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NAIST NLP 19

0301_T

Martelli Annunciation

In the context of Martelli Annunciation, explore the Carmelite influence of the Theories.

When Lippi was a member of the Order of Carmelites, it is told by Vasari that he was captured by barbarian pirates during his travels. Some did not believe this story, but when he returned to Florence, his paintings were famous. He was getting many commissions from the church and they would often lock him in dimly lit rooms to complete them. He eventually escaped, though he always owed a debt to the Carmelite Order. These feelings of having his freedom stripped by the church by locking him away may be portrayed in this paintings by having Gabriel not hand the branch, which according to Old Testament references symbolizes freedom, to Mary, despite her reaching out for it.

0301_NT

Martelli Annunciation

In the context of this artwork, explore the Carmelite influence of the Theories.

When Lippi was a member of the Order of Carmelites, it is told by Vasari that he was captured by barbarian pirates during his travels. Some did not believe this story, but when he returned to Florence, his paintings were famous. He was getting many commissions from the church and they would often lock him in dimly lit rooms to complete them. He eventually escaped, though he always owed a debt to the Carmelite Order. These feelings of having his freedom stripped by the church by locking him away may be portrayed in this paintings by having Gabriel not hand the branch, which according to Old Testament references symbolizes freedom, to Mary, despite her reaching out for it.

0302_T

Not to Be Reproduced

Focus on Not to Be Reproduced and explain the abstract.

Not to Be Reproduced (La reproduction interdite, 1937) is a painting by the Belgian surrealist René Magritte. It is currently owned by the Museum Boijmans Van Beuningen in Rotterdam.This painting was commissioned by poet and Magritte patron Edward James and is considered a portrait of James although James's face is not depicted.: 106  This painting was one of three produced by Magritte for the ballroom of James's London home. The other two were The Red Model (1937) and Time Transfixed (1938).The work depicts a man standing in front of a mirror, but whereas the book on the mantelpiece is reflected correctly, the man's reflection also shows him from behind.

0302_NT

Not to Be Reproduced

Focus on this artwork and explain the abstract.

Not to Be Reproduced (La reproduction interdite, 1937) is a painting by the Belgian surrealist René Magritte. It is currently owned by the Museum Boijmans Van Beuningen in Rotterdam.This painting was commissioned by poet and Magritte patron Edward James and is considered a portrait of James although James's face is not depicted.: 106  This painting was one of three produced by Magritte for the ballroom of James's London home. The other two were The Red Model (1937) and Time Transfixed (1938).The work depicts a man standing in front of a mirror, but whereas the book on the mantelpiece is reflected correctly, the man's reflection also shows him from behind.

0303_T

Not to Be Reproduced

Explore the Connections to other works of this artwork, Not to Be Reproduced.

The book on the mantel is a well-worn copy of Edgar Allan Poe's 1838 novel The Narrative of Arthur Gordon Pym of Nantucket (written here in French as Les aventures d'Arthur Gordon Pym). Poe was one of Magritte's favorite authors and he made other references to the author in his work. For example, the title of the 1938 painting The Domain of Arnheim was taken from the 1847 Poe short story of the same name.Magritte painted another portrait of Edward James titled The Pleasure Principle (1937). It depicts James from the front, sitting at a table, but his face is obscured by a bright light, such as that produced by a camera flash.In 1977, Graham Hughes made a reference to the painting as the cover art for Roger Daltrey's third solo album One of the Boys. In the 2003 novel Out Stealing Horses by Per Petterson the protagonist Trond makes a reference to the painting after a bad dream."I realised that what I was most afraid of in this world was to be the man in Magritte’s painting who looking at himself in the mirror sees only the back of his own head, again and again". Loose recreations of the painting appeared in David Koepp's 2004 film Secret Window, in Richard Ayoade's 2013 film The Double, and Jordan Peele's 2019 film Us. A reproduction of the painting is a recurring object in Bernard Queysanne and Georges Perec's The Man Who Sleeps. It also appeared in the 2014 German movie Who Am I. Other references to the painting include a print of the painting helping to serve as a mood piece in John Kessel's short story Consolation in his 2022 anthology The Dark Ride.

0303_NT

Not to Be Reproduced

Explore the Connections to other works of this artwork.

The book on the mantel is a well-worn copy of Edgar Allan Poe's 1838 novel The Narrative of Arthur Gordon Pym of Nantucket (written here in French as Les aventures d'Arthur Gordon Pym). Poe was one of Magritte's favorite authors and he made other references to the author in his work. For example, the title of the 1938 painting The Domain of Arnheim was taken from the 1847 Poe short story of the same name.Magritte painted another portrait of Edward James titled The Pleasure Principle (1937). It depicts James from the front, sitting at a table, but his face is obscured by a bright light, such as that produced by a camera flash.In 1977, Graham Hughes made a reference to the painting as the cover art for Roger Daltrey's third solo album One of the Boys. In the 2003 novel Out Stealing Horses by Per Petterson the protagonist Trond makes a reference to the painting after a bad dream."I realised that what I was most afraid of in this world was to be the man in Magritte’s painting who looking at himself in the mirror sees only the back of his own head, again and again". Loose recreations of the painting appeared in David Koepp's 2004 film Secret Window, in Richard Ayoade's 2013 film The Double, and Jordan Peele's 2019 film Us. A reproduction of the painting is a recurring object in Bernard Queysanne and Georges Perec's The Man Who Sleeps. It also appeared in the 2014 German movie Who Am I. Other references to the painting include a print of the painting helping to serve as a mood piece in John Kessel's short story Consolation in his 2022 anthology The Dark Ride.

0304_T

Christ Driving the Money Changers from the Temple (El Greco, Madrid)

Focus on Christ Driving the Money Changers from the Temple (El Greco, Madrid) and discuss the abstract.

Christ Driving the Money Changers from the Temple is a 1609 Christian art painting by El Greco, now in the church of San Ginés in Madrid. It depicts the Cleansing of the Temple, an event in the Life of Christ. There exist three other copies of the painting and also a faithful reproduction in the National Gallery in London, which has recently been considered as authentic by scholars in the field of visual arts. Two versions and that other on loan from Madrid are titled Purification of the Temple. The one at the National Gallery in Washington is called Christ Cleansing the Temple.

0304_NT

Christ Driving the Money Changers from the Temple (El Greco, Madrid)

Focus on this artwork and discuss the abstract.

Christ Driving the Money Changers from the Temple is a 1609 Christian art painting by El Greco, now in the church of San Ginés in Madrid. It depicts the Cleansing of the Temple, an event in the Life of Christ. There exist three other copies of the painting and also a faithful reproduction in the National Gallery in London, which has recently been considered as authentic by scholars in the field of visual arts. Two versions and that other on loan from Madrid are titled Purification of the Temple. The one at the National Gallery in Washington is called Christ Cleansing the Temple.

0305_T

A Man with a Quilted Sleeve

How does A Man with a Quilted Sleeve elucidate its abstract?

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring 81.2 by 66.3 centimetres (32.0 in × 26.1 in). Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter. It was long thought to be a portrait of Ariosto, then a self-portrait, but in 2017 is called Portrait of Gerolamo (?) Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants. Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice. According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits (which may not represent individuals who commissioned the painting) but shows the personality and "physical assurance" of his sitter with new force and realism. To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting (or a copy) in Amsterdam. Soon after, it apparently moved to England via France. It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

0305_NT

A Man with a Quilted Sleeve

How does this artwork elucidate its abstract?

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring 81.2 by 66.3 centimetres (32.0 in × 26.1 in). Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter. It was long thought to be a portrait of Ariosto, then a self-portrait, but in 2017 is called Portrait of Gerolamo (?) Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants. Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice. According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits (which may not represent individuals who commissioned the painting) but shows the personality and "physical assurance" of his sitter with new force and realism. To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting (or a copy) in Amsterdam. Soon after, it apparently moved to England via France. It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

0306_T

A Man with a Quilted Sleeve

Focus on A Man with a Quilted Sleeve and analyze the Attribution, date and condition.

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona. The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512. According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them. They are usually taken as Titian's initials (his name was "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"". This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona. Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

0306_NT

A Man with a Quilted Sleeve

Focus on this artwork and analyze the Attribution, date and condition.

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona. The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512. According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them. They are usually taken as Titian's initials (his name was "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"". This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona. Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

0307_T

A Man with a Quilted Sleeve

In A Man with a Quilted Sleeve, how is the Identity of sitter discussed?

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics. Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented. Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer. At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them. Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21). In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

0307_NT

A Man with a Quilted Sleeve

In this artwork, how is the Identity of sitter discussed?

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics. Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented. Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer. At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them. Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21). In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

0308_T

Nike Instructs the Boy in Heroic History

Focus on Nike Instructs the Boy in Heroic History and explore the abstract.

Nike Instructs the Boy in Heroic History (German: Nike lehrt den Knaben Heldensagen) is an outdoor sculpture by Emil Wolff, installed on Schlossbrücke in Berlin, Germany.

0308_NT

Nike Instructs the Boy in Heroic History

Focus on this artwork and explore the abstract.

Nike Instructs the Boy in Heroic History (German: Nike lehrt den Knaben Heldensagen) is an outdoor sculpture by Emil Wolff, installed on Schlossbrücke in Berlin, Germany.

0309_T

Triumph of Saint Thomas Aquinas (Lipo Memmi)

Focus on Triumph of Saint Thomas Aquinas (Lipo Memmi) and explain the Description.

The painting is a complex arrangement exalting the role of Thomas Aquinas as a scholar of religious knowledge, his placement among the Four Evangelists and philosophers. In the center of the panel, the largest figure is the seated tonsured monk St Thomas Aquinas, below a Christ inside a mandorla. Linear rays tie his work to the Four Evangelists and Moses and St Paul above the gilded circle. Flanking him are Aristotle and Plato.A guide from 1867, while erroneously attributing the painting to Taddeo Gaddi, describes some of the contents including the quote from Proverbs 8:7, which Aquinas used to introduce his Summa contra gentiles "Wherefore I prayed, and understanding was given me: I called upon God, and the Spirit of Wisdom came to me. I preferred her before sceptres and thrones, and esteemed riches nothing in comparison of her." Below the feet of Aquinas is a dejected Averroes, horizontal and looks away with book inverted. The guide provides a long elaboration of the lower figures, but careful examination fails to identify many of the attributes described. The figures likely represent monks and nuns of the Catholic orders, inspired by the words of Aquinas.

0309_NT

Triumph of Saint Thomas Aquinas (Lipo Memmi)

Focus on this artwork and explain the Description.

The painting is a complex arrangement exalting the role of Thomas Aquinas as a scholar of religious knowledge, his placement among the Four Evangelists and philosophers. In the center of the panel, the largest figure is the seated tonsured monk St Thomas Aquinas, below a Christ inside a mandorla. Linear rays tie his work to the Four Evangelists and Moses and St Paul above the gilded circle. Flanking him are Aristotle and Plato.A guide from 1867, while erroneously attributing the painting to Taddeo Gaddi, describes some of the contents including the quote from Proverbs 8:7, which Aquinas used to introduce his Summa contra gentiles "Wherefore I prayed, and understanding was given me: I called upon God, and the Spirit of Wisdom came to me. I preferred her before sceptres and thrones, and esteemed riches nothing in comparison of her." Below the feet of Aquinas is a dejected Averroes, horizontal and looks away with book inverted. The guide provides a long elaboration of the lower figures, but careful examination fails to identify many of the attributes described. The figures likely represent monks and nuns of the Catholic orders, inspired by the words of Aquinas.

0310_T

Esquiline Venus

Explore the abstract of this artwork, Esquiline Venus.

The Esquiline Venus, depicting the goddess Venus (i.e. Greek Aphrodite), is a smaller-than-life-size Roman nude marble sculpture of a female in sandals and a diadem headdress. It is widely viewed as a 1st-century AD Roman copy of a Greek original from the 1st century BC. It is also a possible depiction of the Ptolemaic ruler Cleopatra VII. The sculpture is thought to have been based on an original Hellenistic statue from the Ptolemaic Kingdom. It possibly depicts Venus-Isis, a syncretism of Venus with the Egyptian goddess Isis. The copy was likely commissioned by emperor Claudius to decorate the Horti Lamiani. The vase depicted next to the female figure includes an asp or uraeus, depictions of the Egyptian cobra.

0310_NT

Esquiline Venus

Explore the abstract of this artwork.

The Esquiline Venus, depicting the goddess Venus (i.e. Greek Aphrodite), is a smaller-than-life-size Roman nude marble sculpture of a female in sandals and a diadem headdress. It is widely viewed as a 1st-century AD Roman copy of a Greek original from the 1st century BC. It is also a possible depiction of the Ptolemaic ruler Cleopatra VII. The sculpture is thought to have been based on an original Hellenistic statue from the Ptolemaic Kingdom. It possibly depicts Venus-Isis, a syncretism of Venus with the Egyptian goddess Isis. The copy was likely commissioned by emperor Claudius to decorate the Horti Lamiani. The vase depicted next to the female figure includes an asp or uraeus, depictions of the Egyptian cobra.

0311_T

Esquiline Venus

Focus on Esquiline Venus and discuss the History.

The Esquiline Venus was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. In the 16th and 17th centuries, the thirteen Medici Niobids, a variant of the Laocoön and his Sons, the bust of Commodus with the attributes of Hercules, and the Discobolus had already been found here. After 1870 intensive building work was ongoing at the site, as part of preparations to make Rome the new capital of the Kingdom of Italy, following the Italian unification. The newly found sculpture soon passed into the collection of the Capitoline Museums, where it now resides, and is usually on display at its Museo Centrale Montemartini.In style the Esquiline Venus is an example of the Pasitelean "eclectic" Neo-Attic school, combining elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Its arms must have broken off when the statue fell after the imperial park in which it stood fell into neglect after antiquity. They have been frequently restored in paintings (see below), but never in reality.

0311_NT

Esquiline Venus

Focus on this artwork and discuss the History.

The Esquiline Venus was found in 1874 in Piazza Dante on the Esquiline Hill in Rome, probably part of the site of the Horti Lamiani, one of the imperial gardens, rich archaeological sources of classical sculpture. In the 16th and 17th centuries, the thirteen Medici Niobids, a variant of the Laocoön and his Sons, the bust of Commodus with the attributes of Hercules, and the Discobolus had already been found here. After 1870 intensive building work was ongoing at the site, as part of preparations to make Rome the new capital of the Kingdom of Italy, following the Italian unification. The newly found sculpture soon passed into the collection of the Capitoline Museums, where it now resides, and is usually on display at its Museo Centrale Montemartini.In style the Esquiline Venus is an example of the Pasitelean "eclectic" Neo-Attic school, combining elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures. Its arms must have broken off when the statue fell after the imperial park in which it stood fell into neglect after antiquity. They have been frequently restored in paintings (see below), but never in reality.

0312_T

Esquiline Venus

How does Esquiline Venus elucidate its Subject?

The statue's subject has variously been interpreted, as the Roman goddess Venus (possibly in the form Venus Anadyomene), as a nude mortal female bather, a female version of the diadumenos tying up the hair with a fillet (see below). The Esquiline Venus is generally thought to be a mid-1st-century AD Roman copy of a 1st-century BC Greek original from the school of Pasiteles. Its provenance has been characterized both as a Ptolemaic-Egyptian commission or as a copy of one, perhaps a copy commissioned by Claudius himself for the imperial gardens. This identification is based on the statue's Egyptian-style robe, descending over a vase, the asp or uraeus Egyptian cobra on the vase, and curly hair; if correct, these features could make it a cult statue of the goddess Isis, or an image (perhaps that set up by Julius Caesar) of Cleopatra VII as Isis or Venus-Isis (the two were frequently conflated). This view is backed by the Italian philologist Licinio Glori in 1955. Or she could be a copy of the statue of Cleopatra set up by Caesar in the temple of Venus Genetrix, a view supported by Bernard Andreae. In addition to hairstyle and facial features, the apparent royal diadem worn over the head is also an indication that it depicts Cleopatra. Detractors of this theory argue that the facial features on the Berlin bust and coinage of Cleopatra differ and assert that it was unlikely she would be depicted as the naked goddess Venus (i.e. the Greek Aphrodite). However, she was depicted in an Egyptian statue as the goddess Isis. Cleopatra was also depicted on some of her coins as Venus-Aphrodite, and reportedly dressed as Aphrodite when meeting Mark Antony at Tarsos in 42 BC.

0312_NT

Esquiline Venus

How does this artwork elucidate its Subject?

The statue's subject has variously been interpreted, as the Roman goddess Venus (possibly in the form Venus Anadyomene), as a nude mortal female bather, a female version of the diadumenos tying up the hair with a fillet (see below). The Esquiline Venus is generally thought to be a mid-1st-century AD Roman copy of a 1st-century BC Greek original from the school of Pasiteles. Its provenance has been characterized both as a Ptolemaic-Egyptian commission or as a copy of one, perhaps a copy commissioned by Claudius himself for the imperial gardens. This identification is based on the statue's Egyptian-style robe, descending over a vase, the asp or uraeus Egyptian cobra on the vase, and curly hair; if correct, these features could make it a cult statue of the goddess Isis, or an image (perhaps that set up by Julius Caesar) of Cleopatra VII as Isis or Venus-Isis (the two were frequently conflated). This view is backed by the Italian philologist Licinio Glori in 1955. Or she could be a copy of the statue of Cleopatra set up by Caesar in the temple of Venus Genetrix, a view supported by Bernard Andreae. In addition to hairstyle and facial features, the apparent royal diadem worn over the head is also an indication that it depicts Cleopatra. Detractors of this theory argue that the facial features on the Berlin bust and coinage of Cleopatra differ and assert that it was unlikely she would be depicted as the naked goddess Venus (i.e. the Greek Aphrodite). However, she was depicted in an Egyptian statue as the goddess Isis. Cleopatra was also depicted on some of her coins as Venus-Aphrodite, and reportedly dressed as Aphrodite when meeting Mark Antony at Tarsos in 42 BC.

0313_T

Esquiline Venus

Focus on Esquiline Venus and analyze the In modern art.

The sculpture inspired many artistic reconstructions in the decade after its discovery. Chief among these are Sir Lawrence Alma-Tadema's A Sculptor's Model (1877) and Edward Poynter's Diadumene (1884). These both portrayed the statue's model binding her hair with a strip of fabric (as with the statue type diadumenos) in preparation for modelling for the sculptor or for taking a bath respectively. Poynter believed this to be the correct reconstruction partly because the remains of the little finger of her left hand are visible on the back of her head, suggesting that her left arm was raised to hold her hair in place, whilst the right hand wound the fabric. At the Museo Centrale Montemartini, the Esquiline Venus is now usually displayed behind a 'pool' (actually a glass floor panel) in tribute to this rendering.

0313_NT

Esquiline Venus

Focus on this artwork and analyze the In modern art.

The sculpture inspired many artistic reconstructions in the decade after its discovery. Chief among these are Sir Lawrence Alma-Tadema's A Sculptor's Model (1877) and Edward Poynter's Diadumene (1884). These both portrayed the statue's model binding her hair with a strip of fabric (as with the statue type diadumenos) in preparation for modelling for the sculptor or for taking a bath respectively. Poynter believed this to be the correct reconstruction partly because the remains of the little finger of her left hand are visible on the back of her head, suggesting that her left arm was raised to hold her hair in place, whilst the right hand wound the fabric. At the Museo Centrale Montemartini, the Esquiline Venus is now usually displayed behind a 'pool' (actually a glass floor panel) in tribute to this rendering.

0314_T

Esquiline Venus

In Esquiline Venus, how is the Exhibitions discussed?

From December 2006 to February 4, 2007, the sculpture was the centrepiece of the exhibition "Cleopatra and the Caesars" at the Bucerius Kunst Forum at Hamburg, following which, from March to June 2007, she was at the Louvre for the Praxiteles exhibition.

0314_NT

Esquiline Venus

In this artwork, how is the Exhibitions discussed?

From December 2006 to February 4, 2007, the sculpture was the centrepiece of the exhibition "Cleopatra and the Caesars" at the Bucerius Kunst Forum at Hamburg, following which, from March to June 2007, she was at the Louvre for the Praxiteles exhibition.

0315_T

Martin Kukučín (sculpture)

Focus on Martin Kukučín (sculpture) and explore the abstract.

The Martin Kukučín statue is a sculpture of the Slovak writer of the same name by Ivan Meštrović. Copies exist in Bratislava, Slovakia and on the Oregon State University campus in Corvallis, Oregon, in the United States. The statue depicts Kukučín seated with his legs crossed, wearing a suit and boots. He holds an open book in his hands, on his lap.

0315_NT

Martin Kukučín (sculpture)

Focus on this artwork and explore the abstract.

The Martin Kukučín statue is a sculpture of the Slovak writer of the same name by Ivan Meštrović. Copies exist in Bratislava, Slovakia and on the Oregon State University campus in Corvallis, Oregon, in the United States. The statue depicts Kukučín seated with his legs crossed, wearing a suit and boots. He holds an open book in his hands, on his lap.

0316_T

Martin Kukučín (sculpture)

Focus on Martin Kukučín (sculpture) and explain the Bratislava, Slovakia.

The Martin Kukučín statue in Bratislava is in the Medic Garden (Medická záhrada) in Old Town, near the Ondrejský Cemetery. (48°08′58.1″N 17°07′09.3″E)

0316_NT

Martin Kukučín (sculpture)

Focus on this artwork and explain the Bratislava, Slovakia.

The Martin Kukučín statue in Bratislava is in the Medic Garden (Medická záhrada) in Old Town, near the Ondrejský Cemetery. (48°08′58.1″N 17°07′09.3″E)

0317_T

Martin Kukučín (sculpture)

Explore the Oregon State University of this artwork, Martin Kukučín (sculpture).

The bronze Martin Kukučín statue on the Oregon State University campus in Corvallis, Oregon, dated 1977, is installed on the west side of The Valley Library (44°33.905′N 123°16.598′W). It measures 6.5 feet (2.0 m) tall, 36 inches (0.91 m) wide, and 63 inches (1.6 m) long. It rests on a concrete base that is approximately 13 inches (0.33 m) tall and has a 9-foot (2.7 m) diameter. The installation includes a plaque with the inscription:MARTIN KUKUCIN 1860-1928 / AUTHOR AND PHYSICIAN / BY / IVAN MESTROVIC 1883-1962 / SCULPTOR.The work was surveyed and deemed "treatment needed" by Smithsonian Institution's "Save Outdoor Sculpture!"program in April 1993.

0317_NT

Martin Kukučín (sculpture)

Explore the Oregon State University of this artwork.

The bronze Martin Kukučín statue on the Oregon State University campus in Corvallis, Oregon, dated 1977, is installed on the west side of The Valley Library (44°33.905′N 123°16.598′W). It measures 6.5 feet (2.0 m) tall, 36 inches (0.91 m) wide, and 63 inches (1.6 m) long. It rests on a concrete base that is approximately 13 inches (0.33 m) tall and has a 9-foot (2.7 m) diameter. The installation includes a plaque with the inscription:MARTIN KUKUCIN 1860-1928 / AUTHOR AND PHYSICIAN / BY / IVAN MESTROVIC 1883-1962 / SCULPTOR.The work was surveyed and deemed "treatment needed" by Smithsonian Institution's "Save Outdoor Sculpture!"program in April 1993.

0318_T

The English Pug and the French Poodle

Focus on The English Pug and the French Poodle and discuss the abstract.

The English Pug and the French Poodle (French: Le Caniche français et le Carlin anglais), also known as The Two Snobs (French: Les deux snobs), is a privately-owned outdoor 2013 art installation with two bronze sculptures by the Canadian artist Marc André J. Fortier, installed at 500 Place d'Armes in Montreal, Quebec, Canada.

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The English Pug and the French Poodle

Focus on this artwork and discuss the abstract.

The English Pug and the French Poodle (French: Le Caniche français et le Carlin anglais), also known as The Two Snobs (French: Les deux snobs), is a privately-owned outdoor 2013 art installation with two bronze sculptures by the Canadian artist Marc André J. Fortier, installed at 500 Place d'Armes in Montreal, Quebec, Canada.

0319_T

The English Pug and the French Poodle

How does The English Pug and the French Poodle elucidate its Description?

Standing in the heart of Old Montreal, the diptych evokes, with humour, the cultural discords that used to prevail between the French and English Canadians. Inspired by the historical site of the building, the novel Two Solitudes by Hugh MacLennan and Commedia dell'arte, the artist decided to express in his own way, this historical divide. For this, Fortier has intentionally divided the piece into two clear segments to accentuate the distance between the two parties. Both characters stand on the ground and face away from each other on opposite sides of the building. On the south side corner of the tower, an Englishman, represented as a thin, elegant, pretentious man, wearing a grid pattern suit with a bow tie, firmly presses against his chest a pug and stares with condescension at the Notre-Dame Basilica, a symbol of the religious dominance of the Catholic Church in Quebec. On the north side corner of the same tower, a Frenchwoman represented as a small, elegant, snooty lady, wearing a Chanel-style suit, rubber-zippered high-heeled shoe covers and an imitation beret, firmly holds against her chest a French Poodle and stares with discontent at the head office of the Bank of Montreal, a symbol of the English power. Both dogs are attracted to each other but are made by their owners to stay away and far apart.A bronze plate anchored beside each character states the storyline in both languages:"A dashing looking English man, holding his pug, gives a superior stare at Notre-Dame Basilica, symbol of the religious influence on French Canadians. 210 feet away to the northern corner of the edifice, a woman in Chanel style suit, poodle against her, shoots an offended look to the Bank of Montreal’s head office, symbol of English power. With their masters oblivious to each other, the two dogs on the alert already sniffed out the opportunity to unite. The inspiration for this work was from the Commedia dell’arte and Two Solitudes from novelist Hugh MacLennan, these two snobs set up an ironically touching scene of the cultural distance between English and French Canadians."

0319_NT

The English Pug and the French Poodle

How does this artwork elucidate its Description?

Standing in the heart of Old Montreal, the diptych evokes, with humour, the cultural discords that used to prevail between the French and English Canadians. Inspired by the historical site of the building, the novel Two Solitudes by Hugh MacLennan and Commedia dell'arte, the artist decided to express in his own way, this historical divide. For this, Fortier has intentionally divided the piece into two clear segments to accentuate the distance between the two parties. Both characters stand on the ground and face away from each other on opposite sides of the building. On the south side corner of the tower, an Englishman, represented as a thin, elegant, pretentious man, wearing a grid pattern suit with a bow tie, firmly presses against his chest a pug and stares with condescension at the Notre-Dame Basilica, a symbol of the religious dominance of the Catholic Church in Quebec. On the north side corner of the same tower, a Frenchwoman represented as a small, elegant, snooty lady, wearing a Chanel-style suit, rubber-zippered high-heeled shoe covers and an imitation beret, firmly holds against her chest a French Poodle and stares with discontent at the head office of the Bank of Montreal, a symbol of the English power. Both dogs are attracted to each other but are made by their owners to stay away and far apart.A bronze plate anchored beside each character states the storyline in both languages:"A dashing looking English man, holding his pug, gives a superior stare at Notre-Dame Basilica, symbol of the religious influence on French Canadians. 210 feet away to the northern corner of the edifice, a woman in Chanel style suit, poodle against her, shoots an offended look to the Bank of Montreal’s head office, symbol of English power. With their masters oblivious to each other, the two dogs on the alert already sniffed out the opportunity to unite. The inspiration for this work was from the Commedia dell’arte and Two Solitudes from novelist Hugh MacLennan, these two snobs set up an ironically touching scene of the cultural distance between English and French Canadians."

0320_T

Maqueta del Centro de Puebla

Focus on Maqueta del Centro de Puebla and analyze the abstract.

The Maqueta del Centro de Puebla is a copper maquette depicting the city of Puebla's historic centre, in Puebla, Mexico. The sculpture was installed near the Zócalo in 2008.

0320_NT

Maqueta del Centro de Puebla

Focus on this artwork and analyze the abstract.

The Maqueta del Centro de Puebla is a copper maquette depicting the city of Puebla's historic centre, in Puebla, Mexico. The sculpture was installed near the Zócalo in 2008.

0321_T

St Sebastian (Antonello da Messina)

In St Sebastian (Antonello da Messina), how is the abstract discussed?

St Sebastian is a painting, once part of a triptych by the Italian Renaissance artist Antonello da Messina, completed in 1477–1479. It is housed in the Gemäldegalerie Alte Meister, Dresden, Germany.

0321_NT

St Sebastian (Antonello da Messina)

In this artwork, how is the abstract discussed?

St Sebastian is a painting, once part of a triptych by the Italian Renaissance artist Antonello da Messina, completed in 1477–1479. It is housed in the Gemäldegalerie Alte Meister, Dresden, Germany.

0322_T

St Sebastian (Antonello da Messina)

Focus on St Sebastian (Antonello da Messina) and explore the History.

The visit of the Sicilian artist Antonello da Messina to Venice in 1475–1476 has traditionally been seen as turning point in the history of the city's painting – Giorgio Vasari crediting him with introducing oil painting to Venice. Antonello painted two altarpieces for Venetian churches, one for the church of San Cassiano, and the other, of which the St Sebastian once formed part, for the altar of the Scuola di San Rocca in the parish church of San Giuliano. It has often been assumed to have been painted in Venice in 1476, but it may have been painted only after Antonello's return to Sicily in the autumn of that year. A description by Francesco Sansovino, dating from 1581, indicates that the altarpiece consisted of a wooden statue of St Roche, flanked by painted panels showing St Christopher and St Sebastian. Sansovino describes the panel of St Christopher as being by Antonello, and that of St Sebastian as being by "Pino da Messina" (i.e. his son Jacobello or "Jacopino"). However art historians have generally accepted Antonello's authorship of the St Sebastian. The statue and the painting of St Christopher are now lost.

0322_NT

St Sebastian (Antonello da Messina)

Focus on this artwork and explore the History.

The visit of the Sicilian artist Antonello da Messina to Venice in 1475–1476 has traditionally been seen as turning point in the history of the city's painting – Giorgio Vasari crediting him with introducing oil painting to Venice. Antonello painted two altarpieces for Venetian churches, one for the church of San Cassiano, and the other, of which the St Sebastian once formed part, for the altar of the Scuola di San Rocca in the parish church of San Giuliano. It has often been assumed to have been painted in Venice in 1476, but it may have been painted only after Antonello's return to Sicily in the autumn of that year. A description by Francesco Sansovino, dating from 1581, indicates that the altarpiece consisted of a wooden statue of St Roche, flanked by painted panels showing St Christopher and St Sebastian. Sansovino describes the panel of St Christopher as being by Antonello, and that of St Sebastian as being by "Pino da Messina" (i.e. his son Jacobello or "Jacopino"). However art historians have generally accepted Antonello's authorship of the St Sebastian. The statue and the painting of St Christopher are now lost.

0323_T

St Sebastian (Antonello da Messina)

Focus on St Sebastian (Antonello da Messina) and explain the Description.

This picture, dominated by the vertical figure of the saint, shows a marked influence by Piero della Francesca: this can be seen in particular in the perspective of the floor and in the "mathematical" disposition of the figurative elements. Original to Antonello is the smooth rendering of the body of St. Sebastian (defying any geometrical break-down) and the passion for the details of landscape, seen for example in Umbrian school painters like Carlo Crivelli. Famous details include the man reclining on the left, the typical Venetian-style chimneys, the columns and the monumental appearance of the buildings (probably inspired by some of Mantegna's works) and the debating pairs of men on the right side, forming an interesting mixing of late Gothic elements with Venetian, Flemish and advanced Renaissance ones.

0323_NT

St Sebastian (Antonello da Messina)

Focus on this artwork and explain the Description.

This picture, dominated by the vertical figure of the saint, shows a marked influence by Piero della Francesca: this can be seen in particular in the perspective of the floor and in the "mathematical" disposition of the figurative elements. Original to Antonello is the smooth rendering of the body of St. Sebastian (defying any geometrical break-down) and the passion for the details of landscape, seen for example in Umbrian school painters like Carlo Crivelli. Famous details include the man reclining on the left, the typical Venetian-style chimneys, the columns and the monumental appearance of the buildings (probably inspired by some of Mantegna's works) and the debating pairs of men on the right side, forming an interesting mixing of late Gothic elements with Venetian, Flemish and advanced Renaissance ones.

0324_T

Brutus (Michelangelo)

Focus on Brutus (Michelangelo) and discuss the abstract.

Brutus is a marble bust of Brutus sculpted by Michelangelo around 1539–1540. It is now in the Bargello museum in Florence. The sculpture gives Brutus a heroic aspect in keeping with political sentiment against tyranny at the time of its creation. It belongs to—and may have initiated—a revival of the classical bust in sculpture.

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Brutus (Michelangelo)

Focus on this artwork and discuss the abstract.

Brutus is a marble bust of Brutus sculpted by Michelangelo around 1539–1540. It is now in the Bargello museum in Florence. The sculpture gives Brutus a heroic aspect in keeping with political sentiment against tyranny at the time of its creation. It belongs to—and may have initiated—a revival of the classical bust in sculpture.

0325_T

Brutus (Michelangelo)

How does Brutus (Michelangelo) elucidate its Background?

Michelangelo carved Brutus a few years after the defeat of the Republic of Florence (1527–1531). As a supporter of the Florentine Republic who designed and supervised the remodeling and construction of its fortifications, Michelangelo was a strong opponent of tyranny.In the Divine Comedy, Dante had placed Brutus among the lowest of the low. Michelangelo was much devoted to the poems of Dante, but with the Renaissance, Brutus came to be seen as a strong and defiant opponent of tyranny. "During the Renaissance, with the Roman Empire seen as the beginning of the decadence of Rome, a veritable cult of Brutus developed", Michelangelo's biographer Charles de Tolnay writes.During the years following the capitulation of Florence, Michelangelo remained in contact with some of the former leaders of the Republic, men who championed the liberty of the city-state and opposed Medicean tyranny. De Tolnay believes that one of these men, namely Donato Giannotti, inspired the bust of Brutus. "The Bust is important for understanding [Michelangelo] Buonarroti's political views", De Tolnay states. "Michelangelo's conception of Brutus is clearly expressed in this bust: It represents heroic scorn for those who would destroy liberty". Contemporaries may have connected the sculpture with the assassination of Alessandro de' Medici, Duke of Florence, by Lorenzino de' Medici in 1537.Johannes Wilde, another Michelangelo scholar, also sees the Brutus as a "glorification of liberty from tyranny". Wilde suggests that the sculpture remained unfinished.

0325_NT

Brutus (Michelangelo)

How does this artwork elucidate its Background?

Michelangelo carved Brutus a few years after the defeat of the Republic of Florence (1527–1531). As a supporter of the Florentine Republic who designed and supervised the remodeling and construction of its fortifications, Michelangelo was a strong opponent of tyranny.In the Divine Comedy, Dante had placed Brutus among the lowest of the low. Michelangelo was much devoted to the poems of Dante, but with the Renaissance, Brutus came to be seen as a strong and defiant opponent of tyranny. "During the Renaissance, with the Roman Empire seen as the beginning of the decadence of Rome, a veritable cult of Brutus developed", Michelangelo's biographer Charles de Tolnay writes.During the years following the capitulation of Florence, Michelangelo remained in contact with some of the former leaders of the Republic, men who championed the liberty of the city-state and opposed Medicean tyranny. De Tolnay believes that one of these men, namely Donato Giannotti, inspired the bust of Brutus. "The Bust is important for understanding [Michelangelo] Buonarroti's political views", De Tolnay states. "Michelangelo's conception of Brutus is clearly expressed in this bust: It represents heroic scorn for those who would destroy liberty". Contemporaries may have connected the sculpture with the assassination of Alessandro de' Medici, Duke of Florence, by Lorenzino de' Medici in 1537.Johannes Wilde, another Michelangelo scholar, also sees the Brutus as a "glorification of liberty from tyranny". Wilde suggests that the sculpture remained unfinished.

0326_T

Brutus (Michelangelo)

Focus on Brutus (Michelangelo) and analyze the The work.

The sculpture was commissioned by the republican Donato Giannotti for Cardinal Niccolò Ridolfi.The face of the sculpture is asymmetrical, with the side turned away from the spectator showing more signs of emotion, including a flared nostril.

0326_NT

Brutus (Michelangelo)

Focus on this artwork and analyze the The work.

The sculpture was commissioned by the republican Donato Giannotti for Cardinal Niccolò Ridolfi.The face of the sculpture is asymmetrical, with the side turned away from the spectator showing more signs of emotion, including a flared nostril.

0327_T

Brutus (Michelangelo)

Describe the characteristics of the Fibula as a study for the head in Brutus (Michelangelo)'s The work.

Giorgio Vasari wrote that Michelangelo had modeled Brutus from the image cut into a gem. Later scholars did not find the work to resemble any such extant gem, supposing instead that it may have been modeled after a bust of Caracalla. De Tolnay in 1935 published his observation that the fibula in the sculpture is a study for the sculpture itself, providing a missing link to show the resemblance to classical coinage.The shape of the head itself is simpler than that of the silhouette on the shoulder. According to de Tolnay:In the former (the fibula), the silhouette of the head is roundish; the forehead in relief shows movement; the outline of the nose is undulating; the line of the lips is soft; the chin is sharply rounded. In the latter (the bust), everything is simplified for cutting; the comparatively small head rises above an unusually broad bull-neck, and has an almost straight rectangular silhouette; the forehead is quite smoothed off; the nose is severely straight; the lips are hard; the chin is angular and protruding. The minor details have disappeared and only the form as a whole remains effective. This evolution from an empirical, individual prototype to a universal, ideal type is characteristic of Michelangelo's procedure, and may be seen even in his early work.

0327_NT

Brutus (Michelangelo)

Describe the characteristics of the Fibula as a study for the head in this artwork's The work.

Giorgio Vasari wrote that Michelangelo had modeled Brutus from the image cut into a gem. Later scholars did not find the work to resemble any such extant gem, supposing instead that it may have been modeled after a bust of Caracalla. De Tolnay in 1935 published his observation that the fibula in the sculpture is a study for the sculpture itself, providing a missing link to show the resemblance to classical coinage.The shape of the head itself is simpler than that of the silhouette on the shoulder. According to de Tolnay:In the former (the fibula), the silhouette of the head is roundish; the forehead in relief shows movement; the outline of the nose is undulating; the line of the lips is soft; the chin is sharply rounded. In the latter (the bust), everything is simplified for cutting; the comparatively small head rises above an unusually broad bull-neck, and has an almost straight rectangular silhouette; the forehead is quite smoothed off; the nose is severely straight; the lips are hard; the chin is angular and protruding. The minor details have disappeared and only the form as a whole remains effective. This evolution from an empirical, individual prototype to a universal, ideal type is characteristic of Michelangelo's procedure, and may be seen even in his early work.

0328_T

The Fall of Icarus (Picasso)

Focus on The Fall of Icarus (Picasso) and explore the Background.

The mural was commissioned by UNESCO in 1957, with the purpose of decorating the Paris headquarters. Picasso was one of eleven artists who were chosen to undertake this task. Picasso began working on the commission in December 1957 and based his composition on his Bathers series from 1956. A scale model was completed on 29 January 1958, before the mural was finally presented two months later to Luther Evans, Director General of UNESCO and Georges Salles, the second President of the ICOM and Vice President of the Committee of art advisors. Originally the mural was titled The Forces of Life and Spirit Triumphing over Evil, but it was renamed by Georges Salles in 1958, who gave it the title The Fall of Icarus.The mural was first publicly displayed in the hallway of UNESCO's Bâtiment des Conférences on 3 November 1958 when the building was inaugurated.

0328_NT

The Fall of Icarus (Picasso)

Focus on this artwork and explore the Background.

The mural was commissioned by UNESCO in 1957, with the purpose of decorating the Paris headquarters. Picasso was one of eleven artists who were chosen to undertake this task. Picasso began working on the commission in December 1957 and based his composition on his Bathers series from 1956. A scale model was completed on 29 January 1958, before the mural was finally presented two months later to Luther Evans, Director General of UNESCO and Georges Salles, the second President of the ICOM and Vice President of the Committee of art advisors. Originally the mural was titled The Forces of Life and Spirit Triumphing over Evil, but it was renamed by Georges Salles in 1958, who gave it the title The Fall of Icarus.The mural was first publicly displayed in the hallway of UNESCO's Bâtiment des Conférences on 3 November 1958 when the building was inaugurated.

0329_T

The Fall of Icarus (Picasso)

Focus on The Fall of Icarus (Picasso) and explain the Description.

The mural is immense in size, measuring nearly 100 square metres and comprising 40 wooden panels painted in acrylic. It depicts a beach scene that features several figures. On the centre left, a figure is shown to be falling from the sky towards the blue ocean. The mural was produced in segments that divided the work into four sections. Picasso used abstract forms to portray the figures in the mural in a similar style to the Bathers.

0329_NT

The Fall of Icarus (Picasso)

Focus on this artwork and explain the Description.

The mural is immense in size, measuring nearly 100 square metres and comprising 40 wooden panels painted in acrylic. It depicts a beach scene that features several figures. On the centre left, a figure is shown to be falling from the sky towards the blue ocean. The mural was produced in segments that divided the work into four sections. Picasso used abstract forms to portray the figures in the mural in a similar style to the Bathers.

0330_T

Split (sculpture)

Explore the abstract of this artwork, Split (sculpture).

Split is an outdoor 2003 stainless steel sculpture by Roxy Paine, installed at Olympic Sculpture Park in the neighborhood of Belltown in Seattle, Washington.The sculpture is a life-sized steel representation of a tree without any leaves. Naturally, birds such as crows can be seen occasionally resting on the branches. It was built in a way that the two main branches diverge in direction, making it look more natural. It is approximately 15.24 m (50 ft) tall.

0330_NT

Split (sculpture)

Explore the abstract of this artwork.

Split is an outdoor 2003 stainless steel sculpture by Roxy Paine, installed at Olympic Sculpture Park in the neighborhood of Belltown in Seattle, Washington.The sculpture is a life-sized steel representation of a tree without any leaves. Naturally, birds such as crows can be seen occasionally resting on the branches. It was built in a way that the two main branches diverge in direction, making it look more natural. It is approximately 15.24 m (50 ft) tall.

0331_T

The Lute Player (Hals)

Focus on The Lute Player (Hals) and discuss the abstract.

The Lute Player is an oil-on-canvas painting from 1623 or 1624 now in the Louvre by the Haarlem painter Frans Hals, showing a smiling actor wearing a jester's costume and playing a lute.This painting was documented by Wilhelm von Bode in 1883, Ernst Wilhelm Moes in 1909 and Hofstede de Groot in 1910, who wrote:98. A FOOL WITH A MANDOLINE. B. 45; M. 216.- Half-length. A man turned half-right, in a red costume trimmed with yellow. He has long hair, and wears a red and yellow cap. His head is seen in full face; he looks up to the left. With his right hand he touches the strings of a mandoline; his left hand grasps the neck. Very freely handled. Especially good are the various contrasting flesh-tones, the red and yellow of the costume, and the reflections in the eyes. [Compare 95.] Signed in the right at top, F. H.; canvas, about 29 inches by 24 inches. A copy (B. 16, and see M. 216) is in the Rijksmuseum, Amsterdam, 1907 catalogue, No. 1093; it measures 26 inches by 24 inches, having rather less at the foot than the original. In the collection of Baron Gustave de Rothschild, Paris. The theme of a lute player painted at half length originated in Italy, and the Dutch painter Dirck van Baburen first introduced this theme in the Northern Netherlands with his lute player of 1622. Baburen's player is pointing his lute towards the viewer with his mouth open in song. Hals' player is looking up and smiling naturally, as if he is playing with a singer or another musician not in view. This painting is a good example of Hals' "rough style" of painting with loose brush strokes. A period copy now in the collection of the Rijksmuseum has been dated before 1626 based on an engraving, and it has been attributed variously to Hals, his brother Dirk, and Judith Leyster.Two other paintings of lute players by Hals are: Hals was not the only painter to be influenced by Baburen. Hendrik ter Brugghen painted several lute players in the 1620s, and a few of them seem to merge aspects of Baburen and Hals, though his later version seems to follow Hals more closely.

0331_NT

The Lute Player (Hals)

Focus on this artwork and discuss the abstract.

The Lute Player is an oil-on-canvas painting from 1623 or 1624 now in the Louvre by the Haarlem painter Frans Hals, showing a smiling actor wearing a jester's costume and playing a lute.This painting was documented by Wilhelm von Bode in 1883, Ernst Wilhelm Moes in 1909 and Hofstede de Groot in 1910, who wrote:98. A FOOL WITH A MANDOLINE. B. 45; M. 216.- Half-length. A man turned half-right, in a red costume trimmed with yellow. He has long hair, and wears a red and yellow cap. His head is seen in full face; he looks up to the left. With his right hand he touches the strings of a mandoline; his left hand grasps the neck. Very freely handled. Especially good are the various contrasting flesh-tones, the red and yellow of the costume, and the reflections in the eyes. [Compare 95.] Signed in the right at top, F. H.; canvas, about 29 inches by 24 inches. A copy (B. 16, and see M. 216) is in the Rijksmuseum, Amsterdam, 1907 catalogue, No. 1093; it measures 26 inches by 24 inches, having rather less at the foot than the original. In the collection of Baron Gustave de Rothschild, Paris. The theme of a lute player painted at half length originated in Italy, and the Dutch painter Dirck van Baburen first introduced this theme in the Northern Netherlands with his lute player of 1622. Baburen's player is pointing his lute towards the viewer with his mouth open in song. Hals' player is looking up and smiling naturally, as if he is playing with a singer or another musician not in view. This painting is a good example of Hals' "rough style" of painting with loose brush strokes. A period copy now in the collection of the Rijksmuseum has been dated before 1626 based on an engraving, and it has been attributed variously to Hals, his brother Dirk, and Judith Leyster.Two other paintings of lute players by Hals are: Hals was not the only painter to be influenced by Baburen. Hendrik ter Brugghen painted several lute players in the 1620s, and a few of them seem to merge aspects of Baburen and Hals, though his later version seems to follow Hals more closely.

0332_T

The Lute Player (Hals)

How does The Lute Player (Hals) elucidate its Later influences?

This painting has been copied by other artists, most notably by David Bailly in his 1651 self-portrait with his artist's influences, and by Adriaan de Lelie with his 1813 self-portrait with Josephus Augustinus Brentano, including this painting on the wall of Brentano's collection. Aspects of the painting have also been copied, such as the pose of the hands and the upward smiling face, such as Jan Steen's self-portrait as a smiling lute player. The painting was purchased by Gustave de Rothschild (1829–1911) in 1873 and remained in the family for more than a century until 1984.

0332_NT

The Lute Player (Hals)

How does this artwork elucidate its Later influences?

This painting has been copied by other artists, most notably by David Bailly in his 1651 self-portrait with his artist's influences, and by Adriaan de Lelie with his 1813 self-portrait with Josephus Augustinus Brentano, including this painting on the wall of Brentano's collection. Aspects of the painting have also been copied, such as the pose of the hands and the upward smiling face, such as Jan Steen's self-portrait as a smiling lute player. The painting was purchased by Gustave de Rothschild (1829–1911) in 1873 and remained in the family for more than a century until 1984.

0333_T

Columbus Monument (Canessa)

Focus on Columbus Monument (Canessa) and analyze the abstract.

The Columbus Monument is one of three monuments to Christopher Columbus in Baltimore, Maryland. Erected in 1892 in Druid Hill Park, the sculpture is known to be the second oldest monument in Baltimore towards the Italian explorer, the first being the Columbus Obelisk in northeast Baltimore.

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Columbus Monument (Canessa)

Focus on this artwork and analyze the abstract.

The Columbus Monument is one of three monuments to Christopher Columbus in Baltimore, Maryland. Erected in 1892 in Druid Hill Park, the sculpture is known to be the second oldest monument in Baltimore towards the Italian explorer, the first being the Columbus Obelisk in northeast Baltimore.

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Columbus Monument (Canessa)

In Columbus Monument (Canessa), how is the History discussed?

The Columbus Monument is dedicated towards the Italians of Baltimore as indicated on its inscription.In June 2020, the group known as the Baltimore BLOC threatened to destroy the monument by offering Mayor Young a dilemma of either removing all Columbus memorials or face vandalism as a consequence. The statue of Christopher Columbus in Little Italy was destroyed by protesters on July 4, 2020, prompting questions surrounding the future of the historic monument.

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Columbus Monument (Canessa)

In this artwork, how is the History discussed?

The Columbus Monument is dedicated towards the Italians of Baltimore as indicated on its inscription.In June 2020, the group known as the Baltimore BLOC threatened to destroy the monument by offering Mayor Young a dilemma of either removing all Columbus memorials or face vandalism as a consequence. The statue of Christopher Columbus in Little Italy was destroyed by protesters on July 4, 2020, prompting questions surrounding the future of the historic monument.

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Christ in the House of His Parents

Focus on Christ in the House of His Parents and explore the abstract.

Christ in the House of His Parents (1849–50) is a painting by John Everett Millais depicting the Holy Family in Saint Joseph's carpentry workshop. The painting was extremely controversial when first exhibited, prompting many negative reviews, most notably one written by Charles Dickens. It catapulted the previously obscure Pre-Raphaelite Brotherhood to notoriety and was a major contributor to the debate about Realism in the arts. It is now in Tate Britain in London.

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Christ in the House of His Parents

Focus on this artwork and explore the abstract.

Christ in the House of His Parents (1849–50) is a painting by John Everett Millais depicting the Holy Family in Saint Joseph's carpentry workshop. The painting was extremely controversial when first exhibited, prompting many negative reviews, most notably one written by Charles Dickens. It catapulted the previously obscure Pre-Raphaelite Brotherhood to notoriety and was a major contributor to the debate about Realism in the arts. It is now in Tate Britain in London.

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Christ in the House of His Parents

Focus on Christ in the House of His Parents and explain the Subject.

The painting depicts the young Jesus assisting Joseph in his workshop. Joseph is making a door, which is laid upon his carpentry work-table. Jesus has cut his hand on an exposed nail, symbolizing the stigmata and foreshadowing Jesus's crucifixion. Some of the blood has fallen onto his foot. As Jesus's grandmother, Anne, removes the nail with a pair of pincers, his concerned mother, Mary, offers her cheek for a kiss. Joseph examines Jesus's wounded hand. A young boy, who would later be known as John the Baptist, brings in water to wash the wound, prefiguring his later baptism of Christ. An assistant of Joseph, who represents Jesus's future Apostles, observes these events. In the background of the painting various objects are used to further symbolize the theological significance of the subject. A ladder, referring to Jacob's Ladder, leans against the back wall, and a dove which represents the Holy Spirit rests on it. Other carpentry implements refer to the Holy Trinity. Millais likely used Albrecht Dürer's print Melancholia I as a source for this imagery, along with quattrocento works. The sheep in the sheepfold seen through the door represent the future Christian flock.It has been suggested that Millais was influenced by John Rogers Herbert's painting Our Saviour Subject to His Parents at Nazareth. He may also have drawn on a painting depicting Jesus helping Joseph in his workshop, which at the time was attributed to Annibale Carracci.

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Christ in the House of His Parents

Focus on this artwork and explain the Subject.

The painting depicts the young Jesus assisting Joseph in his workshop. Joseph is making a door, which is laid upon his carpentry work-table. Jesus has cut his hand on an exposed nail, symbolizing the stigmata and foreshadowing Jesus's crucifixion. Some of the blood has fallen onto his foot. As Jesus's grandmother, Anne, removes the nail with a pair of pincers, his concerned mother, Mary, offers her cheek for a kiss. Joseph examines Jesus's wounded hand. A young boy, who would later be known as John the Baptist, brings in water to wash the wound, prefiguring his later baptism of Christ. An assistant of Joseph, who represents Jesus's future Apostles, observes these events. In the background of the painting various objects are used to further symbolize the theological significance of the subject. A ladder, referring to Jacob's Ladder, leans against the back wall, and a dove which represents the Holy Spirit rests on it. Other carpentry implements refer to the Holy Trinity. Millais likely used Albrecht Dürer's print Melancholia I as a source for this imagery, along with quattrocento works. The sheep in the sheepfold seen through the door represent the future Christian flock.It has been suggested that Millais was influenced by John Rogers Herbert's painting Our Saviour Subject to His Parents at Nazareth. He may also have drawn on a painting depicting Jesus helping Joseph in his workshop, which at the time was attributed to Annibale Carracci.

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Christ in the House of His Parents

Explore the Critical response of this artwork, Christ in the House of His Parents.

The painting was immensely controversial when first exhibited because of its realistic depiction of a carpentry workshop, especially the dirt and detritus on the floor. The portrayal of Jesus and those surrounding Him was often considered to be radical, both in dress and in figure. Charles Dickens accused Millais of portraying Mary as an alcoholic who looksso hideous in her ugliness that ... she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest gin-shop in England. Critics also objected to the portrayal of Jesus, one complaining that it was "painful" to see "the youthful Saviour" depicted as "a red-headed Jew boy". Dickens described him as a "wry-necked, blubbering red-headed boy in a bed-gown, who appears to have received a poke ... playing in an adjacent gutter". Other critics suggested that the characters displayed signs of rickets and other disease associated with slum conditions. Because of the controversy, Queen Victoria asked for the painting to be taken to Buckingham Palace so that she could view it in private.At the Royal Academy the painting was exhibited with a companion piece by Millais's colleague, William Holman Hunt, that also portrayed a scene from early Christian history in which a family help a wounded individual. This was entitled A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids.

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Christ in the House of His Parents

Explore the Critical response of this artwork.

The painting was immensely controversial when first exhibited because of its realistic depiction of a carpentry workshop, especially the dirt and detritus on the floor. The portrayal of Jesus and those surrounding Him was often considered to be radical, both in dress and in figure. Charles Dickens accused Millais of portraying Mary as an alcoholic who looksso hideous in her ugliness that ... she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest gin-shop in England. Critics also objected to the portrayal of Jesus, one complaining that it was "painful" to see "the youthful Saviour" depicted as "a red-headed Jew boy". Dickens described him as a "wry-necked, blubbering red-headed boy in a bed-gown, who appears to have received a poke ... playing in an adjacent gutter". Other critics suggested that the characters displayed signs of rickets and other disease associated with slum conditions. Because of the controversy, Queen Victoria asked for the painting to be taken to Buckingham Palace so that she could view it in private.At the Royal Academy the painting was exhibited with a companion piece by Millais's colleague, William Holman Hunt, that also portrayed a scene from early Christian history in which a family help a wounded individual. This was entitled A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids.

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Christ in the House of His Parents

Focus on Christ in the House of His Parents and discuss the Consequences.

The effect of the critical comments was to make the Pre-Raphaelite movement famous and to create a debate about the relationship between modernity, realism and medievalism in the arts. The critic John Ruskin supported Millais in letter to the press and in his lecture "Pre-Raphaelitism" despite personally disliking the painting. The painting's use of symbolic realism led to a wider movement in which the choice of composition and theme was combined with detailed observation.

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Christ in the House of His Parents

Focus on this artwork and discuss the Consequences.

The effect of the critical comments was to make the Pre-Raphaelite movement famous and to create a debate about the relationship between modernity, realism and medievalism in the arts. The critic John Ruskin supported Millais in letter to the press and in his lecture "Pre-Raphaelitism" despite personally disliking the painting. The painting's use of symbolic realism led to a wider movement in which the choice of composition and theme was combined with detailed observation.

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Nude Against the Light (Bonnard)

How does Nude Against the Light (Bonnard) elucidate its abstract?

Nude Against the Light or Backlit Nude (French: Nu à contre-jour) is an oil-on-canvas painting by the French Post-Impressionist painter Pierre Bonnard. Created in 1908, it is now in the collection of the Royal Museums of Fine Arts of Belgium in Brussels.The work depicts the artist's partner and frequent model Marthe de Mėrigny applying eau de Cologne after a bath in a tub. She is nude and standing silhouetted against the light from the windows which fills the room with bright warm shadowless light and colour. The bather is reflected in a mirror, a characteristic feature of Bonnard's paintings.

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Nude Against the Light (Bonnard)

How does this artwork elucidate its abstract?

Nude Against the Light or Backlit Nude (French: Nu à contre-jour) is an oil-on-canvas painting by the French Post-Impressionist painter Pierre Bonnard. Created in 1908, it is now in the collection of the Royal Museums of Fine Arts of Belgium in Brussels.The work depicts the artist's partner and frequent model Marthe de Mėrigny applying eau de Cologne after a bath in a tub. She is nude and standing silhouetted against the light from the windows which fills the room with bright warm shadowless light and colour. The bather is reflected in a mirror, a characteristic feature of Bonnard's paintings.

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The End of the Red Line

Focus on The End of the Red Line and analyze the abstract.

The End of the Red Line is an abstract light sculpture by Alejandro and Moira Sina. It is located at Alewife (MBTA station), in Cambridge, Massachusetts. Approximately 800 red neon tubes are suspended from a 320-foot (98 m) long section of the station ceiling, directly above the outbound train tracks. The intensity of the light is varied gradually over time.

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The End of the Red Line

Focus on this artwork and analyze the abstract.

The End of the Red Line is an abstract light sculpture by Alejandro and Moira Sina. It is located at Alewife (MBTA station), in Cambridge, Massachusetts. Approximately 800 red neon tubes are suspended from a 320-foot (98 m) long section of the station ceiling, directly above the outbound train tracks. The intensity of the light is varied gradually over time.

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Bust of Pope Gregory XV

In Bust of Pope Gregory XV, how is the abstract discussed?

The Bust of Pope Gregory XV is a marble portrait sculpture by the Italian artist Gian Lorenzo Bernini. Executed in 1621, the work is one of three busts of the subject created by Bernini—the other two were bronze casts. The marble bust is on permanent display at the Art Gallery of Ontario, in Toronto. It was donated to the museum by Joey and Toby Tanenbaum.

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Bust of Pope Gregory XV

In this artwork, how is the abstract discussed?

The Bust of Pope Gregory XV is a marble portrait sculpture by the Italian artist Gian Lorenzo Bernini. Executed in 1621, the work is one of three busts of the subject created by Bernini—the other two were bronze casts. The marble bust is on permanent display at the Art Gallery of Ontario, in Toronto. It was donated to the museum by Joey and Toby Tanenbaum.

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Bust of Pope Gregory XV

Focus on Bust of Pope Gregory XV and explore the Background.

Bernini began work on the marble bust immediately after the election of Pope Gregory XV in February 1621, and completed the work in September of that year. Two bronze casts were also made during this time. He was able to achieve this by reusing the pattern and arrangement of the cope, amice, and alb he had created for the Bust of Pope Paul V in 1618. For this work, he made only a few minor changes to the flanking images of Saint Peter and Saint Paul, and modified the details of the morse or clasp of the cope. As a result, the sculpted busts of the two pontiffs closely resemble each other. In both, Bernini nestled the head low into the cope collar creating a triangular silhouette.Bernini was well rewarded for his efforts in creating the Bust of Pope Gregory XV. On 30 June 1621, at the age of twenty-two, Bernini was awarded a papal knighthood by the pope—the Supreme Order of Christ—and an accompanying lifetime salary. In 1622, Ottavio Leoni's engraving of the sculptor's portrait was published showing him wearing the special cross of the order. Thereafter, Bernini was commonly referred to as Il Cavaliere (the Knight). Bernini was also honoured at this time by being elected the principal of the Accademia di San Luca, the artists' society in Rome, after being a member for only three years. Along with the great mythological statues he executed in the Villa Borghese, these honours marked the summation of his early success.

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Bust of Pope Gregory XV

Focus on this artwork and explore the Background.

Bernini began work on the marble bust immediately after the election of Pope Gregory XV in February 1621, and completed the work in September of that year. Two bronze casts were also made during this time. He was able to achieve this by reusing the pattern and arrangement of the cope, amice, and alb he had created for the Bust of Pope Paul V in 1618. For this work, he made only a few minor changes to the flanking images of Saint Peter and Saint Paul, and modified the details of the morse or clasp of the cope. As a result, the sculpted busts of the two pontiffs closely resemble each other. In both, Bernini nestled the head low into the cope collar creating a triangular silhouette.Bernini was well rewarded for his efforts in creating the Bust of Pope Gregory XV. On 30 June 1621, at the age of twenty-two, Bernini was awarded a papal knighthood by the pope—the Supreme Order of Christ—and an accompanying lifetime salary. In 1622, Ottavio Leoni's engraving of the sculptor's portrait was published showing him wearing the special cross of the order. Thereafter, Bernini was commonly referred to as Il Cavaliere (the Knight). Bernini was also honoured at this time by being elected the principal of the Accademia di San Luca, the artists' society in Rome, after being a member for only three years. Along with the great mythological statues he executed in the Villa Borghese, these honours marked the summation of his early success.

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Bust of Pope Gregory XV

Focus on Bust of Pope Gregory XV and explain the Description.

The Bust of Pope Gregory XV depicts a sickly, though mentally alert, sixty-seven-year-old man presented in the majestic role of pope, the head of the Catholic Church and a powerful force in international affairs. Bernini used the cope—with its gold threads, stiff formal embroidery, and jewelled morse—to convey the power and wealth of the Church. The flanking panels depicting Saint Peter and Saint Paul show the pope's saintly protectors and reinforce the office of the sitter. Bernini shows the thickness of the fabric and the rigidity of the embroidery by the "abrupt bends with which it conforms to the curve of the pope's shoulders".The pope's head is bowed as if weighed down by his cope, symbolic of the weight and responsibility of his office, and perhaps his age. His eyes are raised, creating soft wrinkles across his forehead; his gaze is steady and far-reaching, focused beyond the viewer toward eternity. The pope's skin is smooth and polished, reflecting the natural pallor of the man's complexion as observed by his contemporaries. The smoothness of his skin is offset by the "crisp, dry carving of the myriad tufts of hair" around his tonsured head and along his cheeks and jowls. Bernini converges these lines at the pope's curly mustache and beard, which seem to "burst forth almost luxuriantly" in light and shade and depth—all created by Bernini's favorite sculpting tool, the drill.

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Bust of Pope Gregory XV

Focus on this artwork and explain the Description.

The Bust of Pope Gregory XV depicts a sickly, though mentally alert, sixty-seven-year-old man presented in the majestic role of pope, the head of the Catholic Church and a powerful force in international affairs. Bernini used the cope—with its gold threads, stiff formal embroidery, and jewelled morse—to convey the power and wealth of the Church. The flanking panels depicting Saint Peter and Saint Paul show the pope's saintly protectors and reinforce the office of the sitter. Bernini shows the thickness of the fabric and the rigidity of the embroidery by the "abrupt bends with which it conforms to the curve of the pope's shoulders".The pope's head is bowed as if weighed down by his cope, symbolic of the weight and responsibility of his office, and perhaps his age. His eyes are raised, creating soft wrinkles across his forehead; his gaze is steady and far-reaching, focused beyond the viewer toward eternity. The pope's skin is smooth and polished, reflecting the natural pallor of the man's complexion as observed by his contemporaries. The smoothness of his skin is offset by the "crisp, dry carving of the myriad tufts of hair" around his tonsured head and along his cheeks and jowls. Bernini converges these lines at the pope's curly mustache and beard, which seem to "burst forth almost luxuriantly" in light and shade and depth—all created by Bernini's favorite sculpting tool, the drill.

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Bust of Pope Gregory XV

Explore the Technique of this artwork, Bust of Pope Gregory XV.

Bernini's approach to portraiture was unique in several respects. Unlike other artists of his time that relied primarily on subject sittings—an approach that often produced stiff and overly-formal results—Bernini preferred to observe his subjects in their daily work and activities over a period of time, making numerous sketches that captured their features, characteristic poses, and natural expressions. He used these sketches to build preliminary models using moist clay. Using those models, Bernini would then begin the marble portrait of the subject. It was only toward the end of this process of carving the marble portrait that he would bring in the subject for formal sittings. This approach also accommodated the time constraints of his preoccupied clientele.Bernini's approach to working with white marble was also innovative. He once observed that the very material itself produces a pallor that distorts the natural visage, similar to the effect of a person fainting. Bernini's technique of offsetting this pallor was to produce "effects of colour" using numerous tricks, exaggerations, and distortions, such as drilling more deeply in certain places to create "accents of shadows" and presenting the figure in such a way as to catch the light. This approach is evident in his Bust of Pope Gregory XV, with his creation of shadows around the eyes, the sinuses, the wrinkles at the corners of the eyes, and even the pupils themselves.Bernini once noted, "Mere resemblance is not sufficient. One must express what goes on in the heads of heroes." No doubt the artist viewed his subject, the leader of the Catholic Church, as an heroic figure. The result of Bernini's efforts was impressive, as one writer observed:The young sculptor succeeded in giving an admirable impression of the character and mood; the dignity and uprightness of the law-giver is combined with the personal humility and sensitivity of the priest. The physical weakness of the flesh is contrasted with the spiritual resolve of a reforming pope.

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Bust of Pope Gregory XV

Explore the Technique of this artwork.

Bernini's approach to portraiture was unique in several respects. Unlike other artists of his time that relied primarily on subject sittings—an approach that often produced stiff and overly-formal results—Bernini preferred to observe his subjects in their daily work and activities over a period of time, making numerous sketches that captured their features, characteristic poses, and natural expressions. He used these sketches to build preliminary models using moist clay. Using those models, Bernini would then begin the marble portrait of the subject. It was only toward the end of this process of carving the marble portrait that he would bring in the subject for formal sittings. This approach also accommodated the time constraints of his preoccupied clientele.Bernini's approach to working with white marble was also innovative. He once observed that the very material itself produces a pallor that distorts the natural visage, similar to the effect of a person fainting. Bernini's technique of offsetting this pallor was to produce "effects of colour" using numerous tricks, exaggerations, and distortions, such as drilling more deeply in certain places to create "accents of shadows" and presenting the figure in such a way as to catch the light. This approach is evident in his Bust of Pope Gregory XV, with his creation of shadows around the eyes, the sinuses, the wrinkles at the corners of the eyes, and even the pupils themselves.Bernini once noted, "Mere resemblance is not sufficient. One must express what goes on in the heads of heroes." No doubt the artist viewed his subject, the leader of the Catholic Church, as an heroic figure. The result of Bernini's efforts was impressive, as one writer observed:The young sculptor succeeded in giving an admirable impression of the character and mood; the dignity and uprightness of the law-giver is combined with the personal humility and sensitivity of the priest. The physical weakness of the flesh is contrasted with the spiritual resolve of a reforming pope.

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Bust of Pope Gregory XV

Focus on Bust of Pope Gregory XV and discuss the Bronze models.

While he worked on the marble bust, Bernini also created two identical bronze casts of the bust. These are currently on display in the Musée Jacquemart-André in Paris, France, and in the Carnegie Museum of Art in Pittsburgh, Pennsylvania, USA. It is generally believed that the two bronze busts were created as replicas, but recent studies seem to show that the bronze bust in Paris was a first specimen, chiselled by Bernini, and destined for a leading Roman collector.

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Bust of Pope Gregory XV

Focus on this artwork and discuss the Bronze models.

While he worked on the marble bust, Bernini also created two identical bronze casts of the bust. These are currently on display in the Musée Jacquemart-André in Paris, France, and in the Carnegie Museum of Art in Pittsburgh, Pennsylvania, USA. It is generally believed that the two bronze busts were created as replicas, but recent studies seem to show that the bronze bust in Paris was a first specimen, chiselled by Bernini, and destined for a leading Roman collector.

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Bust of Pope Gregory XV

How does Bust of Pope Gregory XV elucidate its Provenance?

The bust was only rediscovered as an authentic work by Bernini in the 1980s. It had been in the hands of an English nobleman, and then an antiques dealer, before being recognised as a Bernini by Nicholas Meinertzhagen, a dealer in antiquarian books. Meinertzhagen, who had purchased the bust around 1978 for £240, managed to sell it on at a price of £132,000. The next buyer, Norman Leitman, managed to achieve a much higher price when he sold it via the auctioneers Sotheby's to Canadian collectors Joey and Toby Tanenbaum in 1983 for £2.78 million—the price had risen dramatically after art historian Irving Lavin had commented that "In my opinion the bust is not only the original, it is wholly autograph (i.e. by the master's own hand) and one of the most perfect and important of Bernini's early works." The Tanenbaums then donated the piece to the Art Gallery of Ontario; however, the circumstances of the donation are not entirely clear. The Tanenbaums had tried to sell the piece at a 1990 Christie's auction for more than US$7 million—while bids at the auction reached US$6 million, the auction failed to reach the expected target and the bust was withdrawn from that sale.

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Bust of Pope Gregory XV

How does this artwork elucidate its Provenance?

The bust was only rediscovered as an authentic work by Bernini in the 1980s. It had been in the hands of an English nobleman, and then an antiques dealer, before being recognised as a Bernini by Nicholas Meinertzhagen, a dealer in antiquarian books. Meinertzhagen, who had purchased the bust around 1978 for £240, managed to sell it on at a price of £132,000. The next buyer, Norman Leitman, managed to achieve a much higher price when he sold it via the auctioneers Sotheby's to Canadian collectors Joey and Toby Tanenbaum in 1983 for £2.78 million—the price had risen dramatically after art historian Irving Lavin had commented that "In my opinion the bust is not only the original, it is wholly autograph (i.e. by the master's own hand) and one of the most perfect and important of Bernini's early works." The Tanenbaums then donated the piece to the Art Gallery of Ontario; however, the circumstances of the donation are not entirely clear. The Tanenbaums had tried to sell the piece at a 1990 Christie's auction for more than US$7 million—while bids at the auction reached US$6 million, the auction failed to reach the expected target and the bust was withdrawn from that sale.

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The Haywain Triptych

Focus on The Haywain Triptych and analyze the abstract.

The Haywain Triptych is a panel painting by Hieronymus Bosch, now in the Museo del Prado, Madrid, Spain. A date of around 1516 has been established by means of dendrochronological research. The central panel, signed "Jheronimus Bosch", measures 135 cm × 200 cm (53 in × 79 in) and the wings measure 147 cm × 66 cm (58 in × 26 in). The outside shutters feature a version of Bosch's The Wayfarer.

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The Haywain Triptych

Focus on this artwork and analyze the abstract.

The Haywain Triptych is a panel painting by Hieronymus Bosch, now in the Museo del Prado, Madrid, Spain. A date of around 1516 has been established by means of dendrochronological research. The central panel, signed "Jheronimus Bosch", measures 135 cm × 200 cm (53 in × 79 in) and the wings measure 147 cm × 66 cm (58 in × 26 in). The outside shutters feature a version of Bosch's The Wayfarer.

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The Haywain Triptych

In The Haywain Triptych, how is the History discussed?

The painting was part of a group of six acquired by King Philip II of Spain in 1570, and shipped to El Escorial four years later. It was later sold to the Marquis of Salamanca, and divided into three paintings. In 1848, the central panel was bought by Isabella II of Spain and brought to Aranjuez, the right one was returned to Escorial and the left went to the Prado. The triptych was finally recomposed in 1914 in the latter museum. A copy exists at the Escorial.

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The Haywain Triptych

In this artwork, how is the History discussed?

The painting was part of a group of six acquired by King Philip II of Spain in 1570, and shipped to El Escorial four years later. It was later sold to the Marquis of Salamanca, and divided into three paintings. In 1848, the central panel was bought by Isabella II of Spain and brought to Aranjuez, the right one was returned to Escorial and the left went to the Prado. The triptych was finally recomposed in 1914 in the latter museum. A copy exists at the Escorial.

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Melodrama (Daumier)

Focus on Melodrama (Daumier) and explore the abstract.

Melodrama is an oil-on-canvas painting by the French artist Honoré Daumier. It is dated of c. 1860. It is held in the Neue Pinakothek in Munich.

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Melodrama (Daumier)

Focus on this artwork and explore the abstract.

Melodrama is an oil-on-canvas painting by the French artist Honoré Daumier. It is dated of c. 1860. It is held in the Neue Pinakothek in Munich.

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Melodrama (Daumier)

Focus on Melodrama (Daumier) and explain the Description.

Daumier was a great theater lover and is considered the first painter to have depicted this spectacle in painting, even before Edgar Degas and Henri de Toulouse-Lautrec. In this work, he wants to depict, more than the scene taking place in the stage, the reaction of the public who watches it. The viewers appear excited, tense, seemingly unable to distinguish reality from fiction.The scene from the play, probably a romantic drama, shows a male assassin pointing a dead man that he killed to a woman, dressed in white, while she melodramatically tears her hair out. The scene, strongly illuminated by footlight, in an intense chiaroscuro contrasts sharply with the compact and dark mass formed by the audience in the theater, where some profiled silhouettes appear and some faces can be distinguished, illuminated by a phantasmagorical light.

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Melodrama (Daumier)

Focus on this artwork and explain the Description.

Daumier was a great theater lover and is considered the first painter to have depicted this spectacle in painting, even before Edgar Degas and Henri de Toulouse-Lautrec. In this work, he wants to depict, more than the scene taking place in the stage, the reaction of the public who watches it. The viewers appear excited, tense, seemingly unable to distinguish reality from fiction.The scene from the play, probably a romantic drama, shows a male assassin pointing a dead man that he killed to a woman, dressed in white, while she melodramatically tears her hair out. The scene, strongly illuminated by footlight, in an intense chiaroscuro contrasts sharply with the compact and dark mass formed by the audience in the theater, where some profiled silhouettes appear and some faces can be distinguished, illuminated by a phantasmagorical light.