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NAIST NLP 19

19101_T

Personnages Oiseaux

Focus on Personnages Oiseaux and analyze the A six year conservation.

In 2011 it was announced that the mural would be taken down. The mural, which had been losing tesserae, was the subject of a two-year study to work out how it could be conserved. The mural is to be taken apart and recreated with a stainless steel backing. The conservation was estimated to cost three million dollars. The mural was reinstalled at the Ulrich Museum of Art in 2016.

19101_NT

Personnages Oiseaux

Focus on this artwork and analyze the A six year conservation.

In 2011 it was announced that the mural would be taken down. The mural, which had been losing tesserae, was the subject of a two-year study to work out how it could be conserved. The mural is to be taken apart and recreated with a stainless steel backing. The conservation was estimated to cost three million dollars. The mural was reinstalled at the Ulrich Museum of Art in 2016.

19102_T

Luis Muñoz Rivera (Ponce statue)

In Luis Muñoz Rivera (Ponce statue), how is the abstract discussed?

Luis Muñoz Rivera is a statue to the memory of Puerto Rican poet, journalist and politician Luis Muñoz Rivera located at Plaza Luis Muñoz Rivera in Ponce, Puerto Rico. The statue is in bronze. The statue's large marble pedestal follows in the Beaux Arts architectural tradition.

19102_NT

Luis Muñoz Rivera (Ponce statue)

In this artwork, how is the abstract discussed?

Luis Muñoz Rivera is a statue to the memory of Puerto Rican poet, journalist and politician Luis Muñoz Rivera located at Plaza Luis Muñoz Rivera in Ponce, Puerto Rico. The statue is in bronze. The statue's large marble pedestal follows in the Beaux Arts architectural tradition.

19103_T

Luis Muñoz Rivera (Ponce statue)

Focus on Luis Muñoz Rivera (Ponce statue) and explore the Background.

Luis Muñoz Rivera (17 July 1859 – 15 November 1916) was a Puerto Rican poet, journalist and politician. He was a major figure in the struggle for political autonomy of Puerto Rico. In 1887, Muñoz Rivera became part of the leadership of a newly formed Autonomist Party and became delegate for the district of Caguas. Subsequently, Muñoz Rivera was a member of a group organized by the party to discuss proposals of autonomy with Práxedes Mateo Sagasta, who would grant Puerto Rico an autonomous government following his election. He served as Chief of the Cabinet of Mateo Sagasta's government. On 13 August 1898, the Treaty of Paris transferred possession of Puerto Rico from Spain to the United States and a military government was established. In 1899, Muñoz Rivera resigned his position within Mateo Sagasta's cabinet. Muñoz Rivera then became a fierce advocate of the Liberal Party of Puerto Rico and, on 1 July 1890, he founded the party's newspaper, La Democracía, in Ponce, Puerto Rico. In 1893, Muñoz Rivera married Amalia Marín in a ceremony that took place in Ponce Cathedral. Muñoz Rivera participated in the writing of the Plan de Ponce which proposed administrative autonomy for the island. In 1909, he was elected as Resident Commissioner of Puerto Rico to U.S. Congress and participated in the creation of the Jones-Shafroth Act. Shortly after, Muñoz Rivera contracted an infection and traveled to Puerto Rico, where he died on 15 November 1916. His son, Luis Muñoz Marín, became the first democratically elected Governor of Puerto Rico.

19103_NT

Luis Muñoz Rivera (Ponce statue)

Focus on this artwork and explore the Background.

Luis Muñoz Rivera (17 July 1859 – 15 November 1916) was a Puerto Rican poet, journalist and politician. He was a major figure in the struggle for political autonomy of Puerto Rico. In 1887, Muñoz Rivera became part of the leadership of a newly formed Autonomist Party and became delegate for the district of Caguas. Subsequently, Muñoz Rivera was a member of a group organized by the party to discuss proposals of autonomy with Práxedes Mateo Sagasta, who would grant Puerto Rico an autonomous government following his election. He served as Chief of the Cabinet of Mateo Sagasta's government. On 13 August 1898, the Treaty of Paris transferred possession of Puerto Rico from Spain to the United States and a military government was established. In 1899, Muñoz Rivera resigned his position within Mateo Sagasta's cabinet. Muñoz Rivera then became a fierce advocate of the Liberal Party of Puerto Rico and, on 1 July 1890, he founded the party's newspaper, La Democracía, in Ponce, Puerto Rico. In 1893, Muñoz Rivera married Amalia Marín in a ceremony that took place in Ponce Cathedral. Muñoz Rivera participated in the writing of the Plan de Ponce which proposed administrative autonomy for the island. In 1909, he was elected as Resident Commissioner of Puerto Rico to U.S. Congress and participated in the creation of the Jones-Shafroth Act. Shortly after, Muñoz Rivera contracted an infection and traveled to Puerto Rico, where he died on 15 November 1916. His son, Luis Muñoz Marín, became the first democratically elected Governor of Puerto Rico.

19104_T

Luis Muñoz Rivera (Ponce statue)

Focus on Luis Muñoz Rivera (Ponce statue) and explain the Description.

The statue is the product of the foundry of Italian sculptor Luiggi Tomassi in Pietrasanta, Italy. It is made in bronze and was unveiled in 1923. It was installed on 28 November 1923. The statue's colossal pedestal is marble. Luis Yordán Dávila, mayor of Ponce at the time, was one of the main proponents of the monument.

19104_NT

Luis Muñoz Rivera (Ponce statue)

Focus on this artwork and explain the Description.

The statue is the product of the foundry of Italian sculptor Luiggi Tomassi in Pietrasanta, Italy. It is made in bronze and was unveiled in 1923. It was installed on 28 November 1923. The statue's colossal pedestal is marble. Luis Yordán Dávila, mayor of Ponce at the time, was one of the main proponents of the monument.

19105_T

Sakuntala (Claudel)

Explore the abstract of this artwork, Sakuntala (Claudel).

Sakuntala, also known as Sakountala or Çacountala, is a sculpture by the French artist Camille Claudel, made in several versions in different media from 1886, with a marble version completed in 1905, and bronze castings made from 1905. The sculpture depicts a young couple, with a kneeling man embracing a woman leaning towards him. It was named after the play Shakuntala by the 4th-5th century Indian poet Kālidāsa, and is inspired by the moment when the title character Shakuntala is reunited with her husband Dushyanta after a long separation. A terracotta study c.1886 is held by the Musée d'Orsay in Paris, an 1888 completed plaster version is held by the Musée Bertrand in Châteauroux, a marble version completed in 1905 and renamed Vertumnus et Pomona is held by the Musée Rodin in Paris, and several bronzes were cast for Eugène Blot from 1905 entitled L'Abandon ("The Abandonment"). L'Abandon has been described as "one of the most famous and recognised masterpieces created by Camille Claudel".

19105_NT

Sakuntala (Claudel)

Explore the abstract of this artwork.

Sakuntala, also known as Sakountala or Çacountala, is a sculpture by the French artist Camille Claudel, made in several versions in different media from 1886, with a marble version completed in 1905, and bronze castings made from 1905. The sculpture depicts a young couple, with a kneeling man embracing a woman leaning towards him. It was named after the play Shakuntala by the 4th-5th century Indian poet Kālidāsa, and is inspired by the moment when the title character Shakuntala is reunited with her husband Dushyanta after a long separation. A terracotta study c.1886 is held by the Musée d'Orsay in Paris, an 1888 completed plaster version is held by the Musée Bertrand in Châteauroux, a marble version completed in 1905 and renamed Vertumnus et Pomona is held by the Musée Rodin in Paris, and several bronzes were cast for Eugène Blot from 1905 entitled L'Abandon ("The Abandonment"). L'Abandon has been described as "one of the most famous and recognised masterpieces created by Camille Claudel".

19106_T

Sakuntala (Claudel)

Focus on Sakuntala (Claudel) and discuss the Background.

Camille Claudel came to Paris in 1882 to study sculpture. She became a student of Auguste Rodin in 1884, and she became his associate and lover. He eventually refused to marry her, reluctant to end his long-term relationship with Rose Beuret, mother of his son and later his wife. This love triangle, and an abortion in 1892, caused a separation between Claudel and Rodin, but they remained on reasonable terms until 1898, when she moved away and opened her own studio.

19106_NT

Sakuntala (Claudel)

Focus on this artwork and discuss the Background.

Camille Claudel came to Paris in 1882 to study sculpture. She became a student of Auguste Rodin in 1884, and she became his associate and lover. He eventually refused to marry her, reluctant to end his long-term relationship with Rose Beuret, mother of his son and later his wife. This love triangle, and an abortion in 1892, caused a separation between Claudel and Rodin, but they remained on reasonable terms until 1898, when she moved away and opened her own studio.

19107_T

Sofala (Drysdale)

How does Sofala (Drysdale) elucidate its abstract?

Sofala is a 1947 painting by Australian artist Russell Drysdale. The painting depicts the main street of the New South Wales town of Sofala. The painting won the Wynne Prize for 1947. The Art Gallery of New South Wales describe the work as "one of [his] finest paintings, representing the artist at the height of his powers." and that "the painting transcends literal description of a particular place to become an expression of the quintessential qualities of an inland Australian country town".Drysdale painted the work after a trip in 1947 with fellow painter Donald Friend to the country around Bathurst, including the villages of Hill End and Sofala. In Sofala, Drysdale made some sketches of the main street and took some photographs. On return to Sydney, both Friend and Drysdale worked on a painting of the main street. Friend said of Drysdale:[Drysdale], in a frenzy of painting, unusual for him, worked on the final stages of his picture of Sofala's main street which he has been painting every day since last weekend. It is very good and makes my own picture...look pretty foolish, shallow and flimsy. The painting was exhibited in the Macquarie Galleries in December 1947. During this exhibition, Hal Missingham—Director of the Art Gallery of New South Wales—nominated the painting for the Wynne Prize. The awarding of the Prize to Sofala "marked a dramatic move away from the traditional pastoral imagery of Australian landscape painting". Following the award the art critic for the Sydney Morning Herald said of the work:Russell Drysdale's beautifully modulated "Sofala" deserves the prize. In the heat of a late afternoon, the stifling air red with dust, the main road empty of life, he conveys a difficult and lonely existence, where man constantly battles against the elements. The painting was originally purchased by John Stephen, Drysdale's brother-in-law. It was acquired in 1952 by the Art Gallery of New South Wales in Sydney.Several of the buildings in the painting can still be seen in Denison St, Sofala, including the Royal Hotel in the left foreground and the former hospital in the middle distance.

19107_NT

Sofala (Drysdale)

How does this artwork elucidate its abstract?

Sofala is a 1947 painting by Australian artist Russell Drysdale. The painting depicts the main street of the New South Wales town of Sofala. The painting won the Wynne Prize for 1947. The Art Gallery of New South Wales describe the work as "one of [his] finest paintings, representing the artist at the height of his powers." and that "the painting transcends literal description of a particular place to become an expression of the quintessential qualities of an inland Australian country town".Drysdale painted the work after a trip in 1947 with fellow painter Donald Friend to the country around Bathurst, including the villages of Hill End and Sofala. In Sofala, Drysdale made some sketches of the main street and took some photographs. On return to Sydney, both Friend and Drysdale worked on a painting of the main street. Friend said of Drysdale:[Drysdale], in a frenzy of painting, unusual for him, worked on the final stages of his picture of Sofala's main street which he has been painting every day since last weekend. It is very good and makes my own picture...look pretty foolish, shallow and flimsy. The painting was exhibited in the Macquarie Galleries in December 1947. During this exhibition, Hal Missingham—Director of the Art Gallery of New South Wales—nominated the painting for the Wynne Prize. The awarding of the Prize to Sofala "marked a dramatic move away from the traditional pastoral imagery of Australian landscape painting". Following the award the art critic for the Sydney Morning Herald said of the work:Russell Drysdale's beautifully modulated "Sofala" deserves the prize. In the heat of a late afternoon, the stifling air red with dust, the main road empty of life, he conveys a difficult and lonely existence, where man constantly battles against the elements. The painting was originally purchased by John Stephen, Drysdale's brother-in-law. It was acquired in 1952 by the Art Gallery of New South Wales in Sydney.Several of the buildings in the painting can still be seen in Denison St, Sofala, including the Royal Hotel in the left foreground and the former hospital in the middle distance.

19108_T

Springtime (Claude Monet)

Focus on Springtime (Claude Monet) and analyze the abstract.

Springtime or The Reader is an 1872 painting by the French Impressionist painter Claude Monet. It depicts his first wife, Camille Doncieux, seated reading beneath a canopy of lilacs. The painting is presently held by the Walters Art Museum.

19108_NT

Springtime (Claude Monet)

Focus on this artwork and analyze the abstract.

Springtime or The Reader is an 1872 painting by the French Impressionist painter Claude Monet. It depicts his first wife, Camille Doncieux, seated reading beneath a canopy of lilacs. The painting is presently held by the Walters Art Museum.

19109_T

Springtime (Claude Monet)

In Springtime (Claude Monet), how is the History discussed?

In this painting, Claude Monet uses his first wife, Camille Doncieux, as the model. Camille and Claude Monet were married in 1870. Before this time, she had been his mistress and served as a model for Monet's figurative paintings of the 1860s and 1870s. It is said that Camille possessed unusual talent as a model and was also used by Auguste Renoir and Édouard Manet.Late in the year 1871, Monet and his family settled in Argenteuil, a village Northwest of Paris. The village was a popular resort for urban pleasure-seekers. Colleagues of Monet frequently joined him and the village became associated with Impressionism. In the spring of 1872, Monet painted a number of canvases in his garden, often showing Camille and Alfred Sisley's companion, Adélaïde-Eugénie Lescouezec.Springtime was on display at an exhibition organized by the Impressionists at Durand Ruel's Paris Gallery, from March 30 to April 30, 1876. Monet exhibited 18 works, in which six of them Camille had posed. During this exhibition, Springtime was given the more generic title of Woman Reading.Monet's second wife, Alice Hoschedé, ordered the complete destruction of pictures and mementos from Camille's life with Monet. Therefore, Camille's image almost solely survives on the basis of Monet's paintings.

19109_NT

Springtime (Claude Monet)

In this artwork, how is the History discussed?

In this painting, Claude Monet uses his first wife, Camille Doncieux, as the model. Camille and Claude Monet were married in 1870. Before this time, she had been his mistress and served as a model for Monet's figurative paintings of the 1860s and 1870s. It is said that Camille possessed unusual talent as a model and was also used by Auguste Renoir and Édouard Manet.Late in the year 1871, Monet and his family settled in Argenteuil, a village Northwest of Paris. The village was a popular resort for urban pleasure-seekers. Colleagues of Monet frequently joined him and the village became associated with Impressionism. In the spring of 1872, Monet painted a number of canvases in his garden, often showing Camille and Alfred Sisley's companion, Adélaïde-Eugénie Lescouezec.Springtime was on display at an exhibition organized by the Impressionists at Durand Ruel's Paris Gallery, from March 30 to April 30, 1876. Monet exhibited 18 works, in which six of them Camille had posed. During this exhibition, Springtime was given the more generic title of Woman Reading.Monet's second wife, Alice Hoschedé, ordered the complete destruction of pictures and mementos from Camille's life with Monet. Therefore, Camille's image almost solely survives on the basis of Monet's paintings.

19110_T

Springtime (Claude Monet)

Focus on Springtime (Claude Monet) and explore the Off the Wall.

In 2012, a reproduction of Springtime was featured in Off the Wall, an open-air exhibition on the streets of Baltimore, Maryland. The reproduction – the original is part of the Walters Art Museum collection – was on display at the Cylburn Arboretum. The National Gallery in London began the concept of bringing art out of doors in 2007 and the Detroit Institute of Art introduced the concept in the U.S.. The Off the Wall reproductions of the Walters' paintings are done on weather-resistant vinyl and include a description of the painting and a QR code for smart phones.

19110_NT

Springtime (Claude Monet)

Focus on this artwork and explore the Off the Wall.

In 2012, a reproduction of Springtime was featured in Off the Wall, an open-air exhibition on the streets of Baltimore, Maryland. The reproduction – the original is part of the Walters Art Museum collection – was on display at the Cylburn Arboretum. The National Gallery in London began the concept of bringing art out of doors in 2007 and the Detroit Institute of Art introduced the concept in the U.S.. The Off the Wall reproductions of the Walters' paintings are done on weather-resistant vinyl and include a description of the painting and a QR code for smart phones.

19111_T

Emergence (sculpture)

Focus on Emergence (sculpture) and explain the abstract.

Emergence is an outdoor 1981 bronze sculpture by Don Eckland, installed in the Education Courtyard, on the University of Oregon campus in Eugene, Oregon, in the United States. The work is one of two by Eckland on the campus; New Horizons (1981) is also installed in the Education Courtyard.

19111_NT

Emergence (sculpture)

Focus on this artwork and explain the abstract.

Emergence is an outdoor 1981 bronze sculpture by Don Eckland, installed in the Education Courtyard, on the University of Oregon campus in Eugene, Oregon, in the United States. The work is one of two by Eckland on the campus; New Horizons (1981) is also installed in the Education Courtyard.

19112_T

Emergence (sculpture)

Explore the Description of this artwork, Emergence (sculpture).

Emergence is a cast bronze sculpture depicting a woman with long hair flowing down to her right upper thigh. Her hair is parted and covers both of her eyes. The statue is 68 inches (1.7 m) tall and weighs approximately 130 pounds. Eckland has described the work as a "young woman... poised at rest just prior to departing... [S]he is indeed ready to emerge."

19112_NT

Emergence (sculpture)

Explore the Description of this artwork.

Emergence is a cast bronze sculpture depicting a woman with long hair flowing down to her right upper thigh. Her hair is parted and covers both of her eyes. The statue is 68 inches (1.7 m) tall and weighs approximately 130 pounds. Eckland has described the work as a "young woman... poised at rest just prior to departing... [S]he is indeed ready to emerge."

19113_T

Memorial to Alessandro Valtrini

Focus on Memorial to Alessandro Valtrini and discuss the abstract.

The Memorial to Alessandro Valtrini is a funerary monument designed by the Italian artist Gian Lorenzo Bernini in 1639, and executed by his workshop in the same year. It is situated in the church of the San Lorenzo in Damaso in Rome. It has strong affinities with the Memorial to Ippolito Merenda; both were undertaken by Bernini's workshop and commissioned by Cardinal Francesco Barberini to commend the ecclesiastical work done by Valtrini and Merenda respectively. In aesthetic terms, both broke new ground in figuring Death as a moving skeleton carrying a flowing inscriptions and, in the case of Alessandro Valrtrini monument, a medallion-shaped portrait of Valtrini himself.Valtrini had been a wealthy donor during his lifetime. Three churches he had supported erected monuments to him, Il Gesù (where his body remained), Santa Maria sopra Minerva and the Bernini version in San Lorenzo in Damaso. He died in 1633. Francesco Barberini organised the Bernini commission in the late 1630s.

19113_NT

Memorial to Alessandro Valtrini

Focus on this artwork and discuss the abstract.

The Memorial to Alessandro Valtrini is a funerary monument designed by the Italian artist Gian Lorenzo Bernini in 1639, and executed by his workshop in the same year. It is situated in the church of the San Lorenzo in Damaso in Rome. It has strong affinities with the Memorial to Ippolito Merenda; both were undertaken by Bernini's workshop and commissioned by Cardinal Francesco Barberini to commend the ecclesiastical work done by Valtrini and Merenda respectively. In aesthetic terms, both broke new ground in figuring Death as a moving skeleton carrying a flowing inscriptions and, in the case of Alessandro Valrtrini monument, a medallion-shaped portrait of Valtrini himself.Valtrini had been a wealthy donor during his lifetime. Three churches he had supported erected monuments to him, Il Gesù (where his body remained), Santa Maria sopra Minerva and the Bernini version in San Lorenzo in Damaso. He died in 1633. Francesco Barberini organised the Bernini commission in the late 1630s.

19114_T

Pope Paul III and His Grandsons

How does Pope Paul III and His Grandsons elucidate its abstract?

Pope Paul III and His Grandsons (Italian: Papa Paolo III e i nipoti) is an oil on canvas painting by Titian, housed in the Museo di Capodimonte, Naples. It was commissioned by the Farnese family and painted during Titian's visit to Rome between autumn 1545 and June 1546. It depicts the scabrous relationship between Pope Paul III and his grandsons, Ottavio and Alessandro Farnese. Ottavio is shown in the act of kneeling, to his left; Alessandro, wearing a cardinal's dress, stands behind him to his right. The painting explores the effects of ageing and the manoeuvring behind succession; Paul was at the time in his late seventies and ruling in an uncertain political climate as Charles V, Holy Roman Emperor came into ascendancy. Paul was not a religious man; he viewed the papacy as a means to consolidate his family's position. He appointed Alessandro as cardinal against accusations of nepotism, fathered a number of illegitimate children, and spent large sums of church money collecting art and antiquities. Around 1545 Charles took the political and military advantage, weakening Paul's hold on the papacy. Aware of the changing tides of influence, Titian abandoned the commission before completion, and for the next 100 years the painting languished unframed in a Farnese cellar. Pope Paul III and His Grandsons ranks as one of Titian's finest and most penetrating works. Although unfinished and less technically accomplished than his Portrait of Pope Paul III of a few years earlier, it is renowned for its rich colouring; the deep reds of the tablecloth and the almost spectral whites of Paul's gown. The panel contains subtle indications of the contradictions in the character of the Pope, and captures the complex psychological dynamic between the three men.

19114_NT

Pope Paul III and His Grandsons

How does this artwork elucidate its abstract?

Pope Paul III and His Grandsons (Italian: Papa Paolo III e i nipoti) is an oil on canvas painting by Titian, housed in the Museo di Capodimonte, Naples. It was commissioned by the Farnese family and painted during Titian's visit to Rome between autumn 1545 and June 1546. It depicts the scabrous relationship between Pope Paul III and his grandsons, Ottavio and Alessandro Farnese. Ottavio is shown in the act of kneeling, to his left; Alessandro, wearing a cardinal's dress, stands behind him to his right. The painting explores the effects of ageing and the manoeuvring behind succession; Paul was at the time in his late seventies and ruling in an uncertain political climate as Charles V, Holy Roman Emperor came into ascendancy. Paul was not a religious man; he viewed the papacy as a means to consolidate his family's position. He appointed Alessandro as cardinal against accusations of nepotism, fathered a number of illegitimate children, and spent large sums of church money collecting art and antiquities. Around 1545 Charles took the political and military advantage, weakening Paul's hold on the papacy. Aware of the changing tides of influence, Titian abandoned the commission before completion, and for the next 100 years the painting languished unframed in a Farnese cellar. Pope Paul III and His Grandsons ranks as one of Titian's finest and most penetrating works. Although unfinished and less technically accomplished than his Portrait of Pope Paul III of a few years earlier, it is renowned for its rich colouring; the deep reds of the tablecloth and the almost spectral whites of Paul's gown. The panel contains subtle indications of the contradictions in the character of the Pope, and captures the complex psychological dynamic between the three men.

19115_T

Pope Paul III and His Grandsons

Focus on Pope Paul III and His Grandsons and analyze the Background.

Paul III was the last of the popes appointed by the ruling Medici family of Florence. He was socially ambitious, a careerist and not particularly pious. He kept a concubine, fathered four children out of wedlock and viewed the throne as an opportunity to fill his coffers while he placed his relatives in high positions. A talented and cunning political operator, Paul was precisely the sort of man the Florentines needed to assist them in their defence against French and Spanish threats.He became pope in 1534 when he was 66 years old, and immediately appointed members of his family to key positions. He anointed his eldest grandson Alessandro, the eldest child of his illegitimate son Pier Luigi, cardinal at the age of 14, marking a break with the Farnese tradition of marrying off the first-born to carry on the family name. This move was considered necessary because the next oldest grandson, Ottavio, was then just 10 years old; such a young cardinal would have been politically unacceptable. Paul's advanced years meant that the family could ill afford to wait until the younger brother was of age. Thus Alessandro became a cardinal deacon; this appointment did not necessitate taking major orders, but it compelled him to celibacy and to forgo the rights of primogeniture, which instead went to Ottavio. Alessandro was to bitterly regret the obligations. Paul appointed Ottavio as Duke of Camerino in 1538, and in the same year married him to Charles V's daughter, Margaret, later Margaret of Parma. Both of Paul's grandsons' advancements were widely criticised as evidence of nepotism. Ottavio's marriage troubled Alessandro; he struggled with the burden of chastity and entertained fantasies of marrying a princess. He resented his younger brother's arrangement; during the wedding ceremony he "became more deathly pale than death itself, and, so they say, is unable to bear this thing, that he, the first-born, should see himself deprived of such splendid status and of the daughter of an Emperor." In 1546 Paul gave Pier Luigi the duchies of Parma and Piacenza as papal fiefs, a highly political move by the pope: in doing so he gave titles and wealth to Pier and appointed a lord who was subservient and owed a debt of gratitude, guaranteeing that the duchies would remain under papal control. At the same time, Ottavio was posted to the North of Italy to support Charles. By 1546 Ottavio was 22 years old, married to Margaret of Austria and an accomplished and distinguished individual. In 1547 his father was assassinated and Ottavio claimed the dukedom of Parma and Piacenza against the express wishes of both Charles, his father-in-law, and Paul. In doing so, Ottavio acted in opposition to the pope's desire to maintain the duchies as papal fiefs, and to Charles, whom he believed responsible for the plot to assassinate Pier Luigi.Titian was a personal friend of Charles; the commissioning of the portrait was most likely intended by Paul as a signal of allegiance to the emperor. Pressure from reforming monarchs in France and Spain, coupled with a general shift of influence in France's favour, ended the Farnese hold on the papacy soon after Paul's death. Ottavio excelled as a military commander and was awarded the Golden Fleece by the emperor. While the post had been given as a means to strengthen the family position, it did not come without cost. His success bred resentment amongst his family, as he began to see himself unaccountable to Rome.At the time of the portrait Paul had convinced Alessandro to retain the post, hinting that he would later succeed him as pope – an aspiration that was ultimately frustrated. As Alessandro realised the emptiness of the promise he lost confidence in both his grandfather's word and political credibility.

19115_NT

Pope Paul III and His Grandsons

Focus on this artwork and analyze the Background.

Paul III was the last of the popes appointed by the ruling Medici family of Florence. He was socially ambitious, a careerist and not particularly pious. He kept a concubine, fathered four children out of wedlock and viewed the throne as an opportunity to fill his coffers while he placed his relatives in high positions. A talented and cunning political operator, Paul was precisely the sort of man the Florentines needed to assist them in their defence against French and Spanish threats.He became pope in 1534 when he was 66 years old, and immediately appointed members of his family to key positions. He anointed his eldest grandson Alessandro, the eldest child of his illegitimate son Pier Luigi, cardinal at the age of 14, marking a break with the Farnese tradition of marrying off the first-born to carry on the family name. This move was considered necessary because the next oldest grandson, Ottavio, was then just 10 years old; such a young cardinal would have been politically unacceptable. Paul's advanced years meant that the family could ill afford to wait until the younger brother was of age. Thus Alessandro became a cardinal deacon; this appointment did not necessitate taking major orders, but it compelled him to celibacy and to forgo the rights of primogeniture, which instead went to Ottavio. Alessandro was to bitterly regret the obligations. Paul appointed Ottavio as Duke of Camerino in 1538, and in the same year married him to Charles V's daughter, Margaret, later Margaret of Parma. Both of Paul's grandsons' advancements were widely criticised as evidence of nepotism. Ottavio's marriage troubled Alessandro; he struggled with the burden of chastity and entertained fantasies of marrying a princess. He resented his younger brother's arrangement; during the wedding ceremony he "became more deathly pale than death itself, and, so they say, is unable to bear this thing, that he, the first-born, should see himself deprived of such splendid status and of the daughter of an Emperor." In 1546 Paul gave Pier Luigi the duchies of Parma and Piacenza as papal fiefs, a highly political move by the pope: in doing so he gave titles and wealth to Pier and appointed a lord who was subservient and owed a debt of gratitude, guaranteeing that the duchies would remain under papal control. At the same time, Ottavio was posted to the North of Italy to support Charles. By 1546 Ottavio was 22 years old, married to Margaret of Austria and an accomplished and distinguished individual. In 1547 his father was assassinated and Ottavio claimed the dukedom of Parma and Piacenza against the express wishes of both Charles, his father-in-law, and Paul. In doing so, Ottavio acted in opposition to the pope's desire to maintain the duchies as papal fiefs, and to Charles, whom he believed responsible for the plot to assassinate Pier Luigi.Titian was a personal friend of Charles; the commissioning of the portrait was most likely intended by Paul as a signal of allegiance to the emperor. Pressure from reforming monarchs in France and Spain, coupled with a general shift of influence in France's favour, ended the Farnese hold on the papacy soon after Paul's death. Ottavio excelled as a military commander and was awarded the Golden Fleece by the emperor. While the post had been given as a means to strengthen the family position, it did not come without cost. His success bred resentment amongst his family, as he began to see himself unaccountable to Rome.At the time of the portrait Paul had convinced Alessandro to retain the post, hinting that he would later succeed him as pope – an aspiration that was ultimately frustrated. As Alessandro realised the emptiness of the promise he lost confidence in both his grandfather's word and political credibility.

19116_T

Pope Paul III and His Grandsons

In Pope Paul III and His Grandsons, how is the Description discussed?

The portrait depicts the tensions and manoeuvrings of 16th century court politics. The deep red background and heavy brushstrokes establish an anxious and tense atmosphere, and the uneasy relationship between the Pope and his suitors. The pope is old, ill and tired and, to some critics' eyes, glares at Ottavio in an accusatory manner. His hat or camauro cloaks his baldness, but there are tell-tale signs of age in his long nose, dark beady eyes, stooped shoulders and long uneven beard. He is noticeably older than in the second Naples portrait of c. 1545. This fact is reinforced by the clock placed on the table beside him, which serves both as a memento mori and a reminder that time is running out. Given this, the presence of his grandsons indicates that the commission was prompted by thoughts of succession.Nevertheless, Paul retains elements of a powerful and alert patriarch. The painting is set at a curious angle, so that although Paul is positioned low in the pictorial space, the viewer still looks upwards towards him as if in respect. He is dressed in full pomp, wearing wide fur-lined sleeves (a typical Venetian device to convey status), and his cape is laid across his upper body to suggest physical presence. The work is often compared to Raphael's Portrait of Pope Leo X with Cardinals of 1518–19 and the 1511–12 portrait of Julius II for its colouring and psychological dynamic. Titian follows the older master in some respects, emphasising the pope's age and showing him in a naturalistic, rather than reverential, setting, but Titian goes further: while Raphael's portraits show a high-minded and introspective pope, Titian presents his subject glaring outwards, caught in a moment of fearful but ruthless calculation. His piercing glare has been described by art historian Jill Dunkerton as having captured his "small bright eyes, but ... missed his genius".The canvas is dramatically divided in two by a diagonal line separated by colour and tone. The lower two-thirds are dominated by heavy red and white pigments; browns and whites are prominent in the upper right-hand section. This division is delineated by a diagonal reaching from the upper edge of the curtain down to Ottavio's leggings in the right mid-ground. Other echoes of the colours and patterns include the red of Paul's robes against the velvet of his chair and the overhanging curtain. This dramatic colour and luminosity can be in part attributed to this design, and to the manner in which Titian reverses the usual painterly technique in building tone: he began with a dark background, then layered the lighter hues before the darker passages. The effect has been described as a "tour de force of symphonic colourism", and a high point of his blending of red and ochre pigments. Titian uses a variety of brushstrokes. While the pope's robes are painted with very broad strokes, his cape (mozzetta), ageing face and visible hand were captured in minute detail with thin brushes, with his hairs rendered at the level of individual strands. Ottavio, shown as tall and muscular, is about to kneel to kiss the Pope's feet, a contemporary manner of greeting a pope: a guest would make three short bows followed by the kissing of the papal feet. Titian indicates this step in the ceremony by showing Paul's shoe decorated with a cross, poking from underneath his gown. Ottavio's head is bowed, but his stern facial expression conveys that he is acting as protocol dictates, rather than with genuine diffidence. Nicholas Penny notes that "... at a Renaissance court bowing and scraping were usual. This affects modern attitudes to [the portrait], making the cordial respect of youth seem like the obsequiousness of a crafty courtier."The grandsons are depicted in very different styles: Alessandro acts in a formal manner and wears clothes of similar colour and tones to Paul. Ottavio, by contrast, wears the browns of the upper right-hand passage, an area of the painting that cuts him physically from the pope. His pose is awkward and difficult to interpret, but he is rendered in a more naturalistic manner than his brother. Alessandro has a distracted, brooding expression. He holds the knob of Paul's backrest, in an echo of Raphael's portrait where Clement VII holds the chair of Leo X as an indicator of his ambitions of succession. Thus Alessandro seems better placed politically, standing to Paul's right in a pose that recalls traditional depictions of Paul the Apostle, and his hand is raised as if in blessing. In the end, Paul was unable to influence his succession after Charles V weakened the Medici hold on the office. The work is unfinished; a number of details, most noticeably the pope's right hand, are missing. Other passages are bland and uniform, with some key areas still blocked by the underdrawing. Many of Titian's characteristic finishing touches are missing; Paul's fur-lined sleeves do not contain the polishing white strokes of the 1543 portrait, or his usual final overglaze or glossing.

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Pope Paul III and His Grandsons

In this artwork, how is the Description discussed?

The portrait depicts the tensions and manoeuvrings of 16th century court politics. The deep red background and heavy brushstrokes establish an anxious and tense atmosphere, and the uneasy relationship between the Pope and his suitors. The pope is old, ill and tired and, to some critics' eyes, glares at Ottavio in an accusatory manner. His hat or camauro cloaks his baldness, but there are tell-tale signs of age in his long nose, dark beady eyes, stooped shoulders and long uneven beard. He is noticeably older than in the second Naples portrait of c. 1545. This fact is reinforced by the clock placed on the table beside him, which serves both as a memento mori and a reminder that time is running out. Given this, the presence of his grandsons indicates that the commission was prompted by thoughts of succession.Nevertheless, Paul retains elements of a powerful and alert patriarch. The painting is set at a curious angle, so that although Paul is positioned low in the pictorial space, the viewer still looks upwards towards him as if in respect. He is dressed in full pomp, wearing wide fur-lined sleeves (a typical Venetian device to convey status), and his cape is laid across his upper body to suggest physical presence. The work is often compared to Raphael's Portrait of Pope Leo X with Cardinals of 1518–19 and the 1511–12 portrait of Julius II for its colouring and psychological dynamic. Titian follows the older master in some respects, emphasising the pope's age and showing him in a naturalistic, rather than reverential, setting, but Titian goes further: while Raphael's portraits show a high-minded and introspective pope, Titian presents his subject glaring outwards, caught in a moment of fearful but ruthless calculation. His piercing glare has been described by art historian Jill Dunkerton as having captured his "small bright eyes, but ... missed his genius".The canvas is dramatically divided in two by a diagonal line separated by colour and tone. The lower two-thirds are dominated by heavy red and white pigments; browns and whites are prominent in the upper right-hand section. This division is delineated by a diagonal reaching from the upper edge of the curtain down to Ottavio's leggings in the right mid-ground. Other echoes of the colours and patterns include the red of Paul's robes against the velvet of his chair and the overhanging curtain. This dramatic colour and luminosity can be in part attributed to this design, and to the manner in which Titian reverses the usual painterly technique in building tone: he began with a dark background, then layered the lighter hues before the darker passages. The effect has been described as a "tour de force of symphonic colourism", and a high point of his blending of red and ochre pigments. Titian uses a variety of brushstrokes. While the pope's robes are painted with very broad strokes, his cape (mozzetta), ageing face and visible hand were captured in minute detail with thin brushes, with his hairs rendered at the level of individual strands. Ottavio, shown as tall and muscular, is about to kneel to kiss the Pope's feet, a contemporary manner of greeting a pope: a guest would make three short bows followed by the kissing of the papal feet. Titian indicates this step in the ceremony by showing Paul's shoe decorated with a cross, poking from underneath his gown. Ottavio's head is bowed, but his stern facial expression conveys that he is acting as protocol dictates, rather than with genuine diffidence. Nicholas Penny notes that "... at a Renaissance court bowing and scraping were usual. This affects modern attitudes to [the portrait], making the cordial respect of youth seem like the obsequiousness of a crafty courtier."The grandsons are depicted in very different styles: Alessandro acts in a formal manner and wears clothes of similar colour and tones to Paul. Ottavio, by contrast, wears the browns of the upper right-hand passage, an area of the painting that cuts him physically from the pope. His pose is awkward and difficult to interpret, but he is rendered in a more naturalistic manner than his brother. Alessandro has a distracted, brooding expression. He holds the knob of Paul's backrest, in an echo of Raphael's portrait where Clement VII holds the chair of Leo X as an indicator of his ambitions of succession. Thus Alessandro seems better placed politically, standing to Paul's right in a pose that recalls traditional depictions of Paul the Apostle, and his hand is raised as if in blessing. In the end, Paul was unable to influence his succession after Charles V weakened the Medici hold on the office. The work is unfinished; a number of details, most noticeably the pope's right hand, are missing. Other passages are bland and uniform, with some key areas still blocked by the underdrawing. Many of Titian's characteristic finishing touches are missing; Paul's fur-lined sleeves do not contain the polishing white strokes of the 1543 portrait, or his usual final overglaze or glossing.

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Pope Paul III and His Grandsons

Focus on Pope Paul III and His Grandsons and explore the Provenance.

Titian abandoned the painting before completion and for the next hundred years it was kept unframed and unhung in a Farnese cellar. Alessandro's large collection of art and antiques, which included the Titian portraits commissioned by Paul, was eventually inherited by Elisabetta Farnese (1692–1766). Elisabetta, who married Philip V of Spain in 1714, passed on the collection to her son Carlos, who became Duke of Parma and later King of Spain. In 1734, he conquered the kingdoms of Sicily and Naples, and the collection was transferred to Naples. In 1738 Carlos built the Palace of Capodimonte, which includes the Museo di Capodimonte, in part to house the Farnese art collection. The painting remains there today, hanging in the Farnese Gallery section. The Museo di Capodimonte was designated a national museum in 1950.

19117_NT

Pope Paul III and His Grandsons

Focus on this artwork and explore the Provenance.

Titian abandoned the painting before completion and for the next hundred years it was kept unframed and unhung in a Farnese cellar. Alessandro's large collection of art and antiques, which included the Titian portraits commissioned by Paul, was eventually inherited by Elisabetta Farnese (1692–1766). Elisabetta, who married Philip V of Spain in 1714, passed on the collection to her son Carlos, who became Duke of Parma and later King of Spain. In 1734, he conquered the kingdoms of Sicily and Naples, and the collection was transferred to Naples. In 1738 Carlos built the Palace of Capodimonte, which includes the Museo di Capodimonte, in part to house the Farnese art collection. The painting remains there today, hanging in the Farnese Gallery section. The Museo di Capodimonte was designated a national museum in 1950.

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Noli me tangere (Titian)

Focus on Noli me tangere (Titian) and explain the abstract.

Noli me tangere (Latin for Don't touch me or Stop touching me) is a c. 1514 painting by Titian of the Noli me tangere episode in St John's Gospel. The painting, depicting Jesus and Mary Magdalene soon after the resurrection, is in oil on canvas and since the nineteenth century has been in the collection of the National Gallery in London.

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Noli me tangere (Titian)

Focus on this artwork and explain the abstract.

Noli me tangere (Latin for Don't touch me or Stop touching me) is a c. 1514 painting by Titian of the Noli me tangere episode in St John's Gospel. The painting, depicting Jesus and Mary Magdalene soon after the resurrection, is in oil on canvas and since the nineteenth century has been in the collection of the National Gallery in London.

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Coronation of the Virgin (Fra Angelico, Louvre)

Explore the abstract of this artwork, Coronation of the Virgin (Fra Angelico, Louvre).

The Coronation of the Virgin is a painting by the Italian early Renaissance master Fra Angelico, executed around 1434–1435 in Fiesole (Florence). It is now in the Musée du Louvre of Paris, France. The artist executed another Coronation of the Virgin (c. 1432), now in the Uffizi in Florence.

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Coronation of the Virgin (Fra Angelico, Louvre)

Explore the abstract of this artwork.

The Coronation of the Virgin is a painting by the Italian early Renaissance master Fra Angelico, executed around 1434–1435 in Fiesole (Florence). It is now in the Musée du Louvre of Paris, France. The artist executed another Coronation of the Virgin (c. 1432), now in the Uffizi in Florence.

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Coronation of the Virgin (Fra Angelico, Louvre)

Focus on Coronation of the Virgin (Fra Angelico, Louvre) and discuss the History.

The work is not thought to have originally been painted around 1434 (a few years after the similar painting in the Uffizi) for the convent of San Domenico of Fiesole, near Florence, where Fra Angelico was a Dominican friar and for which he painted also the Fiesole Altarpiece (1424-1425) and the Annunciation now at the Museo del Prado. Some art historians, such as John Pope-Hennessy, date it instead to Angelico's visit to Rome (1450).The painting was brought to France as a result of the pillages of the Napoleonic Wars. Like several other artworks, it was not given back with the excuse of its large size.

19120_NT

Coronation of the Virgin (Fra Angelico, Louvre)

Focus on this artwork and discuss the History.

The work is not thought to have originally been painted around 1434 (a few years after the similar painting in the Uffizi) for the convent of San Domenico of Fiesole, near Florence, where Fra Angelico was a Dominican friar and for which he painted also the Fiesole Altarpiece (1424-1425) and the Annunciation now at the Museo del Prado. Some art historians, such as John Pope-Hennessy, date it instead to Angelico's visit to Rome (1450).The painting was brought to France as a result of the pillages of the Napoleonic Wars. Like several other artworks, it was not given back with the excuse of its large size.

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Coronation of the Virgin (Fra Angelico, Louvre)

How does Coronation of the Virgin (Fra Angelico, Louvre) elucidate its Description?

The work shows several differences from the earlier Coronation now at the Uffizi. The gilded background has disappeared, replaced by a more realistic light blue sky. The composition is more advanced, perhaps inspired to the innovation introduced by Masaccio. Angelico here depicts a rich cyborium with Gothic triple mullions, supported by a series of polychrome marble steps, as the set of the Incoronation. Elements such as the twisted columns show similarities with the tabernacles painted in the frescoes of the Niccoline Chapel in Rome.Such as in the Florence painting, the angels and the saints form the audience at the side of the central scene, but the figures are more defined and some are shown from back, and the pavement's tiles are painted according to geometrical perspective. Pope-Hennessy supposed that the angels were influenced by those in the San Brizio Chapel of Orvieto Cathedral (1447). The work was executed with the extensive help of assistants, especially in the right side: for example, St. Catherine's wheel is painted approximatively, and some of the saints in this side have less expressive faces. The painting has a predella with scenes portraying the Miracles of St. Dominic and, in the middle, the Resurrection of Christ. Such as in other Angelico's work, the predella scenes show an extensive use of geometrical perspective, enhanced by the use of alternatively empty and full architectures.

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Coronation of the Virgin (Fra Angelico, Louvre)

How does this artwork elucidate its Description?

The work shows several differences from the earlier Coronation now at the Uffizi. The gilded background has disappeared, replaced by a more realistic light blue sky. The composition is more advanced, perhaps inspired to the innovation introduced by Masaccio. Angelico here depicts a rich cyborium with Gothic triple mullions, supported by a series of polychrome marble steps, as the set of the Incoronation. Elements such as the twisted columns show similarities with the tabernacles painted in the frescoes of the Niccoline Chapel in Rome.Such as in the Florence painting, the angels and the saints form the audience at the side of the central scene, but the figures are more defined and some are shown from back, and the pavement's tiles are painted according to geometrical perspective. Pope-Hennessy supposed that the angels were influenced by those in the San Brizio Chapel of Orvieto Cathedral (1447). The work was executed with the extensive help of assistants, especially in the right side: for example, St. Catherine's wheel is painted approximatively, and some of the saints in this side have less expressive faces. The painting has a predella with scenes portraying the Miracles of St. Dominic and, in the middle, the Resurrection of Christ. Such as in other Angelico's work, the predella scenes show an extensive use of geometrical perspective, enhanced by the use of alternatively empty and full architectures.

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Saint Amelia, Queen of Hungary

Focus on Saint Amelia, Queen of Hungary and analyze the abstract.

Saint Amelia, Queen of Hungary is an oil painting by Paul Delaroche which was investigated in 2016 by the BBC TV programme Fake or Fortune?

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Saint Amelia, Queen of Hungary

Focus on this artwork and analyze the abstract.

Saint Amelia, Queen of Hungary is an oil painting by Paul Delaroche which was investigated in 2016 by the BBC TV programme Fake or Fortune?

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Saint Amelia, Queen of Hungary

In Saint Amelia, Queen of Hungary, how is the Lost work discussed?

A painting of Saint Amelia by French history painter Paul Delaroche was commissioned in 1831 by Queen Marie-Amélie, wife of Louis Philippe, King of the French. The work was exhibited at the Salon of 1834 in Paris. In 1837, the painting was recorded as being hung in the Royal Chapel at the Tuileries Palace in Paris, and it was copied in an engraving by Paolo Mercuri. It was also reproduced as the main panel in a stained glass window for the Queen's private chapel at the Château d'Eu. A preparatory drawing in chalk, graphite and watercolour is held by the British Museum. The original painting was believed to be lost.

19123_NT

Saint Amelia, Queen of Hungary

In this artwork, how is the Lost work discussed?

A painting of Saint Amelia by French history painter Paul Delaroche was commissioned in 1831 by Queen Marie-Amélie, wife of Louis Philippe, King of the French. The work was exhibited at the Salon of 1834 in Paris. In 1837, the painting was recorded as being hung in the Royal Chapel at the Tuileries Palace in Paris, and it was copied in an engraving by Paolo Mercuri. It was also reproduced as the main panel in a stained glass window for the Queen's private chapel at the Château d'Eu. A preparatory drawing in chalk, graphite and watercolour is held by the British Museum. The original painting was believed to be lost.

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Saint Amelia, Queen of Hungary

Focus on Saint Amelia, Queen of Hungary and explore the Fake or Fortune?.

The Fake or Fortune? team investigated a version of the painting, housed at Castle of Park in Cornhill, Aberdeenshire, to determine whether it was the Delaroche original or one of a number of copies. This unsigned work was bought in 1989, for about £500, by the late Neil Wilson, an art dealer who had worked for Christie's after leaving university. The painting's provenance was very poor. In the programme, art expert Bendor Grosvenor revealed an 1866 watercolour by Joseph Nash depicting the painting in the Queen's bedroom at Claremont House in Surrey, where the deposed King and Queen lived after fleeing France following the Revolution of 1848. Following Maria Amalia's death in 1866, records in the Bibliothèque nationale de France proved that the painting passed to her fourth child, Prince Louis, Duke of Nemours, who owned Bushy House in London until his death in 1896, but no records were found that proved where the painting passed after 1896. The next sighting of the painting was when it was sold at Christie's in 1980 as a work by the French artist Fleury François Richard, with the title 'A Queen and her Retinue at Worship'.Technical analysis showed that colour anomalies in the painting were the result of pigment degradation, and that parts of the painting had also been restored. After reviewing the show's findings, Professor Stephen Bann, a leading Delaroche expert, concluded that it was the lost original. He also revealed a letter written by Delaroche, in which he registers his dismay at the state of the picture after it had been copied to create a stained glass window for Queen Marie-Amélie, and says that he will have to do considerable work to restore it.Following its authentication, Wilson's widow, Becky, was reported to have decided to keep the painting, but allow it to be displayed at the British Museum in London when a Delaroche exhibition takes place. Subsequently, the painting was sold via Christie's in July 2019 for £33,750.

19124_NT

Saint Amelia, Queen of Hungary

Focus on this artwork and explore the Fake or Fortune?.

The Fake or Fortune? team investigated a version of the painting, housed at Castle of Park in Cornhill, Aberdeenshire, to determine whether it was the Delaroche original or one of a number of copies. This unsigned work was bought in 1989, for about £500, by the late Neil Wilson, an art dealer who had worked for Christie's after leaving university. The painting's provenance was very poor. In the programme, art expert Bendor Grosvenor revealed an 1866 watercolour by Joseph Nash depicting the painting in the Queen's bedroom at Claremont House in Surrey, where the deposed King and Queen lived after fleeing France following the Revolution of 1848. Following Maria Amalia's death in 1866, records in the Bibliothèque nationale de France proved that the painting passed to her fourth child, Prince Louis, Duke of Nemours, who owned Bushy House in London until his death in 1896, but no records were found that proved where the painting passed after 1896. The next sighting of the painting was when it was sold at Christie's in 1980 as a work by the French artist Fleury François Richard, with the title 'A Queen and her Retinue at Worship'.Technical analysis showed that colour anomalies in the painting were the result of pigment degradation, and that parts of the painting had also been restored. After reviewing the show's findings, Professor Stephen Bann, a leading Delaroche expert, concluded that it was the lost original. He also revealed a letter written by Delaroche, in which he registers his dismay at the state of the picture after it had been copied to create a stained glass window for Queen Marie-Amélie, and says that he will have to do considerable work to restore it.Following its authentication, Wilson's widow, Becky, was reported to have decided to keep the painting, but allow it to be displayed at the British Museum in London when a Delaroche exhibition takes place. Subsequently, the painting was sold via Christie's in July 2019 for £33,750.

19125_T

Statue of Agustín Yáñez

Focus on Statue of Agustín Yáñez and explain the abstract.

A statue of Agustín Yáñez is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco. Yáñez's remains rest there.

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Statue of Agustín Yáñez

Focus on this artwork and explain the abstract.

A statue of Agustín Yáñez is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco. Yáñez's remains rest there.

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Portrait of Catherine, Duchess of Cambridge

Explore the abstract of this artwork, Portrait of Catherine, Duchess of Cambridge.

Portrait of Catherine, Duchess of Cambridge is the first official portrait of Catherine, Duchess of Cambridge (who later became Catherine, Princess of Wales). It was unveiled at the National Portrait Gallery, London, on 11 January 2013. Paul Emsley was commissioned to paint the Duchess after being selected from a shortlist by Catherine herself. Catherine had announced the National Portrait Gallery as one of her official patronages in January 2012. Emsley took 15 weeks to complete the painting, which was presented to the trustees of the gallery in November 2012. The Duchess, contrary to considerable criticism in the art world, highly praised the portrait after viewing it initially in a private family gathering.

19126_NT

Portrait of Catherine, Duchess of Cambridge

Explore the abstract of this artwork.

Portrait of Catherine, Duchess of Cambridge is the first official portrait of Catherine, Duchess of Cambridge (who later became Catherine, Princess of Wales). It was unveiled at the National Portrait Gallery, London, on 11 January 2013. Paul Emsley was commissioned to paint the Duchess after being selected from a shortlist by Catherine herself. Catherine had announced the National Portrait Gallery as one of her official patronages in January 2012. Emsley took 15 weeks to complete the painting, which was presented to the trustees of the gallery in November 2012. The Duchess, contrary to considerable criticism in the art world, highly praised the portrait after viewing it initially in a private family gathering.

19127_T

Portrait of Catherine, Duchess of Cambridge

Focus on Portrait of Catherine, Duchess of Cambridge and discuss the Description.

Portrait of Catherine, Duchess of Cambridge is the first official portrait of the Duchess. Emsley, originally of South Africa and a 2007 recipient of the BP Portrait Award, had previously painted portraits of Nelson Mandela and Naipaul. In a video interview for The Daily Telegraph, Emsley suggested that in the beginning he was thrilled to receive the commission. "Slowly" he says he realized the importance of the project was, not just for himself, but for many others, making him slightly nervous.The Duchess sat for him twice—for a day's session in May at the artist's studio in Bradford-upon-Avon, and a brief session in June at Kensington Palace, where he did quick drawings and took more photographs—and he used photographs to assist him. He describes her during the process as "quite amenable". It shows Catherine wearing a bottle green pussy bow blouse, looking straight out from the picture, smirking, rather than grinning. The artist noted that, if too defined, smiling portraiture occasionally may "look like caricatures". Emsley darkened the eyes slightly to match her tunic; the background is also shaded in a similar hue of dark green. Emsley was also keen to draw attention to the rich texture of her hair. Talking to the BBC after criticism of his work, he noted that he didn't want to overwhelm her face. Emsley said, "I don't have lots of things in the background. I do like large faces, I find them strong and contemporary. I'm interested in the landscape of the face, the way in which light and shadow fall across the forms. That's really my subject matter. To have anything else in there is really just an interference." As Catherine's image "is so pervasive", he told the media he needed to go past the image on his mind.The process took him 15 weeks with the portrait completed before November 2012, when it was presented to the trustees of the gallery. The portrait is on display on the wall of Room 37 on the ground floor of the National Portrait Gallery Contemporary Collections, next to a video of a sleeping David Beckham. It was donated to the gallery by Sir Hugh Legatt with support of The Art Fund, in memory of Sir Denis Mahon.

19127_NT

Portrait of Catherine, Duchess of Cambridge

Focus on this artwork and discuss the Description.

Portrait of Catherine, Duchess of Cambridge is the first official portrait of the Duchess. Emsley, originally of South Africa and a 2007 recipient of the BP Portrait Award, had previously painted portraits of Nelson Mandela and Naipaul. In a video interview for The Daily Telegraph, Emsley suggested that in the beginning he was thrilled to receive the commission. "Slowly" he says he realized the importance of the project was, not just for himself, but for many others, making him slightly nervous.The Duchess sat for him twice—for a day's session in May at the artist's studio in Bradford-upon-Avon, and a brief session in June at Kensington Palace, where he did quick drawings and took more photographs—and he used photographs to assist him. He describes her during the process as "quite amenable". It shows Catherine wearing a bottle green pussy bow blouse, looking straight out from the picture, smirking, rather than grinning. The artist noted that, if too defined, smiling portraiture occasionally may "look like caricatures". Emsley darkened the eyes slightly to match her tunic; the background is also shaded in a similar hue of dark green. Emsley was also keen to draw attention to the rich texture of her hair. Talking to the BBC after criticism of his work, he noted that he didn't want to overwhelm her face. Emsley said, "I don't have lots of things in the background. I do like large faces, I find them strong and contemporary. I'm interested in the landscape of the face, the way in which light and shadow fall across the forms. That's really my subject matter. To have anything else in there is really just an interference." As Catherine's image "is so pervasive", he told the media he needed to go past the image on his mind.The process took him 15 weeks with the portrait completed before November 2012, when it was presented to the trustees of the gallery. The portrait is on display on the wall of Room 37 on the ground floor of the National Portrait Gallery Contemporary Collections, next to a video of a sleeping David Beckham. It was donated to the gallery by Sir Hugh Legatt with support of The Art Fund, in memory of Sir Denis Mahon.

19128_T

Portrait of Catherine, Duchess of Cambridge

How does Portrait of Catherine, Duchess of Cambridge elucidate its Reception?

The portrait divided critics, seen in a negative light by many. Michael Glover of The Independent described it as "catastrophic", and noted that it lacked context. When presented with Glover's comments on the BBC, the artist laughed them off, quipping "can he draw?" He noted that he believes in his work, and understands that there would be different points of view. Waldemar Januszczak of the Sunday Times described the portrait as "disappointing". Charlotte Higgins, of The Guardian, compared the depiction of Kate to a character in the Twilight franchise, saying, "The first thing that strikes you about Middleton's visage as it looms from the sepulchral gloom of her first official portrait is the dead eyes: a vampiric, malevolent glare beneath heavy lids. Then there's the mouth: a tightly pursed, mean little lip-clench (she is, presumably, sucking in her fangs). And God knows what is going on with the washed-out cheeks: she appears to be nurturing a gobbet of gum in her lower right cheek. The hair is dull and lifeless; the glimpse of earring simply lifts her to the status of Sloaney, rather than merely proletarian, undead."Scotsman arts editor Andrew Eaton-Lewis suggested that "there's something troubling about the fact that the case against this painting is essentially that it makes a pretty young woman look less pretty and less young." Eaton-Lewis commented that "a portrait which makes Middleton appear older, more distinguished, and more ordinary is judged to be unfit for purpose" was "depressing". Another art critic, Fisun Güner, a freelance visual arts writer, also criticised the painting, mentioning that the hair is painted in a spread out wavy cascade which starts to look like an advertisement for a shampoo. Fisun makes the observation that the blouse in the big-bow shape, which she is wearing covered up to the neck, makes her appear "stiff and rather straight-jacketed". However, Fisun believed the eyes look bright and lively and the jewellery, which she is shown wearing, stated to belong to her mother-in-law, are earrings made of sapphire and diamond, which bring out an animated look in the portrait.Royal Society of Portrait Painters president Alistair Adams suggested that there "are no airs and graces, there's no background context to allude to success or power – it's very much on a level of one to one with the viewer. It's quite natural, it's open, it's straightforward and very pure – it's immediate and not overly sentimental." Stephen Deuchar, director of The Art Fund, called it a "captivating contemporary image".

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Portrait of Catherine, Duchess of Cambridge

How does this artwork elucidate its Reception?

The portrait divided critics, seen in a negative light by many. Michael Glover of The Independent described it as "catastrophic", and noted that it lacked context. When presented with Glover's comments on the BBC, the artist laughed them off, quipping "can he draw?" He noted that he believes in his work, and understands that there would be different points of view. Waldemar Januszczak of the Sunday Times described the portrait as "disappointing". Charlotte Higgins, of The Guardian, compared the depiction of Kate to a character in the Twilight franchise, saying, "The first thing that strikes you about Middleton's visage as it looms from the sepulchral gloom of her first official portrait is the dead eyes: a vampiric, malevolent glare beneath heavy lids. Then there's the mouth: a tightly pursed, mean little lip-clench (she is, presumably, sucking in her fangs). And God knows what is going on with the washed-out cheeks: she appears to be nurturing a gobbet of gum in her lower right cheek. The hair is dull and lifeless; the glimpse of earring simply lifts her to the status of Sloaney, rather than merely proletarian, undead."Scotsman arts editor Andrew Eaton-Lewis suggested that "there's something troubling about the fact that the case against this painting is essentially that it makes a pretty young woman look less pretty and less young." Eaton-Lewis commented that "a portrait which makes Middleton appear older, more distinguished, and more ordinary is judged to be unfit for purpose" was "depressing". Another art critic, Fisun Güner, a freelance visual arts writer, also criticised the painting, mentioning that the hair is painted in a spread out wavy cascade which starts to look like an advertisement for a shampoo. Fisun makes the observation that the blouse in the big-bow shape, which she is wearing covered up to the neck, makes her appear "stiff and rather straight-jacketed". However, Fisun believed the eyes look bright and lively and the jewellery, which she is shown wearing, stated to belong to her mother-in-law, are earrings made of sapphire and diamond, which bring out an animated look in the portrait.Royal Society of Portrait Painters president Alistair Adams suggested that there "are no airs and graces, there's no background context to allude to success or power – it's very much on a level of one to one with the viewer. It's quite natural, it's open, it's straightforward and very pure – it's immediate and not overly sentimental." Stephen Deuchar, director of The Art Fund, called it a "captivating contemporary image".

19129_T

Sculptures Bachelard

Focus on Sculptures Bachelard and analyze the abstract.

Sculptures Bachelard is an In Situ work by French artist Jean-Max Albert installed in 1986 in the Parc de la Villette, Paris, France. It is named after the author of The Poetics of Space, Gaston Bachelard. It consists of a set of 8 sculptures arranged around the perimeter of the Jardin de la Treille.

19129_NT

Sculptures Bachelard

Focus on this artwork and analyze the abstract.

Sculptures Bachelard is an In Situ work by French artist Jean-Max Albert installed in 1986 in the Parc de la Villette, Paris, France. It is named after the author of The Poetics of Space, Gaston Bachelard. It consists of a set of 8 sculptures arranged around the perimeter of the Jardin de la Treille.

19130_T

Sculptures Bachelard

In Sculptures Bachelard, how is the Description and interpretation discussed?

The work takes the form of an installation in two distinct parts: Sculptures Bachelard : 7 sculptures in bronze green patina, ±17 x 15 x 4 cm, Fusions foundry. Anamorphosis reflection, sculpture in bronze, green patina, 120 x 80 x 60 cm, Landowski foundry.When gazing into the sculptures, the space beyond and around is roughly framed. Combining in a cubist manner the differently framed perspectives, the sculptures propose to "render the quality of a specific portion of space". A "rendering" not in the sense of a photograph – or it would be a kind of camera that would take one shot and then petrified itself in the form of the environment targeted – but more like an abstract model concentrating, agglomerating, in a sort of nucleus (and somehow in an animist concept) the spirit of this space. Each sculpture thus, transposes into a geometric summary portions of space which, according to their location, suggest different qualities of atmosphere designed by Bernard Tschumi, Gilles Vexlard and Laurence Vacherot. If six of the seven "viseurs" relate to the character of the different points of view, the seventh relates to a precise event : a modest bronze assemblage, fixed in the corner of a pond, below the thematic garden, perpetuates a tradition of garden landscape which conceals images, perspectives or symbols. Given favorable position of the sun, the reflection of this seemingly heterogeneous element appears a regular geometric. The reflection presents a circle encased in a square itself inscribed in a triangle. This figure referring to Bernard Tschumi’s master plan for the park.

19130_NT

Sculptures Bachelard

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

The work takes the form of an installation in two distinct parts: Sculptures Bachelard : 7 sculptures in bronze green patina, ±17 x 15 x 4 cm, Fusions foundry. Anamorphosis reflection, sculpture in bronze, green patina, 120 x 80 x 60 cm, Landowski foundry.When gazing into the sculptures, the space beyond and around is roughly framed. Combining in a cubist manner the differently framed perspectives, the sculptures propose to "render the quality of a specific portion of space". A "rendering" not in the sense of a photograph – or it would be a kind of camera that would take one shot and then petrified itself in the form of the environment targeted – but more like an abstract model concentrating, agglomerating, in a sort of nucleus (and somehow in an animist concept) the spirit of this space. Each sculpture thus, transposes into a geometric summary portions of space which, according to their location, suggest different qualities of atmosphere designed by Bernard Tschumi, Gilles Vexlard and Laurence Vacherot. If six of the seven "viseurs" relate to the character of the different points of view, the seventh relates to a precise event : a modest bronze assemblage, fixed in the corner of a pond, below the thematic garden, perpetuates a tradition of garden landscape which conceals images, perspectives or symbols. Given favorable position of the sun, the reflection of this seemingly heterogeneous element appears a regular geometric. The reflection presents a circle encased in a square itself inscribed in a triangle. This figure referring to Bernard Tschumi’s master plan for the park.

19131_T

Sculptures Bachelard

Focus on Sculptures Bachelard and explore the Acquisition and installation.

Under François Mitterrand’s presidency, many public works of art were initiated in the frame of the "Grands travaux", an artistic renewal supported by the government. In February 1986 the Etablissement Public du Parc de la Villette (EPPV) commissioned Jean-Max Albert for this sculpture project.

19131_NT

Sculptures Bachelard

Focus on this artwork and explore the Acquisition and installation.

Under François Mitterrand’s presidency, many public works of art were initiated in the frame of the "Grands travaux", an artistic renewal supported by the government. In February 1986 the Etablissement Public du Parc de la Villette (EPPV) commissioned Jean-Max Albert for this sculpture project.

19132_T

Sculptures Bachelard

Focus on Sculptures Bachelard and explain the Reception.

For art critic Bruno Suner, Albert’s Bachelard Sculptures reverse the usual setting of a sculpture, which is to be within the site, by including the site into the sculpture For art critic Sarah Mc Fadden, the sculptures : "Parse the particularities of their surrounding with a rigor that heightens the viewer’s perception and, like advanced physics, leads to the realm of poetry. The works are conceived as frames for space, light and form that reveal what lies beyond or around them." Since the dimensions of the concerned space are "absorbed" by the pieces they are, strictly speaking, out of scale. Transient sparrows nevertheless firmly secured on the marble perimeter of the Jardin de la treille. They are discovered by the public in friendly propinquity the space encountered. "Air space rather than obstruct it" noted art critic Frédéric Mialet.

19132_NT

Sculptures Bachelard

Focus on this artwork and explain the Reception.

For art critic Bruno Suner, Albert’s Bachelard Sculptures reverse the usual setting of a sculpture, which is to be within the site, by including the site into the sculpture For art critic Sarah Mc Fadden, the sculptures : "Parse the particularities of their surrounding with a rigor that heightens the viewer’s perception and, like advanced physics, leads to the realm of poetry. The works are conceived as frames for space, light and form that reveal what lies beyond or around them." Since the dimensions of the concerned space are "absorbed" by the pieces they are, strictly speaking, out of scale. Transient sparrows nevertheless firmly secured on the marble perimeter of the Jardin de la treille. They are discovered by the public in friendly propinquity the space encountered. "Air space rather than obstruct it" noted art critic Frédéric Mialet.

19133_T

Rucellai Madonna

Explore the abstract of this artwork, Rucellai Madonna.

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the Laudesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella (in 1591, the painting was moved to the adjacent, much larger Rucellai family chapel, hence the modern title of convenience). It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

19133_NT

Rucellai Madonna

Explore the abstract of this artwork.

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the Laudesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella (in 1591, the painting was moved to the adjacent, much larger Rucellai family chapel, hence the modern title of convenience). It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

19134_T

Rucellai Madonna

Focus on Rucellai Madonna and discuss the History.

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the Laudesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession (1853-5). In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

19134_NT

Rucellai Madonna

Focus on this artwork and discuss the History.

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the Laudesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession (1853-5). In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

19135_T

Rucellai Madonna

How does Rucellai Madonna elucidate its Description?

The work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work. The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the Laudesi met in the chapel to sing lauds, or Latin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art (which is also suggested by the aspects of the later Maestà).

19135_NT

Rucellai Madonna

How does this artwork elucidate its Description?

The work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work. The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the Laudesi met in the chapel to sing lauds, or Latin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art (which is also suggested by the aspects of the later Maestà).

19136_T

Greenwood Park Sofa

Focus on Greenwood Park Sofa and analyze the abstract.

Greenwood Park Sofa, also known as Limestone Sofa, is a 2004 limestone sculpture of a couch by Robert Huff, installed in Columbus, Ohio. Formerly installed in its namesake pocket park on High Street for a decade, the artwork "became the locus for reports of public urination, intimidation and petty theft on the sidewalk and in the parking lot behind it", according to Tracy Zollinger Turner of the Short North Gazette. The work was later restored by the artist and installed outside the Cultural Arts Center in Downtown Columbus.

19136_NT

Greenwood Park Sofa

Focus on this artwork and analyze the abstract.

Greenwood Park Sofa, also known as Limestone Sofa, is a 2004 limestone sculpture of a couch by Robert Huff, installed in Columbus, Ohio. Formerly installed in its namesake pocket park on High Street for a decade, the artwork "became the locus for reports of public urination, intimidation and petty theft on the sidewalk and in the parking lot behind it", according to Tracy Zollinger Turner of the Short North Gazette. The work was later restored by the artist and installed outside the Cultural Arts Center in Downtown Columbus.

19137_T

Venus de' Medici

In Venus de' Medici, how is the Discovery and display discussed?

The origin of the Venus is undocumented: "its reputation seems to have grown up gradually", Francis Haskell and Nicholas Penny remarked. It was published in the collection at the Villa Medici, Rome, in 1638, given three plates in the anthology of the most noble sculptures that the ravages of time had spared in Rome compiled by François Perrier, Segmenta nobilia signorum et statuarum que temporis dentem invidium evase, Rome 1638. The Venus was already known by 1559, it now appears, for a bronze reduction of it was among the series of the most famous Roman sculptures that were featured on a cabinet completed in that year; it was commissioned by Niccolò Orsini, Count of Pitigliano, as a gift to Philip II of Spain: the sculptures were by the Dutch sculptor trained in Benvenuto Cellini's atelier, Willem van Tetrode, called Guglielmo Fiammingo in Italy. Though visitors to Rome like John Evelyn found it "a miracle of art", it was sent to Florence in August 1677, its export permitted by Innocent XI because, it was thought, it stimulated lewd behavior. In the Tribuna of the Uffizi it was a high point of the Grand Tour and was universally esteemed as one of the half-dozen finest antique statues to have survived, until a reaction in taste began to set in during the 19th century, in the form of a few dissenting voices (Haskell and Penny p. 325). Luca Giordano made hundreds of drawings of it, Samuel Rogers made daily appointments with it, Zoffany included it in his 1778 Tribuna of the Uffizi, and Lord Byron devoted five stanzas of Childe Harold to describing it. It was one of the precious works of art shipped to Palermo in 1800 to escape the French, to no avail: such diplomatic pressure was brought to bear that the Vénus de Medicis was shipped to Paris in 1803. After Napoleon's fall it arrived back in Florence on 27 December 1815.

19137_NT

Venus de' Medici

In this artwork, how is the Discovery and display discussed?

The origin of the Venus is undocumented: "its reputation seems to have grown up gradually", Francis Haskell and Nicholas Penny remarked. It was published in the collection at the Villa Medici, Rome, in 1638, given three plates in the anthology of the most noble sculptures that the ravages of time had spared in Rome compiled by François Perrier, Segmenta nobilia signorum et statuarum que temporis dentem invidium evase, Rome 1638. The Venus was already known by 1559, it now appears, for a bronze reduction of it was among the series of the most famous Roman sculptures that were featured on a cabinet completed in that year; it was commissioned by Niccolò Orsini, Count of Pitigliano, as a gift to Philip II of Spain: the sculptures were by the Dutch sculptor trained in Benvenuto Cellini's atelier, Willem van Tetrode, called Guglielmo Fiammingo in Italy. Though visitors to Rome like John Evelyn found it "a miracle of art", it was sent to Florence in August 1677, its export permitted by Innocent XI because, it was thought, it stimulated lewd behavior. In the Tribuna of the Uffizi it was a high point of the Grand Tour and was universally esteemed as one of the half-dozen finest antique statues to have survived, until a reaction in taste began to set in during the 19th century, in the form of a few dissenting voices (Haskell and Penny p. 325). Luca Giordano made hundreds of drawings of it, Samuel Rogers made daily appointments with it, Zoffany included it in his 1778 Tribuna of the Uffizi, and Lord Byron devoted five stanzas of Childe Harold to describing it. It was one of the precious works of art shipped to Palermo in 1800 to escape the French, to no avail: such diplomatic pressure was brought to bear that the Vénus de Medicis was shipped to Paris in 1803. After Napoleon's fall it arrived back in Florence on 27 December 1815.

19138_T

Venus de' Medici

Focus on Venus de' Medici and explore the The Metropolitan Museum's Aphrodite.

The marble Aphrodite at the Metropolitan Museum of Art, New York, is a close replica of the Venus de' Medici. The pose of the head is not in doubt, for it did not break off when other breaks occurred, in which the arms were irrevocably lost. On the plinth is the left foot, with part of the dolphin-and-tree-trunk support, and a trace of the missing right foot, restored by a cast, for the sculpture was in two sections, which were joined by casts taken of the Venus de' Medici's lower legs. For dating the replicas, attention is focused on the minor details of the dolphins that were added by the copyists, in which stylistic conventions come to the fore: the Metropolitan dates its Aphrodite of the Medici type to the Augustan period. The Metropolitan Aphrodite was in the collection of Count von Harbuval genannt Chamaré in Silesia, whose progenitor Count Schlabrendorf made the Grand Tour and corresponded with Johann Joachim Winckelmann.

19138_NT

Venus de' Medici

Focus on this artwork and explore the The Metropolitan Museum's Aphrodite.

The marble Aphrodite at the Metropolitan Museum of Art, New York, is a close replica of the Venus de' Medici. The pose of the head is not in doubt, for it did not break off when other breaks occurred, in which the arms were irrevocably lost. On the plinth is the left foot, with part of the dolphin-and-tree-trunk support, and a trace of the missing right foot, restored by a cast, for the sculpture was in two sections, which were joined by casts taken of the Venus de' Medici's lower legs. For dating the replicas, attention is focused on the minor details of the dolphins that were added by the copyists, in which stylistic conventions come to the fore: the Metropolitan dates its Aphrodite of the Medici type to the Augustan period. The Metropolitan Aphrodite was in the collection of Count von Harbuval genannt Chamaré in Silesia, whose progenitor Count Schlabrendorf made the Grand Tour and corresponded with Johann Joachim Winckelmann.

19139_T

Venus de' Medici

Focus on Venus de' Medici and explain the Modern copies.

The Medici Venus is one of the most-copied antiquities. Louis XIV had no less than five, marbles by Carlier, Clérion, Coysevox and Frémery, and a bronze by the Keller brothers. (Haskell and Penny, p. 325). In lead, copies of the Venus de' Medici stand in many English and European gardens, sometimes protected by small temples; in small bronze reductions it figured among the most familiar of the antiquities represented in collectors' cabinets: in Greuze's portrait of Claude-Henri Watelet, ca 1763–65, the connoisseur and author of L'Art de peindre is shown with calipers and a notebook, regarding a bronze statuette of the Venus de' Medici, as if in the act of deducing the ideal proportions of the female figure from the sculpture's example. The Venus de' Medici was even reproduced in Sèvres biscuit porcelain, which had the matte whiteness of marble. American sculptor Hiram Powers based his 1844 statue The Greek Slave on the Venus de' Medici. A replica in white Carrara Marble of the Venus' hand carved by Niccolò Bazzanti is located at the Pietro Bazzanti e Figlio Art Gallery of Florence at Museo Civico Revoltella, Trieste.

19139_NT

Venus de' Medici

Focus on this artwork and explain the Modern copies.

The Medici Venus is one of the most-copied antiquities. Louis XIV had no less than five, marbles by Carlier, Clérion, Coysevox and Frémery, and a bronze by the Keller brothers. (Haskell and Penny, p. 325). In lead, copies of the Venus de' Medici stand in many English and European gardens, sometimes protected by small temples; in small bronze reductions it figured among the most familiar of the antiquities represented in collectors' cabinets: in Greuze's portrait of Claude-Henri Watelet, ca 1763–65, the connoisseur and author of L'Art de peindre is shown with calipers and a notebook, regarding a bronze statuette of the Venus de' Medici, as if in the act of deducing the ideal proportions of the female figure from the sculpture's example. The Venus de' Medici was even reproduced in Sèvres biscuit porcelain, which had the matte whiteness of marble. American sculptor Hiram Powers based his 1844 statue The Greek Slave on the Venus de' Medici. A replica in white Carrara Marble of the Venus' hand carved by Niccolò Bazzanti is located at the Pietro Bazzanti e Figlio Art Gallery of Florence at Museo Civico Revoltella, Trieste.

19140_T

The Virgin Adoring the Child with Saint Joseph

Explore the abstract of this artwork, The Virgin Adoring the Child with Saint Joseph.

The Virgin Adoring the Child with Saint Joseph is an oil-on-panel painting by the Italian Renaissance painter Fra Bartolomeo, executed no later than 1511. It is held in the National Gallery, in London.

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The Virgin Adoring the Child with Saint Joseph

Explore the abstract of this artwork.

The Virgin Adoring the Child with Saint Joseph is an oil-on-panel painting by the Italian Renaissance painter Fra Bartolomeo, executed no later than 1511. It is held in the National Gallery, in London.

19141_T

Indischer Brunnen

Focus on Indischer Brunnen and discuss the abstract.

Indischer Brunnen is a fountain at Luisenstädtischer Kanal in Kreuzberg, Berlin, Germany.

19141_NT

Indischer Brunnen

Focus on this artwork and discuss the abstract.

Indischer Brunnen is a fountain at Luisenstädtischer Kanal in Kreuzberg, Berlin, Germany.

19142_T

Saint John the Evangelist (El Greco, Madrid)

How does Saint John the Evangelist (El Greco, Madrid) elucidate its abstract?

Saint John the Evangelist is a c.1605 work by El Greco, produced towards the end of his time in Toledo, Spain. It now hangs in the Museo del Prado, to which it was left in 1921 by the collector César Cabañas Caballero.The painting shows John the Evangelist as a young man holding a chalice, with a small dragon in it, referring to his surviving a poisoned cup of wine in prison. It is very similar to the painting of the same subject by the same painter in Toledo Cathedral.

19142_NT

Saint John the Evangelist (El Greco, Madrid)

How does this artwork elucidate its abstract?

Saint John the Evangelist is a c.1605 work by El Greco, produced towards the end of his time in Toledo, Spain. It now hangs in the Museo del Prado, to which it was left in 1921 by the collector César Cabañas Caballero.The painting shows John the Evangelist as a young man holding a chalice, with a small dragon in it, referring to his surviving a poisoned cup of wine in prison. It is very similar to the painting of the same subject by the same painter in Toledo Cathedral.

19143_T

Saint John the Evangelist (El Greco, Madrid)

Focus on Saint John the Evangelist (El Greco, Madrid) and analyze the Bibliography (in Spanish).

ÁLVAREZ LOPERA, José, El Greco, Madrid, Arlanza, 2005, Biblioteca «Descubrir el Arte», (colección «Grandes maestros»). ISBN 84-9550-344-1. SCHOLZ-HÄNSEL, Michael, El Greco, Colonia, Taschen, 2003. ISBN 978-3-8228-3173-1. ArteHistoria.com. «San Juan Evangelista». [Consulta: 09.01.2011].

19143_NT

Saint John the Evangelist (El Greco, Madrid)

Focus on this artwork and analyze the Bibliography (in Spanish).

ÁLVAREZ LOPERA, José, El Greco, Madrid, Arlanza, 2005, Biblioteca «Descubrir el Arte», (colección «Grandes maestros»). ISBN 84-9550-344-1. SCHOLZ-HÄNSEL, Michael, El Greco, Colonia, Taschen, 2003. ISBN 978-3-8228-3173-1. ArteHistoria.com. «San Juan Evangelista». [Consulta: 09.01.2011].

19144_T

Madonna with the Fish

In Madonna with the Fish, how is the abstract discussed?

Madonna of the Fish, known also as Madonna with the Fish is a painting by the High Renaissance master Raphael, dated to 1512-14. It is now in the Museo del Prado, Madrid. Mary sits enthroned with Jesus on her knee. On one side is St. Jerome kneeling by the Lion; he is holding a book. On the other side the archangel Raphael is presenting at the foot of the throne the young Tobias, whom he formerly guided to the River Tigris, and who bears the miraculous fish whose heart, liver and gall were to restore his father's sight, and drive the demons from his bride. Tobias with his fish was an early type of baptism. Raphael leading Tobias always expresses protection, and especially protection to the young. The picture is believed to have been painted around 1512–1514 to commemorate the introduction of Book of Tobit to the canonical books of the Roman Catholic Church. St. Jerome translated the Book of Tobit into Latin, which explains his presence on the right of Mary.

19144_NT

Madonna with the Fish

In this artwork, how is the abstract discussed?

Madonna of the Fish, known also as Madonna with the Fish is a painting by the High Renaissance master Raphael, dated to 1512-14. It is now in the Museo del Prado, Madrid. Mary sits enthroned with Jesus on her knee. On one side is St. Jerome kneeling by the Lion; he is holding a book. On the other side the archangel Raphael is presenting at the foot of the throne the young Tobias, whom he formerly guided to the River Tigris, and who bears the miraculous fish whose heart, liver and gall were to restore his father's sight, and drive the demons from his bride. Tobias with his fish was an early type of baptism. Raphael leading Tobias always expresses protection, and especially protection to the young. The picture is believed to have been painted around 1512–1514 to commemorate the introduction of Book of Tobit to the canonical books of the Roman Catholic Church. St. Jerome translated the Book of Tobit into Latin, which explains his presence on the right of Mary.

19145_T

Statue of Leopold II of Belgium, Ekeren

Focus on Statue of Leopold II of Belgium, Ekeren and explore the abstract.

A statue of King Leopold II of the Belgians was installed in Ekeren, Flanders, Belgium, until 2020. The statue was designed by Belgian sculptor Joseph Ducaju, made of sandstone from Bad Bentheim, and was erected in 1873, eight years into Leopold's reign, as the first statue to commemorate him as king.After damage sustained during the George Floyd protests, the statue was removed to the grounds of the Middelheim Open Air Sculpture Museum in Antwerp on 9 June, although it may be irreparably damaged.

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Statue of Leopold II of Belgium, Ekeren

Focus on this artwork and explore the abstract.

A statue of King Leopold II of the Belgians was installed in Ekeren, Flanders, Belgium, until 2020. The statue was designed by Belgian sculptor Joseph Ducaju, made of sandstone from Bad Bentheim, and was erected in 1873, eight years into Leopold's reign, as the first statue to commemorate him as king.After damage sustained during the George Floyd protests, the statue was removed to the grounds of the Middelheim Open Air Sculpture Museum in Antwerp on 9 June, although it may be irreparably damaged.

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Flora, Nude

Focus on Flora, Nude and explain the abstract.

Flora, Nude (French: La Flore, nue) is a sculpture by French artist Aristide Maillol.

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Flora, Nude

Focus on this artwork and explain the abstract.

Flora, Nude (French: La Flore, nue) is a sculpture by French artist Aristide Maillol.

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Nike (Kougioumtzis)

Explore the Olympia, Greece of this artwork, Nike (Kougioumtzis).

A bronze, 3 metres (9.8 ft) tall version of the sculpture was installed at the International Olympic Academy in Olympia, Greece, in 1995.

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Nike (Kougioumtzis)

Explore the Olympia, Greece of this artwork.

A bronze, 3 metres (9.8 ft) tall version of the sculpture was installed at the International Olympic Academy in Olympia, Greece, in 1995.

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Nike (Kougioumtzis)

Focus on Nike (Kougioumtzis) and discuss the Atlanta.

A bronze, 3.5 metres (11 ft) tall version of the statue was installed outside Atlanta City Hall in Atlanta, Georgia, in 1996.

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Nike (Kougioumtzis)

Focus on this artwork and discuss the Atlanta.

A bronze, 3.5 metres (11 ft) tall version of the statue was installed outside Atlanta City Hall in Atlanta, Georgia, in 1996.

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Nike (Kougioumtzis)

How does Nike (Kougioumtzis) elucidate its Beijing?

A bronze, 4 metres (13 ft) tall version of the sculpture was installed in Beijing, China, in 2008.

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Nike (Kougioumtzis)

How does this artwork elucidate its Beijing?

A bronze, 4 metres (13 ft) tall version of the sculpture was installed in Beijing, China, in 2008.

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Nike (Kougioumtzis)

Focus on Nike (Kougioumtzis) and analyze the Vancouver.

The Vancouver statue was donated by the city of Olympia to commemorate the 2010 Winter Olympics and Paralympics. It was installed at the Cordova Street median at Thurlow in 2014, after being stored at the city works yard for four years. The bronze sculpture is 4 metres (13 ft) tall.

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Nike (Kougioumtzis)

Focus on this artwork and analyze the Vancouver.

The Vancouver statue was donated by the city of Olympia to commemorate the 2010 Winter Olympics and Paralympics. It was installed at the Cordova Street median at Thurlow in 2014, after being stored at the city works yard for four years. The bronze sculpture is 4 metres (13 ft) tall.