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View Variables

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      • catchcode_id11
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      • genre_id23
      • medium_id1
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      • titleCampbell's Soup Cans
      • descriptionWhen Warhol first exhibited these thirty–two canvases in 1962, each one simultaneously hung from the wall like a painting and rested on a shelf like groceries in a store. The number of canvases corresponds to the varieties of soup then sold by the Campbell Soup Company. Warhol assigned a different flavor to each painting, referring to a product list supplied by Campbell's. There is no evidence that Warhol envisioned the canvases in a particular sequence. Here, they are arranged in rows that reflect the chronological order in which they were introduced, beginning with "Tomato" in the upper left, which debuted in 1897.
      • created2009-04-24 12:06:47
      • modified2009-04-24 12:08:16
    • Artist
      • id2
      • nameAndy Warhol
      • bio(1928-1987)
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id42
      • wikipedia_id42
      • created2009-04-24 11:33:04
      • modified2009-04-27 08:25:25
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      • created2009-04-24 12:06:47
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      • notesSynthetic polymer paint on thirty-two canvases
      • created2009-04-24 12:08:16
      • modified2009-04-24 12:08:16
    • Genre
      • id23
      • namePop Art
      • description
      • year_start1952
      • year_end(null)
      • created2009-04-24 11:50:51
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      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
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      • creation_date1967-04-29
      • creditGift of Mr. David Whitney
      • copyright© 2009 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
      • accession_number701968
      • titleUntitled from Marilyn Monroe (Marilyn)
      • descriptionPrintmaking, and in particular screenprint, was the basic medium for Andy Warhol's celebrated work on canvas and paper. While a prize-winning commercial artist in the 1950s, he devised a printing process of blotting outline drawings in ink from one surface to another. In a whimsical book of fashionable shoe styles, done at the time he was head of advertising at a shoe company, his blotted drawings were reproduced and then hand-colored by a team of friends. Although Warhol adopted a bland, detached persona, he was an extremely energetic artist and self-promoter who played a significant role in redirecting the course of art. Rather than deriving his work from subjective personal feelings or idealist visions for abstraction, Warhol embraced popular culture and commercial processes. He eventually set up his own print-publishing company called Factory Additions, issuing portfolios of his signature themes. For Marilyn, he created ten highly variable portraits, exploiting the possibilities in screenprinting for shifting colors and off-register effects. By celebrating the seemingly impervious veneer of glamour and fame, but acknowledging its darker inner complexity, these prints reveal Warhol's subtle grasp of American culture. Warhol did not participate in the collaborative printshop system established in America in the 1960s, but his work contributed decisively to what has been characterized as a "print boom" at that time. Through the course of his career, he made nearly eight hundred printed images on paper, about half published in traditional editions. He was also a surprisingly experimental printmaker, issuing hundreds of trial proofs and unique variants. The compositions that make up Camouflage, his last portfolio, constitute a playful commentary on abstraction. Through manipulation of scale and color from sheet to sheet, Warhol alters the visual impact of the military fabric used for concealment. In examples on canvas, he also superimposes his face, linking self-portraiture with disguise.
      • created2009-04-24 12:16:04
      • modified2009-04-29 07:53:10
    • Artist
      • id2
      • nameAndy Warhol
      • bio(1928-1987)
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id42
      • wikipedia_id42
      • created2009-04-24 11:33:04
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      • notes
      • created2009-04-29 07:53:10
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    • Genre
      • id23
      • namePop Art
      • description
      • year_start1952
      • year_end(null)
      • created2009-04-24 11:50:51
      • modified2009-04-24 11:50:51
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      • nameScreen print
      • description
      • created2009-04-29 07:49:48
      • modified2009-04-29 07:49:48
    • Venue
      • id1
      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
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      • image12410590481159706209.jpg
      • created2009-04-09 07:28:43
      • modified2009-05-04 16:00:10
    • Smarthistory
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      • urlhttp://smarthistory.org/pop-art.html
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      • created2009-04-29 07:53:10
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    • Wikipedia
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      • urlhttp://en.wikipedia.org/wiki/Andy_Warhol
      • snippetAndrew Warhola (Rusyn: Андрій Варгола, August 6, 1928 – February 22, 1987), more commonly known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a
      • created2009-04-29 07:53:10
      • modified2009-04-29 07:53:10
    • Material
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        • commentstunning colors!
        • created2009-04-29 18:59:53
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        • commentI love the factory
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  • 2
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      • artist_id3
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      • medium_id1
      • smarthistory_id84
      • wikipedia_id84
      • material_id1
      • creation_date1889-06-29
      • creditAcquired through the Lillie P. Bliss Bequest
      • copyright
      • accession_number472
      • titleThe Starry Night
      • description"This morning I saw the country from my window a long time before sunrise," the artist wrote to his brother Theo, "with nothing but the morning star, which looked very big." Rooted in imagination and memory, The Starry Night embodies an inner, subjective expression of van Gogh's response to nature. In thick sweeping brushstrokes, a flamelike cypress unites the churning sky and the quiet village below. The village was partly invented, and the church spire evokes van Gogh's native land, the Netherlands.
      • created2009-04-24 12:25:54
      • modified2009-04-29 07:53:48
    • Artist
      • id3
      • nameVincent van Gogh
      • bio(March 30, 1853 - July 29, 1890) is generally considered the greatest Dutch painter after Rembrandt, though he had little success during his lifetime. Van Gogh produced all of his work (some 900 paintings and 1100 drawings) during a period of only 10 years before he succumbed to mental illness (possibly bipolar disorder) and committed suicide. His fame grew rapidly after his death especially following a showing of 71 of van Gogh's paintings in Paris on March 17, 1901 (11 years after his death). (Properly the name rhymes with loch, but it is also pronounced 'goph', 'go' and 'goe'.) Van Gogh's influence on expressionism, fauvism and early abstraction was enormous, and can be seen in many other aspects of 20th-century art. The Van Gogh Museum in Amsterdam is dedicated to Van Gogh's work and that of his contemporaries. Several paintings by Van Gogh rank among the most expensive paintings in the world. On March 30, 1987 Van Gogh's painting Irises was sold for a record .9 million at Southeby's, New York. On May 15, 1990 his Portrait of Doctor Gachet was sold for .5 million at Christie's, thus establishing a new price record (see also List of most expensive paintings).
      • countryDutch
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      • deceased(null)
      • smarthistory_id31
      • wikipedia_id31
      • created2009-04-24 12:22:24
      • modified2009-04-27 06:57:48
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      • created2009-04-24 12:25:54
      • modified2009-04-24 12:25:54
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      • notesSaint Rémy
      • created2009-04-29 07:53:48
      • modified2009-04-29 07:53:48
    • Genre
      • id32
      • namePost Impressionism
      • description
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      • created2009-04-24 12:24:34
      • modified2009-04-24 12:24:34
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      • modified2009-04-24 07:43:04
    • Venue
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      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
      • urlwww.moma.org
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      • created2009-04-09 07:28:43
      • modified2009-05-04 16:00:10
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      • urlhttp://smarthistory.org/starry-night.html
      • snippet
      • created2009-04-29 07:53:48
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    • Wikipedia
      • id84
      • urlhttp://en.wikipedia.org/wiki/Vincent_van_Gogh
      • snippetVincent Willem van Gogh vɪnˈsɛnt ʋɪlˈɛm vɑnˈxɔx (30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist artist.[1] Some of his paintings are now among the world's best known, most popular and expensive works of art. Van Gogh spent his
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      • nameOil on canvas
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        • comment dude this rules
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        • commentI love. Van gogh
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        • commentJoe
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      • titlePortrait of Joseph Roulin
      • descriptionDutch painter. His life and work are legendary in the history of 19th- and 20th-century art. In the popular view, van Gogh has become the prototype of the misunderstood, tormented artist, who sold only one work in his lifetime—but whose Irises (sold New York, Sotheby’s, 11 Nov 1987) achieved a record auction sale price of £49 million. Romantic clichés suggest that van Gogh paid with insanity for his genius, which was understood only by his supportive brother Theo (1857–91). Van Gogh was active as an artist for only ten years, during which time he produced some 1000 watercolours, drawings and sketches and about 1250 paintings ranging from a dark, Realist style to an intense, expressionistic one. Almost more than on his oeuvre, his fame has been based on the extensive, diary-like correspondence he maintained, in particular with his brother.
      • created2009-04-24 12:33:49
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    • Artist
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      • nameVincent van Gogh
      • bio(March 30, 1853 - July 29, 1890) is generally considered the greatest Dutch painter after Rembrandt, though he had little success during his lifetime. Van Gogh produced all of his work (some 900 paintings and 1100 drawings) during a period of only 10 years before he succumbed to mental illness (possibly bipolar disorder) and committed suicide. His fame grew rapidly after his death especially following a showing of 71 of van Gogh's paintings in Paris on March 17, 1901 (11 years after his death). (Properly the name rhymes with loch, but it is also pronounced 'goph', 'go' and 'goe'.) Van Gogh's influence on expressionism, fauvism and early abstraction was enormous, and can be seen in many other aspects of 20th-century art. The Van Gogh Museum in Amsterdam is dedicated to Van Gogh's work and that of his contemporaries. Several paintings by Van Gogh rank among the most expensive paintings in the world. On March 30, 1987 Van Gogh's painting Irises was sold for a record .9 million at Southeby's, New York. On May 15, 1990 his Portrait of Doctor Gachet was sold for .5 million at Christie's, thus establishing a new price record (see also List of most expensive paintings).
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      • notesArles, early 1889. Oil on canvas
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      • namePost Impressionism
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      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
      • urlwww.moma.org
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      • titleThe Three Shades
      • description
      • created2009-04-24 12:48:24
      • modified2009-04-24 12:48:24
    • Artist
      • id4
      • nameAuguste Rodin
      • bioAuguste Rodin (1840–1917) brought monumental public sculpture into the modern era. Though he was well acquainted with the academic traditions and idealized subjects of classical and Renaissance sculpture, Rodin's aim in his work was to be absolutely faithful to nature. His uncanny ability to convey movement and to show the inner feelings of the men and women he portrayed, the bravura of his light-catching modeling, and his extraordinary use of similar figures in different mediums, have established him as one of the greatest sculptors of all time. The Rodin Museum was the gift of movie theater magnate Jules Mastbaum (American, 1872–1926) to the city of Philadelphia. Mastbaum began collecting works by Rodin in 1923 with the intent of founding a museum to enrich the lives of his fellow citizens. Just three years later, he had assembled the largest collection of Rodin's works outside Paris, including bronze castings, plaster studies, drawings, prints, letters, and books. In 1926, Mastbaum commissioned French architects Paul Cret and Jacques Gréber to design the Museum building and gardens. Unfortunately, the collector did not live to see his dream realized, but his widow honored his commitment to the city, and the Museum was inaugurated on November 29, 1929.
      • countryFrench
      • born(null)
      • deceased(null)
      • smarthistory_id33
      • wikipedia_id33
      • created2009-04-24 12:36:28
      • modified2009-04-27 06:59:42
    • Catchcode
      • id15
      • venue_id1
      • catchcode_suffix1014
      • created2009-04-24 12:48:24
      • modified2009-04-24 12:48:24
    • Dimension
      • id8
      • width38
      • depth19
      • height36
      • notes1881-86. Bronze
      • created2009-04-24 12:48:24
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    • Genre
      • id32
      • namePost Impressionism
      • description
      • year_start(null)
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    • Media
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      • nameSculpture
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      • created2009-04-24 12:00:23
      • modified2009-04-24 12:00:23
    • Venue
      • id1
      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
      • urlwww.moma.org
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  • 5
    • Piece
      • id16
      • artist_id4
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      • titleBust of the Young Balzac
      • description French sculptor and draughtsman. He is the only sculptor of the modern age regarded in his lifetime and afterwards to be on a par with Michelangelo. Both made images with widespread popular appeal, and both stressed the materiality of sculpture. Rodin’s most famous works—the Age of Bronze, The Thinker, The Kiss, the Burghers of Calais and Honoré de Balzac—are frequently reproduced outside a fine-art context to represent modern attitudes that require poses and encounters freed from allegory, idealization and propriety. The Rodin mythology embraces the artist’s faith in the spiritual dignity of individuals that direct scrutiny can reveal; this is at its most blatant in Rodin’s portraits of French heroes such as Balzac and Victor Hugo, presented naked and vulnerable. His numerous biographers dwell on his rise from humble origins and his struggle to be accepted by the juries arbitrating entry to the Salon and to be awarded government commissions. Also part of the myth are the fidelity of Rose Beuret, his companion of 50 years; his brazen sexuality; and the unprecedented international fame Rodin acquired after 1900. Set outside this familiar story is the artist who has appealed to people with an enthusiasm for the landmarks of avant-garde sculpture and life drawing. A massive legacy of extremely experimental and intimate studies—on paper, in plaster, some merely fragments, some not published until the 1980s—have helped contradict the criticism that Rodin’s mature work was compromised by rather dull copies of popular works realized by his large workshop. Because he encouraged the reproduction and dissemination of his works in bronze and marble editions, Rodin is represented in many public and private collections. The largest collection of his works—drawings as well as sculpture—is in the Musée Rodin, Paris. Many of his original plasters are in the Musée Rodin, Meudon.
      • created2009-04-24 13:02:12
      • modified2009-04-24 13:02:12
    • Artist
      • id4
      • nameAuguste Rodin
      • bioAuguste Rodin (1840–1917) brought monumental public sculpture into the modern era. Though he was well acquainted with the academic traditions and idealized subjects of classical and Renaissance sculpture, Rodin's aim in his work was to be absolutely faithful to nature. His uncanny ability to convey movement and to show the inner feelings of the men and women he portrayed, the bravura of his light-catching modeling, and his extraordinary use of similar figures in different mediums, have established him as one of the greatest sculptors of all time. The Rodin Museum was the gift of movie theater magnate Jules Mastbaum (American, 1872–1926) to the city of Philadelphia. Mastbaum began collecting works by Rodin in 1923 with the intent of founding a museum to enrich the lives of his fellow citizens. Just three years later, he had assembled the largest collection of Rodin's works outside Paris, including bronze castings, plaster studies, drawings, prints, letters, and books. In 1926, Mastbaum commissioned French architects Paul Cret and Jacques Gréber to design the Museum building and gardens. Unfortunately, the collector did not live to see his dream realized, but his widow honored his commitment to the city, and the Museum was inaugurated on November 29, 1929.
      • countryFrench
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      • created2009-04-24 13:02:12
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      • id9
      • width17
      • depth9
      • height15
      • notes1891 (cast c. 1971). Bronze
      • created2009-04-24 13:02:12
      • modified2009-04-24 13:02:12
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      • id32
      • namePost Impressionism
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      • year_start(null)
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      • created2009-04-24 12:00:23
      • modified2009-04-24 12:00:23
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      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
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  • 6
    • Piece
      • id17
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      • titleWoman with Flowered Hat
      • description Spanish painter, sculptor, draughtsman, printmaker, decorative artist and writer, active in France. He dominated 20th-century European art and was central in the development of the image of the modern artist. Episodes of his life were recounted in intimate detail, his comments on art were published and his working methods recorded on film. Painting was his principal medium, but his sculptures, prints, theatre designs and ceramics all had an impact on their respective disciplines. Even artists not influenced by the style or appearance of his work had to come to terms with its implications. With Georges Braque Picasso was responsible for Cubism, one of the most radical re-structurings of the way that a work of art constructs its meaning. During his extremely long life Picasso instigated or responded to most of the artistic dialogues taking place in Europe and North America, registering and transforming the developments that he found most fertile. His marketability as a unique and enormously productive artistic personality, together with the distinctiveness of his work and practice, have made him the most extensively exhibited and discussed artist of the 20th century.
      • created2009-04-24 13:10:36
      • modified2009-04-24 13:10:36
    • Artist
      • id5
      • namePablo Picasso
      • bio(born October 25, 1881, Málaga, Spain—died April 8, 1973, Mougins, France) Spanish expatriate painter, sculptor, printmaker, ceramicist, and stage designer, one of the greatest and most influential artists of the 20th century and the creator (with Georges Braque) of Cubism. The enormous body of Picasso's work remains, and the legend lives on—a tribute to the vitality of the “disquieting” Spaniard with the “sombre . . . piercing” eyes who superstitiously believed that work would keep him alive. For nearly 80 of his 91 years Picasso devoted himself to an artistic production that contributed significantly to and paralleled the whole development of modern art in the 20th century.
      • countrySpanish
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      • wikipedia_id34
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      • modified2009-04-27 07:03:08
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      • modified2009-04-24 13:10:36
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      • id10
      • width19
      • depth(null)
      • height25
      • notes(1921). Pastel and charcoal on paper
      • created2009-04-24 13:10:36
      • modified2009-04-24 13:10:36
    • Genre
      • id32
      • namePost Impressionism
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      • created2009-04-24 12:00:57
      • modified2009-04-24 12:00:57
    • Venue
      • id1
      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
      • urlwww.moma.org
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        • commenti love this one
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      • 1
        • id25
        • user_id2
        • piece_id17
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        • commentsomething about its glare
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  • 7
    • Piece
      • id18
      • artist_id5
      • catchcode_id18
      • venue_id1
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      • genre_id32
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      • titleNude with Joined Hands
      • description Spanish painter, sculptor, draughtsman, printmaker, decorative artist and writer, active in France. He dominated 20th-century European art and was central in the development of the image of the modern artist. Episodes of his life were recounted in intimate detail, his comments on art were published and his working methods recorded on film. Painting was his principal medium, but his sculptures, prints, theatre designs and ceramics all had an impact on their respective disciplines. Even artists not influenced by the style or appearance of his work had to come to terms with its implications. With Georges Braque Picasso was responsible for Cubism, one of the most radical re-structurings of the way that a work of art constructs its meaning. During his extremely long life Picasso instigated or responded to most of the artistic dialogues taking place in Europe and North America, registering and transforming the developments that he found most fertile. His marketability as a unique and enormously productive artistic personality, together with the distinctiveness of his work and practice, have made him the most extensively exhibited and discussed artist of the 20th century.
      • created2009-04-24 13:13:04
      • modified2009-04-24 13:13:04
    • Artist
      • id5
      • namePablo Picasso
      • bio(born October 25, 1881, Málaga, Spain—died April 8, 1973, Mougins, France) Spanish expatriate painter, sculptor, printmaker, ceramicist, and stage designer, one of the greatest and most influential artists of the 20th century and the creator (with Georges Braque) of Cubism. The enormous body of Picasso's work remains, and the legend lives on—a tribute to the vitality of the “disquieting” Spaniard with the “sombre . . . piercing” eyes who superstitiously believed that work would keep him alive. For nearly 80 of his 91 years Picasso devoted himself to an artistic production that contributed significantly to and paralleled the whole development of modern art in the 20th century.
      • countrySpanish
      • born(null)
      • deceased(null)
      • smarthistory_id34
      • wikipedia_id34
      • created2009-04-24 13:06:44
      • modified2009-04-27 07:03:08
    • Catchcode
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      • modified2009-04-24 13:13:03
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      • id11
      • width37
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      • height60
      • notes1906. Oil on canvas
      • created2009-04-24 13:13:03
      • modified2009-04-24 13:13:03
    • Genre
      • id32
      • namePost Impressionism
      • description
      • year_start(null)
      • year_end(null)
      • created2009-04-24 12:24:34
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    • Media
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      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id1
      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
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        • id23
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        • piece_id18
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        • commentbeautiful piece
        • created2009-05-10 13:02:59
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    • PieceImage
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  • 8
    • Piece
      • id19
      • artist_id6
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      • titleThe Musketeer
      • descriptionFrench painter, draughtsman, sculptor, printmaker, designer and writer. He came to art comparatively late in life and made his reputation as the principal protagonist of Fauvism, the first avant-garde movement at the turn of the century. He went on to develop a monumental decorative art, which was innovative both in its treatment of the human figure and in the constructive and expressive role accorded to colour. His long career culminated in a highly original series of works made of paper cut-outs, which confirmed his reputation, with Picasso, as one of the major artists of the 20th century.
      • created2009-04-24 13:19:32
      • modified2009-04-24 13:19:32
    • Artist
      • id6
      • nameHenri Matisse
      • bio(1869-1964)
      • countryFrench
      • born(null)
      • deceased(null)
      • smarthistory_id35
      • wikipedia_id35
      • created2009-04-24 13:14:49
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      • created2009-04-24 13:19:32
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    • Dimension
      • id12
      • width23
      • depth(null)
      • height31
      • notes1903. Oil on canvas
      • created2009-04-24 13:19:32
      • modified2009-04-24 13:19:32
    • Genre
      • id8
      • nameFauvism
      • description
      • year_start1905
      • year_end(null)
      • created2009-04-24 11:46:04
      • modified2009-04-24 13:23:15
    • Media
      • id1
      • namePainting
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      • created2009-04-24 07:42:53
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    • Venue
      • id1
      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
      • urlwww.moma.org
      • image12410590481159706209.jpg
      • created2009-04-09 07:28:43
      • modified2009-05-04 16:00:10
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    • PieceImage
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        • created2009-04-24 13:19:33
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  • 9
    • Piece
      • id20
      • artist_id6
      • catchcode_id20
      • venue_id1
      • dimension_id13
      • genre_id8
      • medium_id1
      • smarthistory_id(null)
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      • titleMale Model
      • descriptionFrench painter, draughtsman, sculptor, printmaker, designer and writer. He came to art comparatively late in life and made his reputation as the principal protagonist of Fauvism, the first avant-garde movement at the turn of the century. He went on to develop a monumental decorative art, which was innovative both in its treatment of the human figure and in the constructive and expressive role accorded to colour. His long career culminated in a highly original series of works made of paper cut-outs, which confirmed his reputation, with Picasso, as one of the major artists of the 20th century.
      • created2009-04-24 13:27:13
      • modified2009-04-24 13:27:13
    • Artist
      • id6
      • nameHenri Matisse
      • bio(1869-1964)
      • countryFrench
      • born(null)
      • deceased(null)
      • smarthistory_id35
      • wikipedia_id35
      • created2009-04-24 13:14:49
      • modified2009-04-27 08:03:12
    • Catchcode
      • id20
      • venue_id1
      • catchcode_suffix1019
      • created2009-04-24 13:27:13
      • modified2009-04-24 13:27:13
    • Dimension
      • id13
      • width28
      • depth(null)
      • height39
      • notesParis, c. 1900. Oil on canvas
      • created2009-04-24 13:27:13
      • modified2009-04-24 13:27:13
    • Genre
      • id8
      • nameFauvism
      • description
      • year_start1905
      • year_end(null)
      • created2009-04-24 11:46:04
      • modified2009-04-24 13:23:15
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id1
      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
      • urlwww.moma.org
      • image12410590481159706209.jpg
      • created2009-04-09 07:28:43
      • modified2009-05-04 16:00:10
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        • created2009-04-24 13:27:14
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  • 10
    • Piece
      • id21
      • artist_id7
      • catchcode_id21
      • venue_id7
      • dimension_id15
      • genre_id4
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      • titleMary Sylvester
      • descriptionMary Sylvester (1725–1794) was born at Southold, Long Island. She was the daughter of Brinley and Mary Sylvester and the sister of Margaret, later Mrs. David Chesebrough (see 16.68.3). Her portrait was most likely painted in 1754, the year in which Blackburn painted the portrait of her sister and of Abigail Chesebrough (Stonington Historical Society, Connecticut). In accordance with her unmarried status, Blackburn depicted Mary Sylvester as a shepherdess, the lamb at her side a symbol of purity and innocence. Although an exact source has not yet been identified, it has been assumed that Blackburn derived this allegorical representation from a British mezzotint. In 1756 Mary Sylvester was married in Newport to Thomas Dering, a Boston merchant. The exceptionally fine carved, painted and gilded frame is original to the portrait. Signatures, Inscriptions, and MarkingsSignature: [on the shaft of the shepherdess's crook]: I. Blackburn Pinx. Provenancedescended to the sitter's grandnephew, Dr. Nicoll Havens Dering, Rome, New York, by 1833–died 1867; his son, Sylvester Dering, Utica, New York, until 1916.
      • created2009-04-24 15:56:39
      • modified2009-04-24 15:57:11
    • Artist
      • id7
      • nameJoseph Blackburn
      • bio(1700-1765)
      • countryEnglish
      • born(null)
      • deceased(null)
      • smarthistory_id37
      • wikipedia_id37
      • created2009-04-24 15:46:32
      • modified2009-04-27 08:10:28
    • Catchcode
      • id21
      • venue_id7
      • catchcode_suffix1000
      • created2009-04-24 15:56:39
      • modified2009-04-24 15:56:39
    • Dimension
      • id15
      • width49
      • depth(null)
      • height40
      • notesOil on canvas, 1754
      • created2009-04-24 15:57:11
      • modified2009-04-24 15:57:11
    • Genre
      • id4
      • nameRococo
      • description
      • year_start1700
      • year_end(null)
      • created2009-04-24 11:42:46
      • modified2009-04-24 11:42:46
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id7
      • catchcode_prefixMET
      • nameThe Metropolitan Museum of Art (The MET)
      • descriptionThe Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction."1 This statement of purpose has guided the Museum for 130 years. Today the Trustees of The Metropolitan Museum of Art reaffirm the statement of purpose and supplement it with the following statement of mission: The mission of The Metropolitan Museum of Art is to collect, preserve, study, exhibit, and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards.
      • urlhttp://www.metmuseum.org/home.asp
      • image1240951661311128146.jpg
      • created2009-04-24 15:22:26
      • modified2009-04-28 13:47:42
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      • 0
        • id12
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        • piece_id21
        • is_sms1
        • commentvery elegant lady
        • created2009-04-28 11:25:17
        • modified2009-04-28 11:25:17
      • 1
        • id13
        • user_id2
        • piece_id21
        • is_sms1
        • commentreally love this piece!
        • created2009-04-28 11:28:08
        • modified2009-04-28 11:28:08
      • 2
        • id14
        • user_id2
        • piece_id21
        • is_sms1
        • commentawesome piece
        • created2009-04-28 11:30:08
        • modified2009-04-28 11:30:08
    • PieceImage
      • 0
        • id55
        • piece_id21
        • location12406137991662126509.png
        • position0
        • created2009-04-24 15:56:40
        • modified2009-04-24 15:56:40
      • 1
        • id56
        • piece_id21
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        • position1
        • created2009-04-24 15:57:11
        • modified2009-04-24 15:57:11
  • 11
    • Piece
      • id22
      • artist_id8
      • catchcode_id22
      • venue_id7
      • dimension_id95
      • genre_id1
      • medium_id1
      • smarthistory_id86
      • wikipedia_id86
      • material_id3
      • creation_date1758-04-29
      • creditPurchase, Estate of George Strichman and Sandra Strichman Gifts; Bequest of Vera Ruth Miller, in memory of her father, Henry Miller, Bequest of Josephine N. Hopper, John Stewart Kennedy Fund, and Gifts of Yvonne Moën Cumerford, Berry B. Tracy, and Mr. an
      • copyright
      • accession_number1996
      • titleHugh Hall
      • descriptionThe subject of this powerful study is Hugh Hall, a distiller, son of the governor of Barbados, and a Boston merchant of great affluence. The portrait reveals the young Copley's earliest attempt to master the difficult medium of pastel crayons. This is not an effortless performance. The picture bears the scars of his struggle to bend an obdurate medium to his will, but what the picture lacks in elegance it more than makes up in forcefulness. This portrait of Hugh Hall is probably Copley's first pastel. Signatures, Inscriptions, and MarkingsSignature: [at right]: J. S. Copley. / Pinx 1758 ProvenanceDescended in the family of the sitter to his great-granddaughter, Miss Baury, by 1873; to the sitter's great-great-grandson, Charles H. Hall, New York, by 1938; to Michael C. Janeway, New York, by 1965; with Kennedy Galleries, New York, 1975–87; sold to George Strichman, New York, 1987; to his estate upon his death in 1989; with Vose Galleries, Boston, 1989; with Crane Collection, 1991–96
      • created2009-04-24 16:15:44
      • modified2009-04-29 08:13:37
    • Artist
      • id8
      • nameJohn Singleton Copley
      • bio(1738 - 1815)
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id38
      • wikipedia_id38
      • created2009-04-24 16:09:30
      • modified2009-04-27 08:12:26
    • Catchcode
      • id22
      • venue_id7
      • catchcode_suffix1001
      • created2009-04-24 16:15:44
      • modified2009-04-24 16:15:44
    • Dimension
      • id95
      • width13
      • depth(null)
      • height15
      • notes
      • created2009-04-29 08:13:37
      • modified2009-04-29 08:13:37
    • Genre
      • id1
      • nameBaroque
      • description
      • year_start1600
      • year_end(null)
      • created2009-04-24 07:42:23
      • modified2009-04-24 07:42:23
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id7
      • catchcode_prefixMET
      • nameThe Metropolitan Museum of Art (The MET)
      • descriptionThe Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction."1 This statement of purpose has guided the Museum for 130 years. Today the Trustees of The Metropolitan Museum of Art reaffirm the statement of purpose and supplement it with the following statement of mission: The mission of The Metropolitan Museum of Art is to collect, preserve, study, exhibit, and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards.
      • urlhttp://www.metmuseum.org/home.asp
      • image1240951661311128146.jpg
      • created2009-04-24 15:22:26
      • modified2009-04-28 13:47:42
    • Smarthistory
      • id86
      • url
      • snippet
      • created2009-04-29 08:13:37
      • modified2009-04-29 08:13:37
    • Wikipedia
      • id86
      • urlhttp://en.wikipedia.org/wiki/John_Singleton_Copley
      • snippetJohn Singleton Copley (1738[1] - 1815) was an American painter, born presumably in Boston, Massachusetts and a son of Richard and Mary Singleton Copley, both Irish. He is famous for his portrait paintings of important figures in colonial New England, depi
      • created2009-04-29 08:13:37
      • modified2009-04-29 08:13:37
    • Material
      • id3
      • namePastel on off-white laid paper, mounted on ca
      • description
      • created2009-04-29 08:09:29
      • modified2009-04-29 08:09:29
    • Comment(empty)
    • PieceImage
      • 0
        • id57
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        • created2009-04-24 16:15:45
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  • 12
    • Piece
      • id23
      • artist_id9
      • catchcode_id23
      • venue_id7
      • dimension_id17
      • genre_id6
      • medium_id1
      • smarthistory_id(null)
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      • credit(null)
      • copyright(null)
      • accession_number(null)
      • titleThe Figure 5 in Gold
      • descriptionBorn and raised in Lancaster, Pennsylvania, Charles Demuth studied art at the Pennsylvania Academy of the Fine Arts in Philadelphia intermittently between 1905 and 1908. It was in Philadelphia that the artist first met the American poet and physician William Carlos Williams, the subject of this painting. Demuth continued his art training during trips to Europe between 1907 and 1921. In 1925 he was included in a group exhibition organized by Alfred Stieglitz, who later gave him a few one-man shows at his galleries. When Demuth died at age fifty-one, after suffering from diabetes for much of his life, an important and prolific career was cut short after only twenty years. Demuth, a versatile artist, tailored his style to his subject matter. His delicate, loosely handled watercolors of fruits and flowers pulsate with subtle, exquisitely balanced color. His paintings of the modern urban and industrial landscape, on the other hand, are tightly controlled, hard, and exact — in a style aptly called Precisionism. Although these works show the influence of Cubism and Futurism, their sense of scale and directness of expression seem entirely American. "The Figure 5 in Gold" is one of a series of eight abstract portraits of friends, inspired by Gertrude Stein's word-portraits, that Demuth made between 1924 and 1929. This painting pays homage to a poem by William Carlos Williams. Like Marsden Hartley's "Portrait of a German Officer" and Arthur Dove's "Ralph Dusenberry," this portrait consists not of a physical likeness of the artist's friend but of an accumulation of images associated with him — the poet's initials and the names "Bill" and "Carlos" that together form a portrait.
      • created2009-04-24 16:27:45
      • modified2009-04-24 16:27:45
    • Artist
      • id9
      • nameCharles Demuth
      • bio(1883-1935)
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id39
      • wikipedia_id39
      • created2009-04-24 16:22:09
      • modified2009-04-27 08:13:40
    • Catchcode
      • id23
      • venue_id7
      • catchcode_suffix1002
      • created2009-04-24 16:27:45
      • modified2009-04-24 16:27:45
    • Dimension
      • id17
      • width30
      • depth(null)
      • height35
      • notesOil on cardboard
      • created2009-04-24 16:27:45
      • modified2009-04-24 16:27:45
    • Genre
      • id6
      • nameArt Nouveau
      • description
      • year_start1880
      • year_end(null)
      • created2009-04-24 11:43:38
      • modified2009-04-24 11:43:38
    • Media
      • id1
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      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id7
      • catchcode_prefixMET
      • nameThe Metropolitan Museum of Art (The MET)
      • descriptionThe Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction."1 This statement of purpose has guided the Museum for 130 years. Today the Trustees of The Metropolitan Museum of Art reaffirm the statement of purpose and supplement it with the following statement of mission: The mission of The Metropolitan Museum of Art is to collect, preserve, study, exhibit, and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards.
      • urlhttp://www.metmuseum.org/home.asp
      • image1240951661311128146.jpg
      • created2009-04-24 15:22:26
      • modified2009-04-28 13:47:42
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    • PieceImage
      • 0
        • id58
        • piece_id23
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        • created2009-04-24 16:27:46
        • modified2009-04-24 16:27:46
  • 13
    • Piece
      • id24
      • artist_id10
      • catchcode_id24
      • venue_id7
      • dimension_id18
      • genre_id27
      • medium_id1
      • smarthistory_id(null)
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      • credit(null)
      • copyright(null)
      • accession_number(null)
      • titleStepping Out
      • descriptionTo many people, Roy Lichtenstein's paintings based on comic strips are synonymous with Pop Art. These depictions of characters in tense, dramatic situations are intended as ironic commentaries on modern man's plight, in which mass media — magazines, advertisements, and television — shapes everything, even our emotions. Lichtenstein also based paintings on well-known masterpieces of art, perhaps commenting, as did Andy Warhol in his "Mona Lisa," on the conversion of art into commodity. Like Warhol, Lichtenstein, who had an art-school background, also worked as a commercial artist and graphic designer (1951–57), an experience that influenced the subject matter of his later paintings. Lichtenstein's fame as a Pop artist began with his first one-man exhibition, at the Leo Castelli Gallery in New York in 1962, and continued to characterize his career throughout his life. "Stepping Out" is marked by Lichtenstein's customary restriction to the primary colors and to black and white; by his thick black outlines; and by the absence of any shading except that provided by the dots imitating those used to print comic strips. Yet beneath the simplicity of means and commonplace subject matter lies a sophisticated art founded on a great deal of knowledge and skill. Lichtenstein here depicts a man and woman, side by side, both quite dapperly dressed. The male is based on a figure in Fernand Léger's painting "Three Musicians" of 1944 (Museum of Modern Art, New York), but seen in mirror image. He wears a straw hat, high-collared shirt, and striped tie; the flower in his lapel is borrowed from another Léger painting. The female figure, with her dramatically reduced and displaced features, resembles the Surrealistic women depicted by Picasso during the 1930s. Her face has been reduced to a single eye set on its side, a mouth, and a long lock of cascading blond hair. The composition of "Stepping Out" is complex and rather elaborate. The figures, while quite different in appearance and style of dress, are united through shape and color: the sweeping curve of the woman's hair is answered by the curve of her companion's lapel; the diagonal yellow of the end of her scarf is echoed in the yellow rectangle that covers the top of his face; the red Benday dots cover half of both faces; and the black that serves as background for the man invades the area behind the woman.
      • created2009-04-24 16:41:05
      • modified2009-04-24 16:41:05
    • Artist
      • id10
      • nameRoy Lichtenstein
      • bio(1923-1997)
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id40
      • wikipedia_id40
      • created2009-04-24 16:33:29
      • modified2009-04-27 08:15:19
    • Catchcode
      • id24
      • venue_id7
      • catchcode_suffix1003
      • created2009-04-24 16:41:05
      • modified2009-04-24 16:41:05
    • Dimension
      • id18
      • width70
      • depth(null)
      • height86
      • notesOil and Magna on canvas, 1978
      • created2009-04-24 16:41:05
      • modified2009-04-24 16:41:05
    • Genre
      • id27
      • namePost Modernism
      • description
      • year_start1970
      • year_end(null)
      • created2009-04-24 11:51:58
      • modified2009-04-24 11:51:58
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id7
      • catchcode_prefixMET
      • nameThe Metropolitan Museum of Art (The MET)
      • descriptionThe Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction."1 This statement of purpose has guided the Museum for 130 years. Today the Trustees of The Metropolitan Museum of Art reaffirm the statement of purpose and supplement it with the following statement of mission: The mission of The Metropolitan Museum of Art is to collect, preserve, study, exhibit, and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards.
      • urlhttp://www.metmuseum.org/home.asp
      • image1240951661311128146.jpg
      • created2009-04-24 15:22:26
      • modified2009-04-28 13:47:42
    • Smarthistory
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Wikipedia
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Material
      • id(null)
      • name(null)
      • description(null)
      • created(null)
      • modified(null)
    • Comment
      • 0
        • id29
        • user_id38
        • piece_id24
        • is_sms1
        • commentkickass!
        • created2009-05-21 12:15:43
        • modified2009-05-21 12:15:43
    • PieceImage
      • 0
        • id59
        • piece_id24
        • location1240616465380163353.jpg
        • position0
        • created2009-04-24 16:41:06
        • modified2009-04-24 16:41:06
  • 14
    • Piece
      • id25
      • artist_id2
      • catchcode_id25
      • venue_id7
      • dimension_id94
      • genre_id23
      • medium_id10
      • smarthistory_id85
      • wikipedia_id85
      • material_id2
      • creation_date1986-04-29
      • creditMrs. Vera G. List Gift
      • copyright
      • accession_number1988
      • titleSelf-Portrait
      • descriptionOf all the Pop artists who emerged in New York and on the international scene in the early 1960s, none is more famous or more typifies the movement than Andy Warhol. Although he had a traditional art education at Carnegie Institute of Technology in Pittsburgh, as a young man in the 1950s he supported himself doing commercial art in New York. About 1959 he decided to concentrate his energies on painting, calling upon both his formal training and commercial experience in his new work. Warhol purposely sought an alternative to the emotionally charged paintings of the Abstract Expressionists by adopting a commercial, hands-off approach to art. His aim was to demystify art by making it look as if anyone could have done it. To this end, he borrowed images from American popular culture and celebrated ordinary consumer goods, such as Brillo pads, Campbell's soup cans, and Coca-Cola bottles, as well as media and political personalities, including Marilyn Monroe and Mao Zedong. He featured them in individually colored serial paintings and prints that relied on commercial silkscreening techniques for reproduction. After the early 1960s his most frequent subjects were the famous people he knew, and occasionally he was his own subject. In this eerie, premonitory self-portrait, produced just a few months before his death in February 1987, Warhol appears as a haunting, disembodied mask. His head floats in a dark black void and his face and hair are ghostly pale, covered in a militaristic camouflage pattern of green, gray, and black.
      • created2009-04-24 16:49:06
      • modified2009-04-29 08:03:30
    • Artist
      • id2
      • nameAndy Warhol
      • bio(1928-1987)
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id42
      • wikipedia_id42
      • created2009-04-24 11:33:04
      • modified2009-04-27 08:25:25
    • Catchcode
      • id25
      • venue_id7
      • catchcode_suffix1004
      • created2009-04-24 16:49:06
      • modified2009-04-24 16:49:06
    • Dimension
      • id94
      • width80
      • depth(null)
      • height80
      • notesAcrylic and silkscreen on canvas
      • created2009-04-29 08:03:30
      • modified2009-04-29 08:03:30
    • Genre
      • id23
      • namePop Art
      • description
      • year_start1952
      • year_end(null)
      • created2009-04-24 11:50:51
      • modified2009-04-24 11:50:51
    • Media
      • id10
      • nameScreen print
      • description
      • created2009-04-29 07:49:48
      • modified2009-04-29 07:49:48
    • Venue
      • id7
      • catchcode_prefixMET
      • nameThe Metropolitan Museum of Art (The MET)
      • descriptionThe Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction."1 This statement of purpose has guided the Museum for 130 years. Today the Trustees of The Metropolitan Museum of Art reaffirm the statement of purpose and supplement it with the following statement of mission: The mission of The Metropolitan Museum of Art is to collect, preserve, study, exhibit, and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards.
      • urlhttp://www.metmuseum.org/home.asp
      • image1240951661311128146.jpg
      • created2009-04-24 15:22:26
      • modified2009-04-28 13:47:42
    • Smarthistory
      • id85
      • urlhttp://smarthistory.org/pop-art.html
      • snippet
      • created2009-04-29 08:03:30
      • modified2009-04-29 08:03:30
    • Wikipedia
      • id85
      • urlhttp://en.wikipedia.org/wiki/Andy_Warhol
      • snippetAndrew Warhola (Rusyn: Андрій Варгола, August 6, 1928 – February 22, 1987), more commonly known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a
      • created2009-04-29 08:03:30
      • modified2009-04-29 08:03:30
    • Material
      • id2
      • name
      • description
      • created2009-04-29 07:49:08
      • modified2009-04-29 07:49:08
    • Comment
      • 0
        • id32
        • user_id2
        • piece_id25
        • is_sms0
        • commentI love Warhol's image of himself.
        • created2009-08-02 18:59:18
        • modified2009-08-02 18:59:18
    • PieceImage
      • 0
        • id60
        • piece_id25
        • location12406169461967918454.jpg
        • position0
        • created2009-04-24 16:49:07
        • modified2009-04-24 16:49:07
  • 15
    • Piece
      • id26
      • artist_id11
      • catchcode_id26
      • venue_id8
      • dimension_id96
      • genre_id23
      • medium_id1
      • smarthistory_id87
      • wikipedia_id87
      • material_id1
      • creation_date1966-04-29
      • creditJames E. Roberts Fund
      • copyright © Morgan Art Foundation Ltd./Artists Rights Society (ARS), New York
      • accession_number68
      • titleLOVE
      • descriptionIn this painting, the word "LOVE" appears in a geometrical design. This piece belongs to Robert Indiana's mid-1960s series that also included Christmas cards, gold rings, and album covers. When unsanctioned versions of LOVE were made, Indiana tried to copyright his unique work. The federal government rejected his application, arguing that no one could copyright a single word. LOVE became one of the most reproduced art images of the post-war era. In 1970, Indiana created a twelve-foot steel LOVE sculpture, now in the IMA's permanent collection, that some critics considered a reclamation of the "stolen" design. In this painting, four red letters affectionately touch, spelling out the word "love." This symmetrical, hard-edged composition belongs to a series that Indiana developed between 1964 and 1966 and that comprised Christmas cards, paintings, posters, sculptures, felt banners, eighteen-karat gold rings, silk tapestries, and album covers. After pirated versions of LOVE began to appear in various contexts, Indiana tried to copyright his unique work, but the federal government rejected his application, arguing that no one could copyright a single word. Indiana's signature emblem became one of the most reproduced and highly recognizable art-historical images of the post-World War II era. In 1970, Indiana made a twelve-foot Cor-ten steel LOVE sculpture, now in the IMA's permanent collection. Some critics believed it manifested the artist's desire to reclaim his "stolen" design. Born Robert Clark in New Castle, Indiana, the artist changed his last name when he moved to New York City in 1954. Although he has claimed frequently that the idea for his series came from the Christian Science motto, God is love, which he saw in church as a child, Indiana's work also resonated with the 1960s counterculture. Stylistically, LOVE most often has been characterized in relation to Op art because of its repetition of bright, vibrating, simple forms and to Pop art because of its appropriation of sign painting, an important by-product of consumer culture. LOVE was a watershed in Indiana's career, and it became a motif that he has never abandoned. -Art historian Susan Elizabeth Ryan, 1999
      • created2009-04-24 17:52:50
      • modified2009-04-29 08:27:27
    • Artist
      • id11
      • nameRobert Indiana
      • bioBorn Robert Clark in New Castle, Indiana, the artist changed his last name when he moved to New York City in 1954. Although he has claimed frequently that the idea for his series came from the Christian Science motto, God is love, which he saw in church as a child, Indiana's work also resonated with the 1960s counterculture. Stylistically, LOVE most often has been characterized in relation to Op art because of its repetition of bright, vibrating, simple forms and to Pop art because of its appropriation of sign painting, an important by-product of consumer culture. LOVE was a watershed in Indiana's career, and it became a motif that he has never abandoned. -Art historian Susan Elizabeth Ryan, 1999
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id21
      • wikipedia_id21
      • created2009-04-24 17:38:17
      • modified2009-04-24 17:38:17
    • Catchcode
      • id26
      • venue_id8
      • catchcode_suffix1000
      • created2009-04-24 17:52:50
      • modified2009-04-24 17:52:50
    • Dimension
      • id96
      • width71
      • depth(null)
      • height71
      • notes
      • created2009-04-29 08:27:27
      • modified2009-04-29 08:27:27
    • Genre
      • id23
      • namePop Art
      • description
      • year_start1952
      • year_end(null)
      • created2009-04-24 11:50:51
      • modified2009-04-24 11:50:51
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id8
      • catchcode_prefixIMA
      • nameIndianapolis Museum of Art (IMA)
      • descriptionThe Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation and conservation of its artistic, historic, and environmental assets. The Indianapolis Museum of Art has a collection of over 50,000 works of art. At the Museum, you will find art from a variety of cultures and periods in art history. The Museum also features national and international traveling exhibitions throughout the year.
      • urlhttp://www.imamuseum.org/
      • image1241058202324822117.gif
      • created2009-04-24 17:20:43
      • modified2009-05-04 16:00:31
    • Smarthistory
      • id87
      • url
      • snippet
      • created2009-04-29 08:27:27
      • modified2009-04-29 08:27:27
    • Wikipedia
      • id87
      • urlhttp://en.wikipedia.org/wiki/Robert_Indiana
      • snippetRobert Indiana (born as Robert Clark, September 13, 1928) is an American artist associated with the Pop Art movement.
      • created2009-04-29 08:27:27
      • modified2009-04-29 08:27:27
    • Material
      • id1
      • nameOil on canvas
      • description
      • created2009-04-29 07:43:31
      • modified2009-04-29 07:43:31
    • Comment(empty)
    • PieceImage
      • 0
        • id61
        • piece_id26
        • location1240620770930261932.jpg
        • position0
        • created2009-04-24 17:52:50
        • modified2009-04-24 17:52:50
  • 16
    • Piece
      • id27
      • artist_id12
      • catchcode_id27
      • venue_id8
      • dimension_id21
      • genre_id6
      • medium_id1
      • smarthistory_id(null)
      • wikipedia_id(null)
      • material_id(null)
      • creation_date(null)
      • credit(null)
      • copyright(null)
      • accession_number(null)
      • titleAngel of the Resurrection
      • descriptionUpon the death of her husband in 1901, Mrs. Benjamin Harrison commissioned Tiffany to create a window in his memory. The window, the lower half of which appears here, was installed in 1905 at the First Presbyterian Church, 16th and Delaware Streets, Indianapolis, where the president had served as an elder for more than 40 years. Absorbed in scores of projects, Tiffany probably left the window's conception to his team of talented designers, contributing his own thought before giving final approval. The design shows Michael, the Angel of the Resurrection, signaling the dead to rise at Christ's second coming. In keeping with the romanticism of the time, Tiffany's heroic angel is dressed in the chain mail suit of a crusading knight and seems like a figure from Sir Walter Scott's novels.
      • created2009-04-24 18:09:14
      • modified2009-04-24 18:09:14
    • Artist
      • id12
      • nameLouis Comfort Tiffany
      • bioThe dominant figure in American decorative arts for more than half a century, Louis Comfort Tiffany founded several firms to satisfy the strong demand for his art glass, metalwork, pottery and furniture. Tiffany's enthusiasm for sensuous materials and striking colors found full expression in his stained-glass windows. From 1877 through the 1920s, he and his craftsmen produced thousands of windows for churches, institutions and homes across the United States.
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id29
      • wikipedia_id29
      • created2009-04-24 18:04:05
      • modified2009-04-27 06:42:17
    • Catchcode
      • id27
      • venue_id8
      • catchcode_suffix1001
      • created2009-04-24 18:09:14
      • modified2009-04-24 18:09:14
    • Dimension
      • id21
      • width348
      • depth4
      • height168
      • notesGift of the First Meridian Heights Presbyterian Church, Indianapolis
      • created2009-04-24 18:09:14
      • modified2009-04-24 18:09:14
    • Genre
      • id6
      • nameArt Nouveau
      • description
      • year_start1880
      • year_end(null)
      • created2009-04-24 11:43:38
      • modified2009-04-24 11:43:38
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id8
      • catchcode_prefixIMA
      • nameIndianapolis Museum of Art (IMA)
      • descriptionThe Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation and conservation of its artistic, historic, and environmental assets. The Indianapolis Museum of Art has a collection of over 50,000 works of art. At the Museum, you will find art from a variety of cultures and periods in art history. The Museum also features national and international traveling exhibitions throughout the year.
      • urlhttp://www.imamuseum.org/
      • image1241058202324822117.gif
      • created2009-04-24 17:20:43
      • modified2009-05-04 16:00:31
    • Smarthistory
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Wikipedia
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Material
      • id(null)
      • name(null)
      • description(null)
      • created(null)
      • modified(null)
    • Comment
      • 0
        • id8
        • user_id2
        • piece_id27
        • is_sms1
        • commentI love love
        • created2009-04-25 12:27:23
        • modified2009-04-25 12:27:23
      • 1
        • id10
        • user_id8
        • piece_id27
        • is_sms1
        • commentthis rocks!
        • created2009-04-27 08:41:43
        • modified2009-04-27 08:41:43
    • PieceImage
      • 0
        • id62
        • piece_id27
        • location12406217541450704520.jpg
        • position0
        • created2009-04-24 18:09:14
        • modified2009-04-24 18:09:14
  • 17
    • Piece
      • id28
      • artist_id13
      • catchcode_id28
      • venue_id8
      • dimension_id27
      • genre_id31
      • medium_id1
      • smarthistory_id(null)
      • wikipedia_id(null)
      • material_id(null)
      • creation_date(null)
      • credit(null)
      • copyright(null)
      • accession_number(null)
      • titleAction (Space Division Construction Series)
      • descriptionActon belongs to the Space Division Constructions series, which James Turrell began in 1976. In these works, Turrell defines two distinct areas of a room: the "viewing space," where the audience stands to view the work, and the "sensing space," which is filled with diffused light. A thin partition with a large opening in its center separates the two spaces. Turrell creates an optical illusion in which the viewer initially perceives the opening as a flat, monochromatic surface. Prolonged viewing yields a surprising shift in perception, as the viewer may see and even reach into the sensing space. Acton belongs to the Space Division Constructions series, which James Turrell has been making since 1976. In these works, Turrell divides a room into two areas that he calls the "sensing space" and the "viewing space." In Acton, a partition wall with a rectangular opening divides the rooms into two zones roughly equivalent in size. Lights aimed at the side walls of the sensing space create a reflective ambient light that dimly illuminates the viewing space. Standing in the sensing space, the viewer initially perceives the opening between the spaces as a flat surface, much like a rectangular, monochromatic painting hanging on what appears to be a solid wall. But after studying the canvas closely, a surprising shift in perception occurs-the rectangle opens up and becomes transparent, allowing the viewer to look and even reach into the space that lies beyond.
      • created2009-04-24 18:15:46
      • modified2009-04-27 06:42:36
    • Artist
      • id13
      • nameJames Turrell
      • bioTurrell was born in Los Angeles and studied mathematics and psychology at Pomona College in Claremont, California. He was part of a movement of California artists who experimented with light and visual perception in the late 1960s. A viewer's perception of Acton goes through many transformations. Turrell's work does not strive for verisimilitude but rather encourages an otherworldly, psychological experience.
      • countryAmerican
      • born(null)
      • deceased(null)
      • smarthistory_id41
      • wikipedia_id41
      • created2009-04-24 18:12:14
      • modified2009-04-27 08:24:29
    • Catchcode
      • id28
      • venue_id8
      • catchcode_suffix1002
      • created2009-04-24 18:15:46
      • modified2009-04-24 18:15:46
    • Dimension
      • id27
      • width34
      • depth0
      • height21
      • notesGift of the Contemporary Art Society, the National Endowment of the Arts and Friends of Sylvia Zazas
      • created2009-04-27 06:42:36
      • modified2009-04-27 06:42:36
    • Genre
      • id31
      • nameContemporary
      • description
      • year_start(null)
      • year_end(null)
      • created2009-04-24 12:03:07
      • modified2009-04-24 12:03:07
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id8
      • catchcode_prefixIMA
      • nameIndianapolis Museum of Art (IMA)
      • descriptionThe Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation and conservation of its artistic, historic, and environmental assets. The Indianapolis Museum of Art has a collection of over 50,000 works of art. At the Museum, you will find art from a variety of cultures and periods in art history. The Museum also features national and international traveling exhibitions throughout the year.
      • urlhttp://www.imamuseum.org/
      • image1241058202324822117.gif
      • created2009-04-24 17:20:43
      • modified2009-05-04 16:00:31
    • Smarthistory
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Wikipedia
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Material
      • id(null)
      • name(null)
      • description(null)
      • created(null)
      • modified(null)
    • Comment
      • 0
        • id9
        • user_id2
        • piece_id28
        • is_sms1
        • commentthe ima is so cool
        • created2009-04-26 13:27:23
        • modified2009-04-26 13:27:23
      • 1
        • id11
        • user_id9
        • piece_id28
        • is_sms1
        • commentI love James Turrell
        • created2009-04-27 08:59:02
        • modified2009-04-27 08:59:02
    • PieceImage
      • 0
        • id63
        • piece_id28
        • location12406221462071321702.jpg
        • position0
        • created2009-04-24 18:15:47
        • modified2009-04-24 18:15:47
  • 18
    • Piece
      • id29
      • artist_id14
      • catchcode_id29
      • venue_id8
      • dimension_id23
      • genre_id1
      • medium_id1
      • smarthistory_id(null)
      • wikipedia_id(null)
      • material_id(null)
      • creation_date(null)
      • credit(null)
      • copyright(null)
      • accession_number(null)
      • titleBattle Between Carnival and Lent
      • descriptionCreated in about 1633-1634. This wild brawl pits a mob of peasants, armed with food and cooking implements, against a similarly equipped pack of monks and priests. Peasants brandish skewered chickens and a sausage against a monk who swings a bundle of dried codfish. These rowdy combatants personify Carnival and Lent. Mock battles between them, symbolizing the struggle between excess and abstinence, often formed part of popular celebrations that heralded the start of Lent. n Molenaer’s painting, Carnival is personified by Dutch peasants who wield a large sausage, skewered birds, a beer tankard, and assorted cooking implements as weapons. Lent is embodied by a mob of clerics, including a monk who swings a bundle of dried codfish. This work, which was originally paired with a similarly rude portrayal of a Twelfth Night celebration, criticizes the prevailing atmosphere of immorality and overindulgence associated with certain Roman Catholic feasts. The painting can also be understood as a political commentary referring to the ongoing struggle between Protestant Holland and the Catholic, Spanish-ruled southern Netherlands. The Spanish occupation of the south is suggested by the soldier in the foreground, who chokes a Dutch boy.
      • created2009-04-24 18:33:54
      • modified2009-04-24 18:33:54
    • Artist
      • id14
      • nameJan Miense Molenaer
      • bioJan Miense Molenaer is best known as a genre painter who excelled in the depiction of comic subjects such as The Battle between Carnival and Lent, a wild brawl pitting excess against abstinence. The popular celebrations that heralded the forty days of Lent, when it was customary to abstain from eating meat, often featured mock battles between these traditional enemies.
      • countryDutch
      • born(null)
      • deceased(null)
      • smarthistory_id24
      • wikipedia_id24
      • created2009-04-24 18:28:45
      • modified2009-04-24 18:28:45
    • Catchcode
      • id29
      • venue_id8
      • catchcode_suffix1003
      • created2009-04-24 18:33:54
      • modified2009-04-24 18:33:54
    • Dimension
      • id23
      • width16
      • depth(null)
      • height21
      • notesPurchased in honor of A. Ian Fraser, with additional funding provided by the David L. Chambers, Jr. Fund for Dutch and Flemish Art, the Dr. V.K. Stoelting Art Fund, and Mrs. Jane W. Myers
      • created2009-04-24 18:33:54
      • modified2009-04-24 18:33:54
    • Genre
      • id1
      • nameBaroque
      • description
      • year_start1600
      • year_end(null)
      • created2009-04-24 07:42:23
      • modified2009-04-24 07:42:23
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id8
      • catchcode_prefixIMA
      • nameIndianapolis Museum of Art (IMA)
      • descriptionThe Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation and conservation of its artistic, historic, and environmental assets. The Indianapolis Museum of Art has a collection of over 50,000 works of art. At the Museum, you will find art from a variety of cultures and periods in art history. The Museum also features national and international traveling exhibitions throughout the year.
      • urlhttp://www.imamuseum.org/
      • image1241058202324822117.gif
      • created2009-04-24 17:20:43
      • modified2009-05-04 16:00:31
    • Smarthistory
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Wikipedia
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Material
      • id(null)
      • name(null)
      • description(null)
      • created(null)
      • modified(null)
    • Comment(empty)
    • PieceImage
      • 0
        • id64
        • piece_id29
        • location12406232341683586216.jpg
        • position0
        • created2009-04-24 18:33:55
        • modified2009-04-24 18:33:55
  • 19
    • Piece
      • id30
      • artist_id15
      • catchcode_id30
      • venue_id8
      • dimension_id24
      • genre_id31
      • medium_id1
      • smarthistory_id(null)
      • wikipedia_id(null)
      • material_id(null)
      • creation_date(null)
      • credit(null)
      • copyright(null)
      • accession_number(null)
      • titleCourre Merlan (Whiting Chase)
      • descriptionCreated in 1964. This work is in a style that Dubuffet called Hourloupe, a nonsense word meaning "grotesque object, something rumbling and threatening with tragic overtones," according to the artist. At first glance, the image appears to be nonrepresentational. Yet, with closer scrutiny, a boat and fishermen can be seen. The title implies that these fishermen are fishing for whiting. Dubuffet was strongly influenced by art produced by children, psychiatric patients, and other untrained artists, for which he coined the term art brut, or "raw art." He also drew on ancient and non-Western cultures in his art. The painting's seeming stylistic naïveté-its flatness, compressed imagery, limited palette, and spontaneous brushwork-suggests Dubuffet's indebtedness to Surrealism and to Dr. Hans Prinzhorn's book, Artistry of the Mentally Ill, which he read in 1923. Although he did not consider himself a Surrealist, Dubuffet valued the unconscious as a source of hallucinatory imagery. Prinzhorn's book endorsed this position, arguing for the authenticity and psychological immediacy of art made by asylum inmates, children, and so-called primitive cultures. Dubuffet subsequently collected art by the mentally ill, for which he coined the term art brut, or "raw art," and dedicated himself to simulating its aesthetic attributes. Dubuffet summarized his artistic philosophy in 1951 in a text called "Anticultural Positions," in which he celebrated the irrational and madness and denigrated western notions of beauty. Art addresses itself to the mind, not to the eyes. -Jean Dubuffet, 1951
      • created2009-04-24 18:46:15
      • modified2009-04-24 18:46:15
    • Artist
      • id15
      • nameJean Dubuffet
      • bioLate in his career, between 1962 and 1974, Jean Dubuffet created a group of works that he called the Hourloupe series. He invented the term Hourloupe supposedly because he believed it connoted "a grotesque object, something rumbling and threatening with tragic overtones." The series originated in red, blue, black, and white ballpoint-pen doodles that first covered scraps of paper and then spread onto paintings, sculptures, architecture, and theater sets. Courre Merlan, one of these works, appears at first to be purely abstract: a puzzlelike form, subdivided and filled with parallel lines like hatchmarks, sits against a loosely painted ground. However, the title, Whiting Chase, encourages the viewer to engage in a game of associative play. While one person might discern the image of a fisherman in a boat, another might see a tall-masted ship sailing at sea. Art addresses itself to the mind, not to the eyes. -Jean Dubuffet, 1951
      • countryFrench
      • born(null)
      • deceased(null)
      • smarthistory_id25
      • wikipedia_id25
      • created2009-04-24 18:42:48
      • modified2009-04-24 18:42:48
    • Catchcode
      • id30
      • venue_id8
      • catchcode_suffix1004
      • created2009-04-24 18:46:14
      • modified2009-04-24 18:46:14
    • Dimension
      • id24
      • width38
      • depth(null)
      • height51
      • notes Gift of Gerald and Dorit Paul. © Artists Rights Society (ARS), New York / ADAGP, Paris
      • created2009-04-24 18:46:15
      • modified2009-04-24 18:46:15
    • Genre
      • id31
      • nameContemporary
      • description
      • year_start(null)
      • year_end(null)
      • created2009-04-24 12:03:07
      • modified2009-04-24 12:03:07
    • Media
      • id1
      • namePainting
      • description
      • created2009-04-24 07:42:53
      • modified2009-04-24 07:43:04
    • Venue
      • id8
      • catchcode_prefixIMA
      • nameIndianapolis Museum of Art (IMA)
      • descriptionThe Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation and conservation of its artistic, historic, and environmental assets. The Indianapolis Museum of Art has a collection of over 50,000 works of art. At the Museum, you will find art from a variety of cultures and periods in art history. The Museum also features national and international traveling exhibitions throughout the year.
      • urlhttp://www.imamuseum.org/
      • image1241058202324822117.gif
      • created2009-04-24 17:20:43
      • modified2009-05-04 16:00:31
    • Smarthistory
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      • url(null)
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      • modified(null)
    • Wikipedia
      • id(null)
      • url(null)
      • snippet(null)
      • created(null)
      • modified(null)
    • Material
      • id(null)
      • name(null)
      • description(null)
      • created(null)
      • modified(null)
    • Comment(empty)
    • PieceImage
      • 0
        • id65
        • piece_id30
        • location1240623975944051186.jpg
        • position0
        • created2009-04-24 18:46:15
        • modified2009-04-24 18:46:15