exact execution date of the painting are unknown. In 1457, Giovanni de’ Medici wished to gift a panel to the King of Naples and commissioned Fra Filippo to paint it. Fra Filippo, who was working in Prato at that time, decided to temporarily return to his residence in Florence to work on this project. Fra Filippo wrote letters to Giovanni that show that the painter abandoned the project because of a lack of funding. Although art historian Ulmann believes that Fra Filippo presented the Uffizi Madonna to Giovanni to thank him for acting as an intermediary between him and the King of Naples, Edward C. Strutt states that this belief is incorrect. However, he also states that the Uffizi Madonna was in all probability executed around this time, while Fra Filippo was staying in Florence. This is also demonstrated by the techniques that Fra Filippo used to realize this painting: the blunt execution and the bold colors highlight how the painter was influenced by the technique of fresco painting. Since he acquired such techniques by working at the Prato Cathedral, long before he moved to Florence, Strutt believes that Fra Filippo must have executed this painting after his time working at the Cathedral.The Madonna is traditionally identified with Lucrezia Buti, as for most of Fra Filippo's Madonnas.Another possible interpretation of the painting is that the unusual size is perhaps connected to a personal event, such as the birth of his son, Filippino (1457): however, if Filippino was chosen as model for the angel in the foreground, the panel could be from a date as late as around 1465.An 18th-century inscription in the rear of the panel testifies the presence of the painting in the Medici Villa del Poggio Imperiale at the time. On 13 May 1796 it entered the Gran Ducal collections in Florence, which formed the base of the future Uffizi museum.

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Madonna and Child (Lippi)

Focus on this artwork and analyze the History.

The commission and the exact execution date of the painting are unknown. In 1457, Giovanni de’ Medici wished to gift a panel to the King of Naples and commissioned Fra Filippo to paint it. Fra Filippo, who was working in Prato at that time, decided to temporarily return to his residence in Florence to work on this project. Fra Filippo wrote letters to Giovanni that show that the painter abandoned the project because of a lack of funding. Although art historian Ulmann believes that Fra Filippo presented the Uffizi Madonna to Giovanni to thank him for acting as an intermediary between him and the King of Naples, Edward C. Strutt states that this belief is incorrect. However, he also states that the Uffizi Madonna was in all probability executed around this time, while Fra Filippo was staying in Florence. This is also demonstrated by the techniques that Fra Filippo used to realize this painting: the blunt execution and the bold colors highlight how the painter was influenced by the technique of fresco painting. Since he acquired such techniques by working at the Prato Cathedral, long before he moved to Florence, Strutt believes that Fra Filippo must have executed this painting after his time working at the Cathedral.The Madonna is traditionally identified with Lucrezia Buti, as for most of Fra Filippo's Madonnas.Another possible interpretation of the painting is that the unusual size is perhaps connected to a personal event, such as the birth of his son, Filippino (1457): however, if Filippino was chosen as model for the angel in the foreground, the panel could be from a date as late as around 1465.An 18th-century inscription in the rear of the panel testifies the presence of the painting in the Medici Villa del Poggio Imperiale at the time. On 13 May 1796 it entered the Gran Ducal collections in Florence, which formed the base of the future Uffizi museum.

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Madonna and Child (Lippi)

In Madonna and Child (Lippi), how is the Description discussed?

The Uffizi Madonna is associated with the taste of the new age, as the Madonna is “lovelier and more fashionable than any of Filippo’s earlier Madonnas”. The group of Madonna and Child is, unusually for the period, placed in front of an open window beyond which is a landscape inspired to Flemish painting. The Madonna sits on a chair, at the window of a house located on a hilltop, which offers a view of an elaborate landscape of “plains, distant mountains, a city and a bay”. Her eyes are pointed down and her hands are folded in prayers before child Jesus, who is held up to her by two angels. She is wearing an elaborate coiffure with a soft veil and pearls: these elements, along with her costume, represent the elegance of the mid-1400s and were re-used in numerous late 15th century works in Florence. Furthermore, as in many Renaissance paintings, the Madonna's hair is shaved farther back because, “the forehead [was] an object of special beauty” that resembled “a glowing, beautifully set pearl”. This Madonna resembles other Madonnas from the same artist. For example, it is closely related to Fra Filippo's Pitti tondo Madonna, but it lacks “the pathetic girlish loveliness” of the Pitti tondo and rather has “a more womanly and mature type of beauty”.The angel on the right is one of the most curious parts of the painting: he is looking at the viewer with a “roguish smile, more expressive of mischief than of seraphic perfection”. His pose does not resemble that of an angel, and he does not seem to be playing his part, rather he seems to be the real child.

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Madonna and Child (Lippi)

In this artwork, how is the Description discussed?

The Uffizi Madonna is associated with the taste of the new age, as the Madonna is “lovelier and more fashionable than any of Filippo’s earlier Madonnas”. The group of Madonna and Child is, unusually for the period, placed in front of an open window beyond which is a landscape inspired to Flemish painting. The Madonna sits on a chair, at the window of a house located on a hilltop, which offers a view of an elaborate landscape of “plains, distant mountains, a city and a bay”. Her eyes are pointed down and her hands are folded in prayers before child Jesus, who is held up to her by two angels. She is wearing an elaborate coiffure with a soft veil and pearls: these elements, along with her costume, represent the elegance of the mid-1400s and were re-used in numerous late 15th century works in Florence. Furthermore, as in many Renaissance paintings, the Madonna's hair is shaved farther back because, “the forehead [was] an object of special beauty” that resembled “a glowing, beautifully set pearl”. This Madonna resembles other Madonnas from the same artist. For example, it is closely related to Fra Filippo's Pitti tondo Madonna, but it lacks “the pathetic girlish loveliness” of the Pitti tondo and rather has “a more womanly and mature type of beauty”.The angel on the right is one of the most curious parts of the painting: he is looking at the viewer with a “roguish smile, more expressive of mischief than of seraphic perfection”. His pose does not resemble that of an angel, and he does not seem to be playing his part, rather he seems to be the real child.

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Madonna and Child (Lippi)

Focus on Madonna and Child (Lippi) and explore the Symbolism.

This painting contains religious symbols: there are rocks and the seashore outside the window, which are recurrent themes in Florentine Renaissance paintings. The seashore probably alludes to the Virgin Mary’s title “star of the sea and port of our salvation”, and the rocks allude to the tales of prophet Daniel.

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Madonna and Child (Lippi)

Focus on this artwork and explore the Symbolism.

This painting contains religious symbols: there are rocks and the seashore outside the window, which are recurrent themes in Florentine Renaissance paintings. The seashore probably alludes to the Virgin Mary’s title “star of the sea and port of our salvation”, and the rocks allude to the tales of prophet Daniel.

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Madonna and Child (Lippi)

Focus on Madonna and Child (Lippi) and explain the Interpretation.

The angel on the right has always been of particular importance to art historians. Marylin Lavin argues that the Uffizi Madonna “should be understood as a representation of the marriage of Christ and the Virgin Mary”. According to Barnaby Nygren, the fact that the Madonna is not holding the child, but rather he is being presented to her argues Lavin's interpretation. However, Bernard Berenson argues that “the relationship between bride and groom is not as the Virgin Mary and Christ but rather as the individual devout soul and God”. Finally, Jonathan Jones argues that the Madonna is “one of the most beautiful paintings of the Renaissance” and an exemplification of the humanizing of religion that dates back to Giotto. According to him, Fra Filippo, with this painting, makes the relation between the Madonna and the child that of a real mother and baby.

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Madonna and Child (Lippi)

Focus on this artwork and explain the Interpretation.

The angel on the right has always been of particular importance to art historians. Marylin Lavin argues that the Uffizi Madonna “should be understood as a representation of the marriage of Christ and the Virgin Mary”. According to Barnaby Nygren, the fact that the Madonna is not holding the child, but rather he is being presented to her argues Lavin's interpretation. However, Bernard Berenson argues that “the relationship between bride and groom is not as the Virgin Mary and Christ but rather as the individual devout soul and God”. Finally, Jonathan Jones argues that the Madonna is “one of the most beautiful paintings of the Renaissance” and an exemplification of the humanizing of religion that dates back to Giotto. According to him, Fra Filippo, with this painting, makes the relation between the Madonna and the child that of a real mother and baby.

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The Immaculate Conception (Tiepolo)

Explore the abstract of this artwork, The Immaculate Conception (Tiepolo).

The Immaculate Conception is a painting by Italian painter Giovanni Battista Tiepolo (1696–1770). The painting was one of seven altarpieces commissioned in March 1767 from Tiepolo by King Charles III of Spain for the Church of Saint Pascual in Aranjuez, then under construction. This was originally an Alcantarine (Franciscan) monastery that was later assigned to the Conceptionist nuns. The painting was commissioned in 1767, at a time when the Immaculate Conception was already a common theme in Ecclesiastical art, the Feast of the Immaculate Conception (8 December) having been restored to the Calendar of Saints in 1708, though its theology would not be definitely settled as dogma until Pope Pius IX's declaration in 1854. It represents the Immaculate Conception, a tradition of the Catholic Church stating that the Virgin Mary was conceived without original sin. It depicts the Virgin Mary, surrounded by angels and crowned with the circle of stars. She is shown trampling a snake, representing her victory over the devil. The lilies and the rose are references to hortus conclusus ("enclosed garden"), and symbolize Mary's love, virginity and purity. The painting is now in the Prado Museum, Madrid.Tiepolo's altarpieces were transferred to the adjoining convent soon after they were installed in the church. They were replaced by an identically themed set by Anton Raphael Mengs, whose neo-classicism was more to Charles III's taste. Finally The Immaculate Conception was transferred to the Prado Museum in 1827.

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The Immaculate Conception (Tiepolo)

Explore the abstract of this artwork.

The Immaculate Conception is a painting by Italian painter Giovanni Battista Tiepolo (1696–1770). The painting was one of seven altarpieces commissioned in March 1767 from Tiepolo by King Charles III of Spain for the Church of Saint Pascual in Aranjuez, then under construction. This was originally an Alcantarine (Franciscan) monastery that was later assigned to the Conceptionist nuns. The painting was commissioned in 1767, at a time when the Immaculate Conception was already a common theme in Ecclesiastical art, the Feast of the Immaculate Conception (8 December) having been restored to the Calendar of Saints in 1708, though its theology would not be definitely settled as dogma until Pope Pius IX's declaration in 1854. It represents the Immaculate Conception, a tradition of the Catholic Church stating that the Virgin Mary was conceived without original sin. It depicts the Virgin Mary, surrounded by angels and crowned with the circle of stars. She is shown trampling a snake, representing her victory over the devil. The lilies and the rose are references to hortus conclusus ("enclosed garden"), and symbolize Mary's love, virginity and purity. The painting is now in the Prado Museum, Madrid.Tiepolo's altarpieces were transferred to the adjoining convent soon after they were installed in the church. They were replaced by an identically themed set by Anton Raphael Mengs, whose neo-classicism was more to Charles III's taste. Finally The Immaculate Conception was transferred to the Prado Museum in 1827.

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The Immaculate Conception (Tiepolo)

Focus on The Immaculate Conception (Tiepolo) and discuss the Painting.

The imposing Baroque style of the painting is meant to evoke emotion. It was completed between 1767 and 1768. The depiction of the Virgin Mary is done according to traditional Christian iconography, and represents her Immaculate Conception, free from original sin. Standard iconographic elements include the dove above her, the stars around her head, her position on the crescent moon with a snake crushed under her feet, her hands held together in prayer, and the obelisk on her right. Additional iconography which accords to this theme include clouds, cherubs, lilies and a pink rose, flowers which are often associated with Mary. The dove above her head symbolizes the Holy Ghost, while the rose and the lilies are her customary symbols, lilies representing her purity, while the rose is the symbol for Mary, Queen of heaven and earth. Her girdle should be the cord of St. Francis.The globe symbolizing the whole world, the crescent moon and the starry crown above her head are traditional symbols of the "woman clothed with the sun" (Virgo in Sole) described in Revelation 12:1-2. The crescent moon itself is an ancient symbol of chastity deriving from the Roman goddess Diana. Just as the moon derives its light from the sun, so Mary's special grace derives from the merits of Christ, her Son. The obelisk to her right also shimmers in the light of the sun and references traditional symbols of the Immaculate Conception associated with the Tower of David and the Ivory Tower, evoking impregnability, virginity and purity. Mary is depicted as trampling a serpent holding an apple in its mouth, representing the serpent in the Garden of Eden and Original Sin. A palm branch, and a mirror are seen under her feet. The palm branch signifies Mary's victory and exaltation, the mirror her purity.Originating in Spain with Francisco Pacheco, the popularity of this particular representation of The Immaculate Conception spread across Europe. Tiepolo had painted an earlier version of the Immaculate Conception in 1734 for the Franciscan church of Santa Maria in Araceli in Vicenza. That version depicted the Virgin Mary as a beautiful young girl in the manner already established by Guido Reni and Bartolomé Esteban Murillo following Pacheco. The painting is now in Vicenza's civic museum at the Palazzo Chiericati. In the present version the depiction of Mary is rather more majestic and solemn in keeping with the Alcantarine tradition of austerity.Tiepolo painted a set of five modelli for his altarpieces. These are now all at the Courtauld Institute of Art in London and are considered amongst his finest work. The modello for the Immaculate Conception differs from the final version in several respects. In the final version the figure of Mary occupies more space and lacks the muscular supporting angel on her left. That angel is thought to be a representation of the archangel Michael whose slaying of Lucifer prefigured Mary's role as an instrument of salvation. The angel is present in an oil sketch executed around the same time, now in the National Gallery of Ireland, considered iconographically the most complex of Tiepolo's depictions of the Immaculate Conception. Note the triangular halo signifying the Trinity.

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The Immaculate Conception (Tiepolo)

Focus on this artwork and discuss the Painting.

The imposing Baroque style of the painting is meant to evoke emotion. It was completed between 1767 and 1768. The depiction of the Virgin Mary is done according to traditional Christian iconography, and represents her Immaculate Conception, free from original sin. Standard iconographic elements include the dove above her, the stars around her head, her position on the crescent moon with a snake crushed under her feet, her hands held together in prayer, and the obelisk on her right. Additional iconography which accords to this theme include clouds, cherubs, lilies and a pink rose, flowers which are often associated with Mary. The dove above her head symbolizes the Holy Ghost, while the rose and the lilies are her customary symbols, lilies representing her purity, while the rose is the symbol for Mary, Queen of heaven and earth. Her girdle should be the cord of St. Francis.The globe symbolizing the whole world, the crescent moon and the starry crown above her head are traditional symbols of the "woman clothed with the sun" (Virgo in Sole) described in Revelation 12:1-2. The crescent moon itself is an ancient symbol of chastity deriving from the Roman goddess Diana. Just as the moon derives its light from the sun, so Mary's special grace derives from the merits of Christ, her Son. The obelisk to her right also shimmers in the light of the sun and references traditional symbols of the Immaculate Conception associated with the Tower of David and the Ivory Tower, evoking impregnability, virginity and purity. Mary is depicted as trampling a serpent holding an apple in its mouth, representing the serpent in the Garden of Eden and Original Sin. A palm branch, and a mirror are seen under her feet. The palm branch signifies Mary's victory and exaltation, the mirror her purity.Originating in Spain with Francisco Pacheco, the popularity of this particular representation of The Immaculate Conception spread across Europe. Tiepolo had painted an earlier version of the Immaculate Conception in 1734 for the Franciscan church of Santa Maria in Araceli in Vicenza. That version depicted the Virgin Mary as a beautiful young girl in the manner already established by Guido Reni and Bartolomé Esteban Murillo following Pacheco. The painting is now in Vicenza's civic museum at the Palazzo Chiericati. In the present version the depiction of Mary is rather more majestic and solemn in keeping with the Alcantarine tradition of austerity.Tiepolo painted a set of five modelli for his altarpieces. These are now all at the Courtauld Institute of Art in London and are considered amongst his finest work. The modello for the Immaculate Conception differs from the final version in several respects. In the final version the figure of Mary occupies more space and lacks the muscular supporting angel on her left. That angel is thought to be a representation of the archangel Michael whose slaying of Lucifer prefigured Mary's role as an instrument of salvation. The angel is present in an oil sketch executed around the same time, now in the National Gallery of Ireland, considered iconographically the most complex of Tiepolo's depictions of the Immaculate Conception. Note the triangular halo signifying the Trinity.

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The Immaculate Conception (Tiepolo)

How does The Immaculate Conception (Tiepolo) elucidate its Background?

Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. Tiepolo's works, many of which are on an imposing scale, are also characterized by tension, exuberance, hedonism and intricate designs. Among Tiepolo's most popular works are mythological and religious themes conveying an atmosphere of grandeur and beauty.

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The Immaculate Conception (Tiepolo)

How does this artwork elucidate its Background?

Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. Tiepolo's works, many of which are on an imposing scale, are also characterized by tension, exuberance, hedonism and intricate designs. Among Tiepolo's most popular works are mythological and religious themes conveying an atmosphere of grandeur and beauty.

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The Immaculate Conception (Tiepolo)

Focus on The Immaculate Conception (Tiepolo) and analyze the Provenance.

Church of S. Pascual Baylon, Aranjuez (1770–1775) Convent of S. Pascual Baylon, Aranjuez (1775–1827) Museo del Prado, Madrid (from 1827)

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The Immaculate Conception (Tiepolo)

Focus on this artwork and analyze the Provenance.

Church of S. Pascual Baylon, Aranjuez (1770–1775) Convent of S. Pascual Baylon, Aranjuez (1775–1827) Museo del Prado, Madrid (from 1827)

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Cyclist (painting)

In Cyclist (painting), how is the abstract discussed?

Cyclist is a 1913 Cubo-Futurist painting by the Russian artist Natalia Goncharova. The painting is considered an "archetypal work" of Futurism by its current holder, the State Russian Museum.

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Cyclist (painting)

In this artwork, how is the abstract discussed?

Cyclist is a 1913 Cubo-Futurist painting by the Russian artist Natalia Goncharova. The painting is considered an "archetypal work" of Futurism by its current holder, the State Russian Museum.

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Cyclist (painting)

Focus on Cyclist (painting) and explore the Description.

The titular cyclist is a male figure bent over his bicycle while pedaling through a town or city. The street beneath the cyclist is cobbled while behind him lies a row of shop windows.: 113 Goncharova was an early Russian developer of Cubo-Futurism, combining characteristics of both Futurism and Cubism in Cyclist. Cubist fragmentation, for example, is used to indicate the cyclist's speed. Movement is also portrayed in the work's Futurist elements, such as its repetition of forms and dislocation of contours. The dynamic effect of multiplied forms and repeated delineation is further amplified by Goncharova's use of broad brushstrokes.: 113  The presence of urban life, another concern of Futurism, is included in the work through the use of street signs in the background. However, the composition is distinct from classical Futurist works due to its higher level of visual balance. In particular, Cyclist contrasts with the more abstract and dematerialized representation of cycling found in Umberto Boccioni's 1913 painting Dynamism of a Cyclist.Cyrillic letters from the shop signs are visually "shifted" onto the bicyclist in the painting. The art historian Tim Harte views the pointing finger on the leftmost storefront as part of a "visual clash" since it points in the opposite direction of the cyclist's motions.: 113

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Cyclist (painting)

Focus on this artwork and explore the Description.

The titular cyclist is a male figure bent over his bicycle while pedaling through a town or city. The street beneath the cyclist is cobbled while behind him lies a row of shop windows.: 113 Goncharova was an early Russian developer of Cubo-Futurism, combining characteristics of both Futurism and Cubism in Cyclist. Cubist fragmentation, for example, is used to indicate the cyclist's speed. Movement is also portrayed in the work's Futurist elements, such as its repetition of forms and dislocation of contours. The dynamic effect of multiplied forms and repeated delineation is further amplified by Goncharova's use of broad brushstrokes.: 113  The presence of urban life, another concern of Futurism, is included in the work through the use of street signs in the background. However, the composition is distinct from classical Futurist works due to its higher level of visual balance. In particular, Cyclist contrasts with the more abstract and dematerialized representation of cycling found in Umberto Boccioni's 1913 painting Dynamism of a Cyclist.Cyrillic letters from the shop signs are visually "shifted" onto the bicyclist in the painting. The art historian Tim Harte views the pointing finger on the leftmost storefront as part of a "visual clash" since it points in the opposite direction of the cyclist's motions.: 113

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Cyclist (painting)

Focus on Cyclist (painting) and explain the Exhibition and reception.

Cyclist was shown with Goncharova's Airplane over a Train in the artist's 1913 solo show.: 113 In his 2009 book on the Russian avant-garde, Harte considered Cyclist to be a "more mature" Cubo-Futurist painting compared to Goncharova's earlier works: 116  and wrote that the painting evidences Goncharova's intensified focus on "modern motion's distortion of space and image".: 113 In a 2019 review of Goncharova's work, the art critic Laura Cumming described Cyclist as "an exhilarating picture" demonstrative of the artist's "excitement with futurism".As of 2021, Cyclist is in the State Russian Museum and is located in the museum's Benois Wing.

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Cyclist (painting)

Focus on this artwork and explain the Exhibition and reception.

Cyclist was shown with Goncharova's Airplane over a Train in the artist's 1913 solo show.: 113 In his 2009 book on the Russian avant-garde, Harte considered Cyclist to be a "more mature" Cubo-Futurist painting compared to Goncharova's earlier works: 116  and wrote that the painting evidences Goncharova's intensified focus on "modern motion's distortion of space and image".: 113 In a 2019 review of Goncharova's work, the art critic Laura Cumming described Cyclist as "an exhilarating picture" demonstrative of the artist's "excitement with futurism".As of 2021, Cyclist is in the State Russian Museum and is located in the museum's Benois Wing.

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Number 23 Basketball Player

Explore the abstract of this artwork, Number 23 Basketball Player.

Number 23 Basketball Player is a sculpture by Niki de Saint Phalle. It is from the Black Heroes Series. It is part of the National Museum of Women in the Arts, New York Avenue Sculpture Project.

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Number 23 Basketball Player

Explore the abstract of this artwork.

Number 23 Basketball Player is a sculpture by Niki de Saint Phalle. It is from the Black Heroes Series. It is part of the National Museum of Women in the Arts, New York Avenue Sculpture Project.